Vintage Keys Operation Manual (Revision A)

Vintage Keys Operation Manual (Revision A)
Operation Manual
© 2002 E-MU Systems
All Rights Reserved
FI12597 Rev. A
E-MU World Headquarters
E-MU Systems
1600 Green Hills Road
Scotts Valley, CA USA
95066
Telephone: 831-438-1921
Fax: 831-438-8612
Internet: www.emu.com
Europe, Africa, Middle East
E-MU Systems
Suite 6, Adam Ferguson House
Eskmills Industrial Park
Musselburgh, East Lothian
Scotland, EH21 7PQ
Tel: +44 (0) 131-653-6556
Fax: +44 (0) 131-665-0473
Important Notice:
In order to obtain warranty service on your Vintage Keys unit, the serial number
sticker must be intact and you must have a sales receipt or other proof of
purchase. If there is no serial number sticker on the Vintage Keys, please contact
E-MU Systems at once.
This product is covered under one or more of the following U.S. patents:
4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645;
5,111,727; 5,144,676; 5,170,367; 5,248,845; 5,303,309; 5,317,104;
5,342,990; 5,430,244 and foreign patents and/or pending patents. All other
trademarks belong to their respective companies. Specifications and features are
subject to change without notice.
Vintage Keys Operation Manual i
Table of Contents
Introduction ............................................................................. 1
Product Description .......................................................................................1
Important Safety Instructions .................................................. 4
Setup ...................................................................................... 13
Unpacking ....................................................................................................13
Connection Instructions..............................................................................14
Basic Setup ..............................................................................................14
Performance Setup ..................................................................................15
Studio Setup ............................................................................................16
Instant Gratification ............................................................... 19
Playing Demo Sequences ........................................................................19
Auditioning Presets .................................................................................20
Selecting and Quick Editing Presets .......................................................20
Exploring Beats Mode .............................................................................22
Exploring the Master Arpeggiator ...........................................................24
Multi-Channel Arpeggiator ....................................................................26
Time to Save? .......................................................................................28
Basic Operations .................................................................... 29
Power Switch ...........................................................................................29
Volume Control ......................................................................................29
Channel +/- Buttons ...............................................................................29
Data Entry Control .................................................................................29
Cursor Buttons ........................................................................................30
Pitch & Mod Wheels ...............................................................................30
Edit Section ..................................................................................................30
Global Button .........................................................................................30
Controllers Button ..................................................................................30
Arp/Beats Button .....................................................................................31
MIDI Button ............................................................................................31
ii E-MU Systems
MIDI Panic Button .................................................................................. 31
Audition Button ...................................................................................... 31
Compare Button ..................................................................................... 31
Save/Copy Button ................................................................................... 31
Preset Edit Button ................................................................................... 32
Home/Enter Button ................................................................................ 32
Real-time Controller Knobs ......................................................................... 32
Knob Functions ...................................................................................... 33
Quick Edit mode ................................................................................. 33
Screen View Buttons .................................................................................... 34
Main ........................................................................................................ 34
Multi ....................................................................................................... 34
Mix Screen .............................................................................................. 34
Demo Mode ............................................................................................ 35
Command Functions ................................................................................... 36
Preset Selection ....................................................................................... 36
Trigger Mode ........................................................................................... 36
Preset Menu Jump Keys .......................................................................... 36
Main Screen ................................................................................................. 37
MIDI Channel Selection ......................................................................... 37
Preset Selection ....................................................................................... 37
Channel Volume .................................................................................... 38
Channel Pan ........................................................................................... 39
Channel Arpeggiator .............................................................................. 39
Sound Navigator .......................................................................................... 40
Preset Category ....................................................................................... 40
Instrument Category .............................................................................. 40
Multisetups .................................................................................................. 41
Restoring Multisetups ............................................................................. 41
Multisetup Name .................................................................................... 42
Saving Multisetups ................................................................................. 42
Arp/Beats Menu ......................................................................43
Beats ............................................................................................................. 44
Beats Mode .............................................................................................. 46
Status ................................................................................................... 46
Beats Channel ..................................................................................... 46
Trigger Channel .................................................................................. 46
Beats Controllers ..................................................................................... 49
Beat Velocity Group 1-4 ...................................................................... 49
Beat Xpose Group 1-4 ......................................................................... 49
Beat Busy .............................................................................................. 49
Beat Variation ...................................................................................... 50
Beat Variation ...................................................................................... 50
Beats Keys Layout ................................................................................... 51
1-Bar Trigger Option ........................................................................... 51
Beats Keys Offset ..................................................................................... 52
Beats Part Velocity .................................................................................. 52
Beats Part Transpose ............................................................................... 53
Vintage Keys Operation Manual iii
Beats Part Group .....................................................................................54
Master Riff ...............................................................................................54
Riff Tempo ..............................................................................................55
Riff Controllers .......................................................................................55
MIDI Song Start ......................................................................................56
Arp/Riff MIDI Out ...................................................................................56
Arpeggiators .................................................................................................57
Arp Controllers .......................................................................................58
Arpeggiator Resolution ........................................................................58
Arpeggiator Extension .........................................................................58
Arpeggiator Velocity.............................................................................58
Arpeggiator Gate...................................................................................58
Arpeggiator Interval ............................................................................58
Master Arpeggiator Parameters ................................................................58
Status ...................................................................................................59
Mode ....................................................................................................59
Note Value ...........................................................................................60
Arpeggiator Pattern Speed ...................................................................60
Pattern .................................................................................................60
Velocity ................................................................................................61
Gate Time ............................................................................................61
Extension Count .................................................................................62
Extension Interval ...............................................................................62
Sync .....................................................................................................63
Pre-Delay .............................................................................................63
Duration ..............................................................................................64
Post-Delay ............................................................................................64
Recycle .................................................................................................65
Keyboard Thru .....................................................................................65
Latch ....................................................................................................65
Send MIDI System Exclusive Data ...........................................................66
Editing a User Arpeggiator Pattern .............................................................67
Pattern Step Number ...............................................................................67
Key ..........................................................................................................67
Key Offset ............................................................................................68
Tie ........................................................................................................68
Rest ......................................................................................................68
Skip ......................................................................................................68
End .......................................................................................................68
Velocity ...................................................................................................69
Duration ..................................................................................................69
Repeat ......................................................................................................69
User Pattern Name ..................................................................................70
Multichannel Arpeggiating..........................................................................70
iv E-MU Systems
Controllers Menu ....................................................................71
Realtime Control Functions ........................................................................ 72
Keyboard Transpose ................................................................................ 72
Keyboard Channel .................................................................................. 72
Local Control On/Off ............................................................................. 72
Keyboard Velocity Curve ........................................................................ 73
Channel Aftertouch On/Off ................................................................... 74
Footswitch Function ............................................................................... 74
Foot Pedal Function ................................................................................ 75
Trigger Buttons Function ........................................................................ 75
Trigger Buttons ....................................................................................... 76
Trigger Button Select ........................................................................... 76
Latch on/off ........................................................................................ 76
MIDI Key ............................................................................................. 76
MIDI Channel ..................................................................................... 76
Velocity ............................................................................................... 76
Preset Select Buttons ............................................................................... 77
Trigger Button Select ........................................................................... 77
Preset Location .................................................................................... 77
Preset Number ..................................................................................... 77
Preset Name ......................................................................................... 77
Category .............................................................................................. 77
Preset Select Send Buttons ...................................................................... 78
Trigger Button Select ........................................................................... 78
Bank MSB ............................................................................................ 78
Program Change Number ................................................................... 78
Bank LSB .............................................................................................. 78
Knob Preset Quick-Edit ........................................................................... 79
Real-time Controller Assignment ........................................................... 79
MIDI Footswitch Assign ......................................................................... 80
Calibrate Controllers .............................................................................. 80
Tempo Controller ................................................................................... 81
Base Tempo ............................................................................................. 82
Global Menu ...........................................................................83
Defining Global Parameters......................................................................... 84
Master Transpose/Tune .......................................................................... 84
Master Bend Range ................................................................................. 84
Master Velocity Curve ............................................................................ 85
Mix Output ............................................................................................. 86
Master Effects ............................................................................................... 88
Effects Mode ........................................................................................... 88
Effects Multi Mode Control .................................................................... 88
Master FXA Algorithm ............................................................................ 89
A Effect Types ...................................................................................... 89
FXA Parameters: Decay/HF Damping FxB -> FxA .................................. 90
FXA Send Amounts ................................................................................. 90
Master FXB Algorithm ............................................................................ 90
B Effect Types ...................................................................................... 91
Vintage Keys Operation Manual v
FXB Parameters: Feedback/LFO Rate Delay Time ...................................91
FXB Send Amounts .................................................................................91
Miscellaneous Parameters ............................................................................92
Edit All Layers Enable .............................................................................92
User Key Tuning .....................................................................................92
Screen Viewing Angle .............................................................................92
MIDI Menu ............................................................................. 93
Keyboard Outputs MIDI .........................................................................94
Knobs Output MIDI ................................................................................94
Transmit MIDI Clock ..............................................................................94
MIDI Enable ............................................................................................94
Receive Program Change ........................................................................95
MIDI Program Change -> Preset .............................................................95
MIDI SysEx ID .........................................................................................96
MIDI SysEx Packet Delay ........................................................................97
Send MIDI System Exclusive Data ..........................................................97
MIDI Mode ..............................................................................................98
Programming Basics .............................................................. 99
Modulation ................................................................................................100
Modulation Sources ...................................................................................101
Random Sources ....................................................................................102
Modulation PatchCords.............................................................................102
Envelope Generators ..................................................................................103
Tempo-based Envelopes ....................................................................104
Envelope Repeat ................................................................................104
Low Frequency Oscillators (LFOs) .............................................................105
Clock Modulation ......................................................................................106
Modulation Destinations ...........................................................................108
Modulation Processors ...............................................................................109
Preset Modulation Processors ....................................................................111
Using the Modulation Processors .........................................................113
More Examples ......................................................................................115
Dynamic Filters ..........................................................................................117
What is a Filter? ....................................................................................118
Parametric Filters ..................................................................................121
The Z-Plane Filter ..................................................................................122
Signal Flow .................................................................................................123
MIDI Channels & Real-time Controls .......................................................124
Bank Select Commands ........................................................................126
Stereo Mix Outputs ....................................................................................127
vi E-MU Systems
Preset Edit Menu ..................................................................129
Preset Name .......................................................................................... 130
Four Layer Architecture ............................................................................. 130
Selecting Layers .................................................................................... 131
Defining Layer Parameters......................................................................... 132
Selecting an Instrument ....................................................................... 132
Sound Navigator ............................................................................... 132
Defining Key Range .............................................................................. 133
Defining the Velocity Crossfade Range ................................................ 135
Defining the Real-time Crossfade Range .............................................. 137
Transposing the Instrument ................................................................. 140
Tuning .................................................................................................. 141
Background: Transpose vs. Coarse Tuning ....................................... 141
Amplifier ............................................................................................... 141
Volume Envelope ................................................................................. 142
Selecting the Mode ............................................................................ 142
Defining the Volume Envelope ........................................................ 143
Chorusing the Layer ............................................................................. 144
Sound Start Offset and Delay ............................................................... 144
Non-Transpose Mode ........................................................................... 145
Solo Mode ............................................................................................. 145
Assign Group ........................................................................................ 146
Glide ..................................................................................................... 147
Z-Plane Filters ....................................................................................... 148
Vintage Keys Filter Types ...................................................................... 148
Filter Types ........................................................................................ 148
Filter Parameters ................................................................................ 150
Filter Envelope ...................................................................................... 151
Defining the Filter Envelope ............................................................. 152
Auxiliary Envelope ............................................................................... 152
Low Frequency Oscillators (LFOs) ........................................................ 153
Shape ................................................................................................. 153
Sync ................................................................................................... 154
Rate .................................................................................................... 154
Delay ................................................................................................. 156
Variation ........................................................................................... 156
PatchCords ............................................................................................ 157
Modulator Polarity ............................................................................ 158
Pitch Bend Range .................................................................................. 160
Mix Output ........................................................................................... 160
Common Preset Parameters....................................................................... 161
Preset Effects ......................................................................................... 161
FXA Algorithm ...................................................................................... 163
A Effect Types .................................................................................... 163
FXA Parameters ..................................................................................... 164
FXA Send Amounts ............................................................................... 164
FXB Algorithm ...................................................................................... 164
B Effect Types .................................................................................... 164
FXB Parameters ..................................................................................... 165
Vintage Keys Operation Manual vii
FXB Send Amounts ...............................................................................165
Preset Patchcords ..................................................................................165
Initial Controller Amount ....................................................................167
Keyboard Tuning ..................................................................................168
Preset Links ...........................................................................................170
Preset Tempo Offset ..............................................................................171
Audition Riff Selection ..........................................................................171
Play Solo Layers ....................................................................................171
Effects ................................................................................... 173
Effects Overview.........................................................................................173
The Effects Sends ..................................................................................173
Effect Types ................................................................................................175
Effect Parameters ...................................................................................175
Decay .................................................................................................176
High Frequency Damping .................................................................176
Feedback ............................................................................................176
LFO Rate ............................................................................................176
Delay ..................................................................................................176
Effects Programmed in the Preset ..............................................................177
Master Effects .............................................................................................178
Effects Mode ..........................................................................................180
Flexible Effects Control .........................................................................180
Using the Effects Channel Settings in Multi Mode ..........................182
Effect B Into Effect A .............................................................................182
General Effect Descriptions........................................................................184
Reverb ...................................................................................................184
Chorus ...................................................................................................185
Doubling ...............................................................................................185
Slapback ................................................................................................185
Stereo Flanger ........................................................................................185
Delay .....................................................................................................186
Stereo Delay ..........................................................................................186
Panning Delay .......................................................................................186
Dual Tap ................................................................................................186
Vibrato ..................................................................................................186
Distortion ..............................................................................................186
Save/Copy Menu .................................................................. 187
Saving a Preset ......................................................................................187
Copying Information.................................................................................188
Copy Preset ...........................................................................................188
Copy Layer ............................................................................................188
Copy PatchCords ..................................................................................189
Copy Preset PatchCords ........................................................................190
Copy Arpeggiator Settings ....................................................................190
Copy Arpeggiator Pattern .....................................................................191
Copy Preset Bank ..................................................................................191
viii E-MU Systems
Sound Authoring ....................................................................................... 192
Rename Flash SIMM ............................................................................. 193
Duplicate Flash ..................................................................................... 194
Create Random Preset .......................................................................... 195
Preset Programming .............................................................197
Editing Presets............................................................................................ 197
Changing the Instrument .................................................................... 197
Changing the Tuning of an Instrument .............................................. 198
Chorus .................................................................................................. 199
Volume Envelope ................................................................................. 199
Working with Filters ............................................................................. 202
Adding the Filter Envelope ............................................................... 203
Changing Filter Types ....................................................................... 205
Envelope Repeat ................................................................................ 206
Practice Modulating .............................................................................. 206
Troubleshooting ................................................................................... 207
Linking Presets ........................................................................................... 208
Appendix ...............................................................................209
Basic Preset Knob Functions ................................................................. 209
Beat Preset Knob Function ................................................................... 210
Arp Preset Knob Function .................................................................... 210
Presets ........................................................................................................ 210
Preset Categories ................................................................................... 210
Preset Listing.............................................................................................. 211
Instrument Listing ..................................................................................... 215
Riff Listing.................................................................................................. 219
Keyboard Velocity Curves.......................................................................... 221
Master Velocity Curves .............................................................................. 224
PatchCord Amount Chart ......................................................................... 226
E-MU Expansion Sound Sets...................................................................... 227
Installing Sound SIMMs............................................................................. 229
MIDI........................................................................................................... 231
Received Channel Commands ............................................................. 238
Technical Specifications............................................................................. 239
Warranty .................................................................................................... 240
Index .....................................................................................243
Vintage Keys Operation Manual ix
x E-MU Systems
Introduction
Congratulations on your purchase of the E-MU Vintage Keys. Vintage Keys
offers you all of the legendary keyboard sounds of the '60's, '70's and '80's in
a single rack space. From tonewheel organs and suitcase keyboards to
analog and FM synthesizers, Vintage Keys gives you the most authentic and
comprehensive collection of classic keyboard sounds ever assembled.
Thanks for purchasing this E-MU product. We sincerely hope you enjoy
rediscovering these instruments and making them a part of your music.
Product
Description
Vintage Keys contains three additional, user-upgradable sound SIMM
sockets, allowing you to mix and match sound sets according to your
needs. New sounds can be added as easily as plugging in a new 16MB or
32MB SIMM module and up to 128MB of sounds can be installed! Each
sound set has been meticulously crafted to be the best of its kind. Samples
are matched across the keyboard, perfectly looped, and rich in harmonic
texture.
Vintage Keys contains 512 user presets and can hold literally thousands of
factory presets. (ROM presets are automatically added when sound SIMMs are
installed. As an example, a 32 MB SIMM may contain up to 1024 ROM presets.)
Vintage Keys’s Sound Navigator is a major improvement to the main screen
that makes it easy to find the exact sound you want from the thousands
available. It’s powerful, yet simple to use.
Velocity & Pressure Sensitive Keyboard
The five-octave, velocity sensitive keyboard with aftertouch allows you to
perform live or record via MIDI into an external computer/sequencer. The
keyboard action is extremely responsive, capturing all the subtle nuances of
your performance.
Multi-Function Controllers
Multi-function buttons allow you to trigger arpeggiators and notes internally or on any of your other MIDI devices. They can act as preset select
buttons or Beats Mute or MIDI Trigger buttons (latched or unlatched).
Vintage Keys Operation Manual 1
Introduction
Product Description
Four real-time controller knobs are also multi-function controls. These
knobs make it a snap to edit and modify internal preset parameters. The
controllers are fully programmable and can control internal preset or other
MIDI equipment. They can also be programmed to adjust multiple internal
parameters at once, allowing complex levels of control. For example, a
single knob can simultaneously turn up filter cutoff, while detuning one
sample, and adjusting the release time of the volume envelope. Virtually
every synth parameter in the Vintage Keys is controllable using the realtime knobs or by any internal or external control source.
Vintage Keys contains E-MU’s exclusive SuperBEATS Mode—a whole new
way to create dynamic, original music. With SuperBEATS, you trigger, latch
and unlatch synced loops and grooves from your keyboard. Simply select a
“bts:” preset and you’re ready to groove! Then use Vintage Keys’s performance controls to alter and mutate the rhythm or the sound itself.
Then there’s Vintage Keys’s Rhythmic Pattern Generator/Arpeggiator,
which can play up to 16 synchronized arpeggiator patterns at once using a
different sound for each! Patterns can be edited using pattern flow
commands such as: delay for 2 bars, play for 4 bars, hold for 2 beats and
repeat. You can program or download 100 user patterns in addition to the
200 factory patterns.
Of course the real power of Vintage Keys becomes apparent when you begin
to synthesize your own sounds. The extremely flexible yet easy to use,
4-layer synthesizer voices make it easy to build sounds of any kind. Layers
can be switched or crossfaded using key position, velocity, real-time
controllers or any modulation source. Vintage Keys also contains 50
different types of 2nd to 6th order resonant & modeling filters which are
used to shape and modify the raw waveforms.
The 64 modulation sources include three multistage envelopes and two
LFOs per layer, as well as full MIDI control over virtually every parameter.
The digital patch bay, with 24 cords per layer, (and 12 more cords per
preset) lets you connect modulation sources to 64 destinations in any
imaginable way. The patch bay contains a set of arithmetic modifiers,
letting you create complex synthesis models.
Four front panel real-time controllers give you control over 12 userselectable parameters. The real-time knobs can adjust multiple synthesizer
functions at once, allowing complex levels of control. For example, one
knob can simultaneously turn up filter cutoff, while detuning one sample,
and adjusting the release time of the volume envelope. Virtually every
synth parameter in the Vintage Keys is controllable using the real-time
knobs or by any internal or external control source.
Four analog outputs with integral effect sends let you process separate
sounds externally. Returns allow the addition of external effects units
without the need for a separate mixer.
Once you have created your preset, you can add richness to your sound
using Vintage Keys’s 24-bit stereo effects. You can choose a different effects
2 E-MU Systems
Introduction
setup for each preset from over 60 algorithms. The effects section is actually
two separate effects processors with control over each wet/dry mix level.
Effects Processor “A” contains primarily ambiance algorithms like reverb
and delays, while effects processor “B” contains primarily spectral
algorithms such as chorus, flange, phase, distortion, and delay. Effects can
be linked to each preset or used globally to further enhance your sound.
The S/PDIF digital stereo output lets you connect to other digital
equipment, such as digital mixers or external effects devices, keeping your
signal entirely in the digital domain.
Other features include multiple solo, voice assignment and performance
modes for expressive control, 12 user-definable alternate tunings, an
extremely easy to use interface and, of course, an extensive MIDI implementation.
Vintage Keys Operation Manual 3
Important Safety Instructions
Grounding Instructions
Important Safety Instructions
Use in countries other than the U.S.A. may require the use of a different
line cord or attachment plug, or both. Refer all servicing to qualified service
personnel. There are no user serviceable parts or adjustments inside the
unit. There are no user serviceable parts inside the power supply enclosure.
WARNING: To reduce the risk of fire or electric shock, do not expose this
product to rain or moisture.
Grounding
Instructions
Danger!
User
Maintenance
Instructions
This product must be grounded. If it should malfunction or break down,
grounding provides a path of least resistance for electric current, reducing
the risk of electric shock. This product is equipped with a cord having an
equipment-grounding conductor and a grounding plug. The plug must be
plugged into an appropriate outlet properly installed and grounded in
accordance with all local codes and ordinances.
Improper connection of the equipment’s grounding conductor can result in
the risk of electric shock. Check with a qualified electrician or service
personnel if you are in doubt as to whether the product is properly
grounded. Do not modify the plug provided with this product. If it will not
fit the outlet, have a proper outlet installed by a qualified technician.
1.
2.
Vintage Keys should be kept clean and dust free. Periodically wipe the
unit with a clean, dry, lint free cloth. Do not use solvents or cleaners.
There are no user lubrication or adjustment requirements.
Caution -Servicing instructions are for use by qualified personnel only. To reduce
the risk of electric shock, do not perform any servicing other than that contained
in these operating instructions unless you are qualified to do so. Refer all servicing
to qualified service personnel.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE,
ELECTRIC SHOCK, OR INJURY TO PERSONS
4 E-MU Systems
Important Safety Instructions
User Maintenance Instructions
READ THESE INSTRUCTIONS: When using electric products, basic precautions should always be adhered to, including the following:
1.
2.
3.
4.
5.
This symbol is intended to
alert you to the presence of
important operating and
maintenance (servicing)
instructions in the literature
accompanying the unit.
6.
7.
8.
9.
10.
This symbol is intended to
alert you 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.
11.
12.
13.
14.
15.
16.
17.
This symbol is intended to
alert you to use caution when
moving a cart/apparatus
combination to avoid injury.
18.
19.
Read all instructions before using Vintage Keys.
Keep these instructions.
Heed all warnings.
Follow these instructions.
Do not use near water.
Clean only with a dry cloth.
Install in accordance with E-MU’s instructions. Do not block any
openings. This apparatus should be situated so that its location or
position does not interfere with proper ventilation. The ventilation
should not be impeded by covering the ventilation openings with items
such as newspapers, tablecloths, curtains, etc.
Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) which produce heat.
Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other. A
grounding-type plug has two blades and a third grounding prong. The
wide blade or the grounding prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched, particularly at
plugs, convenience receptacles, and at the point where they exit from
the apparatus.
Use only attachments/accessories specified by E-MU Systems.
Use only with the cart, stand, tripod, bracket, or table specified by
E-MU or sold with the apparatus. When a cart is used, use caution when
moving the cart/apparatus combination to avoid injury from tip-over.
Unplug Vintage Keys from the power outlet during lightning storms or
when left unused for a long period of time.
Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as power
supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, the does not operate normally or has been dropped.
No open flame sources, such as lit candles, should be placed on the
apparatus.
The apparatus is designed for use in moderate climates.
The apparatus shall not be exposed to dripping or splashing. No objects
filled with liquids, such as vases, shall be placed on the apparatus.
To reduce the risk of injury, close supervision is necessary when using
the apparatus near children.
The apparatus should be connected only to a power supply of the type
described in the operating instructions and marked on the product.
Vintage Keys Operation Manual 5
Important Safety Instructions
Radio and Television Interference
20.
Radio and
Television
Interference
This product, in combination with an amplifier and headphones and
speakers, may be capable of producing sound levels that could cause
permanent hearing loss. Do not operate for a long period 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, consult an audiologist.
The equipment described in this manual generates and uses radiofrequency energy. If it is not installed and used properly —that is, in strict
accordance with our instructions— it may cause interference with radio
and television reception.
This equipment has been tested and complies with the limits for a Class B
computing device in accordance with the specifications in Subpart J of Part
15 of the FCC rules. These rules are designed to provide reasonable
protection against such interference in a residential installation. However,
there is no guarantee that the interference will not occur in a particular
installation, especially if a “rabbit ear” TV antenna is used.
If Vintage Keys does cause interference to radio or television reception, you
can try to correct the interference by using one or more of the following
measures:
•
•
•
•
Turn the television or radio antenna until the interference stops.
Move Vintage Keys to one side or the other of the television or radio.
Move Vintage Keys farther away from the television or radio.
Plug Vintage Keys into an outlet on a different circuit than the television
or radio.
• Consider installing a rooftop antenna with a coaxial lead-in between the
antenna and television set.
Copyright
Information
6 E-MU Systems
It is the policy of E-MU Systems to allow all users free, complete and
unrestricted use to all of the presets, beats, riffs, patterns, and audition files
contained in our products. However, we are unable to grant you a license to
re-use, modify, create derivative works from, sell or redistribute the demonstration files (demos). In most cases, these compositions are copyright
protected by their respective authors and are licensed to E-MU Systems for
product demonstration purposes only. Please contact E-MU Systems with
additional questions.
Safety Instructions - German
Wichtige Sicherheitsvorschriften
Safety Instructions - German
Wichtige
Sicherheitsvorschriften
Erdungsinstruktionen
Gefahr
Unterhaltsinstruktionen
für anwender
In Ländern ausserhalb den U.S.A. können andere Kabel oder Stecker
notwendig werden. Zur Verminderung des Risikos von Feuer oder eines
elektrischen Schlages übergebe man den Service an qualifizierte Fachleute.
Das Gerät niemals Regen oder Nässe aussetzen.
Das Gerät muss geerdet sein. Bei einem Defekt oder Ausfall bietet Erdung
dem elektrischen Strom den Weg des geringsten Widerstandes und
reduziert das Risiko eines Schlages. Dieses Gerät ist mit einem geerdeten
Kabel und Stecker ausgerüstet. Der Stecker muss in eine passende,
einwandfrei montierte und geerdete Steckdose in Übereinstimmung mit
den örtlichen Vorschriften eingeführt werden.
Unvorschriftsgemässer Anschluss des Gerätes kann zum Risiko eines
elektrischen Schlages führen. Im Zweifelsfalle über die ordnungsgemässe
Erdung soll ein qualifizierter Elektriker oder eine Serviecestelle beigezogen
werden. Ändern Sie den mitgelieferten Stecker nicht. Sollte er nicht in die
Steckdose passen, soll die einwandfreie Installation durch einen qualifizierten Techniker erfolgen.
1.
2.
3.
Vorsicht
Vintage Keys soll sauber und staubfrei gehalten werden. Das Gerät mit
einem sauberen und säurefreien Tuch periodisch abreiben. Keine
Lösungs- oder Reinigungsmittel anwenden.
Schmieren und Justieren sind nicht notwendig.
Bei weiteren Servicefragen wende man sich an eine qualifizierte Servicestelle.
Diese Gebrauchsanweisungen sind nur für qualifizierte Techniker
beabsichtigt. Um die Gefahr eines elektrischen Schlages zu vermeiden,
sollen Sie keine Arbeit unternehmen, die nicht in diesen Instruktionen
vorgeschrieben ist. Wenden Sie Sich bei weiteren Servicefragen an eine
qualifizierte Servicestelle.
Vintage Keys Operation Manual 7
Vorsicht
INSTRUKTIONEN BETR. FEUERRISIKO,
ELEKTROSCHOCK ODER VERLETZUNG VON
PERSONEN
WARNUNG; Beim Einsatz elektrischer Geräte sollten
folgende Vorsichtsmassregeln stets beachtet werden:
1.
Dieses Symbol weist den
Anwender auf wichtige
Gebrauchs- und ServiceVorschriften in den beiliegenden Drucksachen.
2.
3.
4.
5.
6.
7.
Dieses Symbol verweist auf
nicht-isolierte Stromspannungen im Geräte-Innern,
welche zu einem elektrischen
Schlag führen könnten.
8.
9.
10.
11.
12.
8 E-MU Systems
Lesen Sie vor dem Einschalten des Vintage Keys alle Instruktionen.
Zur Vermeidung von Verletzungsrisiken müssen Kinder bei eingeschaltetem Vintage Keys sorgfältig überwacht werden.
Vintage Keys nicht in der Nähe von Wasser in Betrieb nehmen -- z.B. in
der Nähe von Badewannen, Waschschüsseln, auf nassen Gestellen oder
am Swimmingpool.
Vintage Keys stets so aufstellen, dass seine Belüftung nicht beeinträchtigt wird.
Vintage Keys nicht in der Nähe von Hitze aufstellen, wie Heizkörper,
offenem Feuer, Öfen oder von Backöfen.
Vintage Keys ausschliesslich mit einem Netzgerät gemäss Bedienungsanleitung und Gerätemarkierung verwenden.
Dieses Gerät kann bei Verwendung von Kopfhörern und Verstärkern
hohe Lautpegel erzeugen, welche zu bleibenden Gehörschäden führen.
Arbeiten Sie nicht während längerer Zeit mit voller Lautstärke oder
hohem Lautpegel. Stellen Sie Gehörverlust oder Ohrenläuten fest,
wenden Sie sich an einen Ohrenartz.
Vintage Keys kann mit einem polarisierten Kabelstecker (mit ungleichen Stiften) ausgerüstet sein. Das geschieht für Ihre Sicherheit.
Können Sie den Stecker nicht in die Steckdose einführen, ändern Sie
nicht den Stecker ab, sondern wenden Sie sich an einen Elektriker.
Das Netzkabel des Vintage Keys bei längerem Nichtgebrauch aus der
Steckdose ziehen.
Vermeiden Sie sorgfältig das Eindringen von Gegenständen oder
Flüssigkeiten durch die Gehäuseöffnungen.
Das Gerät soll durch qualifizierte Serviceleute gewartet werden, falls:
A. das Netzkabel beschädigt wurde, oder
B. Gegenstände oder Flüssigkeit in das Gerät gelangten,
C. das Gerät Regen ausgesetzt war, oder
D. das Gerät nicht normal oder einwandfrei arbeitet, oder
E. das Gerät stürzte oder sein Gehäuse beschädigt wurde.
Servicearbeiten sollten nur qualifizierten Fachleuten anvertraut werden.
Safety Instructions - French
Instructions de Sécurité Importantes
Safety Instructions - French
Instructions
de Sécurité
Importantes
Instructions
de Mise à la
Terre
Danger
Instructions
de
Maintenance
Une utilisation dans des pays autres que les U.S.A. peut nécessiter l’usage
d’un cordon d’alimentation différent. Afin de réduire les risques d’incendie
ou d’électrocution, référez-vous à un personnel de service qualifié, et
n’exposez pas cet appareil à la pluie ou à l’humidité.
Cet appareil doit être relié à la terre. Dans le cas d’une malfonction
éventuelle, la terre fournit un passage de moindre résistance pour le
courant électrique, réduisant ainsi les risques d’électrocution. Le Vintage
Keys est équipé d’un cordon muni d’un conducteur et d’une fiche devant
être branchée dans une prise appropriée et reliée à la terre en conformité
avec les normes locales.
Une connexion incorrecte peut résulter en des risques d’électrocution.
Vérifiez avec un technicien qualifié si vous avez des doutes quant à la
connexion. Ne modifiez pas vous-même le cordon d’alimentation livré avec
cet appareil; s’il ne rentre pas dans la prise, faites-en installer un autre par
un technicien qualifié.
1.
Le Vintage Keys doit être maintenu propre et sans poussière. Nettoyezle périodiquement à l’aide d’un chiffon propre et non-pelucheux.
N’utilisez pas de solvants, ou d’autres produits de nettoyage.
2.
Aucune lubrification et aucun réglage ne sont nécessaires de votre part.
Pour tout autre service, référez-vous à un personnel qualifié.
3.
Instructions Concernant les Risques d’Incendie,
d’Electrocution, ou de Blessures Corporelles.
ATTENTION: Lorsque vous utilisez des appareils électriques,
certaines précautions élémentaires doivent toujours être prises,
incluant les suivantes:
Vintage Keys Operation Manual 9
Safety Instructions - French
Instructions de Maintenance
Ces instructions de dépanage sont destinées uniquement aux personnes
qualifiées. Afin d’éviter les risques d’électrocution, n’effectuez que les opérations décrites dans ce manuel, à moins que vous ne soyez qualifiê pour cela.
Faites effectuer toute r’eparation par une personne qualifié.
1.
2.
3.
Ce symbole vous alerte de la
présence d’instructions
importantes d’opération et
de maintenance dans la
notice accompagnant
l’appareil.
4.
5.
6.
7.
8.
Ce symbole vous alerte de
la présence d’un voltage
non-isolé dangereux à
l’intérieur de l’appareil,
pouvant être d’une
magnitude suffisante pour
constituer un risque
d’électrocution.
9.
10.
11.
12.
10 E-MU Systems
Lisez bien toutes les instructions avant d’utiliser le Vintage Keys.
Afin de réduire les risques de blessures, une attention particulière est
nécessaire en la présence d’enfants en bas âge.
N’utilisez pas le Vintage Keys dans ou près d’endroits humides - par
exemple près d’une baignoire, d’un lavabo, dans les toilettes, dans une
cave humide, sur un bar fréquenté, en présence d’un bull-dog en rut, ou
dans une piscine pleine. Protégez cet appareil de tout liquide,
éclaboussure ou fuite.
Le Vintage Keys doit être placé de façon à ce que sa position n’interfére
pas avec sa propre ventilation.
Le Vintage Keys doit être placé loin de sources de chaleur telles que des
radiateurs, cheminées, fours, ou groupies en chaleur.
Le Vintage Keys doit uniquement être connecté à une alimentation du
type décrit dans les instructions d’opération et tel qu’indiqué sur
l’appareil.
Une attention particulière doit être observée quant aux objets pouvant
tomber et aux liquides pouvant être versés sur et à l’intérieur de le
Vintage Keys.
Le Vintage Keys peut être équipé d’une fiche secteur polarisée (avec une
broche plus large que l’autre). C’est une mesure de sécurité. Si vous ne
pouvez pas brancher cette fiche dans une prise, ne neutralisez pas cette
sécurité. Contactez plutôt un électricien pour remplacer la prise
obsolète.
Evitez de marcher sur le cordon d’alimentation ou de le coincer,
particuliêrement prês des prises de courant, des boitiers ‘electriques dt
du point de sortie de l’appareil.
Le cordon d’alimentation de le Vintage Keys doit être débranché
lorsque ce dernier n’est pas utilisé pendant une longue période.
Cet appareil, combiné avec un amplificateur, des haut-parleurs, et/ou
un casque, est capable de générer des niveaux sonores pouvant
occasionner une perte de l’ouïe permanente. Ne travaillez pas trop
longtemps à un volume trop élevé ou même inconfortable. Si vous
observez une perte de l’audition ou un bourdonnement dans les
oreilles, consultez un O.R.L.
N’utilisez que les accessoires sp’ecifi’es par E-MU Systems.
Declaration of Conformity
13.
14.
Cet appareil doit être examiné par un personnel qualifié lorsque:
A. Le cordon d’alimentation a été endommagé, ou
B. Des objets sont tombés, ou du liquide a été versé sur/à l’intérieur
de l’appareil, ou
C. Le Vintage Keys a été exposé à la pluie, ou
D. Le Vintage Keys est tombé, ou
E. Le Vintage Keys ne fonctionne pas normalement, ou affiche un
changement radical de performance.
Tout service doit être effectué par un personnel qualifié.
SAUVEGARDEZ CES INSTRUCTIONS
Interférences
Radio et
Télévision
L’appareil décrit dans cette notice génére et utilise une énergie de
fréquence-radio. S’il n’est pas installé et utilisé correctement - c’est à dire en
suivant strictement nos instructions - il peut occasionner des interférences
avec la réception d’une radio ou d’une télévision.
Cet appareil a été testé et est conforme aux normes de Classe A en accord
avec les spécifications du paragraphe J de la section 15 des lois FCC. Ces lois
sont désignées pour fournir une protection raisonnable contre de telles
interférences dans une installation résidentielle. Toutefois, il n’est pas
garanti qu’aucune interférence n’apparaisse dans des installations
particulières, et plus spécialement lorsqu’une antenne de télévision en
«oreilles de lapin» est utilisée.
Si le Vintage Keys occasionne des interférences , vous pouvez essayer de les
corriger en utilisant une ou plusieurs des mesures suivantes:
• Tournez l’antenne de la télé ou de la radio jusqu’à ce que les interférences disparaissent.
• Déplacez le Vintage Keys d’un côté ou de l’autre de la télé ou de la radio.
• Eloignez le Vintage Keys de la télé ou de la radio.
• Branchez le Vintage Keys sur une prise différente que la télé ou la radio.
• Installez une antenne sur le toit munie d’une connexion coaxiale entre
elle et le poste de télévision.
Vintage Keys Operation Manual 11
Safety Instructions - French
Declaration of Conformity
Manufacturer:
E-MU Systems
1600 Green Hills Road
Scotts Valley, CA 95067-0015 USA
We hereby declare that the equipment listed herin conforms to the
harmonized standards of the following European Commission Directives:
89/336/EEC and 72/23/EEC.
Trade Name:
Vintage Keys
Model Number:
9728
Under 89/336/EEC as amended by 92/31/EEC, and 93/68/EEC
In accordance with EN 55103-1:1996, Emission Environments E4
In accordance with EN 55103-2:1996, Immunity Environments E4
Test information is contained in a report by Atlas Compliance and
Engineering, Inc.
Dated July 5, 2001
Report No.: 0126EMUx17_103
Under 73/23/EEC as amended by 93/68/EEC
In accordance with EN 60950 with amendments A1, A2, A3, A4, A11
This Declaration is made July 5, 2001
12 E-MU Systems
Setup
This section thoroughly describes how to set up your new Vintage Keys for
use. Setup includes unpacking instructions, how to hook up the unit to
your sound system and, most importantly, how to turn the thing on and
off.
Unpacking
Carefully remove Vintage Keys from the packaging material. Take care to
save the packing materials in case you need to transport the unit. Check to
make sure all components are included and in good condition. If there are
missing or damaged components, contact E-MU Systems immediately for
replacement or repair.
The Vintage Keys box should include the following components:
• Vintage Keys unit
• Power cable
• This operation manual
Vintage Keys Operation Manual 13
Setup
Basic Setup
Connection
Instructions
Basic Setup
SUB 1
MAIN
Power Switch & AC Receptacle
The AC power switch is located on the rear panel. There is no 110/220 Volt
power selector switch since Vintage Keys utilizes an auto-switching power
supply which accepts from 100V-250V, 50-60Hz.
MIDI Output
Vintage Keys can control other MIDI instruments by connecting a MIDI
cable between the MIDI out of Vintage Keys and the MIDI Input of the
other instrument.

The Right Main output
jack carries a mono mix of the
left and right channels when the
Left Main plug is not plugged in.
The Left Main output jack is a
stereo jack carrying both
channels when the right output
jack is empty.
14 E-MU Systems
Outputs
In order to reproduce the wide dynamic range and frequency response, use
a high quality amplification and speaker system and a stereo setup is highly
desirable The headphone output is the same as the Main output signal. The
headphone jack is located on the left side of the front panel.
Footswitch & Footpedal
Connect a momentary footswitch and a Control Pedal for additional
control. Vintage Keys auto-senses either normally-open or normally-closed
switches. See page 15 for foot pedal wiring information.
Setup
Performance Setup
Performance Setup
Additional
MIDI
Devices
MIDI In
MIDI
Interface
Computer
Out
Out
In
Rear Panel
R MAIN L
R SUB 1 L
OUTPUTS
Mixer
MIDI
IN
OUT
THRU
SWITCH PEDAL
FOOT
Footswitch
Foot Pedal
Amp
MIDI In/MIDI Out
Vintage Keys can be connected to a computer/sequencer via the MIDI In
and MIDI Out ports. Vintage Keys to playback complex multitimbral
sequences.
FootPedal Wiring
Ground
Tip
Ring
Tip
Two pairs of programmable stereo outputs (Main and Sub 1) are provided.
The internal effects are available only on the Main outputs. Specific presets
(or MIDI channels) can be routed to one of these stereo pairs in order to be
processed further or mixed separately.
Footswitch & Footpedal
Ring
Ground
Audio Outputs
The footswitch input accepts either a normally-open or normally-closed
momentary footswitch. The footpedal input can sense either 0-5 volts on
the ring of a stereo jack or a pedal with the potentiometer wired as shown
at left. The footswitch and Pedal inputs are programmable in the
Controllers, Footswitch menu and the Preset Edit, PatchCord menu.
Vintage Keys Operation Manual 15
Setup
Studio Setup
Studio Setup
MIDI Controller
(MIDI Keyboard or Sequencer)
R E A L
T I M E
Additional
MIDI
Devices
C O N T R O L L E R S
A S S I G N A B L E
K E Y S
P R E S E T
Computer
L E V E L
E X I T
E N T E R
S A M P L E
P A G E
S E Q U E N C E R
P R E S E T S E L E C T
1
2
3
4
5
6
7
R E T U R N
8
9
0
.
EMULATOR
MIDI In
MIDI Out
Rear Panel
Effect Device
MIDI
IN
OUT
THRU
Main Outs to Mixer In
Send/Return
R MAIN L
R SUB 1 L
OUTPUTS
Sub Output
Return
(To Main Output)
Tip
To Effect
Ring
From Effect
SEND/RETURN CABLE
Signal is sent out on tip of plug and
returned to main outputs via ring of plug.
MIDI In
In this setup, Vintage Keys is additionally controlled by another MIDI
keyboard.
MIDI Thru
MIDI Thru transmits an exact copy of the messages received at the MIDI In
jack. It does NOT send keyboard or controller information generated from
Vintage Keys (Use the MIDI Out port to send Vintage Keys data to another
instrument.)
Audio Outputs
The Sub 1 output jacks are stereo jacks. The tip of each jack (accessed when
a standard phone plug is inserted) connects to the left or right output of
that group.
16 E-MU Systems
Setup
Studio Setup
If you insert a stereo plug into one of the Sub Outputs, the ring of the plug
serves as a signal Return which sums into the Main outputs.
Therefore, the Sub 1 jacks can serve as effect sends and returns
in order to further process selected instruments and then
return them to the main mix.
You can use the Sub 1 jacks as send/returns in order to further process
selected Vintage Keys presets without using the effects bus on the mixing
board. In a pinch, the effect returns can be used to sum additional instruments into the main outputs. It’s like having an extra line mixer when you
need more inputs!
Output Section
Effects
Processors
L Bus
R Bus
Tip
Tip
Ring
Ring
R
L
SUB 1
R
L
MAINS
You can use the Sub 1 jacks as effect returns to the Main Outputs.
Note that the Effects Processors are only routed to the Main Outputs.
Vintage Keys Operation Manual 17
Setup
Studio Setup
18 E-MU Systems
Instant Gratification
This section presents step-by-step instructions for the most fundamental
operations to get you up and running as quickly as possible.
Playing Demo
Sequences
Vintage Keys has several factory demonstration sequences that let you hear
what this incredible machine can do. The actual number of demo
sequences depends on which ROM sounds sets are installed. You can play
these demo sequences by accessing the Demo Sequence page.
DEMO SEQUENCES
Mica’s Dream
1.
2.
3.
VROM
To Play a Demo Sequence:
Press and hold the Main and Mix buttons at the same time to enter the
Demo Sequence page. The screen shown above appears.
Select a sequence using the data entry control. The Enter LED will be
flashing.
Press the Enter button to begin playing the selected sequence. The
following screen appears.
PLAYING: Mica’s Dream
Press ENTER to stop
4.
5.
6.
Press the Enter button again to stop playing the sequence.
When a demo sequence plays to the end, the next demo will automatically begin playing. The screen will display the new demo name.
With the sequence stopped, press any other button to Exit demo
sequence mode.
Vintage Keys Operation Manual 19
Instant Gratification
Auditioning Presets
Auditioning Presets
O
To audition presets with
their programmed effects, switch
to Omni or Poly mode (located
in the MIDI menu).
The front panel audition button allows you to hear any preset in Vintage
Keys without even playing a note! When the Audition button is pressed,
the button’s LED will illuminate and a short “Riff” (programmed as part of
the preset) will play. The Riff is latched on and plays continuously until the
button is pressed again. Presets can be changed while Audition is latched.
The top line of the Preset View display changes to show the MIDI Bank
Select controller values needed to select the preset being auditioned. This is
an extremely handy feature when sequencing.
Bank
0592
1.
2.
3.
4.
5.
6.
7.
Selecting and Quick
Editing Presets
MSB:018 LSB:3
vox: SnowBound
To Audition a Preset:
Select a preset by turning the data entry control while the cursor is
anywhere on the lower line of the main screen (shown below).
Select a preset by turning the data entry control while the cursor is
anywhere on the lower line. The preset number field (shown above) is
the normal position of the cursor and pressing the Enter button will
return the cursor to this position.
Press the Audition button on the front panel. The Audition LED will
illuminate and a short riff will play the selected preset.
Continue to select and audition presets.
Press the Audition button again to turn Audition mode off. The LED
will extinguish.
Play the keyboard.
Be sure to check out the Pitch Wheel, controller knobs and Mod Wheel.
The first thing you’ll do with the Vintage Keys is select and play the factory
provided presets. Vintage Keys comes standard with 8 banks containing 128
presets each. See “Main Screen” on page 37.
Channel
Number
Initial
Volume
Setting
Initial
Pan
Setting
Arpeggiator
Setting
C01 V127 P01R A:off
0232 pad: Horizons
Blinking
Preset
Cursor Number
20 E-MU Systems
VROM
Bank
Number
Preset
Category
Preset
Location
User
Preset
Name
Instant Gratification
Selecting and Quick Editing Presets
The first four banks are USER locations that can be overwritten and used to
store your own presets. The presets that come stored in the USER presets are
duplicated in banks 0-3 of the “Vintage Keys” ROM bank, so feel free to
overwrite them with your own presets. You won’t be losing anything.
The ROM Card identifier is shown in the top right of the display. The preset
is identified in the bottom line of the main screen (the screen that appears
when you press the Mode/View Preset button).
Each bank of 128 presets is identified by a superscripted Bank Number to the
right of the preset number. The bank numbers reset to 0 at the start of each
ROM card you have installed. So with the “VROM” ROM installed, the
USER banks will go from 0-3, then start over from 0-3 for the Vintage Keys
ROM banks.
Bank Organization
The User Banks
are duplicated
in the VKEYS
ROM bank.
USER
USER
USER
USER
Bank 0
Bank 1
Bank 2
Bank 3
128 Presets
128 Presets
128 Presets
128 Presets
VROM
VROM
VROM
VROM
Bank 0
Bank 1
Bank 2
Bank 3
128 Presets
128 Presets
128 Presets
128 Presets
The four User Banks can hold 512 custom presets. Feel free to overwrite these since the
factory user presets are duplicated in nonvolatile ROM.
To the right of the preset number and bank is the preset Category name
followed by the Preset Name.
1.
2.
O
You can select presets
from the Preset Number, Bank
Number, Preset Category or
Preset Name fields.
3.
To Change the Preset:
Select the main Preset Selection screen by turning off all the menu
buttons below the LCD.
The cursor will be located under the first character in the Preset Number
field. This is the “Home” position which is selected instantly when you
press the Home/Enter button. Pressing either of the two cursor buttons
repeatedly also gets you there.
Turn the data entry control knob on the front panel to select a new
preset number. If you turn the knob slowly, the presets advance one
number for each “click” of the knob. If you spin the knob quickly, the
numbers advance much faster (more than one number per click).
Vintage Keys Operation Manual 21
Instant Gratification
Exploring Beats Mode
4.
5.
Exploring Beats
Mode
Play the keyboard (or press the Audition button) and listen to the
sounds made by your Vintage Keys!
TRY OUT ANY OF THE CONTROLLER KNOBS on the front panel and
note how they change the sound of each preset! Don’t worry about
ruining the sound, the values are automatically reset as soon as you
select a new preset. The three buttons labeled A-D, E-H, I-L allow the
four controller knobs to control twelve functions.
Vintage Keys contains a 16-track play-only sequencer that is optimized for
live performance and groove creation. Vintage Keys contains dozens of
special 16-part Beats Riffs. Beats Riffs are normally used in conjunction with
a “bts:” preset containing the appropriate percussion mapping. Before you
start exploring beats, make sure the Vintage Keys is properly set up.
Beats Setup:
Set the Trigger Buttons to Beats Mode
1. Press the Controllers button on the front panel.
2. Turn the data entry control clockwise until you fin the “TRIGGER
BUTTONS FUNCTION” screen.
3. Set the lower line of the display to read, “Play Beats Parts”.
4. Press the Controllers button on the front panel again to exit the menu.
Set the Trigger Buttons to be Triggers
5. Press the Triggers button in the Command Functions section of the
front panel. OK, now you’re ready to start playing Beats.
Playing

If you don’t select a
“bts:” preset, only the first
trigger key will work.
Riffs marked “bts:” have 16
parts. Riffs without “bts:” have
only 1 part.
22 E-MU Systems
Beats:
Selecting Beats Presets
1. Press the right cursor button twice so that the cursor is located
beneath the Category field.
2. Turn the data entry control until bts: is shown in the Category field.
3. Press the right cursor button so that the cursor is underneath the
Preset Name field.
4. Now turning the data entry control selects ONLY bts: presets!
Play Beats
5. Press any of the sixteen front panel Trigger Buttons. Notice that each
button brings in a specific part. The chart below shows which buttons
control which part in bts: presets.
Instant Gratification
Exploring Beats Mode
6.

The Arp/Beats LED
flashes in time with the Base
Tempo.
• Change the Base Tempo from
the last screen in the Controllers
menu.
7.
Main Groove
Alt. Groove
1. Kick1
2. Snare1
3. Hihat1
4. Perc1
5. Kick2
6. Snare2
7. Hihat2
8. Perc2
Perc / Fills
9. Perc3/Fill1
10. Perc4/Fill2
11. Perc5/Fill3
12. Perc6/Inst.
Instr/Wild
13. Inst1/Wild1
14. Inst2/Wild2
15. Inst3/Wild3
16. Bass
Also notice that the Audition LED comes on when Beats begin playing.
Beats are simply multitrack Audition Riffs. Use the Audition button to
turn Beats on and off.
Try out a few different bts: presets.
Get Busy!
Two of the Controller knobs are programmed to control Beats. Check it out!
8.
9.
10.
Press the E-H button in the Controllers section. Its LED will light.
Now turn the Movement knob with a Beats Riff playing. Movement
controls the Beats Busy parameter which adds or subtracts parts from
the Beat.
Turn the Rate knob with a Beats Riff playing. Rate controls the Beats
Variation parameter. Beats Variation changes which parts are playing
without changing the number of parts. This makes it easy to try out
different combinations of Beat Parts.
To Play Beats on a different MIDI channel:
Beats can be assigned to a certain MIDI channel while you play the
keyboard on another channel. (Make sure you have Beats mode set up correctly
as described in “Beats Setup” on page 22.)
1.
Press the Arp/Beats button. The screen shown below appears.
BEATS MODE
BtsCh: Basic
2.
3.
4.
O
Wrong FX? In Omni
mode, the FX assigned to
channel 2 will be used. In Multi
mode, the Master FX settings
will be used. See pages 88 & 98.
5.
6.
7.
8.
Status: P
TrigCh:Basic
Set the Beats Channel (BtsCh) to 01.
Select any bts: preset on channel 1 (main screen).
Press any of the sixteen Beats buttons to start your Beat playing. (Do
NOT start Beats by pressing the Audition button.)
Press the + Channel button to the left of the LCD to select channel 2.
Select a preset to jam along with the Beat.
The Trigger Keys now play Beats and the other keys play the preset on
channel 2.
The Audition button can be used to turn the Beat off. (If you try to use it
to turn Beats on while on channel 2, the Riff on channel 2 will play.)
Vintage Keys Operation Manual 23
Instant Gratification
Exploring the Master Arpeggiator
Exploring the Master
Arpeggiator
Vintage Keys’ multi-channel Pattern Generator/Arpeggiator is one of the
greatest features ever put in a synth. Let’s explore the Master Arpeggiator.
1.
2.
To Arpeggiate a Single Preset:
Select a preset. Note that the factory presets all have prefixes which
describe the type of sound. For this investigation it might be best to
choose a preset with the prefix “arp,” for arpeggiator. These presets are
optimized for use with the arpeggiator.
Set the Arp parameter in the main preset selection screen to “M” for
Master Arpeggiator.
C01
V127 P01R
A:M
0503 arp: Loopy Gruv
3.
Press the Arp/Beats button in the Edit section of the front panel to
access the master Arpeggiator menu, then use the data entry control to
scroll to the screen shown below.
MASTER ARPEGGIATOR
Status
4.
5.
6.
VROM
on
Make sure the arpeggiator Status is “on.” Play the keyboard to start
arpeggiating.
Press either cursor key repeatedly to move the cursor below the Status
field.
Turn the data entry control clockwise one click. The Mode screen
appears.
MASTER ARPEGGIATOR
Mode
up
7.
8.
24 E-MU Systems
Use the cursor keys to move the cursor to the Mode field (up, down, up/
down, forw asgn, backw asgn, forw/backw, random, pattern). Try out
the different modes as you play the keyboard.
Move the cursor back to the lower left position and explore the other
parameters. The Note Value parameter changes the rate of the arpeggios.
By the way, note value is a divisor based on the Master Tempo. Try
changing the tempo, but come right back.
Instant Gratification
Exploring the Master Arpeggiator
9.
10.
Let’s check out the pattern generator. Go back to the Mode screen and
set the mode to “Pattern”.
Now advance to the Pattern screen (shown below) and move the cursor
to the Pattern Number field (the second field from the left).
MASTER ARPEGGIATOR
Pattern 380 Inversions
O
See the Arpeggiator
Chapter for detailed information
on creating Patterns.
11.
Try the various patterns. There are 200 permanent factory patterns and
100 user locations to store the patterns you create. Each pattern can
have up to 32 notes.
Vintage Keys Operation Manual 25
Instant Gratification
Multi-Channel Arpeggiator
Multi-Channel
Arpeggiator
Vintage Keys is totally amazing in its ability to run up to 16 arpeggiators at
once! Even two or three patterns at once can create very complex sequences
and dynamic landscapes of sound.
Here’s one way to access this ultra-powerful feature. There is one arpeggiator for each MIDI channel. First you’ll assign three of the Trigger Keys to
MIDI channels 01-03. Next, you’ll assign arpeggiator presets to these
channels. Then you’ll become addicted to this new way of making music.
Program the Trigger Keys
1. Press the Controllers button, then turn the data entry control until the
screen shown below appears.
TRIGGER BUTTONS FUNCTION
Play Beats Parts
2.
3.
Move the cursor to the lower line and turn the data entry control to
select “Play Note Events”. This sets the Trigger Buttons to play note
events instead of selecting Beats parts.
Move the cursor back to the top line and scroll to the screen shown
below.
T1 TRIGGERS Latch: on
Key:C3 Ch: Basic Vel: 064
4.
5.
6.
7.
8.
9.
Move the cursor until it is underneath the Latch field and turn Latch
mode On.
Move the cursor until it is underneath the Channel field (Ch) and set
the Channel to 01.
Move the cursor until it is underneath the Trigger field (T1) and
change the Trigger to T2 (trigger button 2).
Turn Latch On for trigger button 2 and set the channel to 02.
Change the Trigger to T3 (trigger button 3).
Turn Latch On for trigger button 3 and set the channel to 03.
Set up the Presets
10. Press the Main button (located beneath the Data Entry Control). The
preset select screen appears.
26 E-MU Systems
Instant Gratification
Multi-Channel Arpeggiator
C01 V127 P00
0513 arp: Drifter
11.
12.
13.
14.
15.
A:P
VROM
Move the cursor underneath the Category field (as shown above) and
select the “arp” category.
Move the cursor underneath the preset name and select any “arp”
preset for channel 1.
Press the “+” Channel select button (located to the left of the LCD), so
that C02 is displayed.
Select any other “arp” preset for channel 2.
Select channel 03 and choose another arp preset.
Select Trigger Mode
16. Press the Selector Button in the upper left corner of the Command
Functions section. Pressing this button will switch between Track
Enable/Mute and Triggers mode. Select Triggers mode.
O
Sometimes a simple
volume change will bring out
hidden voices and patterns.
Play it!
17. Now press Trigger Buttons 1, 2 and 3. You should be hearing three
arpeggiators playing at once.
18. Change the arp preset on the current MIDI channel. Since the cursor is
located on the preset name, all your selections will be in the arp
category.
19. Press the Channel button and change the arp presets for channels 1, 2
& 3. Since each factory preset has differently programmed arpeggiator
settings, changing the preset not only changes the sound, but the
arpeggiator as well.
20. You can also play the keyboard. You’ll be playing the preset currently
showing in the display.
21. Adjusting the front panel Controller Knobs modifies the preset
showing in the LCD.
22. Press the M-P button in the Controllers section to select the Arp control
functions. Adjust the Arp Velocity and Arp Gate Time. Then change
the MIDI channel and do it for another arp pattern.
23. Press the Mix button so that “VOLUMES” is selected. This screen lets
you blend the volume of every arpeggiator preset.
There’s lots more to the arpeggiators. To find out more, refer to the
arpeggiator chapter beginning on page 43.
Vintage Keys Operation Manual 27
Instant Gratification
Multi-Channel Arpeggiator
Time to Save?

Multisetups save your
entire Vintage Keys setup. Find
out more on page 84.
If you want to SAVE everything exactly as it is, continue on.
1.
2.
Press the Multi button (located directly under the Data Entry Control).
Rotate the data entry control until you get to the menu shown below.
MULTISETUP NAME
User Setup
3.
4.
5.
Press the right cursor button to move to the lower line.
Name your Multisetup so you can find it later, then press Enter.
Scroll to the next screen using the data entry control.
SAVE SETUP TO
002 User Setup
6.
28 E-MU Systems
Move the cursor to the lower line, select a location and press Enter.
Basic Operations
Basic Operations
The Vintage Keys front panel contains an LCD screen, 38 buttons, and 4
real-time controller knobs. Functions are grouped logically and the controls
are arranged for ease of use.
Power Switch
The power switch is located on the rear panel next to the AC power
receptacle.
Volume Control
This control is the master volume control for all audio outputs. The Volume
Control does not affect any editing or user interface operations.
The front panel volume control is a digital attenuator. For maximum
dynamic range, turn this knob all the way up and control the volume from
your mixer or amplifier.
Channel +/- Buttons
These very handy buttons, located to the left of the LCD, serve as a shortcut
to increment or decrement the MIDI Channel (in Preset mode), Layer (in
Preset Edit mode) or Step Numbers (in Arpeggiator Edit mode).
Data Entry Control
The data entry control is a stepped, variable control switch used to change
parameter values. The wheel increments or decrements the current value
one unit with each click. This control incorporates acceleration, which
advances the value faster if the data entry control is turned quickly.
Vintage Keys Operation Manual 29
Basic Operations
Edit Section
Cursor Buttons
These buttons, located just above the Data Entry Control, move the cursor
to the next parameter on the display. (The cursor is a little flashing line
underneath one of the parameters in the display.) Press either cursor button
until the cursor is underneath the desired parameter. The cursor buttons
have an auto-repeat feature which advances the cursor when the button is
held continuously.
The cursor can be moved bidirectionally using the data entry control while
either cursor select button is held down (for example, press and hold the
right cursor button and turn the data entry control).
Pitch & Mod Wheels
These two controls, located to the right of the keyboard, are performance
expression controls. The left “Pitch Wheel”, is spring-loaded and is
normally used to bend the pitch up and down while playing. The center
position is off. The pitch bend range is set using the “Pitch Bend Range”
parameter in the Global menu (page 84).
The right “Mod Wheel” is programmed to add vibrato in most of the
factory presets. Like all the controllers in Vintage Keys, the Mod Wheel can
be programmed to control any synthesizer parameter. See PatchCords on
page 102 and page 157 for more information.
Edit Section
Global Button
The Global menu contains parameters that affect the entire machine. An
illuminated LED in the button indicates that you are in the Global menu.
For more information about the Global menu, see page 83
Controllers Button
The Controllers menu contains parameters that are related to the front
panel controller knob and button triggers. An illuminated LED in the
button indicates that you are in the Controllers menu. For more information about the Controllers menu, see page 71.
30 E-MU Systems
Basic Operations
Edit Section
Arp/Beats Button
The Arpeggiator menu contains parameters that are related to Beats mode
and the Master Arpeggiator. Beats is a 16-track play-only sequencer that is
optimized for live performance and groove creation. An illuminated LED in
the button indicates that you are in the Arp/Beats menu. For more information about the Arp/Beats menu, see page 43.
MIDI Button
The MIDI menu contains parameters that are MIDI related. An illuminated
LED in the button indicates that you are in the MIDI menu. For more information about the MIDI menu, see page 93.
MIDI Panic Button
Pressing the MIDI and Home/Enter buttons simultaneously sends a MIDI
“All Notes Off” and “All Sound Off” for all 16 MIDI channels. This immediately kills all sounding notes internally and over MIDI.
Audition Button
When the Audition button is pressed, the LED next to the button will
illuminate and a short “Riff” (programmed as part of the preset) will play.
The Riff is latched on and plays continuously until the button is pressed
again. Presets can be changed while Audition is latched on. See “Bank Select
Commands” on page 126 for more information on selecting banks via MIDI.
The top line of the Preset display changes to show the MIDI Bank Select
controller values needed to select the preset being auditioned. This handy
feature lets you know the exact Bank and Preset number.
MSB
Preset #
LSB
Bank MSB:018 LSB:3 VROM
072 3 syn: Modular Octs
Compare Button
The Compare button allows you to toggle between an edited version of a
preset and the original, unedited version. When a preset has been edited,
the Save/Copy LED flashes. Press the Compare button, lighting its LED, to
hear the unedited preset. Press the Compare button again to hear the edited
preset. If edits are made to the preset while listening to the compared
original version, compare mode is aborted and the compare LED goes off.
Save/Copy Button
The Save/Copy button is used to save changes to a preset, copy data
between presets, randomize presets and to move other types of data.
Selected groups of parameters, such as PatchCord settings, can be copied
between Presets and/or between Layers using this menu. The menu is
Vintage Keys Operation Manual 31
Basic Operations
Real-time Controller Knobs
context-sensitive and will start at the appropriate save screen. See Save/
Copy on page 187 for more information.
The LED in the button illuminates to indicate that you are in the Save/
Copy menu. The LED also illuminates when any preset parameter has been
changed in the Preset Edit menu (or if the front panel knobs have been
moved with Quick-Edit mode enabled).
Preset Edit Button
The Preset Edit menu allows you to create and edit presets. An illuminated
LED in the button indicates that you are in Preset Edit mode. For more
information about the Preset Edit menu, see page 129.
Home/Enter Button
The Home/Enter button is dual purpose. In general, this button acts as the
“Home” button. For example, when in an Edit menu, this button snaps the
cursor to the page name field of the current screen. When viewing the
Preset Select screen, this button snaps the cursor to the preset number field.
The flashing green LED of the Home/Enter button indicates that pressing
the button will initiate a particular operation.
Real-time
Controller
Knobs
The Real-time Controller Knobs serve dual purposes. Knobs Preset Quick
Edit (page 79) can be enabled to use the knobs for editing in the Preset Edit
menu.
1.
2.
32 E-MU Systems
Quick Edit - Real-time control of internal synthesizer parameters and
“Quick Editing” the initial settings of the real-time controllers
Programmable Knobs - Real-time control of MIDI continuous
controllers on external synthesizers.
Basic Operations
Real-time Controller Knobs
Knob Functions
Quick Edit mode
The Real-time controller knobs provide direct control of the Vintage Keys’s
synthesizer parameters when the Controller Function Select is set to Quick
Edit.
O
Quick Edit knob
movements can be recorded into
an external sequencer.
There is an LED next to each of the control knobs which illuminates to
indicate that the knob setting has been changed from the value
programmed in the preset (“Knobs Preset Quick Edit” mode must be
enabled in the Controllers menu). If the knob position is returned to the
original setting, the LED is extinguished.
Initial controller values can be stored in every preset. When you move a
knob with Quick-Edit enabled, the Initial Controller Value is updated with
the knob’s new value. The knob’s LED lights indicating that the preset value
has been changed. The MIDI A-P values are stored in the corresponding
Initial Controller Amount parameter in the Preset Edit menu (see “Initial
Controller Amount” on page 167). The Save/Copy button LED flashes to
remind you that the preset has been edited. “Quick-Edits” made to a preset
are lost if you select another preset before saving them.
The four rows of knobs always control the preset on the basic MIDI channel
(the channel showing on the preset select screen), when the control switch
is set to Quick Edit.
The labels (Filter Cutoff, Filter Q, Filter Attack, Filter Decay, etc.) printed on
these rows show how the factory ROM presets are programmed to respond.
(The controls may not exactly conform to the front panel labels depending on the
preset.) You can change the way a preset responds to MIDI A-P messages
from the Preset Edit menu (PatchCords). The knobs only generate a
message when you move a knob to a new value. The current value jumps to
the new value.
1.
2.
3.
4.
5.
6.
To Quick-Edit a Preset:
Select Quick Edit mode using the Controller Function Select button.
Use the Control Knobs to change the sound of the current preset as
desired.
Press the Save/Copy button. You may have to turn the data entry
control so that the display reads, “Save PRESET to.”
Press the right cursor button to select the bottom row.
Optional: Select a new preset location if you don’t want to overwrite
the current preset, or if the current preset is a ROM preset.
Press the Enter button to save the preset.
Vintage Keys Operation Manual 33
Basic Operations
Screen View Buttons
Screen View
Buttons
The Screen View buttons switch between three display modes.
Main
This button instantly switches the display to the Main Screen shown below.
This screen is used for changing presets, changing MIDI channels and
setting the volume and pan positions for each MIDI channel. See page 37
for more information.
C01
079 3
Multi
V127
P01 R
A:off
User
kit: Hide & Seek
This button switches the display to the Multisetup menu. A Multisetup is a
group of parameters that you might associate with a particular performance
setup or song. See page 41 for detailed information about Multisetups.
RESTORE MULTISETUP
000 User Setup
Mix Screen
This button switches the display to the Mix screens (volume & pan). The
mix screens allow you view and adjust the volume and pan settings for all
16 channels. This is particularly useful when playing back a MIDI sequence.
The volume and pan settings for all 16 channels are saved with the Multisetup (page 41).
VOLUMES
34 E-MU Systems
Chan: 01
Vol: 127
Basic Operations
Screen View Buttons
PANS
Chan: 01
Vol: 127
right
left
Demo Mode
Pressing the Main and Mix buttons simultaneously calls up the Demo
Sequence page. Vintage Keys has several factory demonstration sequences
that let you hear what this incredible machine can do. The actual number
of demo sequences depends on which ROM sounds sets are installed.
DEMO SEQUENCES
Mica’s Dream
1.
2.
3.
VROM
To Play a Demo Sequence:
Press and hold the Main and Mix buttons at the same time to enter the
Demo Sequence page. The screen shown above appears.
Select a sequence using the data entry control. The Enter LED will be
flashing.
Press the Enter button to begin playing the selected sequence. The
following screen appears.
PLAYING: Mica’s Dream
Press ENTER to stop
4.
5.
6.
Press the Enter button again to stop playing the sequence.
When a demo sequence plays to the end, the next demo will automatically begin playing. The screen will display the new demo name.
With the sequence stopped, press any other button to Exit demo
sequence mode.
Vintage Keys Operation Manual 35
Basic Operations
Command Functions
Command
Functions
The Command Functions section serves multiple purposes which are listed
below.
•
•
•
•
•
Beats Part enable/disable. See page 22.
Assignable & latchable note triggers. See page 76.
Preset select keys. See page 77.
External preset select keys. See page 78.
Preset Edit menu jump keys. See below.
Preset Selection
When the preset selection LED is lit, the command buttons can be used to
quickly select sixteen of your favorite presets. In this mode, pressing one of
the command buttons selects the preset you have assigned to the button.
See page 77 for more information.
Trigger Mode
Select Triggers mode by pressing the mode select button so that the
“Triggers” LED is illuminated. Now the 16 buttons work like keyboard
notes. Each of the 16 buttons can be assigned to any MIDI note, on any
MIDI Channel (01-16), with any velocity (0-127), and can be set to be
latched or momentarily on. Latched note will hold until the button is
pressed again. Latched notes will be indicated by the LEDs. Trigger keys are
assigned from the Controllers menu. See page 76 for more information.
Preset Menu
Jump Keys
Whenever you are in the Preset Edit menu, the sixteen command buttons
function as “jump” buttons to the various screens in the Preset Edit menu.
The jump location is labelled directly below each button.
Pressing a jump button instantly takes you to the first screen in the selected
category. Pressing the button again takes you to the second screen in the
category and so on. Repeated pressing will rotate you back to the first
screen in the category.
36 E-MU Systems
Basic Operations
Main Screen
Main Screen
MIDI Channel
Selection
The Main Screen is accessed by pressing the Main button located directly
under the data entry control. From this screen you can examine or change
the Preset, Volume, Pan Position and Preset Location for each of the 16
MIDI channels.
1.
2.
C01
V127
P01 R
A:off
010 0
str: Tron Violins
User
To Change the MIDI Channel:
Press the Main button to display the Main screen.
Press the Channel inc/dec buttons located to the left of the liquid
crystal display to select channels 01 through 16. The preset, volume
and pan settings for each channel will be displayed as you scroll
through the channels.
The channel number shown in the main screen is the “Basic MIDI Channel”
when in Omni or Poly modes.
Preset Selection
1.
2.
3.
Contents
128 RAM Presets
128 RAM Presets
128 RAM Presets
128 RAM Presets
128 ROM Presets
128 ROM Presets
128 ROM Presets
??
Depending on
ROM sets installed
ROM 1
USER
Bank
0
1
2
3
0
1
2
To Change the Preset:
Press the Main button to display the Main screen.
Press either cursor key until the cursor is underneath the preset
number. (The cursor is a little flashing line underneath one of the
parameters in the display.) As you rotate the data entry control, the
preset number and name changes.
The displayed preset is assigned to the displayed MIDI channel. Presets
are arranged into banks of 128, as shown in the diagram at left.
Bank Number
Preset
Number
C01
V127
P01 R
A:off
User
042 2 syn: FiltrBrass2
Using the screen above as an example, the superscripted number 2 in the
second line of the display identifies the current bank number.
• Select banks independently of the of the preset number by locating the
cursor on the Bank field and turning the data entry control.
Vintage Keys Operation Manual 37
Basic Operations
Main Screen
MIDI BANK SELECT
MSB LSB
cc00 cc32
USER
USER
USER
USER
00
00
00
00
00
01
02
03
Bank 0
Bank 1
Bank 2
Bank 3
VROM
VROM
VROM
VROM
18
18
18
18
00
01
02
03
Bank 0
Bank 1
Bank 2
Bank 3
This chart shows the MSB and LSB numbers needed to select preset banks over MIDI.
Select a bank, then send the program change number. Without a bank select command,
presets are selected from within the current bank.
Channel Volume
Channel Volume sets the volume of the selected MIDI channel in relation
to the other channels. This is the same parameter as MIDI volume control
#7, and changes made over MIDI are shown in the display.
Volume
1.
2.
3.
38 E-MU Systems
C01
V127
P01 R
023 2
pad: Horizons
A:off
User
To Change the Channel Volume:
Press the Main button to display the Preset Select screen.
Press either cursor key until the cursor is underneath the volume value.
Rotate the data entry control to select a volume level. The Channel
Volume range is 000-127.
Basic Operations
Main Screen
Channel Pan
Channel Pan sets the stereo position of the selected MIDI channel. This
control operates like the balance control on your home stereo system.
Channel Pan is the same parameter as MIDI pan controller #10, and
changes made over MIDI are shown in the display.
Pan Position
C01
023 2
V127
P01 R
A:off
User
pad: Horizons
Note: Pan settings in the preset ADD algebraically with the Channel Pan
setting. Therefore, if the pan setting in the preset were set to “63R,” moving
the Channel Pan setting full left would return the sound to the center
position.
1.
2.
3.
Channel Arpeggiator
To Change the Channel Pan:
Press the Main button to display the Preset Select screen.
Press either cursor key until the cursor is underneath the pan field.
Rotate the data entry control to select a pan value. 64L indicates a hard
left pan, 63R indicates a hard right pan. With a setting of “00,” the
sound is centered in the stereo field.
This function controls the arpeggiator for each MIDI channel. When the
channel arpeggiator mode is set to Off, then there is no arpeggiation on
that channel, regardless of what is set up in the Master Arpeggiator or
preset. If the channel arpeggiator is On, the preset’s arpeggiator is used,
regardless of whether or not it is turned on in the Preset Edit menu. This
lets you turn on arpeggiation from the main screen.
If the mode is set to “P” (for preset), the preset’s arpeggiator settings and
on/off status is used. If the mode is set to “M” (for master), the master
arpeggiator settings and on/off status (located in the Arp menu) are used.
See the “Arp/Beats Menu” on page 43 for more information.
1.
2.
3.
4.
5.
To Play the Arpeggiator (Quick Start):
From the Main screen, press either cursor key repeatedly until the
cursor is underneath the arpeggiator field (A:).
Rotate the data entry control to select “P” for preset.
Press either cursor key repeatedly until the cursor is underneath the
Preset Category field and select “arp:” using the data entry control.
Press the right cursor button to move it to the Preset Name field.
Play notes or chords on the keyboard. Change presets as desired to
audition the various patterns and presets.
Vintage Keys Operation Manual 39
Basic Operations
Sound Navigator
Sound
Navigator
Preset Category
Sound Navigator allows you to search through preset and instrument
categories to find the type of sound you’re looking for. Each preset and
instrument has a name and a three letter preset category. You can create
your own categories in order to group favorite presets. The preset category
is assigned in the Preset Edit menu (Preset Name). Instrument categories are
fixed.
When you want to find presets in a particular category, you simply change
the category field in the Main screen, then move the cursor to the preset
name field to scroll through all the presets in the selected category.
When the cursor is on the Preset Category field, turning the data entry
control selects different preset categories. The Name Field will change to
show the first preset in each category.
C01
023
V127
2
P00
1.
2.
1.
2.
Instrument Category
Preset Name
To Change the Preset Category:
From the Main screen (shown above), press either cursor key repeatedly
until the cursor is underneath the preset category field.
Rotate the data entry control to select one of the preset categories.
Preset Categories are displayed in alphabetical order.
To Select a Preset within a Category:
After selecting a category, move the cursor to the Preset Name field.
Rotate the data entry control to scroll through the presets in the
selected category. Note that the preset numbers will no longer change
sequentially.
When the cursor is on the Instrument Category field (Preset Edit menu),
turning the data entry control selects different instrument categories. The
Name Field changes to show the first instrument in each category. Move
the cursor back to the instrument name to choose other instruments in the
selected category.
L1
INSTRUMENT
0042
40 E-MU Systems
User
pad: Horizons
Preset Category
A:off
ROM:VROM
syn:Classic Mini
Basic Operations
Multisetups
Multisetups
O
Vintage Keys always
defaults to Multisetup 00 on
power up.
A Multisetup is a group of parameters that you might associate with a
particular performance setup or song. It is like a “snapshot” of the current
configuration of the Vintage Keys. There are 64 setups numbered 0-63. All
the Multisetups are user programmable except 63, the factory setup.
A Multisetup includes ALL the following parameters:
• Preset/Volume/Pan/Arp assignments for each of the 16 MIDI channels.
• Multisetup Name
• ALL Controllers menu parameters
• ALL Global Menu parameters, except…
User Key Tuning Tables
• ALL Arp Menu parameters, except…
User Arp Patterns
• ALL MIDI Menu parameters, except…
MIDI Program Change->Preset Map
When a Multisetup is selected, it overwrites the current Preset/Vol/Pan/Arp
selections on all MIDI channels. It also overwrites the Controllers, Global,
Arp, and MIDI menu parameters (with the exceptions noted above).
If you make changes to any of these menus, Vintage Keys will retain the
changes, even if power is turned off. They are of course, overwritten when
you restore a Multisetup.
Restoring
Multisetups
Vintage Keys contains 64 Multisetup locations. These are all User locations
except location 63, which is a factory defined Multisetup.
Multisetups can be restored using a MIDI Bank Select command.
Select: cc00 = 80, cc32 = 00, (dec) then send a Program Change command
corresponding to the Multisetup you wish to select.
RESTORE MULTISETUP
003 Jazzercide
1.
2.
To Restore (Select) a Multisetup:
Press the front panel Multisetup button (below the Data Entry Control).
Scroll to the Restore Multisetup screen using the data entry control. The
menu page most recently selected since powering up Vintage Keys will
be displayed. The cursor appears below the first character of the screen
heading on line one.
Vintage Keys Operation Manual 41
Basic Operations
Multisetups
3.
4.
5.
Multisetup
Name
Press either cursor button to move the cursor to the bottom line of the
screen.
Now, use the data entry control to select a Multisetup. The Enter LED
will be flashing.
Press the Enter button to load the selected Multisetup.
Multisetups can be named to make it easier to remember their purpose.
1.
Scroll to the “Setup Name” screen (shown below) using the data entry
control.
MULTISETUP NAME
020 User Setup 23
2.
3.
4.
Saving
Multisetups
1.
2.
Press either cursor button to move the cursor to the bottom line of the
screen.
Change the characters using the data entry control. Change the cursor
position using the cursor buttons.
Press Enter or move the cursor to the top line when you’re finished
naming the multisetup.
To Save a Multisetup:
Set the Preset, Volume, Pan and Arp settings for all channels. Set the
Global, MIDI, and Controllers menu parameters the way you want
them.
Press the Multi button, then scroll to the “Save Setup” screen (shown
below) using the data entry control.
SAVE SETUP TO
020 Destination Multisetup
3.
4.
5.
42 E-MU Systems
Press either cursor button to move the cursor to the bottom line of the
screen.
Now, use the data entry control to select the destination location. The
Enter LED will be flashing.
Press the Enter button to save the Multisetup.
Arp/Beats Menu
Arp/Beats Menu
Vintage Keys’s Beats mode allows you to trigger, latch and unlatch synced
loops and grooves from separate keys on your keyboard. Simply select a bts:
preset and play the 16 trigger keys to bring specific Parts in and out. This is
Macro-Music!
Vintage Keys can also run up to 16 simultaneously synced arpeggiators,
each with a different preset sound. The arpeggiators can either play one of 7
chord arpeggios or can be set to play a pattern, which is a stored sequence
of notes. Combined with Beats, the sheer number of possible musical
permutations is staggering!
To
enable the Arpeggiator/Beats menu:
Press the Arp button, lighting the LED. The Arp screen displays the menu
page most recently selected since powering up Vintage Keys. The cursor
appears below the first character of the screen heading on line one.

Arp parameters are
automatically saved to the
current multisetup when you exit
the menu, but you may wish to
save to another location.
To
If another Multisetup is
“Restored” any unsaved
changes will be lost if you
haven’t saved the Multisetup.
To
select a new screen:
Press the Home/Enter button or press the Cursor button repeatedly until
the cursor is below the screen title heading on the top line of the display.
Rotate the data entry control to select another screen.
modify a parameter:
Press either Cursor button repeatedly (or hold down the right cursor button
while turning the data entry control) until the cursor is below the desired
parameter value. Rotate the data entry control to change the value.
To
access a submenu:
The Master Arpeggiator screens have submenus which are accessed by
pressing the cursor buttons to move the cursor to the lower left corner of
the display. Select the submenu function using the data entry control.
To
save Arpeggiator parameters:
Press the Multi button and scroll to “Save Setup To”. Select a Setup number
and press Enter. See “Saving Multisetups” on page 42.
To
return to the previously selected Mode/View screen:
Press the Arp/Beats button, turning off the LED.
Vintage Keys Operation Manual 43
Arp/Beats Menu
Beats
Beats
Vintage Keys contains a 16-track play-only sequencer that is optimized for
live performance and groove creation. Vintage Keys contains dozens of
special 16-part Beats Riffs created by some of the best producers in the
business. Beats Riffs are normally used in conjunction with a “bts:” preset
containing the appropriate percussion mapping, but any preset can be
selected and used.
The Beats channel is selected from the Beats enable screen in the Arp/Beats
menu.
Here’s how it works. Each of the 16 parts is assigned to a trigger key on the
selected Trigger MIDI channel. Each part is brought in or out by pressing
that key. Keys can also be Latched (press the key once to turn the part on, press
it again to turn the part off). Other control keys allow you to Mute All Parts,
Clear All Parts, and Start & Stop the beat. The 16 parts are arranged in the
following manner:
_
Beats (bts:) Riffs are
special 16-part riffs made
especially for use with Beats
mode. A Riff without the bts:
prefix only has Part 1 recorded.
O
By assigning Trigger
Buttons (page 76) to the
keyboard Beats Layout Keys, you
can trigger Beats and MIDI notes
using the Trigger buttons.
44 E-MU Systems
Main Groove
Alt. Groove
1. Kick1
2. Snare1
3. Hihat1
4. Perc1
5. Kick2
6. Snare2
7. Hihat2
8. Perc2
Perc / Fills
9. Perc3/Fill1
10. Perc4/Fill2
11. Perc5/Fill3
12. Perc6/Inst.
Instr/Wild
13. Inst1/Wild1
14. Inst2/Wild2
15. Inst3/Wild3
16. Bass
For each Beats Riff, you have 2 Grooves, 4 Fills which correspond to the
four parts of the Main and Alternate groove, and 4 Instrument parts. By
adding and removing parts, you control the complexity of the groove.
Each part can also be scaled by Key Velocity, allowing you to fade parts in
and out (if velocity is routed to volume) as you play, or can be Transposed
over a six octave range.
Each part can be assigned to any one of four Groups, which allow multiple
parts to be triggered from a single key. You can only access Groups using
the keyboard trigger keys. See the Factory Setup diagram on the next page.
Trigger layouts are saved with the Multisetup.
Arp/Beats Menu
Beats
Factory Setup
Group 3
Inst 2/Wild 2
Inst 4/Wild 4
HiHat 2
Perc 3/Fill 1
Perc 5/Fill 3
Snare 1
Perc 1
Clear Parts
Trig. Hold
Multisetup 63
Main
Groove
C-2
C-1
Start/Stop
Mute
Kick 1
HiHat 1
Kick 2
Snare 2
Perc 2
Perc 4/Fill 2
Perc 6/Fill 4
Inst 1/Wild 1
Inst 3/Wild 3
Group 1
Group 2
Group 4
Alternate
Groove
C0
The chart above shows the Factory Multisetup assignment of each Part, the 4 Groups and
the Control Keys. These assignments can be modified to suit your personal preference,
then saved in one of the Multisetup locations.
O
Starting Beats mode
with the Start/Stop key allows
you to start the sequencer rolling
silently. Then you can bring Parts
in and out using the “Busy”
control.
• Start/Stop Trigger
• Clear Parts
O
If Mute is set to 1-bar,
the Part mutes for 1 bar then
un-mutes.
• Mute
• Trig Hold
Starts the beat sequencer from the beginning of
the sequence. When latched, pressing once starts
and pressing again stops. When unlatched, the
sequence runs as long as the key is held.
Once the Beats sequencer is started, it continues to
run even if no triggers are active.
Start/Stop doesn’t clear latched parts when it stops
the sequencer. Any trigger played after stopping
will not only start the sequencer and play that trigger's part, but also play all previously latched parts.
Clears any enabled parts. This control provides a
quick and easy way to shut off all latched Parts.
Latch mode has no effect on this key.
Mutes all Parts while held, but the Beats sequencer
continues running.
When this key is held, all other Trigger Keys
behave as if they were in Latch mode.
Vintage Keys Operation Manual 45
Arp/Beats Menu
Beats Mode
The Beats sequencer plays as long as any Beats triggers are active. Beats Riffs
can also be Restarted using a MIDI Song Start command even if the Beats
channel is not currently selected. The Audition LED illuminates whenever
the Beats sequencer is running (even if no Parts are playing).
Pressing the Audition button or starting a Demo causes the Beats sequencer
to stop. Pressing the Audition button plays selected Parts on “bts:” presets.
All Arp/Beats parameters are saved with the Multisetup. (See “Multisetups” on page 41 for more information.)
Beats Mode
This screen turns Beats mode on and has several other features which allow
flexible control over Beats mode. There are several status modes that
determine when Beats will be turned on and which Riff will be used.
Beats and BEAT Triggers can be set to different MIDI channels. This allows
you to perform on two MIDI channels at once with a keyboard that only
transmits on a single MIDI channel.
BEATS MODE
BtsCh: Basic

The Basic Channel is the
MIDI channel currently displayed
in the Main Screen.
Status: P
TrigCh:Basic
Status
• Off . . . . . . . Beats mode off.
• On . . . . . . . . Beats mode on. The Riff assigned in the preset is used.
• P . . . . . . . . . Beats mode is turned on ONLY if the Riff assigned in the
preset is a “bts:” riff. The Riff assigned in the preset is used.
(Default setting)
• M. . . . . . . . . Beats mode on. The Master Riff is used (Arp/Beats menu).
BEATS MODE
BtsCh: Basic
Status: P
TrigCh:Basic
Beats Channel (BtsCh)
• 01-16 . . . . . Selects the MIDI channel on which Beats play.
• Basic . . . . . . Beats play on the MIDI channel displayed in the Main Screen.
Trigger Channel (TrigCh)
• 01-16 . . . . . . . Selects the MIDI channel on which Trigger Keys will be active.
• Basic . . . . . . . . Sets the Trigger Keys to the MIDI channel displayed on the
Main Screen.
46 E-MU Systems
Arp/Beats Menu
Beats Mode
Beats Setup:
Set the Trigger Buttons to Beats Mode
1. Press the Controllers button on the front panel.
2. Turn the data entry control clockwise until you fin the “TRIGGER
BUTTONS FUNCTION” screen.
3. Set the lower line of the display to read, “Play Beats Parts”.
4. Press the Controllers button on the front panel again to exit the menu.
Set the Trigger Buttons to be Triggers
5. Press the Triggers button in the Command Functions section of the
front panel. OK, now you’re ready to start playing Beats.
_
If you don’t select a
“bts:” preset, only the first
trigger key will work.
Riffs marked “bts:” have 16
parts. Riffs without “bts:” have
only 1 part.
Playing Beats:
Selecting Beats Presets
1. Press the right cursor button twice so that the cursor is located
beneath the Category field.
2. Turn the data entry control until bts: is shown in the Category field.
3. Press the right cursor button so that the cursor is underneath the
Preset Name field.
4. Now turning the data entry control selects ONLY bts: presets!
Play Beats
5. Press any of the sixteen front panel Trigger Buttons. Notice that each
button brings in a specific part. The chart below shows which buttons
control which part in bts: presets.
6.
7.
Main Groove
Alt. Groove
1. Kick1
2. Snare1
3. Hihat1
4. Perc1
5. Kick2
6. Snare2
7. Hihat2
8. Perc2
Perc / Fills
9. Perc3/Fill1
10. Perc4/Fill2
11. Perc5/Fill3
12. Perc6/Inst.
Instr/Wild
13. Inst1/Wild1
14. Inst2/Wild2
15. Inst3/Wild3
16. Bass
Also notice that the Audition LED comes on when Beats begin playing.
Beats are simply multitrack Audition Riffs. You can use the Audition
button to turn Beats on and off.
Try out a few different bts: presets.
Vintage Keys Operation Manual 47
Arp/Beats Menu
Beats Mode
Get Busy!
Two of the Controller knobs are programmed to control Beats. Check it out!
8.
9.
10.
Press the E-H button in the Controllers section. Its LED will light.
Now turn the Movement knob with a Beats Riff playing. Movement
controls the Beats Busy parameter which adds or subtracts parts from
the Beat.
Turn the Rate knob with a Beats Riff playing. Rate controls the Beats
Variation parameter. Beats Variation changes which parts are playing
without changing the number of parts. This makes it easy to try out
different combinations of Beat Parts.
To Play Beats on a different MIDI channel:
Beats can be assigned to a certain MIDI channel while you play the
keyboard on another channel. (Make sure you have Beats mode set up correctly
as described in “Beats Setup” on page 47.)
1.
Press the Arp/Beats button. The screen shown below appears.
BEATS MODE
BtsCh: Basic
2.
3.
4.
O
Wrong FX? In Omni
mode, the FX assigned to
channel 2 will be used. In Multi
mode, the Master FX settings
will be used. See pages 88 & 98.
5.
6.
7.
8.
48 E-MU Systems
Status: P
TrigCh:Basic
Set the Beats Channel (BtsCh) to 01.
Select any bts: preset on channel 1 (main screen).
Press any of the sixteen Beats buttons to start your Beat playing. (Do
NOT start Beats by pressing the Audition button.)
Press the + Channel button to the left of the LCD to select channel 2.
Select a preset to jam along with the Beat.
The Trigger Keys now play Beats and the other keys play the preset on
channel 2.
The Audition button can be used to turn the Beat off. (If you try to use it
to turn Beats on while on channel 2, the Riff on channel 2 will play.)
Arp/Beats Menu
Beats Controllers
Beats Controllers
Beats can be controlled using the front panel real-time controllers or
external MIDI continuous controllers. Controllers are patched to Beats
via the Preset PatchCords located in the Edit menu. The following Preset
PatchCord destinations control Beats.
Beat Velocity Group 1-4 (BtsVelG1 -> BtsVelG4)
Parts assigned to one of the four Beats groups can have their velocity scaled
by the controller input. Since most “bts” presets have velocity controlling
volume, this control can be used to mix the relative levels of the Groups.
Beats velocity works as a percent addition. An input value of 0 (or no Cord)
means change the velocity by 0%. A full scale modulation setting of 100%
in the PatchCord adds 100% to the velocity value 100% + 100% = 200%. A
PatchCord setting of -100% subtracts 100% from the velocity (making it 0).
Beat velocity scalings are reset with a preset change.
Beat Xpose Group 1-4 (BtsXpsG1 -> BtsXpsG4)
Parts assigned to one of the four Beats groups are transposed by the
controller input. Transpose works by shifting the keyboard position and
not by changing the tuning of individual notes. Therefore, on a Beats
presets (bts), where different instruments are assigned to each key,
Transpose has the effect of changing the instrument used by a particular
part. This control ADDS to the Part Transpose set in the Beats Transpose
screen (page 53). Beat transpose offsets are reset with a preset change.

The Movement controller
knob is assigned to Beats Busy.
Tick
909 Click
Machine Kick
Kick
Snare
808 Snare
Simmons Tom
909 Tom
Tom Wave
909 Tom
Waver Tom
909 Tom
Cymbal
Ride Cymbal
Splash Cymbal
Splashy Cymbal
Ride Cymbal
Bongo Tone
Bongo Tip
Low Conga
Timbale 3
Agogo Hi-Tone
Cabasa
Guiro
Guiro
Guiro
Wood Block
Wood Block
Triangle Mute
Triangle Open
Kick
Fun Scratch
Original Transposed
Part
+12
Crowd
Beat Busy (BtsBusy)
This destination determines which parts are enabled. Beat Busy will accept
either positive or negative values.
• Positive values Add parts to whatever parts are triggered
• Negative values Remove parts that are triggered.
Vintage Keys Operation Manual 49
Arp/Beats Menu
Beats Controllers
O
A PatchCord amount of
50% is enough to drive Beat
Busy to the maximum setting.
O
Hot Tip!
The Bidirectional Mod Wheel:
Set Mod Wheel to BtsBusy with a
Cord amount of +100, then add
a DC bias to BtsBusy with a Cord
amount of -50. Wheel now adds
or subtracts “Busyness”.
Suppose the pitch wheel (which can output both positive and negative values)
were connected to Beat Busy and four Key Triggers are down. As the pitch
wheel is moved from center to fully up, the remaining parts will be enabled
until the pitch wheel is fully up and all parts are playing. Moving the pitch
wheel from center to fully down, the four triggered parts are sequentially
removed until at the most negative position of the wheel, no parts are
playing.
The Busy control acts on the Beats condition whenever the control is
changed. Playing more triggers without changing the Busy control simply
adds them until the Busy control is changed again, at which point it will
possibly add or subtract parts as needed.
The interaction between the Busy control, Triggers, Part Velocity and Group
Velocity can get complicated, but works according to this rule:
WHICHEVER CONTROL WAS LAST CHANGED TAKES OVER
When interacting with the Group Velocity scale control, the Busy control
ignores group velocity even when it is set to zero, enabling and disabling
parts as necessary. If the Group Velocity is changed after the Busy control, it
takes control, scaling parts as it deems necessary.
The Busy control does take the Part velocity into account when adding and
subtracting parts. If a part has a velocity of 0%, it is removed from the list of
parts that the Busy control adds or subtracts. Therefore, you can use the
Part Velocity control to remove parts you don’t want to hear.
O
Cool Tip! Connecting
Key Pressure to Beat Busy at
50% increases BEAT complexity
the harder you press.
Brings in Parts
Beat
Busy
Removes Parts
Played
Positive controller values bring in new Parts and negative controller values remove
Parts that are latched or held. In this example, the Pitch Wheel is connected to
Beat Busy since it outputs negative as well as positive values.

The Rate controller knob
is assigned to Beats Variation.
50 E-MU Systems
Beat Variation (BtsVari)
Beat Variation varies which parts are brought in and out using the Beat
Busy control. Increasing this control mixes up the order in whichparts are
brought in and out, thus providing even more permutations to the Beat.
Arp/Beats Menu
Beats Keys Layout
Beats Keys Layout
_
Save your Beats Keys
Layouts and all other Arp/Beats
parameters using “Save Setup”
function in the Multisetup
menu.
This screen assigns the Beats triggers to keyboard notes on the Beats
channel. For each Part, Group and Control Key you can select the following
options:
• Key . . . . . . . . .
• Latch . . . . . . . .
• Unlatch . . . . . .
• 1-bar . . . . . . . .
Selects which keyboard key triggers the Part
The first key press turns the Part on, the next turns it off.
The Part plays only while the key is held.
The Part plays for one bar then stops.
BEATS KEYS LAYOUT
Part 1
Key: C1
unlatch
1-Bar Trigger Option
The 1-bar option requires a bit of explanation. When a trigger key is pressed
before the last beat of the measure, the part will continue playing until the
end of the measure. If the Trigger Key is pressed after the last beat of the
measure, the part waits until the next measure before playing. Then it plays
for the entire measure and stops. The time signature and the measure
bounds are determined by the particular Beats Riff you are playing.
Trig Key
pressed before
the last beat
1
2
Part continues
to end of measure
then stops.
3
4
1
Measure 1
2
3
Measure 1
3
4
Measure 2
Trig Key
pressed
here
1
2
4
Part begins at
next measure and
plays entire measure
1
2
3
4
Measure 2
Vintage Keys Operation Manual 51
Arp/Beats Menu
Beats Keys Offset
Beats Keys Offset
This function slides the Beats Trigger keys (assigned in the previous screen) up
and down the keyboard. This makes it easy to change the keyboard location
of the trigger keys without having to re-assign each key. A positive offset
moves the group of triggers up the keyboard by the designated number of
keys. Negative offsets move the trigger group lower on the keyboard.
BEATS KEYS OFFSET
+000 keys
Negative Offset
Positive Offset
Trigger
Keys
Beats Keys Offset slides the entire group of beats triggers up or down the keyboard.
Beats Part Velocity
Each note of a Beats Riff can have its recorded velocity scaled by a value
(from 0 to 120%) of the recorded velocity or the actual played velocity of
the trigger key can be used (trigger vel). For example, if a note’s velocity is
80, scaling by 110% will increase the note’s velocity to 88. This feature
allows you to control the mix of the different parts in advance or “on-thefly” as you play. If a part’s velocity is set to 0%, that part will be removed
from the mix.
Select Part
P1
BEATS PART VELOCITY
Scaled by: trigger vel
1.
2.
3.
4.
5.
52 E-MU Systems
To Set the Velocity for each Part:
Press the left cursor button to move the cursor under the Part field.
Select the Part number using the Data Entry Control. Parts 1-16 can be
selected. (All parts, shown as an “A”, can be edited at once if “Edit All
Layers” is enabled in the Master menu.)
Move the cursor to the bottom line using the cursor keys and adjust the
Velocity Scaling percentage using the Data Entry Control.
Repeat steps 1 through 3 for all the Parts you wish to adjust.
Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
Arp/Beats Menu
Beats
Each Part of a Beat Riff can be transposed up to 36 semitones up or down.
Transpose works by shifting the keyboard position and not by changing the
tuning of individual notes. Therefore, on a Beats preset (bts:), where
different instruments are assigned to each key, Transpose has the effect of
changing the instrument used by a particular part. On a preset where a
single sound covers the entire keyboard, Transpose will actually transpose
the sound.
Select Part
P1
BEATS PART TRANSPOSE
+00 semitones
1.
2.
3.
4.
5.
To set the Transposition for each Part:
Press the left cursor button to move the cursor under the Part field.
Select the Part number using the Data Entry Control. Parts 1-16 can be
selected. (All parts, shown as an “A”, can be edited at once if “Edit All
Layers” is enabled in the Master menu.)
Move the cursor to the bottom line using the cursor keys and adjust the
Transposition in semitones using the Data Entry Control.
Repeat steps 1 through 3 for all the Parts you wish to adjust.
Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
Kick
Tick
909 Click
Machine Kick
Kick
Snare
808 Snare
Simmons Tom
909 Tom
Tom Wave
909 Tom
Waver Tom
909 Tom
Cymbal
Ride Cymbal
Splash Cymbal
Splashy Cymbal
Ride Cymbal
Bongo Tone
Bongo Tip
Low Conga
Timbale 3
Agogo Hi-Tone
Cabasa
Guiro
Guiro
Guiro
Wood Block
Wood Block
Triangle Mute
Triangle Open
Original Transposed
Part
+12
Fun Scratch
Beats Part Transpose
Crowd
Vintage Keys Operation Manual 53
Arp/Beats Menu
Beats
Beats Part Group
This screen is where you assign Parts to one of the four Groups. By
grouping, you can play multiple parts with a single key. A part can be in
one and only one group, or in no groups.
Select Part
P1
BEATS PART GROUP
Group: 2
_
All Parts assigned to a
Group will stop playing when
the Group key is triggered, then
untriggered even if the individual
Parts in the Group are latched.
1.
2.
3.
4.
5.
Master Riff
To Assign a Part to a Group:
Press the left cursor button to move the cursor under the Part field.
Select the Part number using the Data Entry Control. Parts 1-16 can be
selected. (All parts, shown as an “A”, can be edited at once if “Edit All
Layers” is enabled in the Master menu.)
Move the cursor to the bottom line using the cursor keys and select the
Group (1-4 or none) using the Data Entry Control.
Repeat steps 1 through 3 for all the Parts you wish to assign.
Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
The Master Riff is selected from this screen. The Master Riff is used when
Master (M) is selected for Beats in Beats mode enable screen.
MASTER RIFF
Plays: KEY-C3
1.
2.
3.
4.
54 E-MU Systems
VROM
To Assign the Master Riff:
Use the cursor buttons to move the cursor to the lower line of the
display.
Select the desired Riff using the Data Entry Control. (Beats Riffs are
identified by the bts: prefix.)
If there is more than one ROM in Vintage Keys you can select Riffs from
either ROM set. Move the cursor under the ROM ID and select using the
Data Entry Control.
Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
Arp/Beats Menu
Beats
Riff Tempo
This setting determines whether Riff Tempo (the tempo stored with each
Riff) or the Current Tempo (the Base Tempo from the Master Clock) will be
used for Beats.
To control the Riff Tempo from MIDI clock, set Riff Tempo to “use current
tempo” and Base Tempo to “use MIDI”.
RIFF TEMPO
use riff tempo
1.
2.
3.
Riff Controllers
To Set the Riff Tempo Mode:
Use the cursor buttons to move the cursor to the lower line of the
display.
Select “use riff tempo” or “use current tempo” using the Data Entry
Control.
Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
Riffs contain real-time control information. This function allows you to
turn these controllers On or Off for the Riffs. This control affects Audition
Riffs as well as Beats Riffs.
RIFF CONTROLLERS
use riff controllers
1.
2.
3.
To Turn Riff Controllers On or Off:
Use the cursor buttons to move the cursor to the lower line of the
display.
Select “use riff controllers” or “ignore riff controllers” using the Data
Entry Control.
Press the Enter/Home button or use the cursor keys to move the cursor
back to the screen heading.
Vintage Keys Operation Manual 55
Arp/Beats Menu
MIDI Song Start
MIDI Song Start
This function enables or disables MIDI Song Start for the Arpeggiator and
Riffs. The MIDI Song Start option restarts the arpeggiator and/or Riff (BEAT)
to the beginning when a MIDI Song Start command is received. This is
useful for synchronizing arpeggios and Beats when recording into, or
playing along with a sequencer. You can choose to resync: Arp, Riff, both
Arp and Riff, or disable MIDI Song Start.
MIDI SONG START
resyncs arps & riffs
Arp/Riff
MIDI Out
This parameter selects whether or not the Arpeggiator and/or Riff (Beats)
note data is sent to the MIDI out port. This feature lets you use Vintage
Keys as an arpeggiator or sequencer for your other MIDI instruments. It also
lets you record the arpeggios and Riffs into a MIDI sequencer. You can
choose to transmit: Arpeggiator data, Riff data, both Arp and Riff data, or
nothing.
ARP/RIFF MIDI OUT
don’t transmit
56 E-MU Systems
Arp/Beats Menu
Arpeggiators
Arpeggiators
An arpeggiator moves a pattern of notes sequentially over a range of the
keyboard. Vintage Keys has the unique ability to play a different arpeggiator on each MIDI channel!
Arpeggiator settings can be defined as part of the preset (using the Arp
parameters in the Preset Edit menu), or globally in the Arpeggiator menu.
The preset and master arpeggiators have the same parameters which we
define in this chapter.
The Arp field in the main screen defines which arpeggiator settings will be
used. “M” uses the master Arpeggiator settings and on/off status (as defined
in the Arpeggiator menu). “P” uses the preset’s arpeggiator settings and on/
off status (as defined in the Edit menu). Choosing “On” uses the preset’s
arpeggiator settings regardless of whether or not it is turned on in the Edit
menu and Off turns off the arpeggiator regardless of the settings and status
specified in either menu.
_
SAVE your Arp setups
and name them using the “Save
Setup To” function located in the
Multi menu. See“Saving
Multisetups” on page 42.
O
Hot Tip! Synchronize
the effect delay time to your
arpeggiator patterns to create
complex polyrhythms. See
page 176 for details.
Arp Settings in the
Preset are Used
C01
V127
P00
A:P
0473
arp: Sine Drum
User
All arpeggiators share Vintage Keys’s master clock and its current setting.
The master clock can be Vintage Keys’s internal clock or an external MIDI
clock (page 82). Although the arpeggiators use the master clock setting, the
tempo divisor can be unique for each arpeggiator setup.
Arpeggiator modes include up, up/down, forward assign, backward assign,
forward/backward assign and random as well as play Patterns. Patterns are
pre-recorded sequences of notes and rests. All key-on notes play the
pattern. For example, if you play a chord, all the notes in the chord play the
pattern in harmony. Vintage Keys contains 200 factory patterns and 100
user definable patterns.
Vintage Keys Operation Manual 57
Arp/Beats Menu
Master Arpeggiator Parameters
Arp Controllers
The Arpeggiators can be controlled using the front panel real-time
controllers or external MIDI continuous controllers. Controllers are
patched to Arps via the Preset PatchCords located in the Preset Edit menu.
See “Preset Patchcords” on page 165. The following Preset PatchCord destinations control the Arpeggiators.
Arpeggiator Resolution (ArpRes)
This control changes the Arpeggiator Note Value, which defines the length
of the notes when playing arpeggiated chords. It adds to the note value set
in the Arpeggiator Note Value screen. See “Note Value” on page 60.
Arpeggiator Extension (ArpExt)
This control changes the Arpeggiator Extension Count. It adds to the
extension count programmed in the Arpeggiator Note Value screen. See
“Extension Count” on page 62.
Arpeggiator Velocity (ArpVel)
This control changes the Arpeggiator Velocity Value. It scales the velocity
value set in the Arpeggiator Note Value screen. See “Velocity” on page 61.
Arpeggiator Gate (ArpGate)
This control changes the Arpeggiator Gate Time. It adds to the gate time set
in the Arpeggiator Gate Time screen. See “Gate Time” on page 61.
Arpeggiator Interval (ArpIntvl)
This control modulates the Arpeggiator Extension Interval. It adds to the
extension programmed in the Arpeggiator Extension Interval screen. See
“Extension Interval” on page 62.
Master
Arpeggiator
Parameters
The Master Arpeggiator is defined in the Arp menu. The Arpeggiator mode
selected on the Main Screen determines whether the Master arpeggiator or
the Preset menu arpeggiator settings are used.
To
1.
2.
3.
4.
58 E-MU Systems
Access the Master Arpeggiator Parameters:
Press the Arp menu button lighting the LED. The Arpeggiator menu
screen displays the menu page most recently selected since powering up
Vintage Keys. The cursor appears below the first character of the screen
heading on line one.
Use the right cursor button to advance the cursor to the first field in the
bottom line of the screen.
Now, use the data entry control to access the various Master
Arpeggiator parameters.
Save your Arpeggiator settings using the “Save Setup” function on the
Multi menu.
Arp/Beats Menu
Master Arpeggiator Parameters
Status
The Status parameter turns the Master Arpeggiator on and off. The Channel
Arpeggiator setting in the main screen overrides this setting. For example, if
you set the Arpeggiator in the main screen to “off,” and turn it “on” here, it
still will not play.
MASTER ARPEGGIATOR
Status
Mode
off
The Mode parameter determines the direction or pattern mode of the
arpeggiated notes.
MASTER ARPEGGIATOR
Mode
up
The eight arpeggiator modes are:
•
Up
Held notes arpeggiate continuously from lowest to
highest pitch.
•
Down
Held notes arpeggiate continuously from highest to
lowest pitch.
•
Up/Down
Held notes arpeggiate continuously from lowest to
highest pitch, then from highest to lowest, then repeat
this cycle.
•
Fwd Assign
Held notes arpeggiate continuously in the order in
which the keys were pressed.
•
Bkwd Assign
Held notes arpeggiate continuously in the reverse order
in which the keys were pressed.
•
Fwd/Bkwd
Held notes arpeggiate continuously in the order in
which the keys were pressed, then arpeggiate in the
reverse order that they were pressed. The cycle is then
repeated.
•
Random
Held notes arpeggiate continuously in a random
fashion.
•
Pattern
Held notes play the selected pattern (see “Pattern” on
page 60 for details).
Vintage Keys Operation Manual 59
Arp/Beats Menu
Master Arpeggiator Parameters
Note Value
The Note Value determines the duration of each note played. This
parameter is used in non-pattern mode only.
MASTER ARPEGGIATOR
Note Value

Note value has no effect
when the mode is set to
“pattern.”
1/8 dot
Following is a list of possible Note Values and the relative number of clocks
used for each.
Note Value
MIDI Clock
Double Whole Note..................... 192
Dotted Whole Note ........................ 144
Double Note Triplet........................ 128
Whole Note.................................... 96
Dotted Half Note .............................. 72
Whole Note Triplet........................... 64
Half Note ....................................... 48
Dotted Quarter Note ........................ 36
Half Note Triplet............................... 32
Quarter Note.................................. 24
Dotted Eighth Note .......................... 18
Quarter Note Triplet ......................... 16
8th Note ......................................... 12
Dotted 16th Note ............................... 9
8th Note Triplet.................................. 8
16th Note ......................................... 6
Dotted 32nd Note ........................... 4.5
16th Note Triplet................................ 4
32nd Note ........................................ 3
Arpeggiator Pattern
Speed
The Arpeggiator Pattern Speed parameter lets you change the playback rate
of Patterns by 1/4x, 1/2x, 1x (normal), 2x or 4x normal speed.
Pattern
This field lets you choose the pattern used when the arpeggiator Mode is set
to “Pattern.” There are 200 factory programmed patterns and you can
create an additional 100 user definable patterns (see “Editing a User Arpeggiator Pattern” on page 67).
MASTER ARPEGGIATOR
Pattern
991 Pattern Name
60 E-MU Systems
Arp/Beats Menu
Master Arpeggiator Parameters
Velocity

Controller Knob O is
programmed to control Arp
Velocity.
Gate Time

Controller Knob P is
programmed to control Arp Gate
Time.

The note-on time is used
for the start-of-time when
calculating note durations. See
“Duration” on page 64.
The Velocity parameter determines the velocity at which each note arpeggiates. Velocity can be defined by the velocity value specified (from 1
through 127), or by the actual velocity of the played note (played). Bear in
mind that velocity values do not have an effect on the sound unless the
preset is programmed to respond to velocity.
MASTER ARPEGGIATOR
Velocity
played
The Gate Time parameter works together with the Note Value parameter.
Just as Note Value defines the length of a note, the Gate Time sets the
percentage of the Note Value time played. This can have a dramatic effect
on the sound depending on how the envelope generators are programmed.
MASTER ARPEGGIATOR
Gate
100%
With a Gate Time setting of 100% the note is held on until the next note
starts. The envelope generators never advance to the Release stages. With a
Gate Time setting of 50%, the note is released halfway through the note
cycle and the envelope generators proceed to their release stages until the
next note occurs. Refer to the following illustration.
Selected Note Value (8th notes, 16th notes, etc.)
Gate
Time
100%
75%
50%
key-on
time
key-on
time
key-on
time
25%
Vintage Keys Operation Manual 61
Arp/Beats Menu
Master Arpeggiator Parameters
Extension Count
The Extension Count parameter specifies how many times the Extension
Interval is carried out. With an Extension Count of 0, the arpeggio plays
only the notes pressed. With an Extension Count of 1, the arpeggio plays
the notes pressed, then plays the same notes (in the same order), transposed by the Extension Interval amount. The cycle is then repeated.
MASTER ARPEGGIATOR
Extension Count
4
For example, with the Extension Interval set to 12 (an octave) and an
Extension Count of 2, and with the Arpeggiator Mode set to Fwd Assign, if
you played E2, then C2, then G2, the arpeggiated sequence would consist
of: E2, C2, G2, then E3, C3, G3, and then E4, C4, G4. The Extension Count
values range from 0 through 15. Refer to the following illustration.
Back
2
1
3
5
4
6
Extend 1
8
7
9
Extend 2
Played
Extension Interval
The Extension Interval specifies the additional intervals played when you
press a key. For example, suppose you played C2 with an Interval of 7 (a
Major 5th), Up mode, and an Extension Count of 2. The arpeggio alternates
between C2 and G2.
The Extension Interval values range from 1 through 16.
MASTER ARPEGGIATOR
Extension Interval
62 E-MU Systems
7
Arp/Beats Menu
Master Arpeggiator Parameters
Sync
The Sync parameter defines when a note is played in relation to when the
key is pressed. When set to “Key Sync”, the note sounds the instant a key is
pressed. When set to “Quantized”, the note does not sound until the next
occurrence of the selected note value.
MASTER ARPEGGIATOR
Sync
key sync
The following diagram illustrates how Key Sync and Quantize work.
Key
Pressed
Note Sounds
Immediately
Key Sync
Quarter Notes
Note Doesn't Sound until
the Next Quarter Note
Quantize
Quarter Notes
Pre-Delay
The Pre-Delay value determines how long the arpeggiator is delayed before
becoming active after the first “note-on.” During the pre-delay period,
notes are played normally (as if the arpeggiator was off). After the pre-delay
period has elapsed, the arpeggiator kicks in. Once you release all the keys
on the controller, the pre-delay starts over with the next note-on. In combination with the Duration parameter, Pre-Delay lets you create many more
variations in the arpeggio patterns. Please refer to the diagram on page 65.
You can play the preset normally as long as you don’t hold the notes longer
than the Pre-Delay. If you do, the arpeggiator starts in. When used in
conjunction with multiple arpeggiators, Pre-Delay allows you to offset the
time between the different patterns.
MASTER ARPEGGIATOR
Pre-Delay
off
Vintage Keys Operation Manual 63
Arp/Beats Menu
Master Arpeggiator Parameters
Duration
This parameter defines how long the arpeggiator plays before stopping. The
Duration is specified in note values. Therefore if an arpeggio were running
at a 16th Note Value and the Duration were set to a whole note, the arpeggiator would play 16 steps before stopping. After the duration has elapsed,
the arpeggiator remains inactive until the key is released. If Duration is set
to Off, the arpeggio repeats as long as the notes are held (Infinite Duration).
MASTER ARPEGGIATOR
Duration
1 / 1d
Duration can be used to modify the patterns and increase the possible
pattern combinations and variations. Because this parameter limits the
length of arpeggiator play time, it can change the arpeggio pattern when
the Duration is less than the length of the arpeggio. You can set the
arpeggio to repeat continuously using the Recycle function described below.
Post-Delay
This parameter is only relevant when both the “Duration” and “Recycle”
parameters are not in the “Off” state. The Post-Delay value determines how
long the arpeggiator is delayed after the Duration period. Please refer to the
diagram on page 65. During the post-delay period, notes are played normally
(as if the arpeggiator was off). After the post-delay period has elapsed, the
arpeggiator either jumps to the beginning of the Pre-Delay period or to the
beginning of the Duration period depending on the Recycle setting.
If the arpeggiator is playing an extension when the Duration expires, the
notes in the extension will continue to sound during the Post-Delay (and
Pre-Delay if on). On the next pass through the Duration period, the
extension continues where it left off.
Post-Delay increases the number of possible variations in the beat and
allows the recycle loop to be set to an exact measure of time.
MASTER ARPEGGIATOR
Post-Delay
64 E-MU Systems
off
Arp/Beats Menu
Master Arpeggiator Parameters
Keys
Pressed
Notes Sound
Arp Plays
Notes Sound
Pre-Delay
Duration
Post-Delay
ec
R
R
ec
Recycle
yc
le o
n
y c l e o N o - Pre Dly
n/
Recycle enables the pattern or arpeggio to repeat. This parameter works
together with the Duration and Pre/Post Delay parameters to allow the loop
to be set to an exact measure of time. The “on/No-PreDelay” option
bypasses the predelay period. With Recycle turned Off, the pattern or
arpeggio stops at the end of the Post-Delay period.
MASTER ARPEGGIATOR
Recycle
on/No-PreDly
Keyboard Thru
When enabled, Keyboard Thru merges the notes not arpeggiated with the
notes being produced by the arpeggiator. This gives the effect of two parts
playing at once.
MASTER ARPEGGIATOR
Keyboard Thru
Latch
off
With Latch mode On, any notes you play remain on until you press them
again. Latched notes can also be halted by turning Latch off in this screen,
or by turning off the Arpeggiator for the channel in the main screen.
MASTER ARPEGGIATOR
Latch
on
Vintage Keys Operation Manual 65
Arp/Beats Menu
Send MIDI System Exclusive Data
Use the Key Range parameter to set the keyboard range for the arpeggiator.
Notes inside the range will arpeggiate while notes outside the specified
range will not arpeggiate. Use the Extensions parameters to exceed the
upper boundary of the Key Range (see the information about Extensions
beginning on page 62).
MASTER ARPEGGIATOR
Key Range
C-2->G8
Move the cursor under the first key and use the data entry control to define
the lowest key to be arpeggiated. Move the cursor under the second key
value and use the data entry control to define the highest key to be arpeggiated.
Send MIDI
System
Exclusive Data
Transmits the Arpeggiator Patterns via the MIDI out port as MIDI System
Exclusive data to another Vintage Keys or to a computer/sequencer for
backup. Using the cursor key and the data entry control, select the MIDI
data you want to transmit. See Send MIDI System Exclusive Data in the
Master chapter for additional details about recording SysEx.
User Patterns
Transmits all the User patterns.
000 to 990

Send data as you would
a regular sequence. Sending
data in one huge chunk may
clog the MIDI input buffer on
Vintage Keys.
66 E-MU Systems
Transmits only the individual pattern you have selected.
SEND MIDI SYSEX DATA
All User Arp Patterns
Arp/Beats Menu
Send MIDI System Exclusive Data
Editing a User
Arpeggiator Pattern
Vintage Keys lets you create and edit your own arpeggiator patterns. Using
the Edit User Pattern menu, you can create up to 100 user patterns and each
pattern can be up to 32 steps in length.
When you edit a pattern, you are writing directly into memory—no Save
command is required (however, you must exit the Arp module). This is
different from the Edit menu where you must Save a preset before it will be
overwritten. If you want to modify an existing pattern and keep the
original, you must first COPY the pattern you want to edit to another
location using the function in the Save/Copy menu (See page 191). Refer to
the instructions below and the following parameter descriptions to create
your own patterns.
Bank 0 = User Patterns
Bank 1 = Factory Patterns
Bank 2 = Factory Patterns
O
Before editing a Pattern,
select Master Arpeggiator (M) in
the main screen and set the
Arpeggiator to the Pattern you
are editing. This lets you hear
the Pattern as you edit it.
EDIT USER PATTERN
011 DRUMnBASS 1
To
1.
2.
Select the Pattern to Edit:
From the Edit User Pattern screen shown above, move the cursor to the
bottom line and select the pattern you want to edit. The Enter LED
begins flashing. Press Enter to move back to the Home position.
Select the next screen in the list, “User Pattern Edit”. This is where you
edit the currently selected pattern.
PTRN
S01
Pattern Step
number
3.
KEY
+0
VEL
ply
DUR
1/8
Key offset
Velocity
Duration
RPT
2
Repeat
Move the cursor to the lower line of the display. For each step, you can
select: key, velocity, duration, and number of repeats.
Pattern Step Number
You can set up to 32 steps for each arpeggiator pattern. This field selects
which step you will be editing from 1 to 32.
Key
This parameter defines what happens during the current step. The Key
parameter can do one of five different operations. Following is a description
of each of the key functions and how to use them.
Vintage Keys Operation Manual 67
Arp/Beats Menu
Send MIDI System Exclusive Data
Key Offset
This parameter defines not the actual note of the arpeggiator playback, but
instead specifies the amount of offset, in semitones, from the original note
played. You can set a Key Offset from -48 to +48 for each step. For example,
if you play a “C” on the keyboard with the Key Offset amount for the first
step set to “+1,” the first step in the pattern will be “C#.”
-48
-36
-24
Offset
-12
0
Played
Note
+12
+24
+36
+48
+ Offset
Tie
_
This function extends the duration of notes beyond the values given in the
duration field by “tying” notes together. You can tie together any number
of consecutive steps.
IMPORTANT: The Gate
function in the arpeggiator
MUST be set to 100% when
using the tie function, otherwise
the tied note is retriggered
instead of extended.
+2
tie
-5
Step 1
Step 2
Step 3
Rest
Instead of playing a note, you can define the step as a Rest. The Duration
parameter specifies the length of the rest. Rests can be tied together to form
longer rests.
Skip
This command simply removes the step from the pattern. The Skip feature
makes it easy to remove an unwanted step without rearranging the entire
pattern. You’ll be happy to know that the velocity, duration and repeat
parameters are remembered if you decide to put the step back later.
End
This command signals the end of the pattern. Any steps programmed after
the step containing the End command are ignored.
68 E-MU Systems
Arp/Beats Menu
Send MIDI System Exclusive Data
Velocity
Each note in the pattern plays using either a preset velocity value (from
1 through 127), or using the actual velocity of the played note (ply).
Note: Velocity values will not have an effect on the sound unless velocity is
programmed to do something in the preset.
Duration
This parameter sets the length of time for the current step, defined as a note
value, based on the Master Tempo. The selectable note durations are
described below.
1/32
1/16t
1/32d
1/16
1/8t
1/16d
1/8
1/4t
1/8d
1/4
Repeat
32nd Note
16th Note Triplet
Dotted 32nd Note
16th Note
8th Note Triplet
Dotted 16th Note
8th Note
Quarter Note Triplet
Dotted Eighth Note
Quarter Note
1/2t
1/4d
1/2
1/1d
1/1t
1/2d
1/1
2/1t
2/1
Half Note Triplet
Dotted Quarter Note
Half Note
Dotted Whole Note
Whole Note Triplet
Dotted Half Note
Whole Note
Double Whole Note
Triplet
Double Whole Note
Each step can be played from 1 to 32 times. A repeat setting of “1” indicates
the step will be played one time (not repeated one time or played twice).
To
1.
2.
3.
4.
Edit a User Pattern:
The first field in the Edit User Pattern field defines the pattern’s step
number. Start with the pattern Step 01.
Define the Key Offset, Velocity, Duration and Repeat values.
Repeat steps 1 and 2 until you have setup the desired number of steps
in the pattern.
Set the Key Offset to “End” on the last step in the pattern.
Vintage Keys Operation Manual 69
Arp/Beats Menu
Multichannel Arpeggiating
User Pattern Name
The User Pattern Name page lets you enter a name for any User Arpeggiator
Pattern.
PTRN
S01
To
1.
2.
KEY
+0
VEL
ply
DUR
1/8
RPT
2
Name a User Pattern:
From the Pattern Edit screen shown above, position the cursor under
the PTRN field.
Turn the data entry control clockwise. The following screen appears.
USER PATTERN NAME
000 Mod Cycle
3.
4.
5.
6.
Multichannel
Arpeggiating
Move the cursor to the bottom line and edit the Pattern name using
the data entry control and Cursor keys.
Move the cursor to the “Home” position (shown above) by pressing the
Home/Enter button.
Turn the data entry control counter-clockwise one click to return to
the Pattern Edit screen.
Turn the data entry control counterclockwise multiple clicks to jump
back to the main Arpeggiator menu screen.
Presets with the arpeggiator assigned will play when they receive note-on
data from the keyboard or external MIDI source.
Please refer to the instructions on page 26 to learn one way to perform
using multiple arpeggiators.
Tip: Synchronize the effect delay time to your arpeggiator patterns to create
complex polyrhythms. See page 176 for details.
70 E-MU Systems
Controllers Menu
The Controllers menu contains functions related to the keyboard, knobs or
trigger buttons of Vintage Keys. For example, the Command Function
Trigger Keys are programmed in this menu. All Controllers menu data is
saved with the Multisetup. See page 41 for more information about Multisetups.
To enable the Controllers menu:
Press the Controllers button, lighting the LED. The Controllers Menu
screen displays the menu page most recently selected since powering up
Vintage Keys. The cursor appears below the first character of the screen
heading on line one.
To select a new screen:
Press the Home/Enter button or press the Cursor button repeatedly until
the cursor is below the screen title heading. Rotate the data entry control to
select another screen.
To modify a parameter:
Press either Cursor button repeatedly (or hold down the right cursor button
while turning the data entry control) until the cursor is below the desired
parameter value. Rotate the data entry control to change the value.
To return to the previously selected Mode/View screen:
Press the Controllers button, turning off the LED.
Vintage Keys Operation Manual 71
Controllers Menu
Keyboard Transpose
Realtime
Control
Functions
Keyboard Transpose
This section describes how set up the Realtime Controllers on Vintage Keys.
Realtime Controllers are performance controls such as the controller knobs,
velocity & pressure sensitive keyboard, and the trigger buttons.
This option allows you to offset the transposition of the keyboard in
semitone intervals. This is allows you to easily play in different keys with
the keyboard and lets you access different groups of instruments in a drum
map. The transpose range is ±36 semitones.
KEYBOARD TRANSPOSE
+00 semitones
Keyboard Channel

in Quick Edit mode the
front panel knobs only control
the “Basic Channel”.
Local Control On/Off
This option allows you to select which channel is controlled by the
Keyboard, Knobs as well as the Pitch & Mod Wheels. You can select any of
the 16 channels or “Basic”. If the “Basic” channel is selected, the keyboard
and knobs always control the preset showing in the Main screen.
KEYBOARD CHANNEL
Channel: Basic
Local Control is used to disconnect the keyboard and controllers (knobs,
wheels, footswitches) from the sound generating section. Even though
disconnected from the internal synthesizer, the keyboard and controllers
are still transmitted over MIDI. Local Control is normally turned Off when
recording into an external MIDI sequencer (set sequencer to Echo Thru).
Played data and recorded data are merged in the computer sequencer and
then sent back to the module. This feature can also be used if you want to
control another MIDI sound generator from the keyboard and knobs
without playing internal sounds.
LOCAL CONTROL ON/OFF
on
72 E-MU Systems
Controllers Menu
Keyboard Velocity Curve
MIDI
Out
MIDI
In
Turning Local Control Off allows you to use the Echo Thru feature on your sequencer
while sequencing. In conjunction with Echo Thru, Local Control Off allows you to record
into the external sequencer and hear the correct sounds whether you are recording or
playing back the sequence.
Keyboard Velocity
Curve
The velocity response of the keyboard can be adjusted using any of 17
curves in order to customize the dynamic feel of the keyboard to your
individual playing style. This curve adjusts the output of the Vintage Keys
keyboard before it is sent to the MIDI output port and to the Master
Velocity Curve described on page 85.
KEYBOARD VELOCITY CURVE
soft #2

The Keyboard Velocity
Curve diagrams are located on
page 224.
MIDI OUT
MIDI IN
L
Instrument
Keyboard
Velocity Curve
Master
Velocity Curve
Z-Plane
Filter
Amp
R
Internal
Synthesizer
The Keyboard Velocity Curve modifies the velocity data from the keyboard keys. This data
is sent to the MIDI output port and through the Master Velocity Curve before reaching
the Synthesizer. Incoming MIDI data is filtered through the Master Velocity Curve only.
Vintage Keys Operation Manual 73
Controllers Menu
Channel Aftertouch On/Off
Channel Aftertouch
On/Off
The keyboard generates channel aftertouch messages. Aftertouch is
generated when you continue to press the keys after the note has been
played. Aftertouch can be a very useful controller for adding a bit of vibrato
or creating a volume swell. Aftertouch is routed to the Pressure source in
the PatchCord screen. This control allows you to turn aftertouch on or off
without having to modify each preset.
CHANNEL AFTERTOUCH
on
Footswitch Function
The footswitch jack on Vintage Keys’s rear panel can be programmed to
perform a variety of functions. The footswitch jack is designed to accept a
momentary footswitches which shorts the tip and ground. Vintage Keys
senses either normally-on or normally-off switches on power-up.
The following functions can be controlled via the footswitches.
FOOTSWITCH JACK FUNCTION
MIDI FtSw
74 E-MU Systems
• MIDI Footswitch
In this mode the footswitch is routed to the
“FootSw1” PatchCord source in the Preset Edit,
Cords menu. (See pages 159 and 166.) It is also transmitted out on the Footswitch Controller number as
programmed in the Controllers menu. (See page 80.)
• Tap Tempo
Pressing the footswitch allows you to tap in the
current tempo with your foot.
• Channel +
Pressing the footswitch increments the MIDI
channel number.
• Channel -
Pressing the footswitch decrements the MIDI
channel number.
• Preset +
Pressing the footswitch increments the current
preset number.
• Preset -
Pressing the footswitch decrements the current
preset number.
Controllers Menu
Foot Pedal Function
Foot Pedal Function
The foot pedal jack on Vintage Keys’s rear panel can be programmed to
perform a variety of functions. The foot pedal input can sense either 0-5
volts on the ring of a stereo jack or a foot pedal with the potentiometer
wired as shown at left.
The following functions can be controlled via the foot pedal jack.
Pedal Wiring
Ground
Tip
FOOT PEDAL FUNCTION
FootCtrl
Ring
Tip
• Foot Controller
In this mode the Foot Pedal is routed to the
“Pedal” PatchCord source in the Preset Edit, Cords
menu. (See pages 159 and 166.) It is also transmitted
out on MIDI Continuous Controller #4 on the basic
MIDI channel.
• Channel Volume
The Foot Pedal controls the volume of the current
channel. (The MIDI channel currently showing in
the main screen.) Channel volume is pre-effect—
reverb or echoes will continue to sound even when
the pedal is off.
• Master Volume
The Foot Pedal controls the overall volume of the
Vintage Keys. This duplicates the function of the
Master Volume knob on the front panel. Master volume is post-effect—effects will be cut off when the
pedal is off.
Ring
Ground
Trigger Buttons
Function
This option selects the function of the front panel “Triggers” button. The
“Triggers” button can be used either to Play Beats Parts or to Play Note
Events.
• Play Beats Parts
In this mode and when the Triggers button is
selected, the sixteen command buttons turn Beats
parts on and off.
• Play Note Events
In this mode and when the Triggers button is
selected, the sixteen command buttons work like
keyboard notes. Each button can be assigned to any
MIDI note, on any MIDI Channel (01-16), with any
velocity (0-127), and can be set to be latched or
momentarily on.
TRIGGER BUTTONS FUNCTION
Play Note Events
Vintage Keys Operation Manual 75
Controllers Menu
Trigger Buttons
Trigger Buttons
O
By assigning Trigger
Buttons to the keyboard Beats
Layout Keys (page 51), you can
trigger Beats and MIDI notes
using the Trigger buttons.
This screen allows you to program the 16 trigger buttons to play note
events. Note: This screen is not available when the “Trigger Buttons
Function” (see previous page) is set to “Play Beats Parts”.
Set the previous screen to “Play Note Events”. Select Triggers mode by
pressing the mode select button so that the “Triggers” LED is illuminated.
Now the 16 buttons work like keyboard notes. Each of the 16 buttons can
be assigned to any MIDI note, on any MIDI Channel (01-16), with any
velocity (0-127), and can be set to be latched or momentarily on. Latched
notes will hold until the button is pressed again. Latched notes will be
indicated by the LEDs.
Simply move the cursor from the “TRIGGERS” field and play a note to enter
the MIDI key and velocity. Pressing a Trigger Button anytime while in this
screen automatically selects that trigger button for programming!
Trigger Button Select
Latch on/off
T1 TRIGGERS Latch:off
Key: C3 Ch: 01 Vel: 127
MIDI Key
O
Latched buttons are
especially useful for triggering
arpeggiated presets.
1.
2.
3.
4.
5.
1.
2.
3.
4.
5.
76 E-MU Systems
MIDI Channel
Velocity
To Setup the Trigger Buttons:
Press the Controllers button. Its LED will illuminate.
Turn the data entry control to select the “TRIGGERS” screen.
Use the left/right cursor controls to select the fields shown above.
Select the MIDI key, the MIDI channel, the Velocity and Latch on/off
for each of the 16 trigger buttons.
Save the Multisetup if you want to save these settings. See page 42.
To Play the Trigger Buttons:
Press the Controllers button. Its LED will illuminate.
Turn the data entry control to select the “TRIGGERS BUTTONS
FUNCTION” screen.
Move the cursor to the lower line and select “Play Note Events”.
Press the Command Functions “Triggers” button so that its LED
illuminates.
Play the Trigger buttons.
Controllers Menu
Preset Select Buttons
Preset Select Buttons

The Basic MIDI channel
is the channel currently showing
in the main screen.
The 16 command buttons can also be used for preset selection. Each button
can be programmed to select any preset on the Basic MIDI channel. For
your next song, selecting another Multisetup (page 41) selects another
group of sixteen presets.
In Preset Select mode, whenever the current preset on the basic channel
matches any of the 16 “favorites” assigned to the Preset Select buttons, its
LED will illuminate.
Select Preset Select mode from the Command Functions. Now the 16
buttons are programmable preset selection buttons.
Trigger Button Select
Preset Location
T1 PRESET - SELECT
006 0 bas: Fatty
Preset Number
Category
User
Preset Name
When a preset is selected using the Preset Select buttons, the cursor is
automatically located underneath the Preset Name field. This feature makes
it easy to select other presets of the same type.
1.
2.
3.
1.
2.
3.
4.
5.
1.
2.
Quick Method of Programming the Preset Select Buttons:
Select the preset you want from the Main screen.
Press and hold the Preset Select button, then press one of the sixteen
Trigger buttons.
The preset will be stored in the trigger button you selected.
To Program the Preset Select Buttons from the Menu:
Press the Controllers button. Its LED will illuminate.
Turn the data entry control to select the “PRESET - SELECT” screen.
Use the left/right cursor controls to select the fields shown above.
Select the desired preset for each of the 16 trigger buttons.
Save the Multisetup if you want to save these settings. See page 42.
To Use the Preset Select Buttons:
From the main preset selection screen, press the Preset Select button.
Its LED will illuminate.
Press any of the 16 buttons to select a new preset.
Vintage Keys Operation Manual 77
Controllers Menu
Preset Select Send Buttons
Preset Select Send
Buttons
Suppose you wanted to send another MIDI program change message to an
external synthesizer. The 16 command buttons can also send external MIDI
program changes on the Basic MIDI channel. Each button can be
programmed to select any preset from 0-127, in any bank.
Select Preset Select mode from the Command Functions. Now the 16
buttons are programmable preset selection buttons.
Trigger Button Select
T1 PRESET - SELECT SEND
MSB:015 LSB:003 PROG: 127
Bank MSB
1.
2.
3.
4.
5.
1.
2.
78 E-MU Systems
Bank LSB
Program Change
Number
To Program the Program Change Send Buttons:
Press the Controllers button. Its LED will illuminate.
Turn the data entry control to select the “PRESET - SELECT SEND”
screen.
Use the left/right cursor controls to select the fields shown above.
Select the desired program change and bank for each of the 16 trigger
buttons. (If you don’t want to send an external program change, set the
fields to “off”.)
Save the Multisetup if you want to save these settings. See page 42.
To Send an External Program Change:
From the main preset selection screen, press the Preset Select button.
Its LED will illuminate.
Press one of the 16 buttons to send the program change.
Controllers Menu
Knob Preset Quick-Edit
Knob Preset
Quick-Edit
“Quick-Edit” changes the initial controller setting in the preset whenever
you move a Control Knob. This parameter selects whether or not the front
panel Controller Knobs are used to Quick-Edit the currently selected preset.
See “Preset Edit Button” on page 32 in the Operations chapter for more
details.
KNOBS PRESET QUICK-EDIT
disabled
Real-time Controller
Assignment
O
Use these four pages to assign sixteen real-time control sources. Each MIDI
Controller is assigned a letter (A - P). The front panel controller knobs are
assigned to letters A-L. Letters M-P can be used to assign four more external
MIDI controllers. These screens let you select which MIDI real-time
controllers numbers will be received (from 1 to 31 and from 64 to 95)
and which controller numbers will be transmitted over MIDI if the
front panel controls are turned. The PatchCord routing and amount in
the Preset Edit menu determine what effect the controller has on each
preset. Real-time controllers are shown in the PatchCord menu as MIDI A
through MIDI P.
The Real-time Controller assignment also specifies which controller
numbers are transmitted when the “Knobs Output MIDI” is enabled (see
“Knobs Output MIDI” on page 94).
Tip: Vintage Keys factory
presets have certain synth
parameters assigned to
controllers A-P and so these are
“Global” controller assignments.
For example, assigning a MIDI
controller to “A” in this screen
would let you control filter Fc for
all the factory presets. See “Basic
Preset Knob Functions” on
page 209.
REALTIME CONTROLLER #
A: 74 B: 71 C: 25 D: 26
Front Panel
Knobs &
MIDI In
REALTIME CONTROLLER #
E: 73 F: 75 G: 85 H: 72
REALTIME CONTROLLER #
I: 78 J: 77 K: 27 L: 28
MIDI In
REALTIME CONTROLLER #
M: 01 N: 03 O: 82 P: 83
Vintage Keys Operation Manual 79
Controllers Menu
MIDI Footswitch Assign
Note: Controllers 7 and 10 are already assigned to Volume and Pan for each
MIDI channel. Controllers 91 & 93 are the standard controller numbers for
reverb and chorus send amounts, but are not assigned.
Following are a few of the standardized MIDI Controller numbers as
defined by the MIDI manufacturers association. The controllers shown in
Bold are automatically routed to the destination (volume & pan) or have
their own PatchCord source. Others, such as Portamento Time, can be
routed using a PatchCord to have the desired effect.
1 - Modulation Wheel
2 - Breath Controller
4 - Foot Pedal
5 - Portamento Time
6 - Data Entry
MIDI Footswitch
Assign
7 - Volume
8 - Balance
9 - Undefined
10 - Pan
11 - Expression
Like the MIDI Controllers, you can assign three MIDI footswitches to MIDI
footswitch numbers. Footswitches numbers are from 64-79. Destinations
for the footswitch controllers are programmed in the PatchCord section of
the Preset Edit menu. The rear panel footswitch 1 is connected to
footswitch controller 1 in this screen. Pressing the footswitch transmits on
the MIDI controller number programmed here. Footswitches 2 & 3 route
incoming MIDI footswitch data to the PatchCord section of Vintage Keys.
FOOTSWITCH CONTROLLER #
1: 64
2: 65
3: 66
Rear panel footswitch input
Calibrate Controllers

The Controllers should
ALWAYS be calibrated after you
reinitialize user data. (And you
should always reinitialize user
data after updating the
operating system.)
80 E-MU Systems
This screen allows you to calibrate the Pitch Wheel, Modulation Wheel,
Aftertouch, and Foot Pedal controller. The controls should be recalibrated
periodically in order to compensate for normal changes in the controls
themselves. If a control doesn’t seem to be responding properly, it may
simply need to be recalibrated.
CALIBRATE CONTROLLERS
Start Mod Wheel
Controllers Menu
Tempo Controller
1.
2.
To Calibrate the Controllers:
Press the Global button. Its LED will illuminate.
Turn the data entry control to select the “CALIBRATE CONTROLLERS”
screen shown below.
CALIBRATE CONTROLLERS
Start Mod Wheel
3.
Move the cursor to the lower line of the display and rotate the Data
Entry Control to select the control to be calibrated. The choices are:
• Mod Wheel
4.
5.
Tempo Controller
• Pitch Wheel
• Foot Pedal
• Aftertouch
Press Enter to select a control, then follow the instructions given in the
display. You will be asked to mover the control through its entire range
(minimum through maximum), then press Enter.
In the case of the Pitch Wheel, you first move the wheel through its
min-max range and leave the wheel resting in its center position. Then
press Enter.
This function allows a MIDI controller to change the Base Tempo of the
Master Clock. The Master Clock is used by the arpeggiators, clock divisor
PatchCords, tempo-based envelopes and synced LFOs. (See “Clock
Modulation” on page 106.) You can assign any controller number from 031, mono key pressure, or the Pitch Wheel to change the Global Tempo.
A different controller can be used to change the tempo up or down. The
Pitch Wheel can be assigned to both the up and down parameters to vary
the tempo up and down from a single controller. If any other controller is
assigned to both the up and down parameters, Vintage Keys redefines the
center of the controller’s range as zero (so it acts like a pitch wheel).
MIDI Controller values are added to the Base Tempo with a range of ±64.
When the controller is set to “off” the tempo returns to its original setting.
Controllers are only recognized on the selected MIDI channel, unless
Vintage Keys is in Omni mode, in which case all channels are accepted.
This control has no effect when using an external clock.
TEMPO CONTROLLER#
Up: 03
Down: 09
CHAN
16
Vintage Keys Operation Manual 81
Controllers Menu
Base Tempo
Base Tempo
Vintage Keys contains an internal Master Clock which runs the arpeggiators, synchronizes the LFOs when in tempo-based mode, controls the
times of tempo-based envelopes, and can be used as a modulation source in
the PatchCords section.
You’ll notice that there are two tempo values shown in the display.

The Arp/Beats LED
flashes in time with the Base
Tempo.
• Base Tempo - This is the base tempo setting before being modified by
the Tempo Controller (if engaged). See “Tempo Controller” on page 81.
• (Current Tempo) - This is the actual tempo! The current tempo is
equal to the base tempo modulated by the MIDI controller specified in
the Tempo Controller screen. If no MIDI Tempo controller message has
been received since the last Base Tempo change, the Current Tempo will
be equal to the Base Tempo.
To
1.
2.
Change the Base Tempo:
Move the cursor to the lower line of the display.
Adjust the Base Tempo using the data entry control.
BASE TEMPO
TAP->enter
120 bpm (current: 182)
O
You can also tap tempo
using a footswitch. See page 74.
3.
1.
2.
82 E-MU Systems
To Tap Tempo - Tap the Enter button at least three times. Keep tapping
to continuously update the tempo on each tap. The tap tempo range is
25-300 bpm. The Base Tempo values range from 1 through 300 beats
per minute (BPM).
To Use an External MIDI Clock:
Move the cursor to the lower line of the display.
Turn the data entry control all the way counter-clockwise and select
“ext” to use an external MIDI clock source.
Global Menu
The Global menu contains functions that affect the overall operation of
Vintage Keys. For example, changing the Master Tune parameter changes
the tuning of all the presets, not just the one currently displayed.
To enable the Global menu:
Press the Global button, lighting the LED. The Global Menu screen displays
the menu page most recently selected since powering up Vintage Keys. The
cursor appears below the first character of the screen heading on line one.
_
Warning: Global Menu
changes are automatically saved
when you exit the menu. If the
power is turned off before you
exit the menu any changes you
have made will be lost.
To select a new screen:
Press the Home/Enter button or press the Cursor button repeatedly until
the cursor is below the screen title heading. Rotate the data entry control to
select another screen.
To modify a parameter:
Press either Cursor button repeatedly (or hold down the right cursor button
while turning the data entry control) until the cursor is below the desired
parameter value. Rotate the data entry control to change the value.
To return to the previously selected screen:
Press the Global button, turning off the LED.
Vintage Keys Operation Manual 83
Global Menu
Defining Global Parameters
Defining
Global
Parameters
Master Transpose/
Tune
Global setup parameters affect overall performance, range, and global
effects. This section describes the Global parameters and how to define
them.
The Transpose parameter transposes the key of all presets, in semitone
intervals. The transpose range is ± 24 semitones.
Master Tune adjusts the fine tuning of all presets so that you can tune
Vintage Keys to other instruments. The master tuning range is ± 1 semitone
in 1/64th semitone increments (1.56 cents). A master tune setting of “+00”
indicates that Vintage Keys is perfectly tuned to concert pitch (A=440 Hz).
MASTER TRANSPOSE
+00 semitones
Master Bend Range
The Master Bend Range parameter sets the range of the pitch wheel. This
affects only presets that have their individual Pitch Bend range (defined in
the Preset Edit menu) set to Master. See page 160. The maximum pitch bend
range is ±12 semitones or one octave in each direction.
MASTER BEND RANGE
+/- 7 semitones
84 E-MU Systems
TUNE
+00
Global Menu
Defining Global Parameters
Master Velocity
Curve

Incoming velocity data or internal keyboard velocity can be altered by one
of thirteen velocity curves. These curves are designed to adapt Vintage Keys
to a external MIDI controller. You can select one of thirteen global velocity
curves or to leave the data unaltered (linear). To adjust Keyboard velocity,
see “Keyboard Velocity Curve” on page 73.
The Master Velocity curve
is normally set to “Linear” and
the Keyboard Velocity Curve is
used to adjust the keyboard feel.
MASTER VELOCITY CURVE
13
The two curves can also be
combined if you wish.
MIDI OUT
MIDI IN
The Master Velocity
Curve filters MIDI In as
well as data from the
Keyboard Velocity Curve.
L
Instrument
Keyboard
Velocity Curve
Amp
R
Internal
Synthesizer
Master
Velocity Curve
120
Result Velocity
120
Result Velocity
100
Linear
80
60
40
20
100
Curve 2
80
60
40
20
0
0
0
20
40
60
0
80 100 120
20
40
60
80 100 120
Played Velocity
Played Velocity
120
120
Result Velocity
For a complete list of
all available velocity curves,
see “Master Velocity Curves”
on page 225 of the Appendix.
Result Velocity

Z-Plane
Filter
100
Curve 9
80
60
40
20
100
80
60
Curve 13
40
20
0
0
0
20
40
60
80 100 120
Played Velocity
0
20
40
60
80 100 120
Played Velocity
Vintage Keys Operation Manual 85
Global Menu
Defining Global Parameters
Mix Output
The Mix Output parameter allows you to override the routing assignments
made in each preset and instead assign the outputs according to MIDI
channel. For each of the 16 MIDI channels, you can select Send 1-4, or
Preset. When Preset is selected, the output assignment defined in the Preset
Edit menu is used.
MIX OUTPUT
channel 16: Send 1->main
Indicates that the dry signal is
routed to the Main output jacks.
The Output Routing field (pointed to by the arrow) reflects the true
routing of Send 2 or Send 3 to either:
1) the effects processor input or… 2) the rear panel submix jacks.
Since the Sub 1 output is NOT being used, the signal is routed through the
effects processors, then on to the main outputs. If a plug were inserted into
one of the Sub 1 jacks the destination field would read “Sub1” for Send 2
and the dry signal would be routed directly to the Sub 1 outputs on the
back panel.
MIX OUTPUT
channel 15: use preset

Send Routings
Send 1 - Main Outputs
Send 2 - Subout 1 or Main Outs
Send 3 - Main Outputs
Send 4 - Main Outputs
The Sends function as effect processor inputs (effect sends). Send 2 is also
used to route sounds to the Sub 1 outputs on the back panel. When a plug
is inserted into the associated Submix jack on the back panel, the Dry
portion of the Send is disconnected from the effects processor and the
signal is routed directly to the output jack. The Arrow points to the actual
output routing. If you don’t want the wet portion of the signal in the main
mix, turn down the Send Level. The entire Send is disconnected from the Effects
Processors even if only one plug is inserted into the Submix jack.
The four Effect Sends allow you to get the most out of the two effect
processors. For example, with Effect B set to an echo algorithm, you could
route one MIDI channel to Send 3 and set the effect amount to 80%.
Another MIDI channel could be routed to Send 4 with an effect amount of
only 5%. This is almost like having two different effects!
The Mix Output function is also useful when sequencing since it lets you
route specific MIDI channels to specific Sub outputs (on the back panel)
where there they can be processed with EQ or other outboard effects.
86 E-MU Systems
Global Menu
Defining Global Parameters
OUTPUT SECTION
& EFFECTS PROCESSORS
FX Sends
MIDI CHANNEL
MIDI Channel 1
Hall 1
Send 1 15%
Send 2 10%
Send 3 0%
Preset
Send 4 0%
MIDI Channel 2
S
E
MIDI Channel 3
N
D
1
B➟A
FX Sends
Send 3 20%
Send 4 15%
S
E
N
D
2
Chorus
M
A
I
N
Send 1 0%
Send 2 0%
MIDI Channel 16
Effect
A
Effect
B
Jack
Detect
S
U
B
1
S
E
N
D
3
S
E
N
D
4
Send 2 can be routed to the effects processors or to rear panel submix jacks. When a plug
is inserted into a Submix jack, the dry portion of the Send is disconnected from the
effects processor and is routed directly to the Submix output jacks.
Vintage Keys Operation Manual 87
Global Menu
Master Effects
Master Effects
The digital effect processors can be programmed as part of the preset (using
the Preset Edit menu) so that effects will change along with the preset.
However, there are only two effect processors, and so you cannot have a
different effect on each preset when in Multi mode.
The Master Effects settings assign the effect processors “globally” for all
presets to provide a way to use the effects in Multi mode. Detailed information is presented in the Effects chapter (see Effects on page 173).
Effects Mode
The FX Mode page enables or bypasses the effects. When the FX Mode is set
to “bypass,” the effects are turned off on a global scale. This includes Effects
programmed in the preset.
FX MODE
enabled
Effects Multi Mode
Control
The routing scheme for the two stereo effects processors provides a lot of
versatility. When in multi mode, you can “use master settings” which
applies the Master effects settings to all 16 MIDI channels.
FX MULTIMODE CONTROL
use master settings
If you want more control, you can use the “channel” setting which applies
the effects settings of the preset on a specified channel to all the other
channels. Changing the preset on the specified channel changes the effect.
FX MULTIMODE CONTROL
preset on channel 1
If you are in Omni or Poly modes this parameter is disabled and the
message in parentheses explains that Vintage Keys is currently in Omni
mode.
FX MULTIMODE CONTROL
(using Omni mode)
88 E-MU Systems
Global Menu
Master Effects
Master FXA
Algorithm
This function selects the type of effect used for the “A” effect. The following
effect types are available.
MASTER FXA ALGORITHM
Room 1
A Effect Types
1.
Room 1
23.
BBall Court
2.
Room 2
Room 3
Hall 1
Hall 2
Plate
Delay
Panning Delay
Multitap 1
Multitap Pan
3 Tap
3 Tap Pan
Soft Room
Warm Room
Perfect Room
Tiled Room
Hard Plate
Warm Hall
Spacious Hall
Bright Hall
Bright Hall Pan
Bright Plate
24.
Gymnasium
Cavern
Concert 9
Concert 10 Pan
Reverse Gate
Gate 2
Gate Pan
Concert 11
Medium Concert
Large Concert
Large Concert Pan
Canyon
DelayVerb 1
DelayVerb 2
DelayVerb 3
DelayVerb 4 Pan
DelayVerb 5 Pan
DelayVerb 6
DelayVerb 7
DelayVerb 8
DelayVerb 9
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
Vintage Keys Operation Manual 89
Global Menu
Master Effects
FXA Parameters:
Decay/HF Damping
FxB -> FxA
This page lets you define the parameters of the selected Effects algorithm.
Use this page to setup the effect decay, high frequency damping amount
and to route “B” effects through the “A” effects. See “Effect Parameters” on
page 175 for more details.
FXA
FXA Send Amounts
DECAY
040
HFDAMP
096
These parameters set the effects amounts for each of the four stereo effects
busses. See “Master Effects” on page 178 for detailed information.
FXA SEND AMOUNTS
2: 50%
3: 10%
Master FXB
Algorithm
1:100%
4: 0%
This parameter selects the type of effect used for the “B” effect. The
following effect types are available.
MASTER FXB ALGORITHM
Chorus 1
90 E-MU Systems
FxB>FxA
001
Global Menu
Master Effects
B Effect Types
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
FXB Parameters:
Feedback/LFO Rate
Delay Time
Chorus 1
Chorus 2
Chorus 3
Chorus 4
Chorus 5
Doubling
Slapback
Flange 1
Flange 2
Flange 3
Flange 4
Flange 5
Flange 6
Flange 7
Big Chorus
Symphonic
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
Ensemble
Delay
Delay Stereo
Delay Stereo 2
Panning Delay
Delay Chorus
Pan Delay Chorus 1
Pan Delay Chorus 2
Dual Tap 1/3
Dual Tap 1/4
Vibrato
Distortion 1
Distortion 2
Distorted Flange
Distorted Chorus
Distorted Double
The FXB parameters setup the characteristics of the effect. Use this page to
define the feedback amount, the LFO rate and delay amount for the
selected type “B” effect. See “Effect Parameters” on page 175 for details.
FXB
FXB Send Amounts
17.
FEEDBK
000
LFORATE
003
DELAY
0
These parameters set the effects amounts for each of the four stereo effects
busses. See the Effects chapter for detailed information.
FXB SEND AMOUNTS
2: 50%
3: 10%
1:100%
4: 0%
Vintage Keys Operation Manual 91
Global Menu
Miscellaneous Parameters
Miscellaneous
Parameters
Edit All Layers Enable
This function allows you to turn the Edit All Layers feature on or off. “Edit
All Layers” is an Edit menu feature which allows you to select all layers (the
letter “A” appears in the layer field) in order to edit all four layers simultaneously. Because this feature can be confusing to the beginning
programmer, it can be disabled here in the Global menu.
EDIT ALL LAYERS
enabled
User Key Tuning
O
The user key tuning can
be used to tune individual
percussion instruments.
Screen Viewing
Angle
User Key Tuning lets you create and modify 12 user definable tuning tables.
The initial frequency of every key can be individually tuned, facilitating the
creation of alternate or microtonal scales.
Using the cursor keys and the data entry control, select the user table
number, the key name, the coarse tuning and the fine tuning. The key
name is variable from C-2 to G8. Coarse Tuning is variable from 0 to 127
semitones. The fine tuning is variable from 00 to 63 in increments of 1/64
of a semitone (approx. 1.56 cents). For each preset, the specific tuning table
is selected in the Preset Edit menu. See page 168.
USER KEY TUNING
Key: C1
Crs: 036
This function changes the viewing angle of the display so that you can read
it easily from either above or below the unit. The angle is adjustable from
+7 to -8. Positive values will make the display easier to read when viewed
from above. Negative values make the display easier to read from below.
VIEWING ANGLE
+0
92 E-MU Systems
Table: 1
Fine: 00
MIDI Menu
Most of the parameters in Vintage Keys that relate to MIDI are contained
within this menu. You can merge MIDI data, change the continuous
controller assignments, turn program changes off or on, and lots more.
MIDI menu settings are saved with the current Multimap.
To enable the MIDI menu:
Press the MIDI button, lighting the LED. The MIDI Menu screen displays
the menu page most recently selected since powering up Vintage Keys. The
cursor appears below the first character of the screen heading on line one.
_
Warning: MIDI Menu
changes are automatically saved
when you exit the menu. If the
power is turned off before you
exit the menu any changes you
have made will be lost.
To select a new screen:
Press the Home/Enter button or press the Cursor button repeatedly until
the cursor is below the screen title heading. Rotate the data entry control to
select another screen.
To modify a parameter:
Press either Cursor button repeatedly (or hold down the right cursor button
while turning the data entry control) until the cursor is below the desired
parameter value. Rotate the data entry control to change the value.
To return to the previously selected Mode/View screen:
Press the MIDI button, turning off the LED.
Vintage Keys Operation Manual 93
MIDI Menu
Keyboard Outputs MIDI
Keyboard Outputs
MIDI
This option allows you select whether or not the keyboard, pitch/mod
wheel and footswitch data is transmitted on the MIDI output port. When
this option is set to: “don’t transmit”, the keyboard, pitch/mod wheels, and
footswitch only control the “current” preset. (The current preset is the one
currently showing in the Main screen). The footswitch is transmitted on the
MIDI CC number defined for Footswitch 1 in the Controllers menu.
KEYBOARD OUTPUTS MIDI
transmit
Knobs Output MIDI
This function allows you to select whether or not knob data is transmitted.
The knobs transmit on the controller numbers defined by the Real-time
Controller Assign parameter (See page 79).
KNOBS OUTPUT MIDI
don’t transmit
Transmit MIDI Clock
This option enables or disables the transmission of MIDI clock from the
MIDI out port. When Vintage Keys is running on its own internal clock
(page 82) it transmits 24 MIDI clocks per quarter note. When Vintage Keys
is slaved to an external MIDI clock, it mirrors the incoming clock data.
TRANSMIT MIDI CLOCK
off
MIDI Enable
MIDI Enable lets you turn each MIDI channel on and off independently
when in Multi mode. This feature is helpful when you have other devices
connected to the same MIDI line and do not want the Vintage Keys unit to
respond to the MIDI channels reserved for the other devices.
MIDI ENABLE
channel 01: On
94 E-MU Systems
MIDI Menu
Receive Program Change
Because the MIDI Enable function only makes sense if you are in Multi
mode, Vintage Keys disables this feature when in Omni or Poly mode.
Receive Program
Change
In Multi
Mode
MIDI ENABLE
channel 16: On
In Omni
Mode
MIDI ENABLE
(using Omni mode)
Use this function to instruct Vintage Keys to utilize or ignore incoming
MIDI preset changes or Bank Select commands for each channel. Use the
cursor buttons to select the channel number field, then use the data entry
control to select a channel number. Use the cursor button again to select
the On/Off field and the data entry control to change the value.
RECEIVE PROGRAM CHANGE
channel 01 : on
MIDI Program
Change -> Preset
You can also remap incoming MIDI program changes to a different
numbered preset. This is a handy feature when your master keyboard
cannot send a bank change or you want to reorder preset numbers. Any
preset can be mapped to any incoming MIDI program change number.
For example, you could set up the Program -> Preset map to call up preset
#12 whenever Vintage Keys receives MIDI program change #26.

The Program->Preset
Change only works for program
changes received in Bank 0.
The four fields shown below are editable.
MIDI PROG CHNG
000
Incoming Program
Change in Bank 0
ROM Bank
->
PRESET
User
0000
Program No.
Bank No.
Vintage Keys Operation Manual 95
MIDI Menu
MIDI SysEx ID
O
Programs and presets are
the same thing. “Preset” is the
E-MU term for MIDI Program.
0
1
2
3
4
5
6
7
8
9
0
0
0
0
0
0
0
0
0
0
2
0
1
0
0
0
1
0
4
0
1
0
0
0
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
00 01 02 03 04 05 06 07 08 09
10 44 91 50 01 15 88 99 78 32 88
2
20 34 73 106 55 43 75 12 120 121 100
Selected
Program
30 30 31 32 33 34 35 36 37 38 39
40 40 41 42 43 44 45 46 47 48 49
Mapped
Program
50 50 51 52 53 54 55 56 57 58 59
60 60 61 62 63 64 65 66 67 68 69
70 70 71 72 73 74 75 76 77 78 79
80 80 81 82 83 84 85 86 87 88 89
90 90 91 92 93 94 95 96 97 98 99
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
100 100 101 102 103 104 105 106 107 108 109
110 110 111 112 113 114 115 116 117 118 119
120 120 121 122 123 124 125 126 127
In this chart, program changes 10-29 have been remapped to new preset numbers. All
other presets are selected normally.
MIDI SysEx ID
_
WARNING: When
transferring SysEx data from one
Vintage Keys to another, the ID
numbers of both units must be
the same.
96 E-MU Systems
This page defines the MIDI system exclusive (SysEx) device ID number. The
SysEx ID lets an external programming unit to distinguish between
multiple Vintage Keys units connected to the same preset editor. In this
case each unit must have a unique SysEx ID number.
MIDI SYSEX ID
000
MIDI Menu
MIDI SysEx Packet Delay
MIDI SysEx Packet
Delay
The MIDI SysEx Packet Delay command lets you specify the amount of
delay between MIDI SysEx packets going out of Vintage Keys so that your
computer sequencer can record this large chunk of data over a longer
period of time. On playback from the sequencer, the SysEx data will be fed
more slowly into Vintage Keys so that the its input buffer does not
overflow, causing an error. Many sequencers allow you to “Time Stamp”
SysEx data as it is recorded. This is the preferred mode for recording SysEx
data.
The packet delay range is from 0 through 8000 milliseconds. A delay value
of zero allows full speed MIDI transfer. If you are experiencing data transmission errors, try increasing the delay value until the problem disappears.
MIDI SYSEX PACKET DELAY
300 milliseconds
Send MIDI System
Exclusive Data
This command transmits MIDI System Exclusive (SysEx) data to the MIDI
Out port of Vintage Keys. The MIDI data can be sent to a computer,
sequencer or to another Vintage Keys. When transferring data between two
Vintage Keys’s be sure both units have the same SysEx ID number! Using
the cursor key and the data entry control, select the type of MIDI data you
want to transmit. Following are descriptions of the types of MIDI data that
can be transmitted.
Current Multisetup
Transmits all parameters in the Global menu except Tuning Tables,
Program/Preset Map and Viewing Angle. Transmits the entire Controllers
menu.
Program /Preset Map
Transmits the MIDI Program -> Preset Map.
Tuning Tables
Transmits all 12 user User Tuning Tables.
_
WARNING: When
transferring SysEx data from one
Vintage Keys to another, the ID
numbers of both units must
match.
Bank 0 User Presets
Transmits all the user defined presets in Bank 0.
Bank 1 User Presets
Transmits all the user defined presets in Bank 1.
Bank 2 User Presets
Transmits all the user defined presets in Bank 2.
Bank 3 User Presets
Transmits all the user defined presets in Bank 3.
Vintage Keys Operation Manual 97
MIDI Menu
MIDI Mode
Any Individual Preset
Transmits only the selected preset.
The Enter LED will be flashing. Press the Enter button to confirm the
operation. To receive MIDI data, simply send the MIDI data into Vintage
Keys from another Vintage Keys or from a computer/sequencer.
SEND MIDI SYSEX DATA
bank 1 user presets
To Record MIDI SysEx Data into an External Sequencer:
1.
Setup the sequencer to receive system exclusive data.
Place the sequencer into record mode, then Send MIDI Data.
2.
To Receive MIDI SysEx Data from an External Sequencer:
Simply play back the sequence containing the SysEx data into Vintage Keys.
MIDI Mode
MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi.
MIDI MODE
multi
CHANGE
ignored
The MIDI Mode Change parameter specifies whether mode changes made
through an external MIDI controller are accepted or ignored.
The MIDI modes are as follows:
Omni
Responds to note information on all MIDI channels and plays the preset
currently displayed in the main screen.
Poly
Responds only to note information received on the currently selected MIDI
channel (on the preset selection screen) and plays that channel’s associated
preset.
Multi
Responds to data on any combination of MIDI channels and plays the
specific preset associated with each of the MIDI channels. You must select
multi mode for multitimbral operation.
98 E-MU Systems
Programming Basics
This chapter explains how Vintage Keys sounds are constructed and
contains important background information on how to create your own
custom presets.
Your initial involvement with Vintage Keys will most likely be using the
existing presets and selecting MIDI channels. While the factory presets are
very good, there are some things you will probably want to change
eventually, perhaps the LFO speed, the filter frequency or the attack time.
You may also want to make your own custom presets using complex
modulation routings. This module will do far more than you ever imagined
and there are whole new classes of sound just waiting to be discovered.
Each preset can consist of up to four instrument layers. Each of the four
layers can be placed anywhere on the keyboard and can be crossfaded or
switched according to key position, velocity, or by using a real-time control
such as a wheel, slider, pedal, LFO or envelope generator. A preset can also
be “linked” with up to 2 more presets creating additional layering or splits.
Vintage Keys has an extensive modulation implementation using two
multi-wave LFO’s (Low Frequency Oscillators), three multi-stage envelope
generators and the ability to respond to multiple MIDI controllers. You can
simultaneously route any combination of these control sources to multiple
destinations.
There are 512 user locations (User Banks 0-3) available to store your own
creations or edited factory presets. It’s easy and fun to edit or create your
own unique presets.
Vintage Keys Operation Manual 99
Programming Basics
Modulation
Modulation
To modulate means to dynamically change a parameter, whether it be the
volume (amplitude modulation), the pitch (frequency modulation), and so
on. Turning the volume control on your home stereo rapidly back and
forth is an example of amplitude modulation. To modulate something we
need a modulation source and a modulation destination. In this case, the
source is your hand turning the knob, and the destination is the volume
control. If we had a device that could turn the volume control automatically, we would call that device a modulation source.
Volume
Turning the volume control back and forth on your home stereo is an example of
Amplitude Modulation.
Vintage Keys is designed so that each of the variable parameters, such as the
volume, has an initial setting which is changed by a modulation source.
Therefore in the case of volume, we have an initial volume that we can
change or modulate with a modulation source.
Two main kinds of modulation sources on Vintage Keys are Envelope Generators and Low Frequency Oscillators. In the example above, an envelope
generator could be routed to automatically turn the volume control as
programmed by the envelope. Or, a low frequency oscillator could be
routed to turn the volume up and down in a repeating fashion.
Positive modulation adds to the initial amount. Negative modulation
subtracts from the initial amount.
Summing Nodes
All the modulation inputs on Vintage Keys are summing nodes. This means
that you can connect as many modulation sources as you want to an input
(such as Pitch or AmpVol). Modulation sources are simply added algebraically— connecting two knobs one set to -100 and the other set to +100
yields a net value of zero.
100 E-MU Systems
Programming Basics
Modulation Sources
Modulation
Sources
Modulation sources include Envelope Generators, Performance Controllers and
Low Frequency Oscillators. In the previous example, an envelope generator
was routed to automatically turn the volume control as programmed by the
envelope, or, a low frequency oscillator could be routed to turn the volume
control up and down in a repeating fashion. The following is a list of the
modulation sources used in Vintage Keys.
Keyboard Key
Which key is pressed.
Key Velocity
How fast the key is pressed.
Release Velocity
How fast the key is released.
Gate
High if the key is pressed, low when the key is released.
O
Tip: Try routing Key
Glide to Filter Frequency if you
want the filter to smoothly
follow pitch in solo mode.
Routing Key Glide to Pan creates
another interesting effect.
Key Glide
A smoothly changing control source based on the Glide Rate and the
interval between the last two notes played.
Pitch and Mod Controllers
Synthesizer pitch bend and modulation controllers.
Keyboard Pressure (mono aftertouch)
Key Pressure applied after the keyboard key is initially pressed.
Pedal
A continuously variable pedal controller.
Miscellaneous Controllers A -P
Any type of MIDI continuous controller data.
Low Frequency Oscillators (2 per layer)
Generate repeating waves.
Envelope Generators (3 per layer)
Generate a programmable “contour” which changes over time when a key
is pressed.
Noise & Random Generators
Generate spectrums of noise and random signals.
Footswitches
Change a parameter when the switch is pressed.
Clock Divisor
The master tempo clock can be divided and used as a modulation source.
Vintage Keys Operation Manual 101
Programming Basics
Modulation PatchCords
Random Sources
Random modulation sources can be used when you want the timbre of the
sound to be “animated” in a random or non-consistent manner.
• Key Random 1 & 2 generate different random values for each layer
which do not change during the note.
• The White & Pink Noise Generators produce varying random values.
Both white and pink noise sources are low frequency noise designed
for control purposes. Either noise source can be filtered even more by
passing it through a lag processor.
• The Crossfade Random function generates the same random value
for all layers in a preset. This source is designed to be used for crossfading and cross-switching layers, although you may find other uses.
Modulation
PatchCords

The controller Knobs
assignments printed on the front
panel are the system defaults.
You can change any of these
assignments using the Real-time
Controller Assignment page in
the MIDI menu (see page 94 for
details).
When setting up modulation with the Vintage Keys, you define a
modulation source and a modulation destination. Then, you connect the
source to the destination using “PatchCords.” Vintage Keys’s PatchCords
are connected in the software. Vintage Keys has 24 general purpose PatchCords for each layer.
You can connect the modulation sources in almost any possible way to the
modulation destinations. You can even modulate other modulators. Each
PatchCord also has an amount parameter which determines “how much”
modulation is applied to the destination. The modulation amount can be
positive or negative. Negative values invert the modulation source.
Modulation
Source
LFO 1
102 E-MU Systems
Amount +/-
-
+
Destination
Amp
Volume
Modulation
Source
Destination
LFO 1
LFO 2
Amp Env
Filt Env
Aux Env
Wheel
Pressure
etc.
Amp Vol
Pitch
Pan
LFO Rate
Aux Env
Env Atk
Glide
etc.
Programming Basics
Envelope Generators
Envelope
Generators
_
An envelope can be described as a “contour” which is used to shape the
sound over time in a pre-programmed manner. There are three envelope
generators per layer and all of them are the rate/level type.
This is how the rate/level (time based) envelopes work: When a key is
pressed, envelope starts from zero and moves toward the Attack 1 Level at
the Attack 1 Rate. As soon as it reaches this first level, it immediately begins
the next phase and moves toward the Attack 2 level at the Attack 2 rate. As
long as the key is held down, the envelope continues on through the Decay
1 and Decay 2 stages. If the key is still held when the envelope reaches the
end of Decay 2, it simply waits there for you to release the key. When you
release the key, the envelope continues into the Release 1 and Release 2
stages, stopping at the end of the Release 2 stage. Vintage Keys’s envelope
generators provide great flexibility for programming both complex and
simple envelopes.
2
y1
Dcy2
Rl
s1
At
k1
Atk
Dc
If two adjacent segments
have the same level in a “timebased” envelope, the segment
will be skipped. Adjacent
segments must have different
levels for the rate control to work.
Sustain
Level
Rls2
level
time
Key
Down

ADSR mode: To create
a standard ADSR envelope: Set
Atk1, Atk2 & Dcy1 Level to 100,
Rls 1 & 2 level to 0, and Atk2,
Dcy1, Rls2 Rates to 0. Program
Atk1, Dcy2 and Rls1 segments
as you wish. See page 201.
O
By routing the Auxiliary
or Filter Envelopes to control the
pitch (PatchCords) you can
easily hear the shape of the
envelopes you are creating.
Key
Released
All three envelope generators have the six stages described above. The
Volume Envelope generator controls the volume of the voice over time.
The Filter Envelope generator is a general purpose envelope most often
used to control the filter frequency. Unlike the Volume Envelope, however,
the Filter Envelope can have a negative level value as well as a positive
level. There is also an Auxiliary Envelope generator which is a general
purpose envelope. The Auxiliary Envelope is identical to the Filter Envelope
and can have negative as well as positive levels. You can adjust the time of
each stage to create myriad envelope shapes, which in turn shape the
sound over time.
• Volume envelopes contour the way the volume of a sound changes
over time determining how we perceive that sound. For example, a
bell struck with a hammer is instantly at full volume, then slowly dies
away. A bowed violin sound fades in more slowly and dies away
slowly. Using Vintage Keys’s Volume Envelope, you can simulate the
different types of natural instrument volume envelopes by programming them appropriately.
Vintage Keys Operation Manual 103
Programming Basics
Envelope Generators
Tempo-based Envelopes
Tempo-based envelopes are based on Time which is controlled by the
Master Tempo (located in the Global menu). The Master Tempo rate scales the
time of the Tempo-based envelope segments. The Master Tempo can be set
to use an external MIDI clock so that the envelope times can be synchronized to external sequencer or arpeggiator tempo changes. See page 82.
Tempo-Based Envelopes
= Initial Setting
= Increase Master Tempo
= Decrease Master Tempo
Envelope Repeat

The Envelope Generators can also be made to repeat. When the envelope
repeat function is On, the Attack (1&2) and Decay (1&2) stages will
continue to repeat as long as the key is held. As soon as the key is released,
the envelope continues through its normal Release stages (1 & 2).
Only the Filter and
Auxiliary Envelopes have the
repeating feature.
1
Dcy
1
s1
Atk
Rl
2
Dcy
2
Atk
Rl
s1
level
Repeat
Re..
time
Key Down
Key Released
The diagram above show how the looping envelopes work. When the key is
pressed the envelope goes through its regular Attack 1, Attack 2, Decay 1
and Decay 2 stages. In non-looping mode, the envelope would hold at the
end of the Decay 2 stage until the key was released. In looping mode
however, it jumps back to the Attack 1 stage and repeats the first four
stages. It continues to loop through these four stages until the key is
released where it immediately jumps to the Release 1 stage.
104 E-MU Systems
Programming Basics
Low Frequency Oscillators (LFOs)
Low
Frequency
Oscillators
(LFOs)
A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow
rate. The Vintage Keys has two multi-wave LFOs for each channel. The LFO
waveforms are shown in the following illustration.
Random
Triangle
Sawtooth
Sine
Squ are
33% Pulse
2 5 % Pu lse
1 6 % Pu lse
12% Pulse
LFO Tricks & Tips:
• The Random LFO wave is truly
random and is different for
each voice and layer.
• The Pattern (Pat) waveforms
will sound the same on
different layers and voices.
• Sine + Noise is very useful for
simulating trumpet and flute
vibrato.
Pat: Octaves
(two cords)
Pat: Sus4 trip
C
F
G
★ When routing Hemi-quaver
to Pitch:
+38 = major scale
-38 = phrygian scale
+76 = whole tone scale
(+38) + (+76) = diminished
Pat: Fifth+Octave
+ Octave
- Octave
Pat: Neener
C
G
C
Sine 1 ,2
Sine 1,3,5
C
A#
G
odd amount = S+H sound
Sine + Noise
Note: References to musical
intervals in the pattern LFO
shapes are with the LFO
routed to pitch and a
PatchCord amount of +38.

Try combining the
Pattern LFOs, or controlling the
amount of one with another, or
combining them with the clock
divisors.
Hemi-qu aver
By examining the diagram of the LFO waveforms, you can see how an LFO
affects a modulation destination. The shape of the waveform determines
the result. Suppose we are modulating the pitch of an instrument. The sine
wave looks smooth, and changes the pitch smoothly. The square wave
changes abruptly and abruptly changes from one pitch to another. The
sawtooth wave increases smoothly, then changes back abruptly. The
sound’s pitch follows the same course. Controlling the pitch of an
instrument is an easy way to hear the effects of the LFO waves.
Like the Auxiliary Envelope, LFOs can be routed to control any real-time
function such as Pitch, Filter, Panning, or Volume. A common use for the
LFO is to control the pitch of the sound (LFO -> Pitch). This effect is called
vibrato and is an important performance effect. Many presets use this
routing with the modulation wheel controlling “how much” LFO
modulation is applied. Another common effect, Tremolo, is created by
controlling the volume of a sound with the LFO (LFO -> Volume).
Vintage Keys Operation Manual 105
Programming Basics
Clock Modulation
You might use the LFOs to add a slight bit of animation to the sound by
routing the LFO to control the filter. For this effect, set the LFO “amount”
low for a subtle effect.
When a PatchCord amount is a negative value, the LFO shape is inverted.
For example, inverting the sawtooth wave produces a wave that increases
abruptly, then smoothly glides down.
Negative Amount
-
Sawtooth
Clock
Modulation

Envelopes are triggered
on the positive going edge of the
clock. LFOs are triggered on the
negative going edge of the clock.

+
I n v e rt e d S a w t o o t h
You can use the Master Clock as a modulation source, to trigger the Filter or
Auxiliary Envelope generators, trigger Sample Start, synchronize the LFOs,
or directly as a square wave modulation source. The Clock source is
available in eight divisions (octal whole note, quad whole note, double
whole note, whole note, half note, quarter note, eighth note, sixteenth
note). You can use the different rates separately or in conjunction to create
complex “synchro-sonic” rhythm patterns. You can also use a MIDI Clock
as the Master Clock to synchronize to an external MIDI device such as a
drum machine or sequencer. (See Master Tempo in the Global menu.)
Clocks are routed exactly like the other modulations sources using the
PatchCords. The PatchCord Amount MUST be positive (+) for the clock to
pass. By modulating the PatchCord Amount, you can route the divided
clocks using real-time controllers or other modulation sources.
When an LFO is triggered by a clock, the LFO wave resets to zero every time
the clock wave goes low. If the LFO rate is close to the clock rate, the LFO
virtually synchronizes with the clock. If the two rates are far apart, the
waveform of the LFO will be mildly or radically altered.
The tempo of the master
clock is set in the Global menu.
Triggered LFO
LFO Wave
Clock
LFO Trigger causes the LFO to reset each time the clock waveform goes low.
106 E-MU Systems
Programming Basics
Clock Modulation
LFOs can also be perfectly synchronized with the clock at any of 25 note
divisions. This allows you to create very cool “synchro-sonic” effects that
work perfectly at any tempo. Choosing one of the note divisors in the LFO
rate screen selects the synced LFO function.
There are many possibilities for clock modulation and retrigger. For
example, you can create a repeating six segment curve of any shape by
triggering the Filter or Auxiliary Envelope generators with the clock. A few
other possibilities are listed below.
LFO Synced to 1/4 Note Clock
• Turn different voice layers on and off using different clock divisors.
• Switch between Auxiliary and Filter Envelope retriggering using a
slider or footswitch.
• Retrigger LFOs or Envelopes using noise or other LFOs to create
random or semi random effects.
• Alter the LFO waveform by modulating the rate of a triggered LFO.
• Route multiple clocks with different divisors to the same destination
(such as pitch) to create complex patterns. (Hint: Adjust the PatchCord
Amounts.)
Eighth
Note
Quarter
Note
Adding these two clocks together in equal amounts produces a stairstep waveform.
16th
Note
8th
Note
Quarter
Note
Adding multiple clocks with unequal amounts produces complex repeating patterns.
Vintage Keys Operation Manual 107
Programming Basics
Modulation Destinations
Modulation
Destinations
The PatchCords section of the Preset Edit menu is where you connect
sources to destinations. Each PatchCord has an amount associated with it
which controls how much modulation is applied.
L1
PATCHCORD
ModWhl -> RTXfade
Layer
L
Z-Plane
Filter
Instrument
Amp
R
Gain
Envelope
Gen.
LFOs
Vol
Pan
Chorus
Pitch
Freq.
Glide
All the modulation
destinations are summing
nodes. This means that you can
connect as many modulation
sources as you want to a
destination. Modulation sources
are simply added algebraically
— connecting two sources, one
with a value of -100 and the
other with a value of +100 yields
a net value of zero.
The PatchCords screen above and the diagram below show how
modulation sources are connected to destinations. The modulation sources
can control any of the destinations in the layer.
Start Offset

#01
+036
Mod
Wheel
Envelope
Gen.
MIDI
Controls
Envelope
Gen.
Key #
Velocity
Gate
Mod.
Proc.
• Note-on modulation sources, such as key, velocity and gate output a
single value at note-on time. Realtime modulation sources such as
LFOs, envelope generators and modulation wheels output
continuously changing values.
The possible modulation routings are completely flexible as shown in the
diagram above. Multiple sources can control the same destination, or a
single source can control multiple destinations.
108 E-MU Systems
Programming Basics
Modulation Processors
Modulation
Processors
Modulation processors are devices which can modify modulation sources
such as LFOs and envelope generators before they are applied to a destination. Modulation processors let you create patches and do tricks which
would not be possible otherwise. These modulation processors are independently programmable on each of the four layers.
Switch
Outputs a digital “1” when the input is greater than “0”.
Switch
(above zero)
Summing Amp
Lets you add several modulation signals together before applying them to a
destination. This processor can save PatchCords when routing the output
to multiple destinations.
DC
Sum
Lag Processors
Slows down rapid changes in the input signal. The output “lags” behind the
input at a pre-programmed rate. There are two lag processors, Lag 0 and Lag
1. Lag 1 has a longer lag time than Lag 0.
Lag
Processor
Absolute Value
This function inverts negative input values and outputs only positive
values. This device is also called a full wave rectifier.
Absolute
Value
Vintage Keys Operation Manual 109
Programming Basics
Modulation Processors
Diode
The diode blocks negative input values, passing only positive values.
Diode
Flip-Flop

The value of a digital
“1” is equal to the PatchCord
amount.
The output of this processor alternates between a digital “1” and digital “0”
each time the input goes positive from zero or a negative value. With an
LFO input, the output will be a square wave of half the input frequency.
x
x
Flip-Flop
y
y
Quantizer
With the input PatchCord set to 100%, the output value is limited to 16
discrete values. The value of the input PatchCord controls the number of
steps. The value of the output PatchCord controls the size of the steps.
# of
Steps
Size of
Steps
Quantizer
4x Gain
This processor amplifies the modulation source by a factor of 4.
4x
Gain
O
Summing Amps can be
useful in complicated patches
where you want to control a
combination of modulation
signals with a single patchcord.
Lag Inputs
The Lag processors can be used as 2 additional summing amps. Lag0sum
and Lag1sum are modulation sources which equal the sum of PatchCords
connected to the Lag in destination. The summing amp is located before
the lag processor as shown in the following illustration.
Sum Node
Lag
Lag 0 sum
110 E-MU Systems
Lag 0
Programming Basics
Preset Modulation Processors
Preset Modulation
Processors start working as soon
as the preset is selected. The
Layer Modulation Processors
take effect only when a key is
pressed.
Preset Lag
Like the Layer Lag processors (described on page 109) the Preset Lag slows
down rapid changes in the input signal. The output “lags” behind the input
at a pre-programmed rate. Unlike the layer level lag processors, the preset lag
takes effect as soon as the preset is selected. In contrast, the layer level lag
processors begin acting only after a keyboard key has been depressed. The
Preset Lag also has a Lag Amount input which controls the lag time. Positive
lag amounts increase the lag time. A MIDI controller (front panel knob) is
commonly used to control lag amount.
The preset lag can be used to “spin-up” and “spin-down” an LFO which
controls some other effect, perhaps left/right panning, pitch, or the filter. A
MIDI footswitch could be used as the input to the lag which acts to slow
down the instantaneous change of the switch. The slowly changing output
value is then routed using a layer patchcord to crossfade between layers or
change the speed of an LFO.
Preset
Lag
ex. footswitch
Lag Amount
(+ value = longer)
Preset Ramp
This processor generates a positive or negative going slope whenever the
first key is depressed on the MIDI channel.
1st Note
Played
Preset Ramp
Preset Ramp
Positive Rate
Negative Rate
original
value
original
value
time
decrease
O
There are also two “Preset Level” modulation processors located in the
“Preset Patchcords” screen of the Edit menu. It is important to understand
that although the preset processors originate at the Preset Level PatchCords,
their output is used in the Layer PatchCords.
increase
Preset
Modulation
Processors
time
1st Note
Played
Vintage Keys Operation Manual 111
Programming Basics
Preset Modulation Processors
The preset ramp instantly resets when all notes have been released and the
next first key on the MIDI channel is pressed. The Ramp Rate polarity
(+ or -) determines if the ramp will be positive or negative going. The value
of the ramp rate sets the increment. Large values produce fast ramps and
small values produce slow ramps. Multiple inputs can be connected to the
ramp rate (just like all the other destinations in Vintage Keys).
The patch below shows an application for the Preset Ramp which generates
an adjustable decay envelope ONLY on the first note played to bring in the
sound from another layer. Instead of routing the output to the Amp
Volume you could just as easily route it to control Pitch, LFO Speed or any
other destination you can think of. Study this patch if you want to learn a
few new tricks using the patchcords.
One Layer
Real Rocket Science
Initial Setting
-96 dB (off)
Percussion
Instrument
Z-Plane
Filter
R
Amp
Vol
Pan
L
Cord
+100
Invert
DC
Rate
Preset
Ramp
Out
Cord
-100
Decay Time
(MIDI G)
Cord
-100
Perc. Amount
(MIDI H)
Preset
Cords
1.
O
The combination of the
DC & Perc. Decay Time Cords
has the effect of reversing the
Percussion Decay Time knob.
The decay time increases as the
knob is turned up.
2.
3.
4.
5.
6.
112 E-MU Systems
Cord
+100
Layer
Cords
DC - Sets initial ramp Fast-Positive (+100)
Decay Knob - Inverted value slows ramp as the knob value is increased.
Ramp Out Cord - Inverts Ramp slope (downward).
Amp Vol - Initial setting is Off (-96dB). Ramp cannot overcome this
negative bias.
Perc. Amt - When this knob is turned up, the positive bias on the Amp
is restored so that so that the Ramp can now affect Amp Volume.
Volume Envelope - Fast Attack, Full Sustain, No Release
Programming Basics
Preset Modulation Processors
Using the
Modulation
Processors
Modulation processors are inserted into a modulation routing as shown in
the following diagram.
The modular analog synthesizers of yesteryear were incredibly flexible,
partly because processing devices could be connected in any order.
Modulation processors are designed according to this modular concept.
They can be linked and used in a wide variety of ways limited only by your
imagination. Consider the following example:
Velocity ~
Switch
Pitch
Cord
Cord
Switch On when
Velocity > 0
Switch value
is Scaled by
Cord Amount
The patch illustrated above is programmed by setting the PatchCord
screens as shown below.
L1
#01
+100
L1
#02
+022
PATCHCORD
Vel+- -> Switch
PATCHCORD
Switch -> Pitch
This particular modulation shifts the overall pitch up a fifth when the key
velocity exceeds 64. Velocities below 64 play at normal pitch. Notes with
velocities of 64 and above are raised a perfect fifth. The Velocity “~” source
scales the played velocity around zero. In other words, low velocities (below
64) will have negative values and high velocities (64 and above) will be
positive. A velocity of 64 would be zero. The Switch module only outputs a
“1” if the input value is greater than zero. This digital “1” value can be
scaled through the attenuator on the PatchCord to raise or lower the pitch
by any amount. In this case, a scaling value of +22 raises the pitch by a
perfect fifth. The amount of the PatchCord on the input to the switch is
unimportant because ANY velocity value equal or greater than 64 will flip
the switch. If the input PatchCord amount were a negative value however,
the action of the velocity would be reversed and velocities less than 64
would raise the pitch and velocities equal or greater than 64 would play the
original pitch.
Vintage Keys Operation Manual 113
Programming Basics
Preset Modulation Processors
But what if you want the velocity switch point to be something other than
64? Thanks to modulation processors, it can be done. Here's how.
Velocity ~
Cord
Switch
21
DC
Pitch
Cord
Switch On when
Velocity > 0
Cord
Switch value
is Scaled by
Cord Amount
Connect the DC level to the input of the switch along with the velocity
value. Note that more than one modulation source can be applied to the
input of a processor.
DC offset adds a fixed value based on the PatchCord Amount setting. If
applied to the switch along with the velocity, it changes the velocity value
required to trip the switch. By setting the DC amount to a negative
amount, higher velocity values are required to trip the switch. Setting the
DC value to a positive value would bring the velocity switch point down.
The PatchCord screens for this patch are shown below.
L1
#01
+100
L1
#02
-021
L1
#03
+022
PATCHCORD
Vel+- -> Switch
PATCHCORD
DC ->
Switch
PATCHCORD
Switch -> Pitch
114 E-MU Systems
Programming Basics
Preset Modulation Processors
More Examples
To derive a smooth random function you could route the Pink Noise
generator through one of the Lag Processors. A smooth random wave is
useful in small amounts to add a degree of natural variation to timbre when
routed to filter cutoff. Normal pink noise is low pass filtered audio
frequency noise with a 3 dB/octave slope to give equal energy per octave.
Vintage Keys pink noise is actually more like very low frequency filtered
noise, but it is perfect for use as a random control source.
Pink
Noise
Lag
Processor
Cord
Filter
Cutoff
Cord
Lag Smooths
Pink Noise
Smooth
Random Function
The Quantizer can generate interesting whole-tone scales when envelope
generators or LFOs are routed to the input. The quantizer turns a smoothly
changing input signal into a series of steps. By routing the output of the
quantizer to Pitch and adjusting the PatchCord amounts, you can control
both the number of steps and the pitch interval of each step.
Number
of
Steps
Size
of
Steps
Quantizer
Cord
Cord
The input PatchCord amount controls how many steps will be generated.
With a sawtooth wave (LFO+) feeding the input and the PatchCord amount
set to 100%, sixteen steps are generated. The output PatchCord amount
controls the size (or interval) of the steps.
Try setting up the following patch exactly as shown below using your
favorite preset as a starting point.
L1
LFO1
SHAPE
sawtooth
L1
LFO1
RATE
0.35Hz
SYNC
key sync
DELAY
000
VAR
000
Vintage Keys Operation Manual 115
Programming Basics
Preset Modulation Processors
O
The 4x Amp can be used
to get more steps or increase the
interval of the Quantizer.
L1
#01
+030
L1
PATCHCORD
Quantize -> Pitch
#02
+100
L1
#03
-050
PATCHCORD
LFO1+ -> Quantize
O
Experiment with this
patch by connecting other
sources and destinations to the
Quantizer.
PATCHCORD
DC ->
Pitch
This patch generates an ascending arpeggio every time a key is pressed. A
diagram of the patch is shown below. The patch is very straightforward
except for the DC offset which was added to bring the pitch down into
tune. (Sometimes you have to fix a problem, but using the mod processors
there's usually a way around it to achieve the desired result.)
LFO+
Number
100%
Size
100%
Quantizer
Pitch
Cord
Cord
Cord
DC
-50%
You can start to see some of the possibilities (and there are many).
Whenever you find yourself wishing for some esoteric type of control, take
a minute to think and see if there is a way to achieve the desired result
using the modulation processors.
116 E-MU Systems
Programming Basics
Dynamic Filters
The block diagram of the Vintage Keys’s signal path is shown below.
L
Z-Plane
Filter
Instrument
Amp
R
Q
Vol Pan
Start Offset
Glide
Retrigger
Glide
Freq.
Pitch
To understand how a filter works, we need to understand what makes up a
sound wave. A sine wave is the simplest form of sound wave. Any
waveform, except a sine wave, can be analyzed as a mix of sine waves at
specific frequencies and amplitudes.
Any waveform can be analyzed as a mixture of sine waves.
One way to represent complex waveforms is to use a chart with frequency
on one axis and amplitude on the other. Each vertical line of the chart
represents one sine wave at a specific amplitude and frequency.
100
80
Amplitude
Dynamic
Filters
60
40
20
40
80
160
360
720 1440 2880 ...
Frequency
Vintage Keys Operation Manual 117
Programming Basics
Dynamic Filters
What is a Filter?
Most sounds are complex waves containing many sine waves of various
amplitudes and frequencies. A filter is a device which allows us to
remove certain components of a sound depending on its frequency. For
example, a low-pass filter lets the low frequencies pass and removes only the
high frequencies as illustrated in the following diagram.
Cutoff Frequency
100
Amplitude
80
Output of Filter
Low Pass
Filter
60
40
20
40
80
160 360 720 1440 2880 ...
Frequency
A filter that lets only the high frequencies pass is called a high-pass filter as
illustrated in the following diagram.
Initial Frequency
100
Amplitude
80
Filter Output
High Pass
Filter
60
40
20
40
80
160 360 720 1440 2880 ...
Frequency
118 E-MU Systems
Programming Basics
Dynamic Filters
A filter which only lets a certain band of frequencies pass is called a
band-pass filter.
Center Frequency
100
Filter
Output
Amplitude
80
Band Pass
Filter
60
40
20
40
80
160 360 720 1440 2880 ...
Frequency
A notch filter is just the opposite of a band-pass filter and is used to
eliminate a narrow band of frequencies.
Amplitude
Another control found on traditional filters is called Q or resonance. A
lowpass filter with a high Q emphasizes the frequencies around the cutoff
frequency. The following chart shows how different amounts of Q affect
the low-pass filter response. In terms of sound, frequencies around the
cutoff tend to “ring” with high Q settings. If a filter with high Q is slowly
swept back and forth, various overtones are “picked out” of the sound and
amplified as the resonant peak sweeps over them. Bells and gongs are real
world examples of sounds which have a high Q.
Low Q
Med Q
High Q
Frequency
Vintage Keys Operation Manual 119
Programming Basics
Dynamic Filters
Another characteristic of a filter is the number of poles it contains. Traditional synthesizer filters were usually either 2-pole or 4-pole filters. The
Vintage Keys has selectable 2, 4, and 6-pole low-pass filters. The number of
poles in a filter describes the steepness of its slope. The more poles, the
steeper the filter's slope and the stronger the filtering action. The tone
controls on your home stereo are probably one-pole or two-pole filters.
Parametric equalizers are usually either two-pole or three-pole filters.
Amplitude
In terms of vintage synthesizers, Moog and ARP synthesizers used 4-pole
filters, Oberheim and E-mu synthesizers were famous for their 2-pole filter
sound.
6-pole
4-pole
Lowpass Lowpass
2-pole
Lowpass
Frequency
Using a filter, we have a way to control the harmonic content of a sound.
As it turns out, even a simple low-pass filter can simulate the response of
many natural sounds.
For example, when a piano string is struck by its hammer, there are initially
a lot of high frequencies present. If the same note is played softer, there are
fewer high frequencies generated by the string. We can simulate this effect
by routing keyboard velocity to control the low-pass filter. The result is
expressive, natural control over the sound.
If you use an envelope generator to control the cutoff frequency of a filter,
the frequency content can be varied dynamically over the course of the
note. This adds animation to the sound as well as simulates the response of
many natural instruments.
120 E-MU Systems
Programming Basics
Dynamic Filters
A more complex type of filter is called a parametric filter or Swept EQ. A
parametric filter allows control over three basic parameters of the filter. The
three parameters are: Bandwidth, Frequency and Gain. The Bandwidth allows
you to select the width of the range of frequencies to be boosted or cut, the
Frequency defines the center frequency of the bandwidth, and the Gain
parameter either boosts or cuts the frequencies within the selected band by
a specified amount. Frequencies not included in the selected band are left
unaltered. This is different from a band-pass filter which attenuates
(reduces) frequencies outside the selected band.
Freq.
+18 dB
Boost
Amplitude
Parametric
Filter
0 dB
Bandwidth
Cut
-18 dB
Frequency
The parametric filter is quite flexible. Any range of frequencies can be either
amplified or attenuated. Several parametric sections are often cascaded in
order to create complex filter response curves.
If four parametric filter sections were cascaded, it would be possible to
create the following complex filter response.
4 Parametric Equalizers
20
dB Magnitude
Parametric Filters
15
10
5
0
-5
500
10,000
15,000
20,000
Linear Frequency - Hertz
Many natural instruments have complex resonances which are based on
their soundboard or tube size. The resonance shown above would be impossible to create using a normal synthesizer filter.
Vintage Keys Operation Manual 121
Programming Basics
Dynamic Filters
The Z-Plane Filter
A Z-plane filter is a filter which can change its function over time. In a
Z-plane filter, we start with two complex filter types and interpolate
between them using a single parameter. See the following diagram.
Morph
Amplitude
B Filter
A Filter
Morph
Frequency
The Z-plane filter has the unique ability to change its function over time.
Filters A and B represent two different complex filters or “frames.”
Changing a single parameter, the Morph, changes many complex filter
parameters simultaneously. Following along the Morph axis you can see
that the filter response smoothly interpolates between the two filters. This
is the essence of the Z-plane filter. Through the use of interpolation, many
complex parameters are condensed into one manageable entity.
Consider, as an example, the human vocal tract, which is a type of complex
filter or resonator. There are dozens of different muscles controlling the
shape of the vocal tract. When speaking, however, we don't think of the
muscles, we just remember how it feels to form the vowels. A vowel is really
a configuration of many muscles, but we consider it a single object. In
changing from one vowel to another, we don't need to consider the
frequencies of the resonant peaks. You remember the shape of your mouth
for each sound and interpolate between them.
This Z-plane filter sweep can be controlled by an envelope generator, an
LFO, modulation wheels or pedals, keyboard velocity, key pressure, and so
on. In fact, any of the modulation sources can control the Z-plane filter.
Because creating the complex filtering is difficult and very time consuming,
we have created 50 different filters and installed them permanently in ROM
for your use. You simply select and use the filters in a manner similar to
choosing an instrument. Because there are so many types of instruments
and filters to choose from, the number of possible permutations is
staggering.
122 E-MU Systems
Programming Basics
Signal Flow
Signal Flow
Going back to the Signal Path diagram for a single channel we can
reexamine the complete signal path.
Instrument
Sample
Pitch Start
Z-Plane
Filter
Freq
R
DCA
Pan
Q
L
Volume
Filter
Envelope
Velocity
Volume
Envelope
Instrument
This is the sampled sound wave. The pitch of the instrument can be
modulated by any modulation source. The sample start point can be
changed only at the time the note is played.
Z-Plane Filter
The Z-Plane Filter is used to shape the harmonic content of an instrument.
The filter envelope is commonly used to shape the harmonic content
dynamically over time but the filter frequency can be modulated by any
source. The Q parameter can be modulated only at note-on time. There are
50 types of filters available. See “Vintage Keys Filter Types” on page 148 for
a complete list of the filters.
Digitally Controlled Amplifier (DCA)
Together with the Volume Envelope, the DCA is used to shape the volume
contour of a sound. The DCA can be controlled by any modulation source.
Velocity is often used as a modulation source for the DCA so that the harder
you play, the louder the sound becomes.
Pan
Adjusts the balance of sound to the left and right channels. Pan can be
modulated by any modulation source.
Vintage Keys Operation Manual 123
Programming Basics
MIDI Channels & Real-time Controls
MIDI Channels
&
Real-time
Controls
The front panel control knobs send out real-time controller information on
separate continuous controller numbers. There is a set of 32 continuous
controller numbers for each MIDI channel. Some continuous controllers,
such as modulation wheel, volume, and pan have standardized numbers.
For example, volume is usually sent on continuous controller #7. The front
panel controller knobs on are pre-programmed to control the Vintage Keys.

The following MIDI
controls are automatically routed
in Vintage Keys:
Pitch Wheel
Modulation Wheel
Pedal
Volume
Pan
Expression
The MIDI real-time controllers may seem confusing at first, but they are
really very simple once you understand them. You already know that there
are 16 MIDI channels per MIDI cable. Each MIDI channel uses three basic
types of messages; note on/off, preset changes, and continuous controller
messages. Vintage Keys can also send real-time control information, which
simply means control occurring in real-time or “live.” Real-time control
sources include such things as controller knobs, pitch wheels, modulation
wheels, control pedals and aftertouch. These are used to add more
expression or control.
pwh
01
04
07
10
11
MIDI
Channel 1
MIDI
Channel 2
MIDI
Channel 3
MIDI
Channel 16
Note
On/Off
Note
On/Off
Note
On/Off
Note
On/Off
Program
Change
Program
Change
Program
Change
Program
Change
Continuous
Controllers
Continuous
Controllers
Continuous
Controllers
Continuous
Controllers
Any MIDI controller can be routed to any modulation destination. First,
you have to know which controller numbers your keyboard transmits. Most
modern MIDI keyboards let you select a controller number for each control
on the keyboard. For example, it may let you select a number from 0-31 for
the data slider. The realtime controller numbers that the keyboard
transmits must match the numbers Vintage Keys is receiving, otherwise
nothing will happen when you move the controls.
Suppose you wanted to send the four data knobs on another keyboard via
MIDI to Vintage Keys. Vintage Keys can handle up to 16 MIDI controllers
(A-P) of your choosing. “MIDI A-P” are simply names for the internal
connections that link external MIDI continuous controllers to the
PatchCord section of Vintage Keys. There are two parts to the connection.
First, MIDI controller numbers are assigned to the letters A-P in the
Controllers menu. Next, the letters A-P are connected to synthesizer control
parameters in the PatchCord section of the Preset Edit menu. The
PatchCord Amount scales the amount of each controller by a positive or
negative value.
The factory presets have the MIDI A-L controls connected to standard
synthesizer functions (marked on the front panel). By choosing any four of
124 E-MU Systems
Programming Basics
MIDI Channels & Real-time Controls
the 12 standard functions, the four knobs on your keyboard will work the
same on every preset. The chart below shows how this might work if your
keyboard transmitted the slider settings on MIDI controllers 21-24.
MIDI Controller # Routing Standard Function
21
A
Controls Filter Frequency
22
B
Controls Filter Resonance
23
C
Controls Filter Attack
24
D
Controls Filter Decay
Preset Edit
Menu
A
0
1
2
31
MIDI
95
Controller
A
0
1
2
MIDI
64
A
-
B
-
C
-
L
-
+
B
31
95
Controller
B
0
1
2
MIDI
64
C
31
95
Controller
C
0
1
2
MIDI
64
+
Cord
MIDI
+
L
31
64
95
Controller
L
Cord
12 Control
Knobs
Cord
MIDI
Menu
Cord
Control
Slider 1
Slider 2
Slider 3
Slider 4
+
Amount
Patchcord Destinations
Key Sustain
Fine Pitch
Pitch
Glide
Chorus Amount
Sample Start
Sample Loop
Sample Retrigger
Filter Frequency
Filter Q
Amplifier Volume
Amplifier Pan
Amplifier Crossfade
Volume Envelope Rates
Volume Envelope Attack
Volume Envelope Decay
Volume Envelope Release
Filter Envelope Rates
Filter Envelope Attack
Filter Envelope Decay
Filter Envelope Release
Aux. Envelope Rates
Aux. Envelope Attack
Aux. Envelope Decay
Aux. Envelope Release
LFO 1 & 2 Rates
LFO 1 & 2 Trigger
Lag Processor
Summing Amp
Switch
Absolute Value
Diode
Quantizer
4x Gain
Cord 1-24 Amount
FXA Send 1-4
FXB Send 1-4
Preset Lag In
Preset Lag Amount
Preset Ramp Rate
Preset
Cords
MIDI A-P are internal connections which simultaneously carry front panel controller knob
data and MIDI continuous controller data.
The front panel controller knobs work just like MIDI real-time controllers.
The four controller knobs can be assigned to the first 12 controllers A-L.
The front panel knob and incoming MIDI controller messages assigned to
that letter, both control the same parameter that you select in the
PatchCord screen.
Vintage Keys Operation Manual 125
Programming Basics
MIDI Channels & Real-time Controls
Bank Select
Commands
When the original MIDI specification was developed, no synthesizer had
more than 40 preset locations. At that time being able to select up to 128
presets didn’t seem like much of a limitation. So it was that the original
MIDI specification provided for the selection of up to 128 presets.
Musicians wanted MORE presets and so the MIDI specification was later
amended to include Bank Select Commands. It was decided that Bank
Select Commands would use Continuous Controllers 0 and 32 to allow the
selection of up to 16,384 banks of 128 presets (over two million presets).
Because Bank Selects are implemented using Continuous Controllers, the
Bank Selections can be made per channel. (This is getting better and better.)
For each MIDI channel, you can select any of 16,384 banks and then one of
the 128 presets in the bank. Of course no synthesizer has 16,384 banks
(yet), but hey, it’s nice to know it’s possible (for that really BIG project).

When you press the
Audition button, the Bank Select
MSB and LSB are displayed on
the top line of the display.
Continuous Controller (CC) 0 is the MSB (most significant byte) and CC 32
is the LSB (least significant byte). Normally you send both the MSB and LSB
controllers to implement a bank change.
Vintage Keys remembers the MSB and the LSB that were last sent (or last
changed from the front panel). For example, if you have already set the
Bank MSB to 04, you need only send the LSB to change banks within the
Vintage Keys sound set. See the MIDI Bank Select chart below.
The selected bank remains selected until you change it (either via MIDI or
by changing the bank from the front panel). Standard MIDI Program
Change commands select from 128 presets within the selected bank.
MIDI BANK SELECT
MSB LSB
cc00 cc32
126 E-MU Systems
USER
USER
USER
USER
00
00
00
00
00
01
02
03
Bank 0
Bank 1
Bank 2
Bank 3
VROM
VROM
VROM
VROM
18
18
18
18
00
01
02
03
Bank 0
Bank 1
Bank 2
Bank 3
Programming Basics
Stereo Mix Outputs
Stereo Mix
Outputs
This feature is useful for adding signal processing (EQ, reverb, etc.) of
individual sounds prior to final mixdown.
The routing can be performed according to MIDI channel from the Mix
Output screen in the Global menu. Simply assign each channel to the
desired output.
Global
Menu
MIX OUTPUT
channel 01: Send 1->main
To route a particular preset to a Send, first go to the Mix Output screen in
the Global menu and set the MIDI channel to “use preset”.
Global
Menu
MIX OUTPUT
channel 01: use preset
Next set the Mix Output routing in the preset to the desired output (for
each layer). Yes, you can send each layer to a different send if you want.
Preset Edit
Menu
L1
MIX OUTPUT
Send 2 -> main
By sending different amounts of presets to the effects, subtle or striking
effects can be achieved using the two effect processors. This feature allows
you to get the most out of two effects since you can have eight different
mixes.
For more information, refer to the diagram on the following page or, See
“Mix Output” on page 86.
Vintage Keys Operation Manual 127
Programming Basics
Stereo Mix Outputs
OUTPUT SECTION
& EFFECTS PROCESSORS
FX Sends
Send 2 10%
Send 3 0%
Send 4 0%
Mix
Output
Send 1
S
E
N
D
1
FX Sends
PRESET
Send 4 15%
Ch 2
SEND 2
Ch 3
SEND 3
S
E
N
D
2
Chorus
M
A
I
N
Send 1 0%
Send 3 20%
Mix Output
Effect
A
B➟A
Send 2 0%
Ch 1
Hall 1
Send 1 15%
PRESET
EDIT MENU
Effect
B
Jack Detect
S
U
B
1
S
E
N
D
3
Ch 16
SEND 4
GLOBAL MENU
S
E
N
D
4
The Mix Output screen in the Global menu assigns each MIDI channel to a
Send (1-4) or to “Preset”.
The Mix Output screen in the Preset Edit menu is ONLY used if the Global
Mix Output is set to “Preset”. Otherwise the Preset Edit menu Mix Output
settings are ignored.
128 E-MU Systems
Preset Edit Menu
The Preset Edit Menu contains four layers of preset parameters that you can
modify and then save as preset information in one of the user preset
locations. There are four instrument layers in the Preset Edit menu. See the
illustration on page 130 for a description of the Preset Layer model.

While the Preset Edit
menu is activated, all incoming
MIDI preset changes on the
selected channel are ignored.
_
If there is no “A” option
in the Layer field, you must
enable the “Edit All Layers”
function in the Global Menu
(page 92).
To Access the Preset Edit Menu:
Press the Preset Edit button, lighting the LED. The Preset Edit Menu screen
displays the menu page most recently selected since powering up Vintage
Keys. The cursor appears below the first character of the screen heading on
line one.
To Scroll through Layers:
Place the cursor below the layer field. Rotate the data entry control to select
a layer (1-4).
You can also select All Layers by choosing “A” in the layer field. When All
Layers is selected, the existing parameter value for any field will be
displayed if the values of all four layers are equal. If the values of all four
layers are NOT equal, the value of layer 1 will be displayed with flashing
characters. If you change the parameter value, all layers will assume the
new value and the display will stop flashing.
To Scroll through Pages:
Whenever you are in the Preset Edit menu, the sixteen command buttons
function as “jump” buttons to various screens in the Preset Edit menu,
which are labelled below each button. Pressing a jump button instantly
takes you to the first screen in the selected category. Pressing the button
again takes you to the second screen in the category and so on. Repeated
pressing will rotate you back to the first screen in the category.
You can also change pages by placing the cursor below the page title field.
This will automatically be done when you press the Home/Enter button.
Rotate the data entry control to scroll through the pages.
To Change a Parameter:
Place the cursor below the parameter field. Rotate the data entry control to
change the parameter value.
Vintage Keys Operation Manual 129
Preset Edit Menu
Preset Name
Preset Name

The Preset names consists of two parts: a 3 letter preset category and a 12
letter preset name. Position the cursor under the character location and use
the data entry control to change the character.
The preset category is used in conjunction with the Sound Navigator
feature. Using the Sound Navigator, a category is selected and the presets in
that category are listed in alphabetical order. Creating categories makes it
easier to find specific sounds when you need them. For more information
on Sound Navigator, see Sound Navigator in Chapter 2: Operations.
You can also select
characters using the keyboard.
PRESET NAME
0001 syn: P10
Four Layer
Architecture
Vintage Keys provides a 4 layer instrument structure. Each layer is a
complete synthesizer voice with 50 filter types, over 64 modulation sources,
more than 64 modulation destinations and 24 patchcords to connect everything together. In addition, the four layers can be crossfaded or switched by
key position, velocity or any real-time modulation source.
Instrument
Z-Plane Filter
Layer 1
R
DCA
Pan
L
Instrument
Z-Plane Filter
Layer 2
R
DCA
Pan
L
Instrument
Z-Plane Filter
Layer 3
R
DCA
Pan
L
Instrument
Layer 4
Z-Plane Filter
R
DCA
Pan
L
130 E-MU Systems
Preset Edit Menu
Selecting Layers
Selecting Layers
In most of the Preset Edit screens, the selected layer is shown in the upper
left corner of the display. Layers 1-4 or All can be selected by positioning
the cursor on this field and using the data entry control to change the layer.
In the screen shown below, Layer 1 is selected.
L1
INSTRUMENT
0088 str: M12 Strings
ROM:VROM
When “All Layers” (A) is selected, the existing parameter value for any field
will be displayed if all layers are equal. If the layer parameter values are
NOT equal, the value of Layer 1 will be displayed with flashing characters.
If you move the data entry control all values will be equal to this new value
and the parameter value will no longer flash.
Vintage Keys Operation Manual 131
Preset Edit Menu
Selecting an Instrument
Defining Layer
Parameters
Selecting an
Instrument
The Preset Edit menu parameters define the four layers and include the
instrument assigned to the layer, the ranges of the layer, tuning, envelopes,
filters, and patch cords. These parameters are defined for each layer on an
individual basis (based on the currently selected layer). See “Common
Preset Parameters” on page 161 for global preset settings.
The Instrument parameter defines which of the available instrument
sounds is played by the current layer.
ROM SIMM Name
L1
INSTRUMENT
ROM: VROM
0078 bas : FM Polybass
Instrument Category
Instrument Name
To select an instrument for the selected layer(s), move the cursor to the
bottom line of the display and change the instrument using the data entry
control.
Sound Navigator
Sound Navigator also works to help select Instruments although the
category names are predefined. When the cursor is on the Instrument
Category field, turning the data entry control selects different instrument
categories. The Name Field will change to show the first instrument in each
category. Move the cursor to the instrument name to select instruments in
the selected category.
L1
INSTRUMENT
ROM: VROM
0078 bas : FM Polybass
1. Choose Category
2. Scroll through Instruments
Selecting Categories of Instruments using Sound Navigator.
132 E-MU Systems
Preset Edit Menu
Defining Key Range
Defining Key Range
The Key parameter defines the range on the keyboard used by the current
layer. The Key range is from C-2 through G8.
Middle C
C-2
C-1
C0
C1
C2
C3
C4
C5
C6
C7
C8
G8
To define the range, set the low key value and the high key value.
You can select key numbers by simply pressing the desired keyboard key
when the cursor is positioned on the low or high key field in the display.
Fade In
L1
KEY:
LO FADE
C-2 000
Fade Out
HIGH
C2
FADE
012
Layers can be crossfaded according to key position by adjusting the Low
and High Fade parameters. The first Fade field determines how many
semitones it takes the layer to Fade In from the low key. The second Fade
field determines how many semitones it takes the layer to Fade Out to the
high key. The screen shot above and the diagram below show Layer 1 being
faded out over a one octave range.
C-2
C-1
C0
C1
C2
C3
C4
C5
C6
C7
C8
G8
Layer 1
Layer 2
Layer 3
Switch
Layer 4
With a High Fade value of zero (as in layer 3 of the diagram), the layer
simply switches off at the high key.
Vintage Keys Operation Manual 133
Preset Edit Menu
Defining Key Range
To Switch Layers According to Key Position:
The Key Range parameter allows you to create a “split” keyboard with up to
four sounds adjacent to each other on the keyboard. This is shown in the
diagram below.
C0
C1
C2
Layer 1
Layer 2
Switch

You can select key
numbers by simply pressing the
desired keyboard key when the
cursor is positioned on the low
or high key field n the display.
C3
C4
C5
Layer 3
Switch
Layer 4
Switch
Just assign the low and high key range for each of the four layers with Fade
set to zero. Set the Low and High Keys so they don’t overlap other layers.
L1
KEY:
LO
C0
FADE
000
HIGH
F1
FADE
000
L2
KEY:
LO
F#1
FADE
000
HIGH
C3
FADE
000
L3
KEY: LO
C#3
FADE
000
HIGH
F#4
FADE
000
L4
KEY: LO
G4
FADE
000
HIGH
C6
FADE
000
If two layers do overlap, both will play as shown in the next example.
134 E-MU Systems
C6
Preset Edit Menu
Defining the Velocity Crossfade Range
To Stack Layers:
If the ranges of two or more Layers overlap it is called stacking layers. All
Layers assigned to a key sound when the key is played. This is shown in the
following diagram. It’s very easy to stack layers. Simply duplicate the key
ranges for any layers you want to stack.
C0
C1
C2
C3
C4
C5
C6
Layer 1
Layer 2
L1
L2
Defining the Velocity
Crossfade Range
KEY: LO
C0
FADE
000
HIGH
C6
FADE
000
KEY: LO
C0
FADE
000
HIGH
C6
FADE
000
Velocity is a measure of how hard the key is pressed. Velocity Range lets you
control the volume of the layers using velocity. Using this function you can
crossfade or cross-switch between layers according to how hard you play
the keyboard.
Set the velocity range of the layer by defining the high and low velocity
values. Values range from 0 (off) to 127 (hardest).
L2
VEL: LO
36
FADE
012
HIGH
96
FADE
012
Vintage Keys Operation Manual 135
Preset Edit Menu
Defining the Velocity Crossfade Range
The Fade fields define the velocity crossfade range for the currently selected
layer. The first Fade field defines the Fade In range for the low velocity
value. The second defines the Fade Out range for the high velocity value.
Velocity
0
Layer 1
Layer 2
Fade
36
127
Layer 3
Fade
Layer 4
Switch
96
With soft playing, Layer 1 sounds. As you play harder, Layer 1 gradually fades out and
Layer 2 fades in. When the keyboard is played hard, Layer 3 plays.
To Set Up a Velocity Crossfade Between Layers:
Set the velocity fades so that layer 1 fades out with higher key velocity,
while layer 2 fades in. At a velocity of 64, the two sounds are equal volume.
You may want to adjust the fade in and fade out points to achieve a natural
sounding crossfade. These parameters vary depending on the sounds.
Layer
Layer 1
1
Layer
2 2
Layer
L1
L2
136 E-MU Systems
127
Increasing Velocity
0
VEL: LO
000
FADE
000
HIGH
127
FADE
127
VEL: LO
000
FADE
127
HIGH
127
FADE
000
Preset Edit Menu
Defining the Real-time Crossfade Range
Defining the
Real-time Crossfade
Range
The Real-time Crossfade window lets you control the volume of the four
layers using a real-time controller such as a front panel knob, a pedal or an
LFO or Envelope generator. The controller is defined by the PatchCord
parameter (see “PatchCords” on page 157).
The Fade fields define the crossfade range in velocity for the currently
selected layer. The first Fade field defines the Fade In amount for the low
Real-time Control value. The second defines the Fade Out amount for the
high Real-time Control value. The Fade value range is from 0 to 127.
Realtime Control Value
0
Layer 1
Layer 2
Fade
Layer 3
Fade
127
Layer 4
Switch
After the Ranges and Fades have been adjusted for each layer in the Realtime Crossfade screen, you must assign a real-time controller to RTXfade
(Real-time Crossfade) on each Layer in the PatchCord screen. Set the
PatchCord Amounts to +100.
To Set Up a Real-time Crossfade Between Two Layers:
As the real-time control (knob, pedal, LFO, etc.) is increased, Layer 1 fades
out as Layer 2 fades in. This example only uses two of the possible four
layers. Refer to the screen diagrams below.
L1
L2
1.
2.
3.
RT: LO
000
RT: LO
000
FADE
000
FADE
127
HIGH
127
HIGH
127
FADE
127
FADE
000
Select a preset.
Press the Preset Edit button to access the Preset Edit menu.
Go to the Instrument page and select instruments for Layers 1 and 2.
Vintage Keys Operation Manual 137
Preset Edit Menu
Defining the Real-time Crossfade Range
4.
5.
6.
7.
8.
9.
Press Enter, then use the data entry control to advance to the Real-time
Crossfade page.
Define the High and Low range of each Layer. In this example the entire
range of 0-127 is used.
Define the Fades for each Layer. This is just an initial setting. The Range
and Fade parameters may have to be adjusted later to get a smooth
crossfade.
Press Home/Enter and use the data entry control to advance to the
PatchCord page. Select Layer 1.
Select the modulation source for the crossfade (knob, pedal, LFO,
Envelope) and set the destination to RTXfade. Set the Cord Amount to
+100.
Select Layer 2. Select the same source and destination for the crossfade
and set the Cord Amount to +127.
L1
PATCHCORD
MidiA
->
RTXfade
10.
#01
+100
Play the keyboard while adjusting the real-time controller. Go back to
the Real-time Crossfade screens to fine tune the crossfade if necessary.
Decreasing the fade size will narrow the region where both layers are
sounding.
To Randomly Cross-Switch Between Four Layers:
In certain situations, you may want to switch between several layers
randomly. Crossfade Random is a modulation source specifically designed
to handle this situation. Unlike the other random sources, Crossfade
Random generates one random number for all layers each time a key is
pressed.
To set up a four layer Cross-Switch, simply assign each of the four layers to
a different Real-time Crossfade range, then assign XfdRnd to RTXfade in
the PatchCords for each layer.
Realtime Control Value
0
16
32
Layer 1
64
Layer 2
Switch
138 E-MU Systems
48
80
96
Layer 3
Switch
112
Layer 4
Switch
127
Preset Edit Menu
Defining the Real-time Crossfade Range
1.
2.
3.
Press the Preset Edit button to access the Preset Edit menu.
Go to the Instrument screen and select Instruments for Layers 1
through 4.
Press Enter, then use the data entry control to advance to the Real-time
Crossfade page.
L1
4.
5.
6.
7.
RT: LO
000
FADE
000
HIGH
031
FADE
000
L2
RT: LO
032
FADE
000
HIGH
063
FADE
000
L3
RT: LO
064
FADE
000
HIGH
095
FADE
000
L4
RT: LO
096
FADE
000
HIGH
127
FADE
000
Define the High and Low range of each Layer as shown above.
Press Home/Enter and use the data entry control to advance to the
PatchCord page. Select Layer 1.
Select XfdRnd as the modulation source and RTXfade as the destination. Set the Cord Amount to +100.
Repeat step 6 for the remaining three layers.
Vintage Keys Operation Manual 139
Preset Edit Menu
Transposing the Instrument
L1
PATCHCORD
XfdRand -> RTXfade
8.
Transposing the
Instrument
#01
+100
That’s it! Now set each Layer up the way you want. Try radically
different instruments, filter settings, or tunings. Or you can make each
layer just slightly different for a more natural effect. Try adjusting the
Fades or overlapping the ranges if you want more than one layer to play
at once.
The Transpose parameter lets you transpose the key of the current layer’s
Instrument. Transpose works by shifting the keyboard position in semitone
intervals relative to middle C. Use this parameter to transpose different
layers apart by semitone intervals. For example, by transposing one layer by
+7 semitones, it will track other layers at a perfect fifth interval.
C-2
C-1
C0
C1
C2
C3
C4
C5
The range of transposition is -36 to +36 semitones.
L1
TRANSPOSE
+36 semitones
140 E-MU Systems
C6
C7
C8
G8
Preset Edit Menu
Tuning
Tuning
The Tuning parameter changes the pitch of the key in semitone and 1/64
semitone intervals.
L1
TUNING
Coarse:
+36
Fine:
+63
Use the Coarse field to shift the tuning by semitone intervals. Use the Fine
field to shift tuning by 1/64 semitones (or 1.56 cents) intervals.
Background: Transpose vs. Coarse Tuning
Transpose works by shifting the keyboard assignment of the Instrument (as
if you were sliding the keyboard up and down with the Instrument
remaining in the same position). Coarse Tuning keeps the instrument
placement on the keyboard and actually tunes the samples up using a
digital process called interpolation. Use Course Tuning on drum instruments to change the pitch while keeping sample placement constant.
Coarse Tuning can also be useful to slightly change the timbre of the
instrument.
Amplifier
This parameter sets the initial volume and pan position of the current layer.
These values can be changed using any Real-time Controller set up in the
PatchCords. The value range for the volume is from -96 dB to +10 dB. 0 dB
is the default setting. Routinely turning the volume up to +10 dB is not
recommended because it doesn’t allow other modulation sources to
increase the volume further.
L1
AMPLIFIER
Volume: +10dB
Pan: 48L
This field determines the initial Pan value for the current layer. The value
range for Pan is from 64L to 0 (left) and 0 to 63R (right). Pan adjusts the
volume into the left and right output channels relative to the Pan setting in
the main Preset Select screen (see “Channel Pan” on page 39). So, if you, for
example, set the Pan value in the Preset Select screen to 64L and set this
Pan value to 63R, the actual pan amount would be 0 as these two pan
parameters are relative to each other.
Vintage Keys Operation Manual 141
Preset Edit Menu
Volume Envelope
Volume Envelope
An envelope can be described as a “contour” which is used to shape the
sound over time. The Volume Envelope controls the volume of the sound in
the current layer over time. The way the volume of a sound evolves has a
profound effect on how we perceive the sound.
Each instrument has its own Factory preset Volume Envelope setting. The
Volume Envelope allows you to program your own envelope settings.
Selecting the Mode
O
Factory Mode is useful
for Instruments containing
multiple drums, since each drum
can have its own envelope
settings.
A factory drum kit envelope
actually contains a separate
envelope for every voice on every
key instead of a single global
envelope.
_
If two adjacent segments
have the same level in a “timebased” envelope, the segment
will be skipped. Adjacent
segments must have different
levels for the rate control to work.
The Mode field determines whether the layer will use the instrument’s
default envelope (Factory) or use the user-programmed Volume Envelope.
There are three mode options and repeat.
• Factory: Uses the factory preset envelope contained in each instrument.
If you select the “Factory” mode, the Volume Envelope parameters are
disabled and the factory defined settings are used instead.
L1
VOLUME ENVELOPE
Mode: factory
• Time-based: Defines the Volume Envelope rates from 0 to 127 (approximately 1 ms to 160 seconds). The Master clock has no affect on timebased rates.
• Tempo-based: The Volume Envelope times vary based on the master
tempo setting. Note values are displayed instead of a number when the
time corresponds to an exact note value. Tempo-based envelopes are
useful when using external sequencers and arpeggiators because the
envelope rates compress and expand according to the Master Tempo setting, keeping the envelopes in sync with the sequence or arpeggio.
Tempo-Based Envelopes
= Initial Setting
= Increase Master Tempo
= Decrease Master Tempo
Tempo-based envelope rates change according to the Master Tempo rate.
142 E-MU Systems
Preset Edit Menu
Volume Envelope

See the Programming
Basics section of this manual for
detailed information about how
the Envelopes work.
Defining the Volume Envelope
The Volume Envelope controls the volume of the layer over time. The
Volume Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1,
Decay 2, Release 1 and Release 2. When a key is pressed, the Envelope goes
through the first four stages. If you continue to hold down the key, the
envelope holds at the Decay 2 level. When the key is released, the envelope
continues through the Release stages ending at the Release 2 level.
L1
VOL ENV
Attack 1
RATE
LEVEL
84
100%
As soon as the Attack 1 level is reached, the Attack 2 phase begins. When
the Attack 2 Level is reached, the Decay 1 phase begins. When the key is
released, the envelope immediately jumps to the Release 1 stage, then the
Release 2 stage finally ending at the Release 2 level.
If you have selected the factory mode, the Volume Envelope parameter
screen looks like the following illustration.
L1
VOL ENV
RATE
(using factory envelope)
LEVEL
_
y1
Dcy2
Rl
s1
At
k1
2
Atk
Dc
If the Release 2 level is set
at a value other than zero, the
note will continue to sound after
the key is released. This might be
useful for drone effects, but the
channel won’t stop sounding
until all channels are used up.
Sustain
Level
Rls2
level
time
Key
Down
Key
Released
On the Volume Envelope, levels can only be set to positive values.
The value range is from 0 to +100.
Vintage Keys Operation Manual 143
Preset Edit Menu
Chorusing the Layer
Chorusing the Layer
_
WARNING: Because it
works by doubling instruments,
Chorusing halves the number of
notes you can play.
Chorusing “thickens” the sound by doubling the sound in stereo and then
detuning it. Every layer with chorus turned on uses twice the polyphony
for that layer.
L1
CHORUS
off
WIDTH
100%
The first field in this screen turns Chorus On or Off and allows you to adjust
the amount of detuning (1 to 100%). The Width parameter controls the
stereo spread. 0% reduces the chorus to mono and 100% provides the most
stereo separation.
Sound Start Offset
and Delay
Sound Start sets where the instrument begins playing when you hit a key.
Setting the Start Offset amount to “0” plays the sample from the beginning.
Higher values move the Sample Start Point further into the sample toward
the end. There is also a PatchCord source which can be used to change the
Sound Start point at note-on time.
L1
SOUND
START
127
DELAY
127
Sample
Start
Controlling the Sound Start using Key Velocity (< Amt -) brings in the attack of the wave
only when you play hard. This is especially effective with percussion instruments.
Delay defines the time between when you hit a key (note-on) and the onset
of the current layer’s note and the start of the envelopes (if applicable).
Delay values below zero are Tempo-based values, meaning the time is based
on the Master Tempo setting. Note values are displayed by adjusting the
Delay Time value below zero. The sound will be delayed by the selected
note value based on the master clock.
144 E-MU Systems
Preset Edit Menu
Non-Transpose Mode
Non-Transpose
Mode
This function turns keyboard transposition On or Off for the current layer.
With Nontranspose “on,” the keyboard will not control the pitch of the
instrument. This is a useful function for drones, attack “chiffs,” or other
sound effects which you may not want to track the keyboard.
L1
NONTRANSPOSE
off
Solo Mode
Provides the playing action of a monophonic instrument such as a lead
synthesizer by preventing more than one note from sounding at once.
There are eight different solo modes provided. Try setting up different
layers with different solo mode and glide rates or combine solo mode with
polyphonic playing modes.
L1
SOLO MODE
synth (low)
O
In order to define a
monophonic glide (see the
Portamento parameter), you
must be in Solo mode.
The Solo modes are:
Multiple Trigger: Last note priority. No key-up action. Retriggers
envelopes and samples when a key is pressed.
Melody (last): Last note priority. No key-up action.
First solo note: Envelopes start at Attack segment from zero. Samples
start at the beginning.
If previous note is releasing: Envelopes start at Attack segment, but from
current level. Samples start at the beginning.
When playing “Legato”: Envelopes continue from current segment and
level. Samples start at the loop or the beginning if unlooped.
Melody (low): Same as Melody (last), but with low note priority. Newly
played keys which are higher than the lowest solo key held do not sound.
Melody (high): Same as Melody (last), but with high note priority. Newly
played keys which are lower than the highest solo key held do not sound.
Synth (last): Similar to Melody (last) but this mode has key-up action.
When you release the currently sounding solo key while holding other keys
down, the highest held solo key sounds in a Legato fashion.
Vintage Keys Operation Manual 145
Preset Edit Menu
Assign Group
Synth (low): Same as Synth (last) but with low note priority. When you
release the currently sounding solo key while holding other keys down, the
lowest held solo key sounds in a Legato fashion (MiniMoog).
Synth (high): Same as Synth (last) but with high note priority. When you
release the currently sounding solo key while holding other keys down, the
highest held solo key sounds in a Legato fashion.
Fingered Glide: Same as Synth (last), except that Glide is disabled when
playing Staccato, enabled when playing Legato.
Assign Group
Use the Assign Group parameter to assign a certain number of channels to
each layer. By assigning all voices in the preset to assign groups, important
parts are protected from being “stolen” by more recently played keys. Or
you can assign a voice, such as an open high hat, to a mono channel so it is
cancelled by a closed high hat on the same mono channel. Layers rotate
within their assigned “bin” of channels, not interfering with other bins.
L1
ASSIGN GROUP
poly all
The modes are:
Poly All: Notes are played polyphonically with dynamic channel
assignment using all 64 channels.
Poly 16 A-B: Two bins of 16 channels each. Notes are played polyphonically with dynamic channel assignment using no more than 16 channels.
Poly 8 A-D: Four bins of 8 channels each. Notes are played polyphonically
with dynamic channel assignment using no more than 8 channels each.
Poly 4 A-D: Four bins of 4 channels each. Notes are played polyphonically
with dynamic channel assignment using no more than 4 channels each.
Poly 2 A-D: Four bins of 2 channels each. Notes are played polyphonically
with dynamic channel assignment using no more than 2 channels each.
Mono A-I: Nine monophonic channels. Any layers assigned to the same
letter interrupt each other without affecting other layers.
146 E-MU Systems
Preset Edit Menu
Glide
Glide
Glide creates a smooth transition from one note to the next instead of the
normal instantaneous change in pitch when a new key is pressed. This
effect is commonly heard on slide guitars, synthesizers and violins.
L1
GLIDE RATE
0.000 sec/oct
CURVE
linear
The front panel Glide Button LED comes on when the any layer of the
current preset has a glide rate greater than 0.000 seconds (regardless of if a
PatchCord is connected or not). Pressing the button turns the LED and
glide off. Pressing the front panel glide button when all layers are set to a
glide of 0.000 turns glide on with a rate of 0.142 seconds/octave.
The Glide Rate parameter defines the time it takes to glide to the new pitch
(the larger the value, the slower the glide rate) The glide rate value range is
from 0 through 32.738 seconds (zero means off).
The Glide Curve describes how the glide accelerates as it slides between
notes. Because of the ear’s non-linear response to pitch, a linear glide
sounds slow at the beginning and speeds up toward the end. Exponential
curves actually sound smoother and more linear. Eight exponential curves
are provided. Choose one that suits your style.
Last
Note
New
Note
Exp1
Last
Note
Glide Speed
Linear
Glide Speed
Glide is available as a
modulation source in the
PatchCords section.
Glide Speed
O
New
Note
Last
Note
Exp8
New
Note
Glide can be either polyphonic or monophonic depending of the state of
Solo Mode.
1.
2.
3.
4.
To Set up a Glide Rate Knob:
Set at least one layer to the minimum setting of 0.002 sec/oct. (This
forces the Glide LED to come on.)
Connect the MIDI controller of your choice to Glide Rate on the layers
you’d like to glide. Adjust the Cord Amount for the desired range.
Disconnect the MIDI controller from whatever else it was connected to
before you started mucking about.
The Glide button turns Glide on/off and the knob controls the rate.
Vintage Keys Operation Manual 147
Preset Edit Menu
Z-Plane Filters
Z-Plane Filters
A filter is a device which changes the output of a signal (sound) by
removing certain elements of the signal based on the frequency and
amplitude. The “Order” of a filter defines the number of filter elements it
contains. The more elements, the more complex the filter.
Vintage Keys contains 50 different types of E-MU’s celebrated Z-plane
filters. In addition to the standard Low pass, High pass and Band pass filters,
Vintage Keys contains Swept Octave Equalizers, Phasers, Flangers, Vocal
Formant Filters, and digital models of classic synthesizer filters.
In the filter chart below you will notice that the “Order” of the filters varies
from 2 to 12 order. Higher order filters have more sections and can produce
more complex formants. Vintage Keys can produce 128 filters of up to 6th
order or 64 filters of 12th order complexity. Therefore, if you decided to use
all 12th order filters, Vintage Keys would be limited to 64 voices.
Vintage Keys Filter
Types
This screen allows you to choose the type of filter for the current layer.
L1
FILTER
Phazer 2 E4
Filter Types
LPF
Low-pass filter
PHA
Phaser
HPF
High-pass filter
FLG
Flanger
BPF
Band-pass filter
VOW Vowel/ formant
EQ+
EQ boost
EQ-
EQ cut
SFX
Special Effect
148 E-MU Systems
Ord
6
Type
PHA
Filter Name
Order
Type
Description
Smooth
02
LPF
Typical OB type low-pass filter with a shallow
12 dB/octave slope.
Classic
04
LPF
4-pole low-pass filter, the standard filter on
classic analog synths. 24 dB/octave rolloff.
Steeper
06
LPF
6-pole low-pass filter which has a steeper slope
than a 4-pole low-pass filter.
36 dB/octave rolloff!
MegaSweepz
12
LPF
“Loud” LPF with a hard Q. Tweeters beware!
EarlyRizer
12
LPF
Classic analog sweeping with hot Q and
Lo-end.
Millennium
12
LPF
Aggressive low-pass filter. Q gives you a
variety of spiky tonal peaks.
KlubKlassik
12
LPF
Responsive low-pass filter sweep with a wide
spectrum of Q sounds
BassBox-303
12
LPF
Pumped up lows with TB-like squelchy Q
factor.
Shallow
02
HPF
2-pole high-pass filter. 12 dB/octave slope.
Deeper
04
HPF
Classic 4-pole high-pass filter. Cutoff sweep
progressively cuts 4th Order High-pass.
Band-pass1
02
BPF
Band-pass filter with 6 dB/octave rolloff on
either side of the passband and Q control.
Band-pass2
04
BPF
Band-pass filter with 12 dB/octave rolloff on
either side of the passband and Q control.
Preset Edit Menu
Vintage Keys Filter Types
Filter Name
Order
Type
Description
ContraBand
06
BPF
A novel band-pass filter where the frequency
peaks and dips midway in the frequency range.
Swept1>1oct
06
EQ+
Parametric filter with 24 dB of boost or cut and
a one octave bandwidth.
Swept2>1oct
06
EQ+
Parametric filter with 24 dB of boost or cut. The
bandwidth of the filter is two octaves wide at
the low end of the audio spectrum, gradually
changing to one octave wide at the upper end.
Swept3>1oct
06
EQ+
Parametric filter with 24 dB of boost or cut. The
bandwidth of the filter is three octaves wide at
the low end of the audio spectrum, gradually
changing to one octave wide at the upper end.
DJAlkaline
12
EQ+
Band accentuating filter, Q shifts “ring”
frequency.
AceOfBass
12
EQ+
Bass-boost to bass-cut morph
TB-OrNot-TB
12
EQ+
Great Bassline “Processor.”
BolandBass
12
EQ+
Constant bass boost with mid-tone Q
control.
BassTracer
12
EQ+
Low Q boosts bass. Try sawtooth or square
waveform with Q set to 115.
RogueHertz
12
EQ+
Bass with mid-range boost and smooth Q.
Sweep cutoff with Q at 127.
RazorBlades
12
EQ-
Cuts a series of frequency bands.
Q selects different bands.
RadioCraze
12
EQ-
Band limited for a cheap radio-like EQ
AahAyEeh
06
VOW
Vowel formant filter which sweeps from “Ah”
sound, through “Ay” sound to “Ee” sound at
maximum frequency setting. Q
varies the apparent size of the mouth cavity.
Ooh-To-Aah
06
VOW
Vowel formant filter which sweeps from “Oo”
sound, through “Oh” sound to “Ah” sound at
maximum frequency setting.
Q varies the apparent size of mouth cavity.
MultiQVox
12
VOW
Multi-Formant, Map Q To velocity.
Ooh-To-Eee
12
VOW
Oooh to Eeee formant morph.
TalkingHedz
12
VOW
“Oui” morphing filter. Q adds peaks.
Eeh-To-Aah
12
VOW
“E” to “Ah” formant movement.
Q accentuates “peakiness.”
UbuOrator
12
VOW
Aah-Uuh vowel with no Q. Raise Q for throaty
vocals.
DeepBouche
12
VOW
French vowels! “Ou-Est” vowel at low Q.
PhazeShift1
06
PHA
Recreates a comb filter effect typical of phase
shifters. Frequency moves position of notches.
Q varies the depth of the notches.
Vintage Keys Operation Manual 149
Preset Edit Menu
Vintage Keys Filter Types
Filter Name
Order
Type
Description
PhazeShift2
06
PHA
Comb filter with slightly different notch
frequency moving the frequency of notches.
Q varies the depth of the notches.
FreakShifta
12
PHA
Phasey movement. Try major 6 interval and
maximum Q.
CruzPusher
12
PHA
Accentuates harmonics at high Q.
Try with a sawtooth LFO.
FlangerLite
06
FLG
Contains three notches. Frequency moves frequency and spacing of notches.
Q increases flanging depth.
AngelzHairz
12
FLG
Smooth sweep flanger. Good with vox waves.
eg. I094, Q =60
DreamWeava
12
FLG
Directional Flanger. Poles shift down at low Q
and up at high Q.
MeatyGizmo
12
REZ
Filter inverts at mid-Q.
DeadRinger
12
REZ
Permanent “Ringy” Q response.
Many Q variations.
ZoomPeaks
12
REZ
High resonance nasal filter.
AcidRavage
12
REZ
Great analog Q response. Wide tonal range. Try
with a sawtooth LFO.
BassOMatic
12
REZ
Low boost for basslines. Q goes to
distortion at the maximum level.
LucifersQ
12
REZ
Violent mid Q filter! Take care with Q
values 40-90.
ToothComb
12
REZ
Highly resonant harmonic peaks shift in
unison. Try mid Q.
EarBender
12
WAH
Midway between wah & vowel. Strong
mid-boost. Nasty at high Q settings.
FuzziFace
12
DST
Nasty clipped distortion. Q functions as
mid-frequency tone control.
BlissBatz
06
SFX
Bat phaser from the Emulator 4.
KlangKling
12
SFX
Ringing Flange filter. Q “tunes” the ring
frequency.
Filter Parameters
The Freq and Q parameters control various elements of the filter depending
on the type of filter used. See the table in the Filter Types section for details
about what the Freq and Q fields control in each filter.
L1
FILTER
Freq:
255
150 E-MU Systems
Q:
019
Preset Edit Menu
Filter Envelope
Filter Envelope
The Filter Envelope is normally used to control the filter frequency and has
six stages. Unlike the Volume Envelope, the Filter Envelope must be
patched to the Filter Frequency using a PatchCord. In this respect, it can be
thought of as a general purpose envelope generator which is normally
patched to control the filter. The Filter Envelope Levels can be negative as
well as positive.
There are three mode options:
• Time-based: Defines the Filter Envelope rates from 0 to 127 (approximately 1 ms to 160 seconds). The Master clock has no affect on timebased rates.
L1
FILT ENV
Attack 1
RATE
84
LEVEL
100%
• Tempo-based: The Filter Envelope times vary based on the master tempo
setting and are displayed in values such as 1, 2, 3, etc. Note values are
displayed instead of a number when the time corresponds to an exact
note value. Tempo-based envelopes are useful when using arpeggiators
and sequencers because the envelope rates compress and expand according to the Master Tempo setting, keeping the envelopes in sync with the
music. See the illustration on page 104.
L1
FILT ENV
Attack 1
RATE
1/4
LEVEL
100%
• Envelope Repeat: The Envelope Generators can also be made to repeat.
When the envelope repeat function is On, the Attack (1&2) and Decay
(1&2) stages will continue to repeat as long as the key is held. As soon as
the key is released, the envelope continues through its normal Release
stages (1 & 2). For more information see page 104.
1.
To Turn on Envelope Repeat:
Move the cursor until it is underneath the Mode field as shown below.
L1
FILTER ENVELOPE
Mode: time-based
2.
Turn the data entry control clockwise. The lower line changes to:
Vintage Keys Operation Manual 151
Preset Edit Menu
Auxiliary Envelope
L1
FILTER ENVELOPE
Repeat: off
3.
+100
1
y1
0
Sustain
k2
At
Dc
The default PatchCord
settings connect the Filter
Envelope to Filter Frequency but
the envelope can be routed to
any real-time control destination
using a PatchCord.
Rls

The Filter Envelope controls the filter frequency of the layer over time. The
Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, Decay 2,
Release 1 and Release 2. When a key is pressed, the Envelope goes through
the first four stages. If the key continues to be held, the envelope holds at
the Decay 2 level. When the key is released, the envelope immediately
jumps to the Release 1 stage, then the Release 2 stage finally ending at the
Release 2 level.
k1
See the Programming
Basics section of this manual for
detailed information about how
the Envelopes work.
Defining the Filter Envelope
At

Move the cursor underneath the on/off field, then turn the data entry
control clockwise so that Repeat is On.
time
Rl
s2
Dcy
2
-100
Key Down
Auxiliary Envelope
152 E-MU Systems
Key Released
The Auxiliary Envelope is a supplementary general purpose envelope that
can be routed to any real-time control destination in the PatchCords. It is
identical to the filter envelope generator. See “Filter Envelope” on page 151
for full details.
Preset Edit Menu
Low Frequency Oscillators (LFOs)
Low Frequency
Oscillators (LFOs)
A Low Frequency Oscillator or LFO, is simply a wave that repeats at a slow
speed. Vintage Keys has two LFOs per layer identified on the display as
LFO1 and LFO2.
An LFO can be routed to any real-time control destination using a
PatchCord. LFOs have a myriad of uses, some of which probably haven’t
been thought of yet. The following examples show a few common uses.
• Control the pitch of the sound (LFO -> Pitch). This effect is called
“vibrato” and is an important performance tool. Many factory presets
use this routing with the modulation wheel controlling “how much”
modulation is applied.
• Create a “tremolo” effect by routing the LFO to control the volume
(LFO -> AmpVolume).
• Add a bit of animation to the sound by routing the LFO to control the
filter. Set the PatchCord amount low for a subtle effect.
The LFOs have five parameters: Shape, Sync, Rate, Delay and Variation.
Shape
LFO waveforms have different shapes. The shape of the waveform determines the effect of the LFO. LFOs have traditionally been used to add
vibrato or repeating movement to a sound. These new shapes offer a lot of
new programming possibilities.
L1
LFO1
SHAPE
sawtooth
SYNC
key sync
If you modulate the pitch of an instrument, it’s easy to visualize the shape
of the waveform. For example, the sine wave has a smooth, rolling shape
that changes the pitch smoothly. The square waveform changes between
two pitches abruptly. A sawtooth waveform increases the pitch smoothly,
then abruptly changes back down. The available waveforms are shown
below.
Vintage Keys Operation Manual 153
Preset Edit Menu
Low Frequency Oscillators (LFOs)
R a n do m
T ri a n g l e
S a wtooth
LFO Tricks & Tips:
• The Random LFO wave is truly
random and is different for
each voice and layer.
Si n e
Squ a re
3 3 % Pu ls e
25% Pulse
16% Pulse
1 2 % Pu ls e
• The Pattern (Pat) waveforms
will sound the same on
different layers and voices.
• Sine + Noise is very useful for
simulating trumpet and flute
vibrato.
★ When routing Hemi-quaver
to Pitch:
+38 = major scale
-38 = phrygian scale
+76 = whole tone scale
(+38) + (+76) = diminished
P a t : Oct a v es
P a t : F i f t h + Oc t a v e
+ Octave
Pa t: S u s 4 tr ip
C
(two cords)
F
G
odd amount = S+H sound
- Octave
P a t : N een er
C
G
C
Si n e 1 , 2
S ine 1 ,3 ,5
C
Note: References to musical
intervals in the pattern LFO
shapes are with the LFO
routed to pitch and a
PatchCord amount of +38.
A#
G
Si n e + N o i s e
Hem i -qu a v er
Sync
LFO Synced to 1/4 Note Clock
The Sync field specifies whether the LFO is synchronized to a key stroke or
is Free Running. Key Sync starts the LFO wave at the beginning of its cycle
each time you press a key on the controller. In Free Run mode, the LFO
wave begins at a random point in its cycle each time you press a key on the
controller.
Rate
The Rate field determines the LFO speed in absolute frequency rate values
or tempo-based note values. All values equal to or greater than zero specify
absolute frequency values from 0.08 Hz to 18.14 Hz.
154 E-MU Systems
Preset Edit Menu
Low Frequency Oscillators (LFOs)
Values less than zero specify tempo-based rates. If you modulate the rate of
a tempo-based LFO, the rates will jump between the tempo-based note
values with each PatchCord increment of “1”. As an example: if the LFO
rate was set to 8/1 and you patched the Mod Wheel to control rate with a
PatchCord amount of +1, turning the Mod Wheel to maximum would
change the LFO rate to 4/1d. Refer to the chart below.
L1
LFO1
RATE
0.08Hz
DELAY
60
Tempo-based Rates
(based on Master Tempo)
Display
octal whole note
8/1
dotted quad whole note
4/1d
octal whole note triplet
8/1t
quad whole note
4/1
dotted double whole note
2/1d
quad whole note triplet
4/1t
double whole note
2/1
dotted whole note
1/1d
double note triplet
2/1t
whole note
1/1
dotted half note
1/2d
whole note triplet
1/1t
half note
1/2
dotted quarter note
1/4d
half note triplet
1/2t
quarter note
1/4
dotted 8th note
1/8d
quarter note triplet
1/4t
8th note
1/8
dotted 16th note
1/16d
8th note triplet
1/8t
16th note
1/16
dotted 32nd note
1/32d
16th note triplet
1/16t
32nd Note
1/32
VAR
020
Vintage Keys Operation Manual 155
Preset Edit Menu
Low Frequency Oscillators (LFOs)
Delay
The Delay parameter defines the amount of time between hitting a key on
the controller and the onset of the LFO modulation. Delay can be used to
simulate an effect often used by acoustic instrument players where the
vibrato is brought in only after the initial note pitch is established. The
following illustration demonstrates how delay works.
time
Delay
key
down
All Delay values equal to or greater than zero specify absolute time rates
from 0 to 127. Values less than zero specify Tempo-based mode. Refer to the
previous table for times and tempo-based rates.
Variation
LFO Variation sets the amount of random variation of the LFO each time
you press a key on the controller. This creates a chorus or ensemble effect
since each note played has a slightly different modulation rate. The higher
the value entered, the greater the note to note variation in the LFO.
_
The Variation value range is from 0 through 100.
Variation is disabled
when a Tempo-Based LFO is
selected.
LFO variation changes the rate of each note to create an “ensemble” effect.
156 E-MU Systems
Preset Edit Menu
PatchCords
PatchCords
PatchCords tie everything together by connecting modulation sources to
destinations. Each PatchCord has its own Amount control which can be
positive or negative (negative amounts invert the signal). In addition, the
PatchCord amounts themselves can be controlled by any modulation
source. Vintage Keys provides 24 patches for each layer.
There are three permanently connected control routings: volume envelope
to amplifier, pitch wheel to pitch and key to pitch. All other connections
must be made using the PatchCords.
Modulation
Source
Amount +/-
-
LFO 1
Destination
+
Amp
Volume
Modulation
Source
Destination
LFO 1
LFO 2
Amp Env
Filt Env
Aux Env
Wheel
Pressure
etc.
Amp Vol
Pitch
Pan
LFO Rate
Aux Env
Env Atk
Glide
etc.
Each patch has an amount field which determines how much modulation
is applied to the destination. The modulation amount can be positive or
negative. Negative values invert the input. The amount value range is from
-100 to +100.
L1
PATCHCORD
RlsVel
->
AmpVol
L1
#01
+100
PATCHCORD
Key+
->
FiltRes
#24
-27
Vintage Keys Operation Manual 157
Preset Edit Menu
PatchCords
Modulator Polarity
You will notice that some of the modulation sources have symbols
following their names. For example, there are three Velocity modulation
sources, Vel +, Vel ±, and Vel <.
Control
Value
+
±
<
0
63
127
Control Value Applied
0
-63
-127
63
0
-63
127
+64
0
+ modulation ADDS to the
initial value. (Normal)
± centers around Zero.
(Use for LFOs, Filt. Freq.)
< modulation SUBTRACTS
from the initial value
“+” Modulation: Uses only the positive half of the range, adding to the
current value. For example, if the filter frequency were set to 100 and you
patched Vel+ to the filter, the filter frequency would increase from 100 as
velocity was applied.
“±” Modulation: Uses both sides (full) range and both adding and
subtracting from the current value. For example, if the filter frequency
were set to 100 and you patched Vel ± to the filter, the filter frequency
would decrease from 100 with key velocities of 63 or less and increase from
100 with key velocities of 64 and above. Therefore with medium velocity,
the Filter frequency is approximately where you set it at 100.
An LFO ± works the same way; on the positive half of the cycle it increases
the initial amount and on the negative half of the cycle it decreases the
initial amount. With a ± modulation source, a value of 64 equals 0.
“<” Modulation: Uses only the negative half of the range, subtracting
from the current value. For example, if the Amplifier Volume were set to
+3 dB and you patched Vel < to AmpVol, the volume would be at +3 dB
only when maximum key velocity were applied. Lower key velocities would
scale back the volume. In general, < modulation is the proper choice when
modulating Volume.
158 E-MU Systems
Preset Edit Menu
PatchCords
Here is a list of all layer modulation sources and destinations.
Modulation Sources:
Modulation Destinations
Off
Off
Key (+, +)
KeySust (Key Sustain)
Velocity (+, +, <)
FinePtch (Fine Pitch)
RlsVel (Release Velocity)
Pitch
Gate
Glide
Pressure (Aftertouch)
ChrsAmt (Chorus Amount)
PitchWhl (Pitch Wheel)
‘SStart (Sample Start) -note-on)
ModWhl (Modulation Wheel)
SLoop (Sample Loop)
Pedal
SRetrig (Sample Retrigger)
MIDI Volume (Controller 7)
FiltFreq (Filter Frequency)
MIDI Pan (Controller 10)
‘FiltRes (Filter Resonance -note-on)
MIDI Expression (Controller 11)
AmpVol (Amplifier Volume)
Note: Flip-Flop Footswitches
1 & 2 remain in their last
condition when a new preset
is selected.
MIDI A-P
AmpPan (Amplifier Pan)
PLagOut (Preset Lag Out)
RTXfade (Real-time Crossfade)
PRampOut (Preset Ramp Out)
VEnvRts (Volume Envelope Rates -all)
FootSw1 - 3 (Foot Switch 1-3)
VEnvAtk (Volume Envelope Attack)
Flip-Flop Footswitch 3 resets
to the Off condition whenever
a new preset is selected.
FootFF (Flip-Flop Foot Switch 1 -3)
VEnvDcy (Volume Envelope Decay)
Note: The Envelope Sustain
parameter controls the Decay 2
Level segment of the envelope
generator.
Key Glide
VEnvSus (Volume Envelope Sustain)
VolEnv +, +, < (Volume Envelope)
VEnvRls (Volume Envelope Release)
FilEnv +, +, < (Filter Envelope)
FEnvRts (Filter Envelope Rates -all)
AuxEnv +, +, < (Auxiliary Envelope)
FEnvAtk (Filter Envelope Attack)
LFO 1 & 2 (+, +)
FEnvDcy (Filter Envelope Decay)
White (White Noise)
FEnvSus (Filter Envelope Sustain)
Pink (Pink Noise)
FEnvRls (Filter Envelope Release)
XfdRand (Crossfade Random)
FEnvTrig (Filter Envelope Trigger)
KeyRand 1 & 2 (Key Random)
AEnvRts (Auxiliary Envelope Rates -all)
Lag 0 sum (summing amp out)
AEnvAtk (Auxiliary Envelope Attack)
Lag 1 sum (summing amp out)
AEnvDcy (Auxiliary Envelope Decay)
Lag 0 & 1 (Lag Processor)
AEnvSus (Auxiliary Envelope Sustain)
Clk Divisors (Octal, Quad, Double
Whole, Whole, Half, Qtr, 8th,16th)
AEnvRls (Auxiliary Envelope Release)
DC (DC Offset)
AEnvTrig (Auxiliary Envelope Trigger)
Summing Amp
LFO 1 & 2 Rate
Switch
LFO 1 & 2 Trigger
Absolute Value
Lag Processor In 0 & 1
Diode
Sum (Summing Amp)
Flip-Flop
Switch
Quantizer
Abs (Absolute Value)
4x Gain
Diode
Quantize
Flip-Flop
Gain 4x
Cord 1-24 Amount
Vintage Keys Operation Manual 159
Preset Edit Menu
Pitch Bend Range
Pitch Bend Range
Specifies the Pitch Wheel range in semitones for the current layer. Pitch
Wheel is a standard synthesizer control which is transmitted as a MIDI
continuous controller message used (normally) to bend the pitch up and
down.
The PitchBend range is from 0 to +12 semitones or “Master.” A setting of
“0” turns the pitch wheel Off for the current layer. The Master setting uses
the Pitch Bend range defined in the Global menu.
L1
Mix Output
PITCHBEND RANGE
+/- 12 semitones
This feature allows you to program the Effect Send as a part of the preset.
Note that for this feature to work, the Mix Output setting in the Global
menu MUST be set to “Preset” on the selected MIDI channel. If you want to
define output routing by MIDI channel, set it up using the Mix Output page
in the Global menu. See “Mix Output” on page 86 for more information.
L1
MIX OUTPUT
Send2->main
FX Send
Routing
Output
Routing
The Sends function as effect processor inputs (effect sends). The Output
Routing field shows the true routing of the Sends to the Main output.
1.
2.
3.
4.
160 E-MU Systems
To Control the Mix Output from the Preset:
Move the cursor until it is underneath the Layer field and change the
Layer using the data entry control.
Move the cursor until it is underneath the FX Send Routing field and
change the Send (1-4) using the data entry control.
Locate the MIX OUTPUT screen in the Global menu.
Set the MIDI channel you are using to “use preset”.
Preset Edit Menu
Common
Preset
Parameters
Preset Effects
This section of the Preset Edit menu chapter describes parameters that
affect all layers in the preset.
Vintage Keys has two stereo effects processors. When playing presets one at
a time, the two processors can be programmed as part of the preset. The
diagram below shows how the effects are integrated into the signal path
using a parallel effects send/return model, similar to a mixing console.
FX Send Amount
Reverb, Delay
Effect
A
Sum
Layers
Main
Outs
Dry Signal
Sum
Effect
B
Chorus, Flange
FX Send Amount
Refer to the Effects chapter for additional information and instructions for
setting up both the Preset Effects and the Master Effects.
Vintage Keys Operation Manual 161
Preset Edit Menu
Preset Effects
OUTPUT SECTION
& EFFECTS PROCESSORS
FX Sends
PRESET
EDIT MENU
Send 2 10%
Send 3 0%
Send 4 0%
Mix
Output
Send 1
S
E
N
D
1
FX Sends
PRESET
Send 4 15%
Ch 2
SEND 2
Ch 3
SEND 3
S
E
N
D
2
Chorus
M
A
I
N
Send 1 0%
Send 3 20%
Mix Output
Effect
A
B➟A
Send 2 0%
Ch 1
Hall 1
Send 1 15%
Effect
B
Jack Detect
S
U
B
1
S
E
N
D
3
Ch 16
SEND 4
GLOBAL MENU
S
E
N
D
4
The Mix Output setting in the Global Menu determines if the Preset’s Mix
Output routing will be used. This allows the Sends to be programmed by
either MIDI Channel or by Preset, whichever you prefer.
162 E-MU Systems
Preset Edit Menu
FXA Algorithm
FXA Algorithm
This screen selects the effect type for Effect Processor A. The “A” effects
consist of different reverb types and digital delays. Move the cursor to the
lower line of the display and select the effect you want.
FXA ALGORITHM
Lg Concert Pan
A Effect Types
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
Room 1
Room 2
Room 3
Hall 1
Hall 2
Plate
Delay
Panning Delay
Multitap 1
Multitap Pan
3 Tap
3 Tap Pan
Soft Room
Warm Room
Perfect Room
Tiled Room
Hard Plate
Warm Hall
Spacious Hall
Bright Hall
Bright Hall Pan
Bright Plate
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
BBall Court
Gymnasium
Cavern
Concert 9
Concert 10 Pan
Reverse Gate
Gate 2
Gate Pan
Concert 11
Medium Concert
Large Concert
Large Concert Pan
Canyon
DelayVerb 1
DelayVerb 2
DelayVerb 3
DelayVerb 4 Pan
DelayVerb 5 Pan
DelayVerb 6
DelayVerb 7
DelayVerb 8
DelayVerb 9
Vintage Keys Operation Manual 163
Preset Edit Menu
FXA Parameters
FXA Parameters
The FXA parameters are Decay, High Frequency Damping, and the FxB to
FxA send. Decay sets the length of time it takes an effect to fade out. HF
Damping causes the high frequency energy to fade away more quickly
during the reverb decay. FxB to FxA controls the amount of the “B” effect
sent through effect “A”. This allows you to place the two effects in series
and create setups such as “distortion through reverb” among others. Please
refer to the Effects chapter for more information about the effects.
FXA DECAY
048
FXA Send Amounts
HFDAMP
064
These parameters set the effects amounts for each of the four stereo effects
busses.
FXA SEND AMOUNTS
2: 50%
3: 10%
FXB Algorithm
FxB>FxA
000
1:100%
4: 0%
This screen selects the effect type for Effect Processor A. Move the cursor to
the lower line of the display and select the effect you want.
FXB ALGORITHM
Panning Delay
B Effect Types
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
164 E-MU Systems
Chorus 1
Chorus 2
Chorus 3
Chorus 4
Chorus 5
Doubling
Slapback
Flange 1
Flange 2
Flange 3
Flange 4
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
Flange 5
Flange 6
Flange 7
Big Chorus
Symphonic
Ensemble
Delay
Delay Stereo
Delay Stereo 2
Panning Delay
Delay Chorus
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
PanDelay Chorus 1
PanDelay Chorus 2
Dual Tap 1/3
Dual Tap 1/4
Vibrato
Distortion 1
Distortion 2
Distorted Flange
Distorted Chorus
Distorted Double
Preset Edit Menu
FXB Parameters
FXB Parameters
The FXB parameters are Feedback, LFO Rate and Delay. Feedback sends the
output of the effect back into the input. This creates multiple echoes on a
delay effect and intensifies a chorus or flange effect. LFO Rate allows you to
change the speed of the modulation oscillator for flange and chorus effects.
Delay sets the length of the delay line. This affects the time between
echoes, or the tone of flange effects.
FXB
FXB Send Amounts
FEEDBK
032
LFORATE
003
These parameters set the effects amounts for the four stereo effects busses.
FXB SEND AMOUNTS
2: 50%
3: 10%
Preset Patchcords
DELAY
200ms
1:100%
4: 0%
Preset PatchCords give you real-time control of global parameters. The
effect processors are a powerful synthesis tool and this feature lets you
control and use them in exciting new ways. For example, you can dynamically adjust the effects mix during a sequence or live performance.
There are many exciting performance possibilities using Preset PatchCords
to control Arpeggiator parameters and Effects Sends. The front panel knobs
15 & 16 are usually connected to Arp parameters in factory presets marked
“arp:” Be sure to try out these controls
O
There are 12 Preset PatchCords per preset with a source, a destination and
an amount control. The amount can be set from -100 to +100. The Preset
PatchCord controls are added to the FX Send Amounts set in the Global or
Preset Edit menus. In other words, multiple sources connected to destinations are summed.
To crossfade between
effects.
1) Set FXA Send 1 to 100%.
2) Set FXB Send 1 to 0%.
3) Set FX Cord #1 to FXA Send 1
at -100.
4) Set FX Cord #2 to FXB Send 1
at +100.
PRESET CORDS
Pedal
-> FXBSend2
#01
+100
Increasing the controller amount
will crossfade from FXA to FXB.
Vintage Keys Operation Manual 165
Preset Edit Menu
Preset Patchcords
Modulation Sources:
Off
PitchWhl (Pitch Wheel)
ModWhl (Modulation Wheel)
Pedal
MIDI Volume (Controller 7)
MIDI Pan (Controller 10)
MIDI A-L
Footswitch 1
Flip-Flop Footswitch 1
Footswitch 2
Flip-Flop Footswitch 2
Footswitch 3
Flip-Flop Footswitch 3
DC
166 E-MU Systems
Modulation Destinations
Off
Effect A Send 1
Effect A Send 2
Effect A Send 3
Effect A Send 4
Effect B Send 1
Effect B Send 2
Effect B Send 3
Effect B Send 4
Preset Lag In
Preset Lag Amount
Preset Lag Rate
Preset Ramp Rate
Arp Resolution
Arp Extension
Arp Velocity
Arp Gate
Arp Interval
Beats Velocity, Group 1-4
Beats Transpose (Xps), Group 1-4
Beats Busy
Beats Variation
Preset Edit Menu
Initial Controller Amount
This parameter sets the initial value of MIDI controllers A-P when the preset
is first selected. The front panel Control Knobs can be thought of as front
panel MIDI controllers because in the Vintage Keys, they are treated just as
if they originated from an external MIDI device. Refer to the following
diagram. There are 4 Initial Controller Amount screens (A-D, E-H, I-L, M-P).
A
0
1
2
31
MIDI
95
Controller
A
0
1
2
MIDI
64
A
-
B
-
C
-
L
-
+
B
31
95
Controller
B
0
1
2
MIDI
64
MIDI
+
C
31
95
Controller
C
0
1
2
MIDI
64
+
L
31
64
95
Controller
L
Cord
Preset Edit
Menu
Cord
12 Control
Knobs
Cord
MIDI
Menu
Cord
Initial Controller
Amount
+
Amount
Patchcord Destinations
Key Sustain
Fine Pitch
Pitch
Glide
Chorus Amount
Sample Start
Sample Loop
Sample Retrigger
Filter Frequency
Filter Q
Amplifier Volume
Amplifier Pan
Amplifier Crossfade
Volume Envelope Rates
Volume Envelope Attack
Volume Envelope Decay
Volume Envelope Release
Filter Envelope Rates
Filter Envelope Attack
Filter Envelope Decay
Filter Envelope Release
Aux. Envelope Rates
Aux. Envelope Attack
Aux. Envelope Decay
Aux. Envelope Release
LFO 1 & 2 Rates
LFO 1 & 2 Trigger
Lag Processor
Summing Amp
Switch
Absolute Value
Diode
Quantizer
4x Gain
Cord 1-24 Amount
FXA Send 1-4
FXB Send 1-4
Preset Lag In
Preset Lag Amount
Preset Ramp Rate
Preset
Cords
External MIDI controller numbers are assigned to the Letters A-P in the
MIDI menu. The Initial Controller Amount value is sent to the PatchCord
destination when the Preset is first selected. If you move the Control Knob,
then that value replaces the initial value. If MIDI controller data is received
it will similarly replace the knob or initial setting.
INITIAL CONTROLLER AMT
A:017
B:112
C:127
D: off
The Initial controller amounts can be set from 000-127 or they can be
turned Off. If set to Off, the current controller value is used when the preset
is first selected. Setting the Initial Amount to “off” uses the values from the
previously selected preset.
Vintage Keys Operation Manual 167
Preset Edit Menu
Keyboard Tuning
Keyboard Tuning
In addition to the standard equally divided octave tuning, Vintage Keys
contains twelve factory programmed tunings and 12 user-definable
tunings. The Keyboard Tuning parameter selects which tuning is used by
the current preset. The User Tuning tables are defined in the Global menu.
The factory Keyboard Tuning tables are described in the following table.
Tuning Tables
Description
Equal Temperament
Standard Western tuning
(12 equally spaced notes per octave)
Just C
Just intonation. (Based on small interval ratios. Sweet
and pure, non-beating intervals.)
Vallotti
Valotti & Young non-equal temperament. (Similar to 12
tone equal temperament. Each key has a different
character for a given scale.)
19-Tone
19 tone equal temperament. (19 notes per octave.
Difficult to play, but works well with a sequencer.)
Gamelan
5 tone Slendro and 7 tone Pelog. (Javanese. Pelog are
white keys, Slendro are black keys. Exotic tunings of
Gamelan flavor.
Just C2
Allows you to play the following chords in the key of C:
C, E, F, G, A, B, C#m, D#m, Em, F#m, G#m, Am, Bm
Just C-minor
Allows you to play the following chords in the key of C:
C, E, F, G, A, B, Em, Am, Bm, C#m, D#m, G#m
Just C3
Allows you to play the following chords in the key of C:
C, D, F, Bb, C#m, Dm, Em, F#m, G#m, Am
Werkmeister III
A “well” temperament developed in the 17th century.
Although you can play in all keys, each key sounds
slightly different.
Kirnberger
Another well temperament developed by Johann
Philipp Kirnberger where no pitch is more than 12
cents off from equal temperament.
Scarlatti
A variant of Meantone tuning which was used from the
15th to 18th centuries.
Repeating Octave
Middle C octave is repeated up and down the keyboard.
Link with a preset in equal temperament to form
unusual inversion up and down the keyboard.
User 1-12
Define your own tuning tables (Global menu).
Refer to “User Key Tuning” on page 92 in the Global Menu chapter for
instructions on how to define your own Keyboard Tunings.
168 E-MU Systems
Preset Edit Menu
Keyboard Tuning
The Just C Tuning Tables

Vintage Keys implements
the MIDI Tuning Dump protocol
which allows you to create
tuning tables on your personal
computer and download them
via MIDI. There are several
computer applications available
on the internet which let you
create and download tuning
tables via MIDI.
Well Tempered and Just were standard keyboard tunings up until the 20thcentury when the current “equal tempered” scale became prevalent. In an
equal tempered scale, the octave is equally divided into 12 parts. In Just or
Well Tempered scales, the 12 notes are separately tuned to produce pure
chords. However, in Just tunings you are limited to playing certain chords
and if you play the wrong chord it may sound very BAD!
Vintage Keys allows you to modulate between keys by providing you 12
user tuning tables. Tuning tables can be changed as you play using a
program change (create several presets with the same sound and different
tuning tables), by MIDI SysEx command (using a programmable MIDI
footswitch or other device), or using a continuous controller (link 2 presets
and crossfade between them using a controller).
The Just C2, Just C min, Just C3 Tuning Tables
These new tuning tables take the concept of just intonation a step beyond
previous E-MU products. Fully explaining the mysteries of just intonation is
beyond the scope of this manual, but the subject is covered exhaustively in
Hermann Helmholtz’s On the Sensations of Tone, available at most libraries
and bookstores.
The new tables are called Just C2, Just C3, and Just C Minor. Try playing in
the key of C/Cm using each table. You’ll quickly discover both the wonders
and the frustrations of just intonation! In Just C, for example, you’ll find
that the chords C, Em, F, G, and Am sound beautiful. If you hold one of
these chords, you’ll hear no “beating”. After playing for a few minutes,
switch back to Equal Temperament for a rude awakening!
At this point you might wonder why anyone would use Equal Temperament to begin with. For the answer to that question, play a D, Dmi, or Bb
chord!.The intervallic ratios that make the C & G chords sound so pure
make the D chord sound horribly out of tune. That's why we had to include
Just C3. In this tuning, D, Dmi and Bb sound in tune, but the G chord will
sound wrong.
Each of the 4 tables allows you to play a different group of common chords
in just intonation. Sadly, there is no single 12 note tuning that will allow all
of the common chords to be in tune, and of course that's why they
invented the equal temperament tuning system that we use today.
Just C
Play these chords: C,
E, F, G, A, Cm, C#m, Em, F#m, Gm, Am
Just C2
Play these chords: C,
Just C2 minor
Play these chords: C,
Just C3
Play these chords: C,
E, F, G, A, B, C#m, D#m, Em, G#m, Am, Bm
Db, D, Eb, G, Ab, Cm, Em, Fm, Gm
D, F, Bb, C#m, Dm, Em, F#m, G#m, Am
Vintage Keys Operation Manual 169
Preset Edit Menu
Preset Links
Preset Links
You can link presets to other presets to create layering or keyboard splits.
The current preset can be linked with up to two other presets (Links 1 & 2).
Each linked preset can be assigned to a specific range in order to create
keyboard splits or can be assigned a velocity range to switch links according
to key velocity. In addition, you can specify Volume, Pan, Transpose and
Delay settings for each Link. The modulation parameters specified in each
preset remain in effect for each preset in the link.
LINK 1 Preset
0002 Preset Name
LINK 1
RANGE
C-2
LINK 1
LINK 1
VROM
KEY
G8
VEL
000-127
VOLUME
+0dB
TRANSPOSE
+00
PAN
00
DELAY
0
Links provide an easy way to create new sounds by combining the existing
presets. Or, you can create your own custom stacked presets with up to 12
layers! We’re talking LARGE sounds here. Of course Links can also be used
when you just want to stack up two sounds.
As an example, let’s stack two presets to create a big sound. Start with a
preset you like, then go into the Links screen and start scrolling through
the preset list while you play to hear both presets together. When you find
a winner, simply Save the preset and you’re finished!
• You can “Split” the keyboard up to 12 ways by using combinations of the
Layers and Links.
• By adjusting the Velocity for the link, you can bring in the link by
playing hard.
• Transposing the Link can radically change the sound.
• The delay parameter lets you create surprise effects, echoes or cascades of
sound as you continue to hold the keys.
170 E-MU Systems
Preset Edit Menu
Preset Tempo Offset
Preset Tempo Offset
This function allows you to double or halve the Master Tempo as it applies
to this preset. When playing or sequencing several presets in Multi mode,
the Master Tempo may be too fast or slow for one preset. Using this feature,
you can adjust the tempo for the misbehaving preset. The Tempo Offset can
use the current tempo or be set to half or twice the current tempo.
TEMPO OFFSET
use current tempo x 2
Audition Riff
Selection
O
A Riff is a short pre-recorded musical phrase which can be anything from a
single note to a full 16-track sequence. This function allows you to assign a
Riff to a Preset. The Preset Riff will be used when the front panel Audition
button is pressed.
Listening to the Riffs is a
quick way to learn the sounds in
Vintage Keys. If a preset has
hidden tricks or controllers, these
will be shown off in the Riff.
The Riffs themselves cannot be modified.
Play Solo Layers
When constructing multilayer sounds it is often useful to turn off one or
more of the layers so you can hear what you’re doing! This feature allows
you to temporarily solo individual layers or listen to them in any combination. This screen differs from the other Preset Edit screens in that it is
NOT saved with the preset. The values reset each time you exit the Preset
Edit menu.
AUDITION SELECTION
Plays:KEY-MiddleC
Solo is activated by setting any layer to On (On = the layer is being Soloed).
Any layers set to On will play and any layers set to Off will be muted. If all
layers are set to Off, then Solo mode ends and all layers play normally.
When you exit the Preset Edit menu, all layers play normally.
PLAY SOLO LAYERS
1: off
2: off
3: off
4: off
Vintage Keys Operation Manual 171
Preset Edit Menu
Play Solo Layers
172 E-MU Systems
Effects
Effects
Overview
Vintage Keys has two stereo effects processors. When playing presets one at
a time the two processors can be programmed as part of the preset. When
the MIDI Mode is set to “multi,” the Vintage Keys uses a global effects
assignment (Master Effects). The diagram below shows how the effects are
integrated into the signal path using a parallel effects send/return model,
similar to a mixing console.
FX Send Amount
Reverb, Delay
Effect
A
Sum
Preset
Main
Outs
Dry Signal
Sum
Effect
B
Chorus, Flange
FX Send Amount
The Effects Sends
On a mixing console you can control the amount of signal each channel
Sends to the effect bus. This allows each channel to be placed in a slightly
different “sonic space” which creates an airy, open sound.
Vintage Keys uses this basic concept, but works in a slightly different
manner. There are four effects busses: Send1-Send4. Each preset or each
MIDI channel (you determine which), can be directed to one of the four
busses. Each effect processor has four Send Amounts which allow you to set
the wet/dry mix on each of the four busses going into the effect. A setting
of 0% is completely dry (no effect). A setting of 50% contains an equal mix
of affected and normal (dry) signal.
Vintage Keys Operation Manual 173
Effects
Effects Overview
Send 2 is also used to route sounds to the Sub 1 outputs on the back panel.
When a plug is inserted into the associated Submix jack on the back panel,
the Dry portion of the Send is disconnected from the effects processor and
the Dry signal is routed directly to the output jack. The Arrow (->) in the
display points to the actual output routing. The Dry Send is disconnected
from the Effects Processors even if only one plug is inserted into a Submix pair.
The Effects Send is programmed for each layer in the Preset Edit menu.
These routings can be overruled in the Global menu Mix Output screen by
changing the submix setting from “preset”, which uses the preset routing,
to Send1-Send4. In the diagram below, MIDI channel 1 is programmed to
obey the preset routing, which in this case is Send 1.
OUTPUT SECTION
& EFFECTS PROCESSORS
FX Sends
Send 2 10%
Send 3 0%
Send 4 0%
Mix
Output
Send 1
S
E
N
D
1
FX Sends
PRESET
Send 4 15%
Ch 2
SEND 2
Ch 3
SEND 3
S
E
N
D
2
Chorus
M
A
I
N
Send 1 0%
Send 3 20%
Mix Output
Effect
A
B➟A
Send 2 0%
Ch 1
Hall 1
Send 1 15%
PRESET
EDIT MENU
Effect
B
Jack Detect
S
U
B
1
S
E
N
D
3
Ch 16
SEND 4
GLOBAL MENU
S
E
N
D
4
Individual layers or entire MIDI channels can be routed to any of the four busses.
The four Effect Sends allow you to get the most out of the two effect
processors. For example, with Effect B set to an echo algorithm, you could
route one MIDI channel to Send 3 and set the effect amount to 80%.
Another MIDI channel could be routed to Send 4 with an effect amount of
only 5%.
The Mix Output function is also useful when sequencing since it lets you
route specific MIDI channels to specific Sub outputs (on the back panel)
where there they can be processed with EQ or other outboard effects.
174 E-MU Systems
Effects
Effect Types
Effect
Types
Effect Parameters
A Effect Types
Room 1-3
Hall 1 & 2
Plate
Delay
Panning Delay
Multitap 1
Multitap Pan
3 Tap
3 Tap Pan
Soft Room
Warm Room
Perfect Room
Tiled Room
Hard Plate
Warm Hall
Spacious Hall
Bright Hall
Bright Hall Pan
Bright Plate
BBall Court
Gymnasium
Cavern
Concert 9
Concert 10 Pan
Reverse Gate
Gate 2
Gate Pan
Concert 11
Medium Concert
Large Concert
Large Concert Pan
Canyon
DelayVerb 1-3
DelayVerb 4-5 Pan
DelayVerb 6-9
B Effect Types
Chorus 1-5
Doubling
Slapback
Flange 1-7
Big Chorus
Symphonic
Ensemble
Delay
Delay Stereo
Delay Stereo 2
Panning Delay
Delay Chorus
Pan Delay Chorus 1 & 2
Dual Tap 1/3
Dual Tap 1/4
Vibrato
Distortion 1 & 2
Distorted Flange
Distorted Chorus
Distorted Double
“A” Effect types contain Reverb and Delay effects. “B” Effect types contain
Chorus, Flange and Distortion effects. There are 44 “A” effects and 32 “B”
effects. In addition to the effect type, there are user adjustable parameters
for each effect. The “A” effects have programmable Decay and High
Frequency Damping. The “B” effects have user programmable Feedback,
LFO Rate, and Delay Time.
Vintage Keys Operation Manual 175
Effects
Effect Types
Decay
The Decay parameter is used when setting “A” type effects. Decay sets the
length of time it takes an effect to fade out. When setting up reverb effects,
Decay controls the room size and the reflectivity of the room. For larger
room sizes and greater reflectivity, set the Decay value higher. When setting
up delay effects, the Decay parameter controls how many echoes are
produced or how long the echoes last. The greater the value, the more
echoes and longer lengths of time. The Decay value range is from 0 through
90.
High Frequency Damping
The HF Damping parameter is used when setting “A” type effects. High
Frequency energy tends to fade away first as a sound is dissipated in a room.
the HF Damping parameter adjusts the amount of damping applied to the
signal’s high frequency elements which, in turn, changes the characteristics
of the room. Rooms with smooth, hard surfaces are more reflective and
have less high frequency damping. Rooms filled with sound absorbing
materials, such as curtains or people, have more high frequency damping.
The value range for High Frequency Damping is from 0 through 127.
Feedback
The Feedback parameter is used when setting “B” type effects. The Chorus
and Flange effects have a controllable feedback loop after the delay
element. Feeding back a small amount of the signal intensifies the effect by
creating multiple cancellations or images. Higher feedback values increase
the amount of the Feedback loop. The Feedback value range is from 0 to
127.
LFO Rate
The LFO Rate parameter is used when setting “B” type effects. Both Chorus
and Flange effects use a Low Frequency Oscillator (LFO) to animate the
effect. LFO applied to a chorus effect creates the slight changes necessary
for a realistic choral effect. Applied to a flanger effect, the LFO moves the
comb filter notches and adds animation to the sound. The LFO Rate value
range is from 0 to 127.
Delay
Flanging, chorus and echoes are all based on a delay line where the signal is
delayed by some time period and then mixed back with the unaltered
signal. This parameter specifies the how much time passes before you hear
the delayed signal. On some effects, this value cannot be changed. In this
case, the field contains a dash. The Delay value range is from 0ms to 635ms.
Synchronize the delay time to the master clock by setting the delay time
below zero. The delay time can be set to any of the standard clock divisors
(listed on page 60) in order to lock the echos to the beat of your song or
arpeggio.
176 E-MU Systems
Effects
Effects Programmed in the Preset
Effects
Programmed
in the Preset
Effects are normally programmed as part of the preset allowing you to have
a different effect for each. This section describes how to program and
modify Vintage Keys’s preset effects.
1.
2.
To Program the Effects as Part of the Preset:
Press the Preset Edit button. The LED illuminates and the Preset Edit
screen appears.
Use the data entry control to select the FXA Algorithm screen.
FXA ALGORITHM
Lg Concert Pan
3.
4.
Select an Effect. Do not select the “Master Effect” setting or the global
effects set up in the Global menu will be used instead of the Preset
Effect settings.
Use the data entry control to select the FXA parameter screen.
FXA
DECAY
90
HFDAMP
127
FxB>FxA
127
The FxB -> FxA parameter lets you route the B effect through the A effect.
See “Effect B Into Effect A” on page 182.
5.
6.
Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters.
Use the data entry control to select the FXB Algorithm screen.
FXB ALGORITHM
Distorted Flange
7.
8.
Select an Effect. Do not select the “Master Effect” setting or the global
effects set up in the Global menu will be used instead of the Preset
Effect settings.
Use the data entry control to select the FXB parameter screen.
Vintage Keys Operation Manual 177
Effects
Master Effects
FXB
9.
10.
Master Effects
FEEDBK
127
LFORATE
127
DELAY
635ms
Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters.
Save the preset. The programmed effects setting will be saved along
with the preset.
When playing single presets, the effects are normally programmed as part
of the preset. In Multimode the Master effects are used, since there are only
two effect processors to serve 16 MIDI channels.
You might also want the effects to be programmed on a global basis when
in Omni or Poly modes. You could choose your favorite reverb, for
example, and have it applied to any preset you select.
1.
2.
To Program the Master Effects
Press the Global menu button. The LED illuminates and the Global
screen appears.
Use the data entry control to select the FXA Algorithm screen.
FXA ALGORITHM
Lg Concert Pan
3.
4.
Select an Effect.
Use the data entry control to select the FXA parameter screen.
FXA
DECAY
90
HFDAMP
127
FxB>FxA
127
The FxB -> FxA parameter lets you route the B effect through the A effect.
See “Effect B Into Effect A” on page 182.
178 E-MU Systems
Effects
Master Effects
5.
6.
Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters.
Use the data entry control to select the FXB Algorithm screen.
FXB ALGORITHM
Distorted Flange
7.
8.
Select an Effect.
Use the data entry control to select the FXB parameter screen.
FXB
9.
10.
11.
_
The MIDI mode (MIDI
Menu) must be set to Omni or
Poly mode in order to select the
effects in the preset.
FEEDBK
127
LFORATE
127
DELAY
145ms
Set the other effect parameters to your preference. Refer to the information in the last section for detailed descriptions of these parameters.
Press the Preset Edit menu button. The LED illuminates and the Preset
Edit menu displays the last screen used.
Use the data entry control to access the FXA Algorithm page and select
“Master Effect A.”
FXA ALGORITHM
Master Effect A
12.
13.
Repeat step 11 for the FXB Algorithm
Save the preset. The Master effects routing will be saved along with the
preset.
Vintage Keys Operation Manual 179
Effects
Master Effects
Effects Mode
This control provides a true bypass of the effects engine. Bypass is a useful
feature if you are using external effects at the mixing console and want to
turn the effects off for all presets.
1.
2.
To Bypass the Effects:
Press the Global menu button. The LED lights and the last Global
parameter screen used is displayed.
Use the data entry control to select the Effects Mode screen.
FX MODE
enabled
3.
4.
5.
Use the cursor button to advance the cursor to the bottom line in the
screen.
Use the data entry control to change the value.
Press the Enter key to save the settings.
The Effects Mode values are “enabled” and “bypassed.” Enabling the Effects
Mode turns on effects. Selecting “bypassed” turns off the effects.
Flexible Effects
Control
The effects processor controls are very flexible. The effects can be controlled
in three different ways to suit your personal preference and to adapt to
different situations.
When in Omni or Poly mode, effects are normally programmed as part of
the preset. In Multi mode, the two effects processors can be controlled
using the Master settings or by using the effects settings of a preset on a
specific MIDI channel. Effects can be programmed in the following ways:

You can create special
“Effects Presets” which are
assigned to the FX Multi mode
Control channel, then use
standard MIDI Program Change
commands to switch effects
during sequence playback.
180 E-MU Systems
1.
Programmed as part of the preset when playing single presets
(Omni or Poly Modes).
2.
Programmed from the Master Effects Section when playing
either single presets (preset Effect Type set to “Master”) or
when in Multi Mode.
3.
Programmed from the designated control preset when in Multi
Mode.
Effects
Master Effects
Refer to the following diagram for a look at how effects are programmed.
1
Master
FX
Preset
FX
Effects are part
of the Preset
(Omni or Poly Mode)
2
Master
FX
Preset
FX
Ch 1
Master Effects
3
(Multi mode)
Preset
Ch 16 FX
Master
FX
Preset
FX
Ch 1
(Multi mode)
Selected FX Control Channel
1.
2.
Preset
FX
Ch 16
One Channel's
Preset determines
the Effect Settings
To Program the Effects Globally for all Presets in Multi Mode:
Press the MIDI menu button. The LED illuminates and the MIDI menu
screen appears.
Use the data entry control to select the MIDI mode page. Choose
“multi” for the mode.
MIDI MODE
multi
CHANGE
accepted
Vintage Keys Operation Manual 181
Effects
Master Effects
3.
Move the cursor to the Multi mode Effects Control page using the data
entry control.
FX MULTIMODE CONTROL
use master settings
4.
5.
Set the Effect Control channel to use master settings using the data
entry control.
Press the Enter key to save the settings and return to the main screen.
Using the Effects Channel Settings in Multi Mode
In Multi mode, the two effects processors can be controlled from the Master
Effects settings or they can follow the effects settings of the preset on a
special MIDI channel. The effect settings on this special channel will be
applied to all the other MIDI channels. This allows the effects to be
changed during a sequence simply by changing the preset on a specified
MIDI channel.
1.
2.
3.
4.
5.
Effect B Into Effect A
To Program the Effects by Channel Number in Multi Mode:
Press the MIDI menu button. The LED illuminates and the MIDI menu
screen appears.
Use the data entry control to select the MIDI mode page. Choose
“multi” for the mode.
Move the cursor to the Multi mode Effects Control field using the data
entry control
Set the Effect Control to “preset on Channel #” (where # is replaced by
the actual channel number from 1 through 16) using the data entry
control.
Press Enter to save the settings and return to the main screen.
The output of effects processor B can be routed into effects processor A.
This connects the effects in series instead of their normal parallel configuration. Two effects connected in series sound very different than the same
two effects in parallel. For example, a chorus patched through reverb can
turn a bland string section into a lush wall of sound. The B –>A amount can
also be controlled for even more flexibility.
To Send the Output of Effect B through Effect A:
In this example, 100% of Effect B will be sent into Effect A.
1.
182 E-MU Systems
Access the FXA parameter screen (in either the Global or Preset Edit
menus) that contains the FXB –>FXA parameter.
Effects
Master Effects
FXA
2.
3.
DECAY
127
HFDAMP
127
FxB>FxA
127
Set this amount to 127. Press the cursor button to return the cursor to
the top line in the display.
Use the data entry control to select the FXA submix routing parameter
screen.
FXA SEND AMOUNTS
2: 20%
3: 30%
4.
5.
6.
7.
8.
9.
1: 10%
4: 40%
Press the cursor buttons to advance the cursor to the Main field.
Set the Main send amount to any amount other than zero.
Press the cursor button again to return the cursor to the FXA title. Use
the data entry control to advance to the FXB Algorithm page.
Select an effect.
Advance to the FXB submix routing page and set the Main FXB send
percentage to zero.
Play the keyboard and you should hear the B Effect running through
Effect A. This patch is shown below.
Main Send
50%
Effect B
Main Send
0%
B➟A
Effect A
100%
Vintage Keys Operation Manual 183
Effects
General Effect Descriptions
General Effect
Descriptions
Reverb
Reverberation is a simulation of a natural space such as a room or hall. The
reverb algorithms in Vintage Keys simulate various halls, rooms and reverberation plates. In addition, there are several other reverb effects such as
Gated Reverbs, Multi Tap (early reflections), Delay and Panning effects.
There are two adjustable parameters on the reverb effects - Decay Time and
High Frequency Damping.
AMPLITUDE
Decay time defines the time it takes for the reflected sound from the room
to decay or die away. The diagram below shows a generalized reverberation
envelope.
Pre
Reflex
Delay Cluster
TIME
Reverb
Decay Time
After an initial pre-delay period, the echoes from the closest walls or ceiling
are heard. These first echoes, or the early reflection cluster, vary greatly
depending on the type of room. Roughly 20 milliseconds after the early
reflection cluster, the actual reverberation begins and decays according to
the time set by the Decay Time parameter.
High frequency energy tends to fade away first as a sound is dissipated in a
room. The High Frequency Damping parameter allows you adjust the
amount of high frequency damping and thus change the characteristics of
the room. Rooms with smooth, hard surfaces are more reflective and have
less high frequency damping. Rooms filled with sound absorbing materials
such as curtains or people have more high frequency damping.
General Descriptions of the Reverb Types
Room: Programs simulate small rooms with high frequency absorption
caused by drapes and furniture.
Plates: Simulates plate type reverbs with their tight, dense, early
reflections and sharp reverb buildup.
Hall: Presets recreate the open, spacious ambience of large concert halls.
Gated Reverbs: Add ambience only while the original signal is still
sounding. As soon as the signal falls below a threshold, reverb is cut off.
Delay: Programs can be used to create echo and doubling effects.
Multi Tap: Programs consist of the reflection cluster only without the
reverb decay.
184 E-MU Systems
Effects
General Effect Descriptions
Chorus
The function of a chorus device is to thicken the sound or to make one
voice sound like many. This effect is usually created by mixing one or more
delayed versions of the signal with the original. The delay times used are
too short to be perceived as an echo, but long enough so that comb filtering
does not occur. In addition, the delay time is varied via a low frequency
oscillator to simulate the random differences which occur when multiple
instruments are playing together. A slight amount of feedback improves the
effect by creating multiple images of the sound as it recirculates again and
again.
All the choruses are true stereo using two separate delay lines controlled by
a single set of controls. The delay times are slightly different for each
channel and the LFO phase is inverted on one channel to help contribute
to the overall chorus effect. The LFO Rate and Depth settings are critical to
achieving a realistic effect, with faster LFO rates generally requiring less LFO
amount and vice-versa.
Doubling
When a copy of a sound delayed by about 26 milliseconds is added back to
the original, two audio images are perceived by your brain. When the
delayed image is slightly varied or modulated, the illusion of two voices is
created.
Slapback
Slapback is a single short echo in the range of 50-60 milliseconds. A sound
delayed by this length of time is perceived as a discrete and separate image
which is useful for a thickening effect or as a pre-delay for reverb simulating
a hard, reflective surface such a gymnasium wall.
Stereo Flanger
A flanger consists of a short audio delay line whose output is mixed
together with the original signal. Mixing the delayed and original signals
results in multiple frequency cancellations called a comb filter. Since the
flanger is a type of filter, it works best with harmonically rich sounds.
This is the frequency response of a Comb Filter.
Flanging was originally created using two tape recorders playing identical
recordings. By exactly synchronizing the two decks and then slowing the
speed of one by grasping the tape reel flanges, the flanging effect was born.
Vintage Keys Operation Manual 185
Effects
General Effect Descriptions
The Vintage Keys flanger is a stereo device consisting of two separate delay
lines controlled by a single set of controls. A Low Frequency Oscillator
(LFO) varies this initial delay setting, changing the frequency of the
notches and adding animation to the sound. LFO Rate controls the rate of
change and LFO Depth controls how much the LFO changes the delay.
The Feedback control sends some of the delayed signal through the delay
line again. When feedback is used the comb filter notches are deepened.
Delay
Delay is an effect which can be used for doubling, reverb pre-delay, or
echoes.
Delay Time is variable from 0-635 mS and controls the time between
echoes. Feedback and determines how long the echoes continue sounding.
“Infinite” delay effects are also possible without the risk of runaway.
Stereo Delay
Similar to delay except that the delay line outputs a stereo signal from the
mono input. The two output signals are a few milliseconds apart to create a
stereo image. The delay times are variable from 0-635 mS.
Panning Delay
A panning delay is similar to the normal delay lines except that the echoes
bounce back and forth between the two stereo speakers.
Dual Tap
These are delay lines where the signal is “tapped off” at two unevenly
spaced locations. When feedback is used, multiple complex echoes are
produced. The fraction in some of the algorithm names (i.e. 1/3, 1/4) refers
to the time ratio between the taps.
Vibrato
Basically, this a delay line modulated by an LFO, but with none of the
original signal added in. The LFO modulation creates a Doppler shift and a
resultant cyclical pitch shift. The vibrato created in this manner sounds
very different than vibrato created by frequency modulating the sample.
Distortion
Distortion uses a technique called “soft-clipping” to create additional
harmonics in the signal. As the level increases, the top of the waveform
becomes somewhat squared. As the level increases further, it transforms
into a true square wave.
Soft clipping gradually squares the edges of the waveform as the amplitude is increased.
186 E-MU Systems
Save/Copy Menu
The Save/Copy button is used to save changes to a preset, copy data
between presets, randomize presets and to move other types of data. The
menu is context-sensitive and will start at the appropriate save screen. If
multiple items need to be saved, then the screens have the following
priority: pattern, song, preset. Use the data entry control to navigate to
other pages that support copying information.
Saving a Preset
Any time you make a change to a preset, either using the Preset Edit menu
or by changing the Controller Knobs in Quick Edit mode, you must save
the preset in order for the change to become permanent. When you save a
preset it erases any existing preset information in that location. Make sure
that the destination location does not contain preset information you want
to keep.
SAVE PRESET to
0201 Destination Preset
User
To Save a Preset:
3.
Press the Save/Copy menu button.
Move the cursor to the bottom line on the display.
Select the new preset location using the data entry control.
4.
Press the Home/Enter button.
1.
2.
Vintage Keys Operation Manual 187
Save/Copy Menu
Copy Preset
Copying
Information
Copy Preset
The Copy operations let you copy information from any preset or layer to
any other preset or layer. To use the copy command, first select the preset or
layer to which you want to copy (the destination location). Then, from the
copy screen, select the preset or layer you want to copy to the currently
selected location (the source location). Using the copy commands you can
copy preset, layer, PatchCord and arpeggiator information.
The Copy Preset command lets you copy all of the preset information from
one location into the preset of the current location. The preset information
in the source location (the preset location from which you want to copy) is
not deleted from the original location, just copied to the destination
location.
COPY PRESET from
0093 bas: Deep End 1

All the Sound Navigator
features work when using the
Copy functions.
1.
2.
3.
4.
5.
6.
Copy Layer
To Copy a Preset:
Select the Preset you want to copy information into.
Press the Save/Copy menu button.
Select “Copy Preset from” using the data entry control.
Select the preset you want to copy using the data entry control. The
ROM Bank, Preset Number, Bank Number, Category and Preset Name
fields are all selectable.
Press the Home/Enter button.
A warning appears asking you to confirm once more. Press the Home/
Enter button to copy the selected preset into the current location.
The Copy Layer command lets you copy any layer information from one
preset into any layer of the current preset location. The layer information
in the source location (the layer location from which you want to copy) is
not deleted from the original location, just copied to the destination
location.
COPY LAYER
User
1
020 Source Preset
188 E-MU Systems
VROM
L1 -> L4
Save/Copy Menu
Copying Information
1.
2.
3.
4.
5.
6.
7.
8.
Copy PatchCords
To Copy a Layer:
Select the Preset and Layer you want to copy information into.
Press the Save/Copy menu button.
Move the cursor to the bottom line on the display.
Select the preset location using the data entry control, of the preset
containing the information you want to copy into the current preset.
Move the cursor to the top line in the display.
Select the layer of the source preset in the first field on the right.
Select the destination layer in the second field.
Press the Home/Enter button.
The Copy Patch Cord command lets you copy the PatchCord settings from
one layer of the preset location into the current layer of the current preset
location. The preset information in the source location (the preset location
from which you want to copy) is not deleted from the original location, just
copied to the destination location.
COPY CORDS
User
1
020 Source Preset
1.
2.
3.
4.
5.
6.
7.
8.
L1 -> L4
To Copy a PatchCord:
Select the Preset and Layer you want to copy information into.
Press the Save/Copy menu button.
Move the cursor to the bottom line on the display.
Select the preset location using the data entry control, of the preset
containing the information you want to copy into the current preset.
Move the cursor to the top line in the display.
Select the layer of the source preset in the first field on the right.
Select the destination layer in the second field.
Press the Home/Enter button.
Vintage Keys Operation Manual 189
Save/Copy Menu
Copy Preset PatchCords
Copy Preset
PatchCords
The Copy Preset PatchCord command lets you copy the preset patchcord
settings from one preset location into the current preset location. The
preset information in the source location (the preset location from which
you want to copy) is not deleted from the original location, just copied to
the destination location.
COPY PRESET CORDS
0201 Source Preset
1.
2.
3.
4.
5.
Copy Arpeggiator
Settings
To Copy a Preset PatchCord:
Select the Preset you want to copy information into.
Press the Save/Copy menu button.
Move the cursor to the bottom line on the display.
Select the preset containing the information you want to copy.
Press the Home/Enter button.
This function lets you copy the Arpeggiator settings from any ROM or RAM
preset location into the current RAM (User) preset.
COPY ARP SET from
0533 arp: Downtown
1.
2.
3.
4.
5.
6.
190 E-MU Systems
User
VROM
To Copy the Arpeggiator Settings:
From the Main screen, select the User Preset you want to copy the Arp
setting into.
Press the Save/Copy menu button.
Move the cursor to any of the fields on the bottom line on the display.
Use the data entry control to select the preset you want to copy from.
Press Enter when you have made your selection. The Enter LED is
flashing indicating that Vintage Keys is waiting for your response.
The Arp Settings are copied into the current preset.
Save/Copy Menu
Copy Arpeggiator Pattern
Copy Arpeggiator
Pattern
This function lets you copy the Arpeggiator pattern from any ROM or RAM
preset to any RAM (user) pattern.
COPY ARP PAT from
961 TRANCED
1.
2.
3.
4.
VROM
To Copy the Arpeggiator Pattern:
Press the Save/Copy menu button.
Move the cursor to any of the fields on the bottom line on the display.
Use the data entry control to select the preset you want to copy from.
Press Enter when you have made your selection.
Overwrite pattern:
000 No Control
5.
Copy
Preset Bank
Press Enter. The Arp Pattern is copied into the selected User Pattern.
The Copy Preset Bank command lets you copy an entire bank from any
ROM or RAM bank location to any RAM (user) bank. This function can be
especially useful after installing a new sound SIMM.
COPY BANK
From: VROM
ROM or RAM
Preset Location
1.
2.
3.
4.
5.
6.
2
To: User
Bank No.
1
Destination
Bank No.
To Copy a Preset Bank:
Press the Save/Copy menu button.
Move the cursor to the “From” field on the bottom line on the display.
Use the data entry control to select the preset bank you want to copy
from.
Move the cursor to the “To” field on the bottom line on the display.
Use the data entry control to select the User preset bank you want to
copy into.
Press the Home/Enter button to overwrite the bank.
Vintage Keys Operation Manual 191
Save/Copy Menu
Copy Preset Bank
Sound
Authoring
Copy User Bank
to Flash
This is a special purpose function to be used with the Flash sound
authoring feature. Flash Sound SIMMs created on an EOS Ultra sampler can
be used as a custom Vintage Keys bank. Presets are then created in a User
bank. When the bank of presets is finished, it can be copied, using this
function, to the Flash SIMM. Flash SIMMs contain two separate memory
locations. One of these memories contains the sound samples and the
other memory can hold four banks of 128 presets.
For instructions on how to remove and replace ROM SIMMs,
please see “Installing Sound SIMMs” on page 229.
The four sound SIMM sockets in Vintage Keys are marked 0-3. The destination Flash SIMM must be placed in SIMM socket 1.
COPY USER BANK TO FLASH
From: User0
To: Flash2
1.
_
If there is no Flash SIMM
in the unit, the error message,
“Requires Flash SIMM” will be
displayed.
2.
3.
4.
5.
6.
To Copy a User Bank to Flash:
Make sure a Flash SIMM is inserted into the extra Vintage Keys SIMM
socket.
Press the Save/Copy menu button.
Rotate the data entry control to select the “Copy User Bank” function
shown above.
Move the cursor to the “From” field and select the User bank that you
want to copy to the Flash SIMM.
Move the cursor to the “To” field and select the Flash bank that you
want to contain the User bank.
Press Enter. The Enter LED will flash and the screen below appears.
Press ENTER to Overwrite
Flash SIMM Presets
7.
Press Enter again to confirm. The following screen appears:
COPYING USER BANK TO FLASH
Done. Please Reboot Now.
8.
192 E-MU Systems
The Flash presets cannot be used until Vintage Keys is rebooted (power
off then on). Reboot the Vintage Keys and verify that the new Flash
bank has been properly copied.
Save/Copy Menu
Rename Flash SIMM
Rename Flash SIMM

This utility allows you to rename the Flash SIMM and change its ID
number. Flash SIMMs can have any five letter name you choose. Each Flash
SIMM in a Vintage Keys unit must have a unique ID number (106-119).
The field in the upper right corner selects between multiple Flash SIMMs. If
only one Flash SIMM is installed, the field cannot be modified.
The Flash ID is the MSB
of the MIDI Bank Select
command used to select the
Sound Bank.
_
If there is no Flash SIMM
in the unit, the error message,
“Requires Flash SIMM” will be
displayed.
RENAME FLASH SIMM
New Name: Drums
1.
2.
3.
4.
5.
6.
Flash
ID: 110
Make sure a Flash SIMM is inserted in a Vintage Keys SIMM socket.
Press the Save/Copy menu button.
Rotate the data entry control to select the “Rename Flash SIMM”
function shown above.
Move the cursor to the “New Name” field and rename the SIMM using
the data entry control to select the letter and the cursor keys to select
the position.
Set the Sound ID number for the SIMM. It doesn’t matter which
number you choose as long as the same number isn’t used in another
SIMM.
Press Enter. The following screen appears and the Enter LED will be
flashing.
Press ENTER to Update
Flash SIMM data
7.
Press Enter again to confirm or any other button to abort. The
following screen appears:
CHANGING SIMM NAME & ID
(takes about 2 minutes)
8.
The Flash presets cannot be used until Vintage Keys is rebooted (power
off then on). Reboot the Vintage Keys and verify that the new Flash
bank has been properly renamed.
Vintage Keys Operation Manual 193
Save/Copy Menu
Duplicate Flash
Duplicate Flash
This utility allows you to duplicate Flash SIMMs using Vintage Keys. Both
Sound and Preset data is copied when a Flash SIMM is duplicated. A factory
sound SIMM cannot be copied using this utility.
The SIMM sockets are marked 0, 1, 2, 3. The Flash SIMM you want to copy
MUST be placed into SIMM Socket 0. The destination Flash SIMM must be
placed in SIMM socket 1. See “Installing Sound SIMMs” on page 229.
DUPLICATE SLOT 0 FLASH
Start
1.
_
If there are no Flash
SIMMs in the unit, or if the
SIMMs are in the wrong slots,
an error message will be
displayed.
2.
3.
4.
Make sure the two Flash SIMM are located in the required SIMM
sockets.
Press the Save/Copy menu button.
Rotate the data entry control to select the “Duplicate Flash SIMM”
screen shown above.
Move the cursor to the bottom line and press Enter. The following
screen appears and the Enter LED will be flashing.
Press ENTER to overwrite
the Flash SIMM in Slot 1
5.
Press Enter again to confirm or any other button to abort. The
following screen appears and the SIMM is copied.
DUPLICATING SLOT 0 -> SLOT 1
(Takes about 5 minutes)
6.
194 E-MU Systems
When Vintage Keys has finished duplicating the SIMM, turn power off,
remove the copied SIMM, then reboot. That’s it!
Save/Copy Menu
Sound Authoring
Create Random
Preset
This is a great feature which creates a new preset using portions of the ROM
presets as source material. By merging random presets, really great
sounding presets can be generated with ease. Use this feature to generate
wild new sounds, get new programming ideas or just for fun.
RANDOMIZE PRESET
0000 Any User Preset

Examine interesting
presets to learn how they work
using the Edit menu.
1.
2.
3.
4.
User
To Create a Random Preset:
Press the Save/Copy menu button.
Move the cursor to the bottom line on the display and press Enter.
A new random preset will be created.
Don’t like the sound? Press Enter again and a new random sound will
be generated.
Vintage Keys Operation Manual 195
Save/Copy Menu
Create Random Preset
196 E-MU Systems
Preset Programming
There are so many differnt ways to use Vintage Keys that it would be impossible to describe them all. This chapter will get you started and hopefully
give you a few ideas for programming your own custom sounds. In order to
learn the most from this chapter, we recommend that you actually try each
example.
Editing Presets
One of the easiest ways to make a new preset is to edit an existing preset.
This is also an excellent way of becoming familiar with Vintage Keys. If you
don’t like what you hear, simply select a new preset, then Vintage Keys
reverts to the original sound. Changes are not permanent until you Save
them (see “Saving a Preset” on page 187).
Let’s experiment and modify a few parameters of an existing preset. We’ll
start with functions that have an obvious effect on the sound: Instrument
Select, Tuning, and Chorus.
Changing the
Instrument
Changing the instrument is the easiest and most dramatic way to modify
an existing preset.
1.
2.
O
The Preset Edit Jump
Buttons are located in the
“Command Functions” section
of the front panel.
To Change the Instrument for the Current Layer:
Choose any cool preset, then press the Preset Edit button.
Press the #1 Jump button twice to jump directly to the Instrument
page. See “Preset Menu Jump Keys” on page 36.
L1
INSTRUMENT
ROM:VROM
0104 wav: Mini Pulse 1
3.
4.
5.
Move the cursor down to the bottom line (using a Cursor button).
Use the Channel button to turn select the various layers. Use the data
entry control to turn OFF all layers except L1. This allows you to hear
the different instruments by themselves.
Play the keyboard as you scroll through the various instruments.
Vintage Keys Operation Manual 197
Preset Programming
Editing Presets
6.
To Change the Instrument for any Layer in the Preset:
Use the Channel Select buttons to select another layer.
L2
INSTRUMENT
ROM:VROM
0101 wav: MiniTriangle
7.
8.
Find another instrument that sounds good when combined with the
previous instrument selected.
Repeat steps 6 and 7 if you want to add additional layers (although two
layers will be enough for these experiments).
Now let’s play with the tuning.
Changing the Tuning
of an Instrument
Tuning the selected layer of the preset changes the pitch of the key on the
controller. If the numbers are “00,” it means that the instruments are tuned
to concert pitch (A=440 Hz). The Coarse tuning value represents whole
semitone intervals. The Fine tuning value shifts the pitch in 1/64 semitones
(or 1.56 cents).
1.
To Tune the Instrument of the Current Layer:
Press the #3 Jump button twice to jump directly to Tuning page.
L1
2.
3.
TUNING
Coarse: +36
Fine:
+6
Move the cursor to the Coarse field (using the cursor button).
Set the value to +12 to shift the pitch up a whole octave. To shift the
pitch in smaller units than a semitone, use the Fine field.
Try tuning one of the instruments to a perfect fifth above the other by
setting the Coarse value to +7.
Tuning an instrument far out of its normal range completely changes the
character of the sound. For example, if you tune a bass guitar up 2 octaves,
it's going to sound rather petite. On the other hand, if you tune it down 2
octaves, you can probably rattle plaster off the walls! Experiment with
radical pitch shifting. You'll be surprised at the results.
198 E-MU Systems
Preset Programming
Editing Presets
Chorus
This is an easy one. Chorus works by doubling the instruments and
detuning them slightly. The larger the chorus value, the more detuning
occurs. The Width parameter controls the stereo spread. A Width value of
0% reduces the chorus to mono, a value of 100% provides the most stereo
separation. Chorus is useful when you want to “fatten up” a part quickly
and easily.
_
WARNING: Since it
works by doubling the
instruments, Chorusing halves
the number of notes you can
play on Vintage Keys.
1.
2.
To Chorus a Layer:
Press the #5 Jump button to jump directly to the Chorus page.
Use the cursor buttons to advance the cursor to the Chorus field (the
first field in the bottom line of the display). Use the data entry control
to turn on chorus.
L1
3.
CHORUS
off
WIDTH
100%
Select a Width value based on the amount of detuning you want.
Smaller numbers mean less detuning, larger ones more.
You can select various amounts of chorusing for each of the instruments,
just play around with the Chorus and Width parameter until you like what
you hear.
Volume Envelope
Piano
Organ
Strings
Every sound you hear, whether it’s a piano note, a drum, or a bell, has a
characteristic volume curve or envelope. This Volume Envelope shapes the
volume of the sound which grows louder or softer in various ways during
the course of the sound. The volume envelope of a sound is one of the clues
our brain uses to determine what type of sound is being produced.
An envelope shapes the sound or volume of the sound over time. The
envelope generators in Vintage Keys all have six stages to the contour:
Attack 1, Attack 2, Decay 1, Decay 2, Release 1 and Release 2. When you
press a key on the keyboard, the envelope goes through each of the first
four stages, advancing to the next stage when the defined Level for each is
reached. As long as you continue to hold the key down, the envelope
continues through the first four stages holding at the end of the Decay 2
level until the key is released. When you release the key, the envelope
jumps to the Release stages (no matter where the envelope is when you
release the key) ending at the Release 2 level.
Percussion
Vintage Keys Operation Manual 199
Preset Programming
Editing Presets
2
y1
Dc
Atk
Rl
k1
s1
At
level
Dcy2
Rls2
Sustain
time
Key Down
Key Released
Every instrument in Vintage Keys has it's own predetermined volume
envelope which is used when the Volume Envelope parameter is set to
“factory.” By setting the Volume Envelope to “time-based” or “tempobased,” we can reshape the instrument's natural volume envelope any way
we want. By reshaping the volume envelope of a instrument, you can
dramatically change the way the sound is perceived. For example, you can
make “bowed” pianos or backward gongs. The diagrams to the left show
the characteristic volume envelopes of a few common sounds.
In preparation for this experiment choose almost any of the standard organ
presets which sustain as long as the key is held down. Go to the Instrument
page and set it to “None” on all layers except Layer 1. Now you’re ready to
play with the Volume Envelope.
Adjusting the Volume Envelope (the easy way):
Many sounds don’t require a complex six-segment envelope. Over the
years, a simpler Attack-Decay-Sustain-Release envelope, or ADSR, have
become standard. The front panel controller knobs on Vintage Keys have
been preprogrammed to adjust these four volume envelope parameters. A
diagram of this standard ADSR envelope is shown below.
De
Att
ack
cay
Sustain
Level
Re
lea
se
level
me
Key Down
1.
2.
200 E-MU Systems
Key Released
Front panel knobs E-F are routed to the volume envelope parameters.
This is the easiest way to change the volume envelope settings.
Press the front panel Controller button E-H to select: Amp Attack, Amp
Decay/Release.
Preset Programming
Editing Presets
3.
4.
1.
Increase the Amp Attack knob and play a note. The attack controls the
time it takes for the sound to reach the Attack level when a key is
pressed and held.
Increase the Amp Decay/Release knob. Note the effect as you release the
key. The Release stages controls the time it takes for the sound to die
away when a note is released.
To Create a Complex Volume Envelope:
Go to the Volume Envelope mode screen, by pressing the “Amp” jump
button twice, and set the Volume Envelope mode to “time-based.”
L1
VOLUME ENVELOPE
Mode: time-based
2.

Front panel knobs 5-8
are routed to the volume
envelope parameters and thus
affect the settings. You may
want to disconnect the
PatchCords to gain total control
of the envelope parameters.
(Alternately, you can create a
completely blank preset and start
from there.)
Now move on to the next screen to set the Volume Envelope
parameters.
L1
VOL ENV
Attack 1
3.
4.
5.
TIME
50
LEVEL
100%
Increase the Attack 1 time value and play a note. The attack controls
the time it takes for the sound to reach the Attack level when a key is
pressed and held.
Move the cursor to the first field in the bottom line and use the cursor
buttons to advance to the Release pages.
Increase the Release 1 and 2 times. Note the effect as you release the key
on the controller. The Release stages controls the time it takes for the
sound to die away when a note is released.
To Setup the Volume Envelope as an ADSR:
The classic synthesizer ADSR (Attack-Decay-Sustain-Release) envelope is
easy to create using the Vintage Keys six segment envelope generators. The
trick is to only use segments: Attack1, Decay2, and Release1.
1.
2.
3.
4.
Set Atk1, Atk2 & Dcy1 levels to 100.
Set Rls1 & Rls2 levels to 0.
Set Atk2, Dcy1 and Rls2 rates to 0.
Program the Atk1, Dcy2 and Rls1 segments as you wish. Decay 2 level is
your Sustain level.
Vintage Keys Operation Manual 201
Preset Programming
Editing Presets
Dc
Atk
1
y2
level
Used
Unused
Atk1
Dcy2
Rls1
Atk2
Dcy1
Rls2
Sustain
Level
Rls1
time
Key
Down
Working with Filters
Key
Released
The filters make it possible to remove certain components of the sound. A
low pass filter removes the high frequency components or put another way,
it “lets the low frequencies pass.” A high-pass filter removes the low
frequency components from the sound letting only the high frequencies
pass. See “Vintage Keys Filter Types” on page 148 for a complete list of
Vintage Keys’s filters and their descriptions.
In preparation for the next tutorial, set up the Vintage Keys with a single
instrument layer on Layer 1.
1.
1.
Go to the Instrument screen (Preset Edit menu) and select Instrument
#038 - SEM Fuzz. This is a harmonically rich sound. Since filters work
by removing or accentuating certain frequencies, we want to make sure
that we have a lot of frequencies to start with.
Advance to the Filter Type screen using the data entry control. Select
the Classic 4th order filter.
L1
FILTER
Classic

Front panel knobs A & B
are routed to the filter
parameters and will affect the
initial settings made here.
1.
2.
Ord
4
Type
LPF
The Filter Frequency and Q (resonance) are preprogrammed to the front
panel controller knobs A & B. This is the easiest way to change the
volume envelope settings.
Press the front panel Controller button A-D to select controls A-D
The Frequency parameter determines the filter cutoff frequency or the
frequency the filter uses as the highest frequency allowed to pass. If you
play the keyboard now, you should hear the raw sound. Slowly decrease
the filter cutoff frequency value as you play the keyboard. The sound
gets more and more dull as you remove more and more high
frequencies from the sound. At some point, the sound completely
202 E-MU Systems
Preset Programming
Editing Presets
disappears. (You have filtered out everything.) The chart on the
following page illustrates what you just did.
Cutoff Frequency
100
Amplitude
80
Output of Filter
60
40
20
40
80
160 360 720 1440 2880 ...
Frequency
3.
4.
Turn the filter back up to full, then adjust the Q.
Set the Q about halfway up, then adjust the Cutoff as you play the
keyboard. As you change the Cutoff, notice that the sound now has a
sharp, nasal quality. A high Q boosts or amplifies the frequencies at the
cutoff frequency (Fc).
Adding the Filter Envelope
Now let's modulate the Filter Frequency with the Filter Envelope. The Filter
Envelope is a device that can automatically change the filter frequency
during the course of the note. Before we define the Filter Envelope, we need
to patch the Filter Envelope to the Filter Frequency.
1.
To Setup the Filter Envelope:
Go to the PatchCord screen by pressing the Cords Jump Key.
L1
PATCHCORD
FiltEnv+ ->
FiltFreq
2.
3.
#03
+100
Move the cursor to PatchCord #3. This patchcord is preprogrammed to
connect the Filter Envelope to Filter Cutoff Frequency.
Move the cursor to the last field in the lower line. This is the Amount
field. The Amount field determines the amount of modulation applied.
Set this value to +100.
Vintage Keys Operation Manual 203
Preset Programming
Editing Presets
L1
PATCHCORD
FiltEnv+
->
FiltFreq
#01
+100
This setup connects the Filter Envelope Generator to the Filter Cutoff as
shown in the following diagram.
R
Filter
Instrument
Fc
DCA
Pan
Q
L
Filter Env.
4.
5.
6.
On the front panel knob controllers, choose controls A-D.
Adjust Filter Attack and Filter Release knobs and note their effect on
the sound.
Now, return to the Filter Envelope Mode screen. Set the Mode to
“time-based.”
L1
FILTER ENVELOPE
Mode: time-based
7.
Advance to the Filter Envelope parameter page.
L1
FILT ENV
Attack1
8.
204 E-MU Systems
RATE
50
LEVEL
100%
Move the cursor underneath the time field and change the value to
about +50. Now when you press a key the filter slowly sweeps up.
Preset Programming
Editing Presets
L1
FILT ENV
Attack1
9.
10.
RATE
50
LEVEL
+88%
Change the attack rate and note the change in the sound.
Set the envelope parameters as shown in the following table.
Envelope Phase
Time
Level %
Attack 1
40
65
Attack 2
65
100
Decay 1
80
85
Decay 2
25
50
Release 1
97
20
Release 2
73
0
With the above setup, the filter sweeps up, then Decays back down to
the Decay 2 Level until you release the key. Then it sweeps down at the
Release rates. Play with the envelope parameters for awhile to get a feel
for their function. (If you're having trouble understanding the Envelope
Generators, please refer to the Programming Basics section in this
manual.)
Changing Filter Types
Go back to the Filter Type screen shown below and move the cursor down
the lower line of the display. Change the filter type while playing the
keyboard. There are 50 different filter types.
L1
FILTER
Aah-Ay-Eeh
Ord
6
Type
VOW
These filters are extremely powerful and have been carefully crafted to offer
maximum flexibility and musical control. You may want to change the
Envelope (PatchCord) Amount, Q and/or the Filter Frequency to get the
right sound for each filter and instrument. These three controls, coupled
with the Filter Envelope, are perhaps the most important controls on any
synthesizer. Take the time to learn how they interact with each other and
you will be able to create sounds beyond imagination.
Vintage Keys Operation Manual 205
Preset Programming
Editing Presets
Envelope Repeat
The Envelope Generator can also be made to repeat. When the envelope
repeat function is On, the Attack (1&2) and Decay (1&2) stages will
continue to repeat as long as the key is held.
1.
2.
To Make the Filter Envelope Repeat:
Go to the Filter Envelope Mode screen shown below.
Move the cursor to the Mode field.
L1
FILTER ENVELOPE
Mode:
time-based
3.
Turn the data entry control clockwise. The Mode field will change to
Repeat as shown below.
L1
FILTER ENVELOPE
Repeat: on
4.
5.
6.
Practice Modulating
206 E-MU Systems
Move the cursor to the on/off field and turn Envelope Repeat On.
Play a key on the keyboard. You should now hear the envelope
repeating.
Go back to the envelope parameter page and adjust the Attack 1&2,
and Decay 1&2 parameters. The repeating envelope cycles through
these four stages as long as the key is held.
• Try modulating the pitch with the Filter Envelope generator.
• Use Velocity to modulate the Filter Envelope PatchCord or the Filter
Frequency. This brightens the sound as you play harder.
• Program the LFO to modulate Filter Frequency and Volume (PatchCord screen).
• Modulate the LFO with the other LFO, with Velocity, and with the
Pitch Wheel.
• Examine the Factory presets to learn how they’re constructed. There
are lots of cool synthesis tricks you can use in your own presets.
• We’ve programmed the front panel knobs our way, but since they’re
completely programmable there’s no reason why you can’t create
your own custom controls.
• Think of ten exotic modulation routings, then try them out.
Experimentation is the key to learning how to control Vintage Keys.
Preset Programming
Editing Presets
Troubleshooting
A common source of confusion when working with the filter envelope is
that the Attack or Release parameters might not seem to be working
correctly. If you are not getting the expected result, try to analyze the
situation. There will be many times when you will have to stop for a
minute and think, “What am I trying to do and why isn't it working?”
When this happens (and it will), don't panic. Troubleshooting is a normal
part of the synthesis process. Simply examine the various parameters and
try to be as analytical as possible as you solve the problem. The solution is
usually simple. (The filter is already wide open and can't open any more, or
another PatchCord is connecting something to the parameter and affecting
it.) Learning to play any instrument takes a little patience and practice.
Referring to the diagram below, which shows the Vintage Keys signal flow,
notice that the DCA comes after the Filter. The DCA controls the final
volume of the sound, so if the filter's release is longer than the release for
the DCA, you won't hear it, because the DCA has already shut off the
sound.
Instrument
Z-Plane
Filter
R
DCA
Pan
L
Remember not to select a new preset before saving the current one or all
your changes will be lost (the preset reverts to the last saved version). If you
want to save your creation, select the Save/Copy menu and select a destination preset location for your masterpiece, then press Enter.
Because you can save your work, it’s worth spending time to get the sound
just right. When designing sounds you become an instrument builder as
well as a musician. With Vintage Keys you can design the custom instruments you’ve always wanted!
Vintage Keys Operation Manual 207
Preset Programming
Linking Presets
Linking
Presets
Using the Link pages in the Edit menu is a quick and easy way to create new
sounds. Use the Links to “layer” presets and to “split” a keyboard into
sections containing different sounds.
1.
2.
O
3.
To Layer Two Presets:
Select the first preset you want to layer.
Press the Preset Edit button.
Go to the Link screen by pressing the Links Jump Key.
See “Preset Links” on
page 170 for more information.
LINK 1
off
4.
5.
1.
2.
4.
To Create a Split Keyboard Using Links:
Follow steps 1 through 4 above.
Press Enter and use the Jump Key to advance to the next page.
C-2
208 E-MU Systems
KEY
B4
VEL
000 127
Set the keyboard range of the linked preset as desired.
Press Enter and use the data entry control to go to the Key Range page
using the Ranges jump key.
L1 KEY:LO
C5
5.
VROM
Move the cursor to the second line of the display. Select the preset you
want to link with the preset you selected in step 1. Play the keyboard as
you scroll through the various presets to hear the results.
If you want the link to be a permanent part of the preset, be sure to save
the preset. Otherwise, simply change the preset to erase your work.
LINK 1
RANGE
3.
PRESET
FADE
000
HIGH
G8
FADE
000
Set the range of the original preset so it fills the remaining keyboard
area. Save the preset.
Appendix
This section provides some of the more technical information about
Vintage Keys. In this appendix, you will find information about velocity
curves, MIDI commands and PatchCord charts.
The front panel knob functions are standardized for most of the factory
presets. The typical functions of the controller knobs are described below.
Basic Preset Knob
Functions
Filter Cutoff ........................ Filter Frequency
Filter Res ............................. Filter Resonance
Shape .................................. Filter Envelope Amount
Image .................................. Typically brings in additional layers
Attack .................................. Volume or Filter Envelope Attack
Decay/Release..................... Vol/Filt. Envelope Release and/or Decay
Movement........................... LFO->Dynamic Movement (i.e.panning)
Rate ..................................... LFO Rate
Mod 1.................................. Typically Velocity -> Amplifier Volume
Mod 2.................................. Typically Velocity -> Filter Frequency
Mod 3.................................. Typically Effects Processor A Amount
Mod 4.................................. Typically Effects Processor B Amount
Vintage Keys Operation Manual 209
Appendix
Presets
Beat Preset
Knob Function
Movement........................... Beats Busy
Arp Preset
Knob Function
Movement........................... Arp Gate
Presets
Preset Categories
Rate ..................................... Beats Variation
Rate ..................................... Arp Rate
Vintage Pro comes standard with 512 ROM presets and 512 editable User
preset locations. Presets are organized into banks of 128 presets each. User
banks 0-3 are duplicates of VROM banks 0-3.
The Vintage Pro presets are organized in categories according to the types of
sound. Listed below are the categories and their three letter prefixes:
arp:
210 E-MU Systems
Arpeggiator preset
kit:
Drum Kit
bpm: Tempo-based, LFO/Envs
led: Leads
bas: Bass instruments
org: Organs
brs: Brass instruments
pad: Sustained, ethereal sound
bts: BEATs preset
prc: Percussion instrument
cmb: Combination of instruments
sfx: Sound Effect
epo: Electric Piano
str:
gtr:
syn: Synthesizers
Guitar
Strings (violins, cellos, etc.)
jam: Play along with Audition Riff
vox: Vocals
key: Keyboard variations
wnd: Wind instruments
Appendix
Preset Listing
Preset Listing
User Bank 0, VROM Bank 0
0. syn:Vintage
43. epo:String EP
86. key:Phase Clav3
1. epo:Classic EP
44. epo:MetalBars
87. key:TwoClavs
2. epo:CP Seventy
45. epo:MetalBarsXfd
88. key:ThinClav
3. epo:Wurly
46. epo:EP Silver
89. key:Clavsichord
4. key:Clavinet
47. epo:Canada
90. key:Monster Clav
5. org:B-3 OvrDrive
48. epo:Toyo
91. key:AnaClav
6. epo:Mello Tines
49. epo:MarshMello
92. key:Klav Mav
7. vox:BigTronChoir
50. epo:Mello EP1
93. key:WakTclav
8. led:BeginAgain
51. epo:Mello EP2
94. key:Clav Freak
9. bas:TaurusPedals
52. epo:Mellow Pop
95. key:Kloid's Jam
10. str:Tron Violins
53. epo:OB Tine EP
96. key:Clav Wah 1
11. brs:'99 Brass
54. epo:OB EP
97. key:Clav Wah 2
12. syn:SEM
55. epo:FM Tines
98. key:Clavicle
13. syn:Airscopix
56. epo:FM SimpleEP
99. key:P5Hrpsichrd
14. syn:OB Glider
57. epo:FM Delicate
100. key:Clavitzer
15. kit:Electra
58. epo:FM Phase
101. org:All Out
16. syn:Analogic
59. epo:FM Flanger
102. org:1st3 2ndPerc
17. epo:Dyno Vox
60. epo:Dynamic FM
103. org:1st3 3rdPerc
18. epo:CP Pad
61. epo:Analog FM
104. org:1st4 Vib
19. org:Jazz Pro
62. epo:Wurlilayer
105. org:1st4Vib2Perc
20. key:Clav Flanger
63. epo:Mama'sWurli
106. org:1st4Vib3Perc
21. org:Old Red Top
64. epo:Real CP
107. org:Six Out
22. pad:Sentinels
65. epo:ClassicCP
108. org:Jazz'n Jimmy
23. vox:Light Aahs
66. epo:CP 70
109. org:1st3HiDrBr
24. syn:Back at U
67. epo:CP Layer
110. org:1st3FullDist
25. bas:Mini Snap
68. epo:Vintage CP
111. org:1st4VFullDis
26. cmb:Flute/String
69. epo:Rock CP
112. org:Pipe Organ
27. brs:Thick Brass
70. epo:Stage CP
113. org:Far Away
28. syn:Synth Stack
71. epo:CP Light
114. org:Clicky
29. syn:OB-Xa
72. epo:CP Tight
115. org:Comp
30. brs:Tron Brass
73. epo:CP Uptown
116. org:PortaVib
31. kit:FusionMover
74. epo:Lullaby
117. org:PortaVibSt
32. epo:Dyno Piano
75. epo:AOR Ballad
118. org:Shimmer
33. epo:Chorus Dyno
76. key:Clav 1
119. org:OBX Organ
34. epo:Lite Dyno
77. key:Clav 2
120. org:PlasticOrg
35. epo:Heavy Dyno
78. key:Clav 3
121. org:MelloCombo
36. epo:StudioDyno1
79. key:Clav1&2
122. org:BrashCombo
37. epo:StudioDyno2
80. key:StereoClav 2
123. org:ComboTrem
38. epo:DynoStcase
81. key:Buzzy Clav
124. org:Dr. Please
39. epo:DynoChorus
82. key:FunkMaster
125. org:Grindo
40. epo:Stereo EP
83. key:PhaseClav
126. org:Smooth
41. epo:DynoOdd
84. key:SynthClav
127. org:Perc Three
42. epo:Dyno Soft
85. key:PhaseClav2
Vintage Keys Operation Manual 211
Appendix
Preset Listing
Preset Listing
212 E-MU Systems
User Bank 1, VROM Bank 1
0. syn:Wide OB
43. syn:Robot ca1960
86. syn:Sawphony
1. syn:P10
44. syn:Glass Pipe
87. syn:AnalogBell
2. syn:Juno
45. syn:Merlot
88. syn:D Fiftease
3. syn:Rogue
46. syn:AirCommand
89. syn:VS Ghost
4. syn:Huge SEM
47. syn:Ex-plorer
90. syn:Now & Zen
5. syn:Round Mini
48. syn:Sneaker Flap
91. syn:Metasynth1
6. syn:Big Mini
49. syn:Poly Mono
92. syn:Metasynth2
7. syn:Juno Pulse
50. syn:Angel Eyes
93. led:Sonic Six
8. syn:10101
51. syn:Little
94. led:Muddy Sync
9. syn:Profit/Loss
52. syn:Lush
95. led:RhaspyClickr
10. syn:FuzzBell
53. syn:OBeast Sync
96. led:BigSoloSqr
11. syn:Random OB
54. syn:ArmyOJunos
97. led:Pulse
12. syn:Phase1Alert
55. syn:OB Saw Octs
98. led:M12
13. syn:JX Oct Split
56. syn:Wall O Saws
99. led:OBX SyncMono
14. syn:JunoOctSplit
57. syn:TouchRez
100. led:PortaLead
15. syn:Syrupy JP
58. syn:X Tron
101. led:Power Mini
16. syn:ProphetPiano
59. syn:Shade Pad
102. led:WickedSquare
17. syn:ArpClarinet
60. syn:Total Recall
103. led:OverDrive101
18. syn:JupyPad
61. syn:Ice Eyes
104. led:Frank Stein
19. syn:MoogShrtPuls
62. syn:Enchanted
105. led:Odd Lead
20. syn:Poly ARP
63. syn:Chimelope
106. led:Soft&Round
21. syn:SEM Bat Fuzz
64. syn:S&Holding
107. led:Glass Rim
22. syn:Juno & DX
65. syn:Runner
108. led:Spike
23. syn:Deep Sky
66. syn:Weild 5ths
109. led:Oh Boy
24. syn:80zFuzzPad
67. syn:NightTime
110. led:JunoOvrDrive
25. syn:P10 SkySweep
68. syn:Perc Rouge
111. led:OB Lead
26. syn:Nephilim
69. syn:MiniSaw Octs
112. led:Mean Wheel
27. syn:P5 PolySync
70. syn:ProFive Octs
113. led:PulseFlanger
28. syn:OB Glider2
71. syn:Arp Octs
114. led:Zawi
29. syn:Power Juno
72. syn:Modular Octs
115. led:Stinger
30. syn:OBSEMFuzz1
73. syn:Mucho Octs
116. led:Raspy
31. syn:OBSEMFuzz2
74. syn:RogueSawOcts
117. led:Mini Soul
32. syn:Vin Syn
75. syn:SySaPhUs
118. led:SawsOfOld
33. syn:Regbit
76. syn:P5 Sync 1
119. led:ThinPotent
34. syn:Stabber
77. syn:P5 Sync 2
120. led:OB Pulser
35. syn:Distant
78. syn:P5 Sync 3
121. led:Full Body
36. syn:Synth Ringer
79. syn:Morpheus
122. led:Squawky OB
37. syn:Late 80z
80. syn:Synphonix 1
123. led:Skware!!
38. syn:Late 80z 2
81. syn:Synphonix 2
124. led:GrowlySynth
39. syn:NoteOffChime
82. syn:KotoRize
125. led:Big ARP
40. syn:Nunzio
83. syn:Arp Axxe
126. led:E-MU Modular
41. syn:FiltrBrass1
84. syn:Sin Brass
127. led:Funky Junk
42. syn:FiltrBrass2
85. syn:Megasync
Appendix
Preset Listing
Preset Listing
User Bank 2, VROM Bank 2
0. pad:ChifferPad
43. str:Old Time2
86. wnd:Flooting
1. pad:Thin Lad
44. str:Old Time3
87. wnd:Dark Satyr
2. pad:Lunar
45. str:String Vox
88. wnd:Reedy
3. pad:Believe
46. str:String Flute
89. cmb:Produkshun
4. pad:Angel Eyes
47. str:VeloBows
90. cmb:CP/Strings
5. pad:PreSamplers
48. str:String Box
91. cmb:FM/Strings
6. pad:Sentinels2
49. str:Elka & Mtron
92. cmb:EPJunoTron
7. pad:Ghost Vox
50. str:Celli Sect
93. cmb:Juno/P5
8. pad:O.D.
51. str:Smooth&Wide
94. cmb:TronVoxStrng
9. pad:Liquid 1
52. str:String Fever
95. cmb:Str & Brass
10. pad:Liquid 2
53. str:Its The Pitz
96. cmb:Dyno B to B
11. pad:Liquid 3
54. str:ClosetCleanR
97. cmb:Flute&String
12. pad:Beauteous
55. str:String Cheez
98. cmb:B3/EP
13. pad:ProfitMargin
56. str:Filtron
99. cmb:PulseMadness
14. pad:Tri Res
57. vox:Tron Males
100. cmb:Rogue Mini
15. pad:QuietSaws
58. vox:Cluttex
101. cmb:Taurus&Strng
16. pad:Lunar 2
59. vox:SnowBound
102. cmb:TarusStngVox
17. pad:Slippery
60. vox:Chiffer
103. cmb:Gymnosticks
18. pad:Matches
61. vox:BreathBlow 2
104. cmb:Wurli & Roti
19. pad:Poly Pad
62. vox:TronMalesSt
105. cmb:Dyn Logic
20. pad:iBubble
63. vox:TronMixSt
106. cmb:TV Stack
21. pad:M12 Skyline
64. vox:VS Ghost
107. cmb:Wurly B
22. pad:Raindance
65. vox:ThroatEnergy
108. cmb:SynStr+SynBs
23. pad:Horizons
66. vox:TalkBox Pro
109. cmb:Many Junos
24. pad:Big Pad
67. vox:Moon Flute
110. cmb:80sStackBass
25. pad:SlitherPad
68. brs:FullTrnBrass
111. cmb:GtrStrings
26. pad:HarshSwell
69. brs:WindyBrass
112. cmb:C P R
27. pad:Grainy
70. brs:E2 Brass
113. cmb:MachineHeart
28. pad:GrimFemVox
71. brs:Big Swell
114. jam:DX Style
29. pad:Pipey
72. brs:Big Swell 2
115. jam:CP Stage
30. pad:Organ Synth
73. brs:Rich Brass
116. jam:Clav
31. pad:Fem Strings
74. brs:ElegantBrass
117. jam:Lush
32. str:MemMoogStrng
75. brs:F-Hrns
118. jam:Latin
33. str:Solina
76. brs:Coronation
119. jam:Funkersize
34. str:Elka Combo
77. brs:HugeOB Brass
120. bpm:Beat Row 1
35. str:SuperElka
78. brs:BrassKicker
121. bpm:Beat Row 2
36. str:Lush70'sFade
79. brs:Brassitude
122. bpm:Spinner
37. str:Big M12
80. wnd:StereoMtron
123. bpm:El Effo Sr.
38. str:Ensemble
81. wnd:Flute Sect
124. bpm:Q Noiz Klock
39. str:Muffled
82. wnd:Tron Flute
125. bpm:S/H Operator
40. str:Sepiatone
83. wnd:Flute Bed
126. bpm:Q PulseKlock
41. str:Analog Harp
84. wnd:SoftFlutes
127. bpm:RoboJive
42. str:Old Time1
85. wnd:LoFi Flute
Vintage Keys Operation Manual 213
Appendix
Preset Listing
Preset Listing
214 E-MU Systems
User Bank 3, VROM Bank 3
0. bas:Big Taurus
43. sfx:GorgeousCrzy
86. kit:MS20
1. bas:Big FM Bass
44. sfx:Nepatunism
87. kit:MS20 #2
2. bas:Bottom 101
45. sfx:The Dead See
88. kit:SK-1
3. bas:Warm SEM
46. sfx:Hold Up
89. kit:SP1200
4. bas:Arpy Bass
47. sfx:The Garden
90. kit:Electronic 1
5. bas:Mini Snap 2
48. sfx:Acid Rain
91. kit:Electronic 2
6. bas:Arp Snap
49. sfx:NoZ
92. kit:Electronic 3
7. bas:BigSnap
50. arp:Loopy Gruv
93. kit:Electronic 4
8. bas:FatFingers
51. arp:Drifter
94. kit:Electronic 5
9. bas:Deep End 1
52. arp:Classic
95. kit:HighBoy
10. bas:Deep End 2
53. arp:Downtown
96. kit:Double Kit
11. bas:Wide & Deep
54. arp:Khord
97. kit:VintagePhase
12. bas:ThiklySettld
55. arp:Tracker
98. kit:Flashback
13. bas:VintSynBass1
56. arp:MinorHorns
99. kit:Stadium
14. bas:MurkySweep
57. arp:Sparkle
100. kit:Soft Fuzz
15. bas:LayerBass
58. arp:DrumPitchy
101. kit:NickleMix
16. bas:Expressive
59. arp:SquareThumpr
102. kit:Soul Power
17. bas:Taurnado
60. arp:MinorFinale
103. kit:Beef Cake
18. bas:Picote
61. arp:HiPassCmputr
104. kit:BrightMoment
19. bas:Finger
62. arp:EMU 2 Live!
105. kit:Lil Popper
20. bas:Pilot
63. arp:BowCircuit
106. kit:InTheAir
21. bas:Hummer
64. arp:HardRepeat
107. kit:B Boy
22. bas:Bagg
65. arp:Tribal Toms
108. prc:All Kicks
23. bas:TS Mini
66. arp:DrumRoller
109. prc:All Snares
24. bas:MonoMe
67. arp:ZipTripper
110. prc:All Toms
25. bas:MonoMe2
68. arp:Log Funk
111. prc:All Hats
26. bas:Bounce
69. bts:FastRock
112. prc:All Cymbals
27. bas:303 Saws
70. bts:RockFunk
113. prc:Shakers
28. bas:303 Squares
71. bts:Shuffle
114. prc:Snaps
29. bas:Phatt Taurus
72. bts:Chill Room
115. prc:Congas
30. bas:So Lo Pro
73. bts:Teardrop
116. prc:Misc
31. gtr:Hackettism
74. bts:Evolution
117. prc:Few ChoreMen
32. gtr:Spy vs Spy
75. bts:The Pulse
118. prc:Steeely 1
33. gtr:AirGuitar
76. bts:Dreamland
119. prc:Steeely 2
34. gtr:Hit It
77. bts:Fusion
120. prc:Arnold 1
35. gtr:Wacka 1
78. bts:Jazz
121. prc:8bit Blocks
36. gtr:Wacka 2
79. bts:DropBeatBglu
122. prc:Air Strike
37. gtr:Jazzy
80. kit:Acoustic GM
123. bts:Reggae
38. gtr:Clav Guitar
81. kit:Acoustic 2
124. prc:A Sine
39. gtr:HarmonicTone
82. kit:El GM Kit 1
125. bts:NeoLatinRock
40. sfx:Evil Saws
83. kit:El GM Kit 2
126. bts:NuRocker
41. sfx:DragonBreath
84. kit:808
127.
42. sfx:SpaceMuffin
85. kit:909
:Default v1.0
Appendix
Instrument Listing
Instrument
Listing
This section lists the raw instruments in the Vintage Pro ROM set.
The instruments are either multisamples or single samples.
0.
1.
2.
3.
4.
5.
6.
7.
8.
9.
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.
:None
epo:Dyno EP 1
epo:Dyno EP 2
epo:Dyno EP 3
epo:Dyno EP 4
epo:Dyno Low
epo:Dyno Med
epo:Dyno Hd/Med
epo:Dyno Lw/Hd
epo:Dyno Hard
epo:Mello EP
epo:Mello EP Low
epo:Mello EP Hd
epo:Wurly EP
epo:Wurly Soft
epo:Wurly Medium
epo:Wurly Hard
epo:CP70
epo:CP70 Medium
epo:CP70 Hard
epo:FM EP
org:1st3 Slow
org:1st3 Fast
org:1st4 Slow vb
org:AllOutSlwDst
org:AllOutFstDst
org:Perc 2nd
org:Perc 3rd
org:Farfisa
org:Vox Jaguar
key:Clavinet 1
key:Clavinet 2
syn:OB WideBrass
syn:OBX PWM
syn:OB Saw PWM
syn:OB PulseSync
key:OB Clav
epo:OB EP
syn:SEM Fuzz
syn:SEM Saws
syn:Rogue Saws
syn:Rogue Sqr
42. syn:Classic Mini
84. gtr:Happy Strum
43. syn:Mini Saws
85. gtr:Wacka 1
44. syn:JP8Brass
86. gtr:Wacka 2
45. syn:SuperJuno
87. str:Tron Strings
46. syn:Big JX
88. str:M12 Strings
47. syn:Angry Juno
89. str:Solina
48. syn:P10 Big
90. str:Elka CelIo
49. syn:P10 Fat Saw
91. str:Elka String
50. syn:P5 Sync
92. str:Elka Combo
51. syn:P5 UniSync
93. str:Synth String
52. syn:P5 Uni Saw
94. vox:Tron Males
53. syn:P5 Piper
95. vox:Tron Females
54. syn:M12 Lead
96. vox:Tron Mix
55. syn:ARP SyncMod
97. vox:P10 Choir
56. syn:ArpPlsRsmp
98. vox:Flight Aahs
57. syn:Arp Saw
99. brs:Tron Brass
58. syn:Arp Square
100. wnd:Tron Flute
59. syn:Sync Wah
101. wav:MiniTriangle
60. syn:101VariPulse
102. wav:Mini Saw
61. syn:E-mu Modular
103. wav:Mini Square
62. bas:Fat Taurus
104. wav:Mini Pulse 1
63. bas:Taurus Osc.
105. wav:Mini Pulse 2
64. bas:SEM QBass 1
106. wav:JX Square
65. bas:SEM QBass 2
107. wav:JX Saw
66. bas:SEM QBass 3
108. wav:JX Pulse
67. bas:SEMSyncBs 1
109. wav:Juno Square
68. bas:SEMSyncBs 2
110. wav:Juno Saw
69. bas:MiniSnapBass
111. wav:Juno Pulse
70. bas:M WarmSquare
112. wav:P10 Saw
71. bas:PPG Bass
113. wav:P10 Triangle
72. bas:PPG DigiBass
114. wav:P10 Pulse
73. bas:P5 Bass
115. wav:P10Inharmonc
74. bas:ArpFatBass
116. wav:JX
75. bas:DX EP Bass 1
117. wav:101 Square
76. bas:DX EP Bass 2
118. wav:101 Saw
77. bas:FM Bass
119. wav:Sine
78. bas:FM Polybass
120. wav:Sine Squared
79. bas:Synth Hummer
121. wav:Sine InvSqrd
80. bas:Pilot
122. wav:Sine Cubed
81. bas:Bagg
123. wav:SineInvCubed
82. bas:Finger
124. wav:Aluminum
83. gtr:Electric
125. nse:Spectrum 1
Vintage Keys Operation Manual 215
Appendix
Instrument Listing
Instrument Listing
216 E-MU Systems
126. nse:Spectrum 2
170. prc:Misc
214. prc:Snare 19
127. nse:Spectrum 3
171. prc:Kick 1
215. prc:Snare 20
128. nse:Spectrum 4
172. prc:Kick 2
216. prc:Snare 21
129. nse:Hi Pass
173. prc:Kick 3
217. prc:Snare 22
130. nse:Xcite HiPass
174. prc:Kick 4
218. prc:Snare 23
131. nse:White Noise
175. prc:Kick 5
219. prc:Snare 24
132. nse:Pink Noise
176. prc:Kick 6
220. prc:Snare 25
133. nse:101 Noise
177. prc:Kick 7
221. prc:Snare 26
134. sfx:Whine
178. prc:Kick 8
222. prc:Snare 27
135. sfx:Clav Tick
179. prc:Kick 9
223. prc:Snare 28
136. sfx:Tack Attack
180. prc:Kick 10
224. prc:Snare 29
137. sfx:Bad Synth
181. prc:Kick 11
225. prc:Snare 30
138. sfx:Cluster Vox
182. prc:Kick 12
226. prc:Snare 31
139. sfx:Kluster Loop
183. prc:Kick 13
227. prc:Snare 32
140. kit:Electro GM 1
184. prc:Kick 14
228. prc:Snare 33
141. kit:Electro GM 2
185. prc:Kick 15
229. prc:Snare 34
142. kit:808
186. prc:Kick 16
230. prc:Snare 35
143. kit:909
187. prc:Kick 17
231. prc:Tom 1
144. kit:MS20
188. prc:Kick 18
232. prc:Tom 2
145. kit:MS20 #2
189. prc:Kick 19
233. prc:Tom 3
146. kit:SK-1
190. prc:Kick 20
234. prc:Tom 4
147. kit:SP1200
191. prc:Kick 21
235. prc:Tom 5
148. kit:Electronic 1
192. prc:Kick 22
236. prc:Tom 6
149. kit:Electronic 2
193. prc:Kick 23
237. prc:Tom 7
150. kit:Electronic 3
194. prc:Kick 24
238. prc:Tom 8
151. kit:Electronic 4
195. prc:Kick 25
239. prc:Tom 9
152. kit:Electronic 5
196. prc:Snare 1
240. prc:Tom 10
153. kit:Electronic 6
197. prc:Snare 2
241. prc:Tom 11
154. kit:Electronic 7
198. prc:Snare 3
242. prc:Tom 12
155. kit:Electronic 8
199. prc:Snare 4
243. prc:Tom 13
156. kit:Acoustic GM
200. prc:Snare 5
244. prc:Tom 14
157. kit:Acoustic 2
201. prc:Snare 6
245. prc:Tom 15
158. kit:Acoustic 3
202. prc:Snare 7
246. prc:Tom 16
159. kit:Acoustic 4
203. prc:Snare 8
247. prc:Tom 17
160. kit:Jazz Brush
204. prc:Snare 9
248. prc:Hat 1
161. kit:Hybrid
205. prc:Snare 10
249. prc:Hat 2
162. prc:All Kicks
206. prc:Snare 11
250. prc:Hat 3
163. prc:All Snares
207. prc:Snare 12
251. prc:Hat 4
164. prc:All Toms
208. prc:Snare 13
252. prc:Hat 5
165. prc:All Hats
209. prc:Snare 14
253. prc:Hat 6
166. prc:All Cymbals
210. prc:Snare 15
254. prc:Hat 7
167. prc:Shakers etc
211. prc:Snare 16
255. prc:Hat 8
168. prc:Snaps etc
212. prc:Snare 17
256. prc:Hat 9
169. prc:Congas etc
213. prc:Snare 18
257. prc:Hat 10
Appendix
Instrument Listing
Instrument Listing

The Percussion
Instruments on this page are
single sample instruments
stretched across the entire
keyboard.
258. prc:Hat 11
303. prc:Whistle
348. prc:Conga 12
259. prc:Hat 12
304. prc:Shaker 1
349. prc:Conga 13
260. prc:Hat 13
305. prc:Shaker 2
350. prc:Conga 14
261. prc:Hat 14
306. prc:Shaker 3
351. prc:Conga 15
262. prc:Hat 15
307. prc:Shaker 4
352. prc:Misc 1
263. prc:Hat 16
308. prc:Shaker 5
353. prc:Misc 2
264. prc:Hat 17
309. prc:Shaker 6
354. prc:Misc 3
265. prc:Hat 18
310. prc:Shaker 7
355. prc:Misc 4
266. prc:Hat 19
311. prc:Shaker 8
356. prc:Misc 5
267. prc:Hat 20
312. prc:Shaker 9
357. prc:Misc 6
268. prc:Hat 21
313. prc:Shaker 10
358. prc:Misc 7
269. prc:Hat 22
314. prc:Shaker 11
359. prc:Misc 8
270. prc:Hat 23
315. prc:Shaker 12
360. prc:Misc 9
271. prc:Hat 24
316. prc:Shaker 13
361. prc:Misc 10
272. prc:Hat 25
317. prc:Shaker 14
362. prc:Misc 11
273. prc:Hat 26
318. prc:Shaker 15
363. prc:Misc 12
274. prc:Hat 27
319. prc:Shaker 16
364. prc:Misc 13
275. prc:Cymbal 1
320. prc:Shaker 17
365. prc:Misc 14
276. prc:Cymbal 2
321. prc:Shaker 18
366. prc:Misc 15
277. prc:Cymbal 3
322. prc:Shaker 19
367. prc:Misc 16
278. prc:Cymbal 4
323. prc:Shaker 20
368. prc:Misc 17
279. prc:Cymbal 5
324. prc:Shaker 21
369. prc:Misc 18
280. prc:Cymbal 6
325. prc:Shaker 22
370. prc:Misc 19
281. prc:Cymbal 7
326. prc:Shaker 23
371. prc:Misc 20
282. prc:Cymbal 8
327. prc:Shaker 24
372. prc:Misc 21
283. prc:Cymbal 9
328. prc:Shaker 25
373. prc:Misc 22
284. prc:Cymbal 10
329. prc:Clap 1
374. prc:Misc 23
285. prc:Cymbal 11
330. prc:Clap 2
375. prc:Big Hit 1
286. prc:Cymbal 12
331. prc:Clap 3
376. prc:Big Hit 2
287. prc:Cymbal 13
332. prc:Clap 4
377. prc:Scratch 1
288. prc:Cymbal 14
333. prc:Clap 5
378. prc:Scratch 2
289. prc:Cymbal 15
334. prc:Clap 6
379. sfx:Wakka 1
290. prc:Cymbal 16
335. prc:Clap 7
380. sfx:Wakka 2
291. prc:Vibraslap
336. prc:Snap
381. sfx:Wakka 3
292. prc:Clave 1
337. prc:Conga 1
382. sfx:Wakka 4
293. prc:Clave 2
338. prc:Conga 2
383. sfx:Wakka 5
294. prc:Clave 3
339. prc:Conga 3
384. sfx:Wakka 6
295. prc:Cowbell 1
340. prc:Conga 4
385. sfx:Wakka 7
296. prc:Cowbell 2
341. prc:Conga 5
386. sfx:Wakka 8
297. prc:Cowbell 3
342. prc:Conga 6
387. sfx:Wakka 9
298. prc:Cowbell 4
343. prc:Conga 7
388. sfx:Wakka 10
299. prc:Tamb 1
344. prc:Conga 8
389. sfx:Wakka 11
300. prc:Tamb 2
345. prc:Conga 9
390. sfx:Wakka 12
301. prc:Triangle 1
346. prc:Conga 10
391. sfx:Wakka 13
302. prc:Triangle 2
347. prc:Conga 11
392. sfx:Wakka Map
Vintage Keys Operation Manual 217
Appendix
Instrument Listing
Instrument Listing
218 E-MU Systems
393. sfx:Tick 1
399. sfx:Tick 7
405. sfx:Tick 13
394. sfx:Tick 2
400. sfx:Tick 8
406. bas:Bright Saw
395. sfx:Tick 3
401. sfx:Tick 9
407. bas:BrightResSaw
396. sfx:Tick 4
402. sfx:Tick 10
408. bas:BrightSquare
397. sfx:Tick 5
403. sfx:Tick 11
409. bas:Res Square
398. sfx:Tick 6
404. sfx:Tick 12
Appendix
Riff Listing
Riff Listing
1. AmUD-C1 (4 bars)
45. BRS-FullTrnBrass
89. EPO-Wurlilayer2
2. AUD-C3 (1 bar)
46. BRS-Thick Brass
90. EPO-Wurly
3. AUD-C3 (2 Bars)
47. BRS-ThickBrass
91. EPO-Wurly 2
4. AUD-C3 (4 Bars)
48. BRS-Windy Brass
92. GTR-Hackettism
5. AUD-C4
49. CMB-B3EP
93. GTR-Hackettism2
6. AUD-C Triad
50. CMB-PulseMadness
94. GTR-Hit It
7. AUD-Cm7
51. CMB-Rogue Mini
95. GTR-Jazzy
8. AUD-Cm9
52. CMB-Taurus&Strng
96. GTR-Spy vs Spy
9. AUD-Cmaj7
53. CMB-Flute&String
97. GTR-SpyvsSpy2
10. AUD-Cs Up
54. EPO-Analog FM
98. GTR-Wacka
11. AUD-Cs Up-Down
55. EPO-ChorusDyn2
99. KEY-Buzzy Clav
12. ARP-Classic
56. EPO-ChorusDyno
100. KEY-Clav 1
13. ARP-Downtown
57. EPO-Classic CP
101. KEY-Clav2
14. BAS-Arp Snap
58. EPO-CP Layer
102. KEY-Clav1&2
15. BAS-Arpy Bass
59. EPO-CP Layer2
103. KEY-Clav2 Phase
16. BAS-Arpy Bass2
60. EPO-CP70
104. KEY-Funk Master
17. BAS-Bagg
61. EPO-CP70 2
105. KEY-FunkMaster
18. BAS-Bagg 2
62. EPO-Dyno
106. KEY-PhaseClav1
19. BAS-Big FM Bass
63. EPO-Dyno 2
107. KEY-StereoClav 1
20. BAS-Big Taurus
64. EPO-DynoChorus
108. KEY-Synth Clav
21. BAS-Big Taurus2
65. EPO-DynoOdd
109. KEY-TwoClavs
22. BAS-BigSnap
66. EPO-DynoSft1
110. LED-BeginAgain
23. BAS-BigSnap2
67. EPO-DynoStcase
111. LED-Frank Stein
24. BAS-Bottom 101
68. EPO-Fm Flanger
112. LED-JunoOvrDrive
25. BAS-Bottom 101 2
69. EPO-FM Phase 1
113. LED-M12
26. BAS-Deep End 1
70. EPO-FM Phase 2
114. LED-Mean Wheel
27. BAS-Deep End 2
71. EPO-FMDelicate
115. LED-OverDrive101
28. BAS-Expressive
72. EPO-Heavy Dyno
116. LED-PortaLead
29. BAS-Finger
73. EPO-MarshMello
117. LED-Power Mini
30. BAS-Hummer
74. EPO-LiteDyno
118. LED-Pulse
31. BAS-Hummer 2
75. EPO-Lullaby
119. LED-Pulse 2
32. BAS-Mini Snap
76. EPO-Mama'sWurli
120. LED-Soft&Round
33. BAS-Mini Snap 2
77. EPO-Mello EP1
121. LED-WickedSquare
34. BAS-MurkySweep
78. EPO-Mello EP2
122. ORG-1st3 2
35. BAS-Picote
79. EPO-Mellow Pop
123. ORG-1st3 2ndPerc
36. BAS-Picote2
80. EPO-MetalBars
124. ORG-1st3 3rdPerc
37. BAS-Pilot
81. EPO-OB EP
125. ORG-1st3FullDist
38. BAS-Taurnado
82. EPO-OB EP 2
126. ORG-1st4 Vibrato
39. BAS-TaurusPedals
83. EPO-OB Tine EP
127. ORG-All Out
40. BAS-ThiklySettled
84. EPO-Real CP
128. ORG-B3 Rock1
41. BAS-TS Mini
85. EPO-Studio EP
129. ORG-B3 Rock2
42. BRS-Big Swell 2
86. EPO-The CP70
130. ORG-Distortion
43. BRS-E2 Brass
87. EPO-Vintage CP
131. ORG-Distortion 2
44. BRS-E2 Brass2
88. EPO-Wurlilayer
132. ORG-Far Away
Vintage Keys Operation Manual 219
Appendix
Riff Listing
Riff Listing
220 E-MU Systems
133. ORG-MelloCombo
177. SYN-Nephilim
221. KIT-Kit 03
134. ORG-PortaVib
178. SYN-NoteOffChime
222. KIT-Kit 04
135. ORG-PortaVib 2
179. SYN-NoteOffChme2
223. KIT-Kit 05
136. PAD-Annunaki
180. SYN-Nunzio 1
224. KIT-Kit 06
137. PAD-Believe
181. SYN-Nunzio 2
225. KIT-Kit 07
138. PAD-Chiffer
182. SYN-Nunzio 3
226. KIT-Kit 08
139. PAD-Lunadef
183. SYN-OB Glider
227. KIT-Kit 09
140. PAD-Lunadef 2
184. SYN-OBSEMFuzz
228. KIT-Kit 10
141. PAD-Lunadef 3
185. SYN-ProphetPiano
229. KIT-Kit 11
142. PAD-Lunadef 4
186. SYN-P Ten
230. KIT-MS20
143. PAD-Matches
187. SYN-P10
231. KIT-SK-1
144. PAD-ProfitMargin
188. SYN-P10 SkySweep
232. KIT-SK-1 2
145. PAD-QuietSaws
189. SYN-P5 PolySync
233. KIT-Soft Fuzz
146. PAD-Sentinels
190. SYN-Merlot
234. KIT-SP1200
147. PAD-Thin Lad
191. SYN-Phase1Alert
235. BTS-Acoustic
148. PRC-Arnold 1
192. SYN-PortaLead
236. BTS-Acoustic 4
149. PRC-Few ChoreMen
193. SYN-Power Juno
237. BTS-Brick
150. PRC-Steeely
194. SYN-Random OB
238. BTS-Chill Room
151. PRC-Steeely 1
195. SYN-Regbit
239. BTS-Clav
152. SFX-DragonBreath
196. SYN-Rogue
240. BTS-CPStage
153. SFX-EvilSaws
197. SYN-Round Mini
241. BTS-Dreamland
154. STR-Analog Harp
198. SYN-Runner
242. BTS-Dropbeat
155. STR-Big M12
199. SYN-SawsofOld
243. BTS-DropBeatBglu
156. STR-Elka Combo
200. SYN-Syrupy
244. BTS-DX Style
157. STR-Lush70'sFade
201. SYN-TouchRez
245. BTS-Evolution
158. STR-Lush70sFade2
202. SYN-Wall O Saws
246. BTS-Fast Rocker
159. STR-Sepiatone
203. SYN-Wide OB
247. BTS-Fast Rocker 2
160. STR-Sepiatone2
204. SYN-Wide OB 2
248. BTS-Fusion
161. STR-Smooth&Wide
205. VOX-BigTronChoir
249. BTS-Jazz
162. STR-Solina
206. VOX-Light Aahs
250. BTS-Lush
163. STR-String Box
207. VOX-Light Aahs 2
251. BTS-NeoLatinRock
164. STR-VeloBows
208. VOX-Light Aahs 3
252. BTS-NuRocker
165. SYN-10101
209. WND-LoFi Flute
253. BTS-Reggae
166. SYN-80zFuzzPad
210. WND-StereoMtron
254. BTS-Rock
167. SYN-80zFuzzPad2
211. WND-Tron Flute
255. BTS-Rock 2
168. SYN-Big Mini
212. WND-Tron Flute2
256. BTS-Shuffle
169. SYN-El Effo Sr
213. KIT-Acoustic 2
257. BTS-Teardrop
170. SYN-FuzzBell
214. KIT-DoubleKit
258. BTS-The Pulse
171. SYN-Huge SEM
215. KIT-El GM Kit 1
259. BTS-Latin
172. SYN-Juno
216. KIT-Electronic 3
260. BTS-Funkersize
173. SYN-Juno Pulse
217. KIT-Flashback
174. SYN-Late 80z
218. KIT-HighBoy
175. SYN-Monster Clav
219. KIT-Kit 01
176. SYN-Morpheus
220. KIT-Kit 02
Appendix
Keyboard Velocity Curves
120
Output Velocity
Output Velocity
100
Soft 1
80
60
40
20
0
100
Soft 2
80
60
40
20
0
0
20
40
60
Soft
0
80 100 120
20
40
60
Soft
Hard
120
80 100 120
Hard
Output Velocity
120
100
Soft 3
80
60
40
20
0
100
Soft 4
80
60
40
20
0
0
20
40
60
Soft
0
80 100 120
20
40
60
Soft
Hard
120
80 100 120
Hard
120
Output Velocity
For more information
about the velocity curves, see
page 73.
120
Output Velocity

The keyboard velocity curves modify the response of the Vintage Keys
keyboard to adapt to your personal playing style. The “Keyboard Velocity
Curve” selection screen is located in the Controllers menu.
Output Velocity
Keyboard
Velocity
Curves
100
Soft 5
80
60
40
20
0
100
Medium 1
80
60
40
20
0
0
20
Soft
40
60
80 100 120
Hard
0
20
Soft
40
60
80 100 120
Hard
Vintage Keys Operation Manual 221
Appendix
Keyboard Velocity Curves
Keyboard Velocity
Curves
120
Output Velocity
Output Velocity
120
100
Medium 2
80
60
40
20
0
20
40
60
Soft
40
20
0
20
40
60
Soft
Hard
80 100 120
Hard
120
Output Velocity
Output Velocity
60
80 100 120
120
100
Medium 4
80
60
40
20
0
100
Medium 5
80
60
40
20
0
0
20
40
60
Soft
0
80 100 120
20
40
60
Soft
Hard
80 100 120
Hard
120
Output Velocity
120
Output Velocity
Medium 3
80
0
0
100
Medium 6
80
60
40
20
0
100
Medium 7
80
60
40
20
0
0
20
Soft
222 E-MU Systems
100
40
60
80 100 120
Hard
0
20
Soft
40
60
80 100 120
Hard
Appendix
Keyboard Velocity Curves
Keyboard Velocity
Curves
120
Output Velocity
Output Velocity
120
100
Medium 8
80
60
40
20
0
Loud 1
80
60
40
20
0
0
20
40
60
Soft
0
80 100 120
20
40
60
Soft
Hard
120
80 100 120
Hard
120
Output Velocity
Output Velocity
100
100
Loud 2
80
60
40
20
0
100
All 64
80
60
40
20
0
0
20
40
60
Soft
80 100 120
Hard
0
20
Soft
40
60
80 100 120
Hard
Outputs velocity 64 only
Output Velocity
120
100
All 127
80
60
40
20
0
0
20
Soft
40
60
80 100 120
Hard
Outputs velocity 127 only
Vintage Keys Operation Manual 223
Appendix
Master Velocity Curves
For more information
about the velocity curves, see
page 73.
120
Output Velocity

This section provides diagrams and descriptions of the master velocity
curves. The master velocity curves modify the velocity values from the
MIDI input port and the keyboard before going into the synthesizer engine.
Output Velocity
Master
Velocity
Curves
100
Linear
80
60
40
20
0
40
60
60
40
20
0
80 100 120
20
40
60
80 100 120
Input Velocity
Input Velocity
Linear - No Change to Velocity
Compresses Velocity Range
120
Output Velocity
Output Velocity
20
100
Curve 2
80
60
40
20
0
120
100
80
60
Curve 3
40
20
0
0
20
40
60
0
80 100 120
20
40
60
80 100 120
Input Velocity
Input Velocity
Expands Dynamics in low range,
emphasizing medium velocity
values and compressessing high
velocity values.
Expands Velocity Range.
Soft -> Loud
120
100
80
60
Curve 4
40
20
0
Output Velocity
Output Velocity
Curve 1
80
0
0
120
100
Curve 5
80
60
40
20
0
0
224 E-MU Systems
120
100
20
40
60
80 100 120
0
20
40
60
80 100 120
Input Velocity
Input Velocity
Expands Velocity Range.
Outputs High Values.
Shifts Velocity Values Upward.
Good Dynamic Range.
Appendix
Master Velocity Curves
120
Output Velocity
Output Velocity
Master Velocity
Curves
100
Curve 6
80
60
40
20
0
20
40
60
Curve 7
80
60
40
20
0
80 100 120
20
40
60
80 100 120
Input Velocity
Input Velocity
Shifts Velocity Values Up, while
compressing the midde range
Similar to Curve 6.
120
Output Velocity
Output Velocity
100
0
0
100
Curve 8
80
60
40
20
120
100
Curve 9
80
60
40
20
0
0
0
20
40
60
0
80 100 120
20
40
60
80 100 120
Input Velocity
Input Velocity
Similar to number 6 with more
emphasis on the middle range.
Extreme Dynamic Range
Compression.
120
Output Velocity
Output Velocity
120
100
Curve 10
80
60
40
20
120
100
Curve 11
80
60
40
20
0
0
0
20
40
60
80 100 120
0
20
40
60
80 100 120
Input Velocity
Input Velocity
Extreme Dynamic Range
Compression. Outputs Low Values.
Extreme Dynamic Range
Compression, but doesn't
output low values.
Vintage Keys Operation Manual 225
Appendix
PatchCord Amount Chart
120
Result Velocity
Result Velocity
120
100
Curve 12
80
60
40
20
100
80
60
0
226 E-MU Systems
20
0
0
PatchCord
Amount Chart
Curve 13
40
20
40
60
0
80 100 120
20
40
60
80 100 120
Input Velocity
Input Velocity
Less Severe Version of Curve 11.
Extreme Expansion of Velocity
Range.
The following chart shows the PatchCord “Amount” settings in order to get
semitone intervals when modulation sources are connected to pitch.
Semitone
PatchCord
Amount
Semitone
PatchCord
Amount
1
3
21
66
2
6
22
69
3
approx. 9
23
approx. 72.5
4
approx. 12
24
approx. 76
5
16
25
79
6
19
26
82
7
22
27
88
8
25
28
91
9
28
29
approx. 95
10
approx. 31
30
98
11
35
31
12
38
32
13
41
33
14
44
34
15
47
35
16
50
36
17
approx. 53
37
18
57
38
19
60
39
20
63
40
Appendix
E-MU Expansion Sound Sets
E-MU
Expansion
Sound Sets
Eleven different ROM expansions are currently available, with more being
developed every day. ROM expansions typically add 32MB of sound data
and 512 additional presets. Adding new sounds is like getting a new
instrument and a sure way to spark your creativity. ROM Expansions are
available from your E-MU dealer. Also check out the official E-MU website:
www.emu.com for the latest sounds.
Orchestral Sessions VOLUME 1
The Orchestral Sessions Vol. 1 expansion 32 MB ROM offers you the most
realistic and comprehensive collection of section strings available,
complete with legato, spiccato, pizzicato and tremolande samples, and
includes special presets for 4 speaker applications.
Orchestral Sessions VOLUME 2
The Orchestral Sessions Vol. 2 expansion 32 MB ROM offers you the most
realistic and comprehensive collection of woodwinds, brass, percussion,
and solo strings available, complete with velocity switching between p/mf/
ff samples, special presets for 4 speaker applications and a percussion
battery with over 20 instruments.
Siedlaczek Orchestra Special Edition
The Peter Siedlaczek Advanced Orchestra Special Edition puts 32 MB of his
finest ensembles onto a single expansion ROM for your Vintage Keys.
String, brass, woodwind and percussion ensembles are included in a variety
of styles (i.e. vibrato, tremolo, pizzicato, sordino, etc.), to give you a diverse
collection of samples.
Protozoa
E-MU presents the 16 MB Protozoa expansion ROM—the ultimate sound
compilation containing presets from the ground breaking Proteus sound
modules, all optimized for your Vintage Keys’s advanced synthesis and
filter architecture.
Sounds of the ZR
The Sounds of the ZR Expansion ROM faithfully reproduces the diverse
sounds of ENSONIQ’s popular ZR-76 keyboard, including William Coakley’s
Perfect Piano. You’ll find everything from synths and orchestral instruments to one of the finest pianos ever sampled in one soundset.
Definitive B-3
John Novello and E-MU present the 32 MB Definitive B-3 expansion ROM,
a diverse collection of tone wheel organ drawbar settings sampled direct
and with rotary speakers (chorale and tremolo) to give you the most
versatile and playable B-3 available!
Vintage Keys Operation Manual 227
Appendix
E-MU Expansion Sound Sets
X-Lead
The X-Lead soundset consists primarily of analog, noise and modern
synthesizer waveforms. These sounds are rich in harmonic texture and are a
perfect match with the Z-plane filters in your Proteus® family sound
module. With the included software upgrade, you now have access to
dynamic and rhythmic features not found on any other instrument.
PURE PHATT
The 32 MB Pure Phatt is E-MU’s latest Hip-Hop soundset that produces the
freshest and newest sounds and grooves from top notch producers from the
East, Southeast and West coasts. Pumping leads and basses, silky pads and
those unique hits, scratches and drones that your mix needs to bring it to
the next level are ready to provide the love.
World Expedition
An amazing collection of traditional instruments from the four corners of
the globe including exotic stringed instruments, winds, percussion, and
chromatic percussion. World Expedition provides you with the most
realistic ethnic soundset in the world. Discover a world of sounds to bring
to your music.
Techno Synth
Rob Papen and E-MU introduce the 32 MB Techno Synth Construction Yard
Expansion ROM, a compilation of synth, techno, and ambient sounds from
one of Europe’s finest programmers. From atmospheric pads to punchy subbasses and crunch drum loops, these sounds will help you tear up the dance
floor!
Beat Garden
Dutch sound designer Rob Papen and E-MU introduce the 32 MB Beat
Garden expansion ROM, a diverse palette of all-new Electronica/Dance
beats, synths, basses, drumkits, acoustic and electronic percussion.
Experience the Beat Garden for yourself and add a unique dimension to
your tracks.
Proteus Pop Collection
The 32 MB Proteus Pop Collection offers you all of the bread and butter
sounds of E-MU's Proteus 2500 Module and PK-6 keyboard with 640 diverse
presets covering everything from traditional keyboards and orchestral
instruments to electric guitars, world percussion and drum kits.
ENSONIQ Project
The 32 MB ENSONIQ Project Expansion ROM delivers the sounds of
ENSONIQ's acclaimed Urban Dance Project and Real World collections with
the Hip-Hop and World sounds heard on countless hits, all optimized for
E-MU's powerful synthesis and filter architecture.
228 E-MU Systems
Appendix
Installing Sound SIMMs
Installing
Sound SIMMs
Vintage Keys can be easily expanded to contain up to 128 MB of sound data
(4 SIMMs).
1.
2.
1.
2.
Remove the ROM Hatch Cover:
The sound SIMM sockets in Vintage Keys are located beneath a small
hatch on the bottom panel. Unplug power from the unit and carefully
turn it keyboard-side down on a soft, padded surface.
The ROM hatch is a 125cm x 140cm rectangle secured by four screws.
(You can’t miss it.) Remove the four phillips head screws securing this
hatch and place them and the hatch cover where they won’t get lost.
To Remove ROM SIMMs (if necessary):
Orient the unit so that the rear panel is facing you. Ground yourself by
touching a grounded object. (Such as the chassis of another piece of
equipment connected to the wall socket with a three-prong power plug.)
On each end of the SIMM socket there is a silver or plastic tab. Use a
screwdriver or a ball point pen to squeeze the tabs toward the outside of
the socket while gently nudging the SIMM toward the right side of the
unit. The old SIMM should “hinge” to the right and can now be
removed.
1. Set SIMM into
socket with the
notch toward front
of unit.
it
ar
n
fu
o
re
RO
M
3
RO
M
2
RO
M
1
RO
0
Notch
t
ni
M
2. Tilt the SIMM up
so that both tabs
click and lock the
SIMM into place.
nt
u
of
fro
Vintage Keys Operation Manual 229
Appendix
Installing Sound SIMMs
1.
2.
3.
4.
5.
Install a New ROM SIMM
Ground yourself by touching a grounded object, then remove the
memory SIMM modules from the static protected packaging.
Notice that one end of the SIMM connector is notched. This notch
should be oriented towards the keyboard side of the unit. Install the
SIMM closest to the LEFT side first. (When the rear of the unit is closest to
you.)
Gently set the SIMM deep into the SIMM socket at a 45º angle with the
notch toward the keyboard. Without forcing the insertion, let the board
rest in the socket as deep as it will go. It should rest naturally in place at
this 45° angle. See the following diagrams.
While applying a slight downward pressure on the top of the SIMM to
keep it from popping out of the socket, tilt the SIMM board into a
vertical position. You should hear an audible click. Make sure both sides
of the silver tabs have latched.
Reassemble the Unit
Replace the hatch cover and the four screws. The screws are all
identical.
Test It
The installation is almost finished.
1.
2.
3.
4.
Turn the unit right-side up and plug in the power cord.
Turn on power.
Place the cursor under the ROM field of the Main screen and turn the
data entry control to verify that the new sound ROM has been recognized.
Play the presets on the new ROM banks and verify that they sound OK.
Problems?
1.
2.
230 E-MU Systems
Disconnect power immediately.
Open the unit, and try re-seating the ROM SIMMs. Take care that the
RAM SIMMs are properly installed in the sockets. If you’re still having
problems, return the unit to its original configuration and call EMU
Systems Customer Service at (831) 438-1921. Telephone support hours
are 8:00-5:00 PST, Monday through Friday.
Appendix
MIDI
MIDI
MIDI Implementation Chart (part 1)
MIDI Information
Transmitted
Recognized
MIDI Channels
1-16
1-16
Note Numbers
0-127
0-127
Program Change
0-127
0-127
Bank Select Response?
No
Yes
Modes: Omni (Mode 1)
Mono (Mode 2)
Poly (Mode 3)
Mode 4
Multi (Mode 5)
No
No
No
No
No
Yes
Yes
Yes
No
Yes
Note On Velocity
Yes
Yes
Note Off Velocity
No
Yes
Channel Aftertouch
Yes
Yes
Poly (Key) Aftertouch
No
No
Pitch Bend
Yes
Yes
Active Sensing
No
No
System Reset
No
No
Tune Request
No
No
System Exclusive
Sample Dump Standard
File Dump
MIDI Tuning
Master Volume
Master Balance
Notation Information
Turn GM1 System On
Turn GM2 System On
Turn GM1 System Off
Other (See Remarks)
Yes
No
Yes
Yes
No
No
No
No
No
No
No
Yes
No
Yes
Yes
Yes
No
No
No
No
No
No
NRPNs
No
No
RPN 00 (Pitch Bend Sensi.)
RPN 01 (Chan. Fine Tune)
RPN 02 (Chan Coar. Tune)
RPN 03 (Tuning Prog Sel.)
RPN 04 (Tuning Bank Sel.)
RPN 05 (Mod Depth Rang)
No
No
No
No
No
No
No
No
No
No
No
No
MIDI Clock
Yes
Yes
Song Position Pointer
No
No
Song Select
No
No
Start
Continue
Stop
No
No
No
Yes
No
No
Remarks
MSB + LSB
MIDI Timing & Sync
Vintage Keys Operation Manual 231
Appendix
MIDI
MIDI Information
Transmitted
Recognized
MIDI Time Code
No
No
MIDI Machine Control
No
No
MIDI Show Control
No
No
General MIDI Compat?
Is GM default mode?
No
No
No
No
DLS compatible?
Import DLS Files?
Export DLS Files?
No
No
No
No
No
No
Import Std MIDI files
Export Std MIDI files
No
No
No
No
Extension Capability
232 E-MU Systems
Remarks
Appendix
MIDI
MIDI Implementation Chart (part 2 - Controllers)
Control #
Function
Transmitted
Recognized
0
Bank Select MSB
Yes
Yes
1
Mod Wheel MSB
Yes
Yes
* see note
2
Breath Cntrl MSB
3
Remarks
No
No
* see note
No
No
*
4
Foot Cntrl MSB
Yes
No
*
5
Portamento MSB
No
No
*
6
Data Entry MSB
No
No
*
7
Chan Volume MSB
Yes
Yes
*
8
Balance MSB
No
No
*
9
*
10
Pan MSB
Yes
Yes
*
11
Expression MSB
No
Yes
*
12
Effect Cntrl 1 MSB
No
No
*
13
Effect Cntrl 2 MSB
No
No
*
14
*
15
*
16
GenPur Ctrl 1 MSB
*
17
GenPur Ctrl 2 MSB
*
18
GenPur Ctrl 3 MSB
*
19
GenPur Ctrl 4 MSB
*
20
*
21
*
22
*
23
* see note
24
*
25
™
Yes
Yes
* Filt Attck
26
™
Yes
Yes
* Filt Decy
27
*
28
*
29
*
30
*
31
*
32
Bank Select LSB
Yes
Yes
33
Mod Wheel LSB
*
34
Breath Cntrl LSB
*
35
36
*
*
Foot Cntrlr LSB
No
No
*
Vintage Keys Operation Manual 233
Appendix
MIDI
Control #
Function
Transmitted
Recognized
37
Portamento LSB
*
38
Data Entry LSB
*
39
Chan Volume LSB
*
40
Balance LSB
*
41
234 E-MU Systems
Remarks
*
42
Pan LSB
*
43
Expression LSB
*
44
Effect Cntrl 1 LSB
*
45
Effect Cntrl 2 LSB
*
46
*
47
*
48
Gen Pur Ctrl 1 LSB
*
49
Gen Pur Ctrl 2 LSB
*
50
Gen Pur Ctrl 3 LSB
*
51
Gen Pur Ctrl 4 LSB
*
52
*
53
*
54
*
55
*
56
*
57
*
58
*
59
*
60
*
61
*
62
*
63
*
64
Sustain Pedal
Yes
Yes
*
65
Portamento on/off
66
Sostenuto
No
No
*
No
No
*
67
Soft Pedal
*
68
Legato Footswitch
*
69
Hold 2
*
70
Variation
*
71
Timbre/Har Inten
Yes
72
Release Time
Yes
*
73
Attack Time
Yes
*
74
Brightness
Yes
*
Yes
*
Appendix
MIDI
Control #
Function
Transmitted
Recognized
Remarks
75
Sound Cntrlr 6 ™
Yes
Yes
* Decay
76
Sound Cntrlr 7
77
Sound Cntrlr 8 ™
Yes
Yes
* Vel->Filt
78
Sound Cntrlr 9 ™
Yes
Yes
* Vel->amp
79
Sound Cntrlr 10
Yes
Yes
See note
80
Gen Purp Cntrlr 5
Yes
Yes
See note
81
Gen Purp Cntrlr 6
82
Gen Pur Ctrlr 7 ™
Yes
Yes
* Arp Vel
83
Gen Pur Ctrlr 8 ™
Yes
Yes
* Arp Gate
84
Portamento Cntrl
85
™
*
*
*
Yes
Yes
* Sustain
86
*
87
*
88
*
89
*
90
*
91
Effects 1 Depth
92
Effects 2 Depth
Yes
*
93
Effects 3 Depth
94
Effects 4 Depth
*
95
Effects 5 Depth
*
96
Data Increment
97
Data Decrement
98
NRPN (LSB)
99
NRPN (MSB)
100
RPN (LSB)
101
RPN (MSB)
*
Yes
*
102
103
104
105
106
107
108
109
110
111
112
Vintage Keys Operation Manual 235
Appendix
MIDI
Control #
Function
Transmitted
Recognized
Remarks
120
All Sound Off
No
Yes
See note
121
Reset All Contlrs
No
Yes
122
Local Cntrl on/off
No
No
123
All Notes Off
No
Yes
124
Omni Mode Off
No
Yes if enabled
125
Omni Mode On
No
Yes if enabled
126
Poly Mode Off
No
Yes if enabled
127
Poly Mode On
No
Yes if enabled
113
114
115
116
117
118
119
NOTES:
* Vintage Keys can transmit and receive ANY continuous controller
number from 1 to 95. Because of Vintage Keys’s powerful synth
engine, many of the standard MIDI controllers can be user
programmed to provide the desired function. A “Yes” response in
this chart means that a controller is programmed by default in
Vintage Keys.
Controller 79 is hard-coded to the Mix Output parameter.
0=Use Preset, 1=Send 1, 2=Send 2, 3=Send 3, 4=Send 4
Controller 80 is hard-coded to the Arp Status parameter.
0=Off, 1=On, 2=P (preset), 3=M (master)
Value of 0 = reset all except vol & pan; value of 127 = reset all
Other: Pan: -64 = hard left, +63 = hard right
236 E-MU Systems
Appendix
MIDI
Product ID for Vintage Keys = 0F (15)
MIDI Device Inquiry Responses
Family
MSB 0x04 (Musical Instruments)
LSB
0x04 (ROM Players)
Members
MSB 0x00 (Proteus 2000 series)
LSB
0x02 Audity 2000
0x03 Proteus 2000
0x04 B-3
0x05 XL-1
0x06 Virtuoso 2000
0x07 Mo’Phatt
0x08 B-3 Turbo
0x09 XL-1 Turbo
0x0A Mo’Phatt Turbo
0x0B Planet Earth
0x0C Planet Earth Turbo
0x0D XL-7
0x0E MP-7
0x0F Proteus 2500
0x10 Orbit 3
0x11 PK-6
0x12 XK-6
0x13 MK-6
0x14 Halo
0x15 Proteus 1000
0x16 Vintage Pro
0x17 Vintage Keys
There is only one edit buffer which is used by the current preset (the preset
shown in the display). You can edit only one preset at a time via SysEx
commands, although these presets can be edited independently of the
current preset edited using the Front Panel. Remote Preset selection is
independent of the edit buffer. Changing the current preset erases the edit
buffer.
Vintage Keys Operation Manual 237
Appendix
MIDI
Received Channel
Commands
Channels number (n) = 0-15. Message bytes are represented in hex. All
other numbers are decimal. Running Status is supported.
Command
Message
Comments
Note Off
8n kk vv
Note On
9n kk vv
velocity 0 = note off
Program Change
Cn vv
0-127
Channel Aftertouch
Dn vv
0-127
Pitch Bend
En ll mm
l = lsb, m = msb
Real-time Controller
Bn cc vv
cc = 00-31, 64-95
Footswitch
Bn cc vv
cc = 64-79, vv ≥ 64 = on
Volume
Bn 07 vv
0-127
Pan
Bn 0A vv
0=left, 127=right, 64=center
All Sound Off
Bn 78 00
turns all sound off
Reset All Controllers
Bn 79 00
ignored in omni mode
All Notes Off
Bn 7B 00
ignored in omni mode
Omni Mode Off*
Bn 7C 00
forces all notes & controls off
Omni Mode On*
Bn 7D 00
forces all notes & controls off
Mono Mode On (Poly Off)*
Bn 7E 00
forces all notes & controls off
Poly Mode On (Mono Off)*
Bn 7F 00
forces all notes & controls off
Bank Select MSB
Bn 00 bb
bb = bank MSB (see page 126)
Bank Select LSB
Bn 20 bb
bb = bank LSB (see page 126)
* Special Notes:
• From Omni Mode .......... Omni Off turns Poly On.
• From Poly Mode............. Omni On turns Omni On; Mono On turns
Mono On.
• From Mono Mode .......... Mono Off turns Poly On; Omni On turns
Omni On.
• From Multi Mode........... Omni On turns Omni On; Omni Off or Mono
Off turns Poly On; Mono On turns Mono On.
• All other changes have no effect.
SysEx Specification
238 E-MU Systems
Vintage Keys contains an extensive set of MIDI SysEx commands. (Virtually
every parameter is controllable via SysEx.) Because of the size and technical
nature of the System Exclusive specification, it is beyond the scope of this
manual. The complete SysEx specification for Vintage Keys will be available
soon on the official E-MU Systems, Inc. web site: www.emu.com
Appendix
Technical Specifications
Technical
Specifications
Audio Channels:
64
MIDI:
MIDI In, MIDI Out, MIDI Thru
MIDI Channels:
16
Presets:
512 user presets. (The number of ROM
presets is determined by the sound SIMMs
installed.)
Filters:
2nd order to 12th order filters
(50 different types)
Audio Outputs:
4 polyphonic analog outputs
Submix Inputs:
2 analog inputs (sum to main outs)
Max. Output Level:
+4 dB
Output Impedance:
1000 Ohms
Sound Memory:
32 MB (expandable to 128 MB)
Data Encoding:
16-bit linear data
Effects Engine:
24-bit internal processing
Sample Playback Rate:
44.1 kHz
Signal to Noise:
>92 dB
Dynamic Range:
>90 dB
Frequency Response:
20 Hz - 20 kHz (+2/-1 dB)
THD + Noise:
< 0.02% (1kHz sine wave, A-weighting)
IMD
< 0.05%
Stereo Phase
Phase Coherent +/- 1º at 1 kHz
Power Consumption:
20 Watts
Voltage Input:
90VAC-260VAC at 50Hz-60Hz
Vintage Keys Operation Manual 239
Appendix
Warranty
Warranty
Please read this warranty, as it gives
you specific legal rights.
Limited Warranty
This product is warranted, to the original consumer purchaser, to be free of
all defects in workmanship and materials for a period of one (1) year
(warranty period is two (2) years in the European Union, effective Jan-12002), from the date of such purchase from an authorized E-MU Systems
dealer, provided that: (a) the Warranty Registration Card is filled out and
returned to E-MU Systems within 14 days of the purchase date; (b) the
E-MU Systems service center is provided a copy of the consumer purchaser’s
sales receipt; and (c) E-MU Systems has confirmed the validity of the subject
unit's serial number.
Warranty
Restrictions
Specifically, but without limitation, E-MU Systems does not provide
warranty service for:
• Damages due to improper or inadequate maintenance, accident, abuse,
misuse, alteration, unauthorized repairs, tampering, or failure to follow
normal operating procedures as outlined in the owner’s manual;
• Deterioration or damage of the cabinet;
• Damages occurring during any shipment of the unit;
• Any unit which has been modified by anyone other than
E-MU Systems.
• Any unit with an invalid or wholly or partially obliterated serial number.
NO OTHER EXPRESS OR IMPLIED WARRANTY IS MADE, AND E-MU
SYSTEMS SPECIFICALLY DISCLAIMS ANY IMPLIED WARRANTY OF
MERCHANTABILITY, SATISFACTORY QUALITY, AND FITNESS FOR A
PARTICULAR PURPOSE. E-MU SYSTEMS’S LIABILITY UNDER WARRANTY
IS LIMITED TO REPAIR OR REPLACEMENT OF THE UNIT, OR REFUND, AT
E-MU’S OPTION. IN NO EVENT WILL E-MU SYSTEMS BE LIABLE FOR LOSS
OF REVENUE OR SAVINGS, LOSS OF TIME, INTERRUPTION OF USE, OR
ANY OTHER CONSEQUENTIAL, INDIRECT, INCIDENTAL, SPECIAL OR
EXEMPLARY DAMAGES.
The foregoing will apply notwithstanding the failure of essential purpose of
any remedy provided herein. Some jurisdictions do not allow the exclusion
of implied warranties or conditions, or limitations on how long an implied
warranty or condition may last, so the above limitations may not apply.
This warranty gives you specific legal rights. You may have other rights
which vary from jurisdiction to jurisdiction.
240 E-MU Systems
Appendix
Warranty
How To Obtain
Warranty Service
All E-MU Systems products are manufactured with the highest standards of
quality. If you find that your unit does require service, it may be done by
any authorized E-MU Systems service center. If you are unable to locate a
service center in your area, please contact EMU’s Service Department at
(831) 438-1921. They will either refer you to an authorized service center in
your area or ask that you return your unit to the E-MU Systems factory.
When returning your unit to the E-MU Systems factory, you will be issued a
Return Merchandise Authorization (RMA) number. Please label all cartons,
shipping documents and correspondence with this number. E-MU Systems
suggests you carefully and securely pack your unit for return to the factory.
(Do not send the power cord or operation manual.) Send the unit to E-MU
Systems, Inc., 1600 Green Hills Road, Scotts Valley, CA 95066. You must
pre-pay shipping charges to E-MU Systems. E-MU Systems will pay return
shipping charges. You will be responsible for any damage or loss sustained
during shipment in any direction.
3/99
Vintage Keys Operation Manual 241
Appendix
Warranty
242 E-MU Systems
Index
Symbols
Index
Symbols
“+” modulation polarity 158
“±” modulation polarity 158
Numerics
19-tone tuning 168
1-bar trigger 51
2-pole filters 120
4-pole filters 120
6-pole filters 120
A
A effect types 175, 176
Absolute Value Processor 109
AC Receptacle 14
ADSR Envelopes 201
Aftertouch
calibration 80
mono 101
on/off 74
Algorithm
FXA 177, 178
FXB 177, 179
master FXA 89
master FXB 90
All Layers 129, 131
All Notes Off, MIDI 31
All Sound Off, MIDI command 31
Alternate Tunings 92, 168
Amount
patchcord 124, 157
Amplifier 141
Amplitude 148, 201
envelope 142
modulation 100
Arpeggiator 39
button 31
channel 39
controllers 58
copy pattern 191
copy settings 190, 191
delay 63, 64
extension 58
extension count 62
extension interval 62
factory patterns 60
gate 58
time 61
guided tour 24
interval 58
key offset 68
key range 66
keyboard thru 65
latch mode 65
master parameters 58
MIDI out 56
MIDI song start 56
modes 57, 59
note value 60, 64
pattern 57, 60
naming 70
speed 60
resolution 58
status 59
user patterns 67
velocity 58, 61
Assign Group 146
Attack
envelope 143, 152, 159, 205
Audition
beats 46
button 32
preset 20
riff 171
Auxiliary Envelope 103, 152
B
B Effect Types 175, 176
Balance 123
Band-Pass Filter 119, 148
Bandwidth 121
Bank Number 21, 37
Bank Select Display 31
Banks 21
selecting 37
selecting via MIDI 38
Base Tempo 82
Basic Channel 46
setting keyboard & wheels to 72
Basic Setup 14
Basics, programming 99
Beats 43, 46
busy 49
control knob 23, 210
Vintage Keys Operation Manual 243
Index
C
channel 46
initial setup 47
keys layout 51
keys offset 52
part chart 22
part group 54
part transpose 53
part velocity 52
played using trigger buttons 44, 76
playing 22
playing on a different MIDI
channel 23
presets, selecting 22
riffs 44
variation 50
control knob 23
velocity group 1-4 49
xpose group 1-4 49
Bend Range 84
Breath Controller 80
Bts Busy 49
control knob 23, 210
Bts Variation 50
Button
+/- channel 29
arpeggiator/beats 31
audition 31
compare 31
controllers 30
cursor 30
demo mode 35
global 30
home/enter 32, 43, 71, 83, 93
main 34
MIDI 31
MIDI panic 31
mix screen 34
mode select 36
multi 34
preset edit 32
save/copy 31, 187
C
Calibrate Controllers 80
Category
instrument 40
preset 40, 210
Center Frequency 121
Change
filter type 205
MIDI preset 95
preset 21, 37
Channel
+/- buttons 29
aftertouch on/off 74
244 E-MU Systems
arpeggiator 39
MIDI enable 94
pan 39
selection, MIDI 37
volume 38
Chorus 175, 185
width 199
Chorus, effect 185
Chorusing 144, 199
Clear Beats Part 44, 45
Clock
divisor 101
MIDI output enable 94
modulation 107
sync delay time to 176
using external MIDI 82
Coarse Tuning 141, 198
Comb Filter 149
Comb Filter, effect 176, 185
Command Buttons
external preset selection 78
preset menu jump keys 36
selecting presets 77
trigger mode 36
Command Functions 36
Compare Button 31
Connection Instructions 14
Continuous Controller 124
Contour, envelope 101, 143
Control
data entry 29
effects multi mode 88
keys 45
volume 29
Controller
assigning real-time 94
calibration 80
footswitch 14, 15, 80
knobs 32, 33, 79, 125
modes 32
menu 71
menu button 30
MIDI 79, 124
MIDI #10 39
MIDI #7 38, 124
MIDI real-time 124
quick edit 33
realtime assignment 79
realtime knobs 32
standardized MIDI numbers 80
tempo 81
trigger buttons 72
Copy
arp settings 190
layers 188
Index
D
patchcord 189
preset 188
preset banks 191
preset patchcords 190
Crossfade
random 102
ranges 137
Current Tempo 82
Cursor
buttons 30
definition 30
Curve
glide 147
keyboard velocity 73
master velocity 85
volume 199
Cutoff Frequency 119, 202
D
Damping, high frequency 176, 184
Data Entry Control 29
DC Offset, example 116
DCA 123, 207
Decay
effect A 90, 176
effects 176
envelope 199
Default Assignment, beats 45
Delay
arpeggiator 63, 64
effect B 91
effects 175, 176, 186
sync to master clock 176
layer 144
LFO 156
master FXB 91
preset link 170
Demo Sequences 19, 35
Descending Arpeggiator 57
Destinations, modulation 108, 159
Device ID 96
Diode Processor 110
Display, viewing angle 92
Distortion Effect 175, 186
Double & Detune 144, 199
Doubling, effect 185
Dual Channel Beats 46
Dual Tap, delay effect 186
Duration, arp pattern 69
Dynamic Filter 117
Dynamic Range 239
E
Echo Thru, Local Control on/off 72
Edit All Layers Enable 92
Edit Section 30
Editing
arp user patterns 67
presets 197
Effects
A type 175
B into effect A 182
B submix routing 91
B type 175
busses 173
by channel number 182
channel number setup 182
chorus 185
decay 176
delay 176, 186
sync to master clock 176
description 184
diagram 161, 162, 164
distortion 186
doubling 185
dual tap delay 186
feedback 176, 186
flanger 185
FxA decay 90
FxA HF damping 90
FxB feedback 91
FxB->FxA 90, 177
global 181
HF damping 176
LFO rate 91, 176
master 173, 178, 181
A algorithm 89
B algorithm 90
FxB->FxA 178
LFO rate 91
mode, bypass 180
multi mode control 88, 180
panning delay 186
patchcords 165
preset 161, 177
processor 173
programming in the preset 177
returns 17
reverb 184
routing diagram 87
send amounts 173
sends 86
slapback 185
stereo delay 186
submix routing, A 90, 164, 165
type A 89, 163, 175, 176
type B 91, 164, 176
vibrato 186
Vintage Keys Operation Manual 245
Index
F
wrong effect playing with beats 23
Enable
controllers menu 71
MIDI channels 94
quick-edit mode 79
Enter Button 32
Envelope
ADSR, programming 201
attack 143, 152, 159
auxiliary 152
decay 199
filter 151, 203, 204, 206
generator 101, 103
example 120
mode, factory 200
mode, filter 204
release 199
repeat 206
repeating 104
reverberation 184
volume 142, 143, 199, 201
Equal Temperment Tuning 168
Errors, data transmission 97
eset 129
Extension
count, arpeggiator 62
interval, arpeggiator 62
External Clock, MIDI 82
F
Factory
envelope mode 200
patterns, arpeggiator 60
Fc 150, 202
Feedback 176, 186
FXB 91
Fills, beats 44
Filter
2-pole 120
4-pole 120
6-pole 120
bandpass 119, 148
changing type 205
comb 149, 176
definition 118
dynamic 117
envelope 103, 151, 203, 204
attack 205
envelope generator 151, 206
envelope mode 204
frequency 150, 151, 159, 202
highpass 118, 202
lowpass 118
mode 204
morph 122
246 E-MU Systems
notch 119
parametric 121
pole 120
programming 202
Q 150, 202
swept EQ 121
troubleshooting 207
tutorial 117
type 202, 205
changing 205
Z-plane 122, 123, 148
Fine Tuning 141, 198
Fingered Glide. solo mode 146
First Key, modulation 112
Flanger Effect 175, 185
Flashing Arp/Beats LED 82
Flip-Flop Processor 110
Foot Pedal
calibration 80
Footswitch 80, 101
connecting 14, 15
programming 74
Free Running LFO 154
Frequency
filter 151, 159
center 121
cutoff 119
instrument 140, 141
Frequency Modulation 100
Front Panel Knobs 32
FX Cords 165
FXA Algorithm 177, 178
FXA Parameters 164
FXB -> FXA 177, 178, 182
FXB Algorithm 164, 177, 179
master 90
FXB Parameters 165
FXB Submix Routing 91
G
Gain Processor 110
Gamelan Tuning 168
Gate 101
time 61
Generator
envelope 101
filter envelope 151, 206
noise & random 101
volume envelope 142
Glide 147
curve 147
key 101
rate 101, 147
Index
H
Global
button 30
controller assignments 79
effects 178, 181
menu 83
Grooves, beat 44
Group
assigning channels to a 146
beats 44
H
High Frequency Damping 90, 176, 184
High-hat Programming 146
Highpass Filter 118, 202
Home Position 21
Home/Enter Button 32, 43, 71, 83, 93
I
Implementation Chart, MIDI 231, 233
Initial
pan position 141
volume 141
Instrument 123, 197
category 40
listing 215
selecting 132
Inverting LFO Waves 106
J
Jump Buttons
preset edit menu 36
using 197
Just C Tuning 168
description 169
Just Intonation 168
K
Key
glide 101
layout, beats 51
offset, arpeggiator 68
range
arpeggiator 66
keyboard 134
preset link 170
sync, arpeggiator 63
transpose 140
trigger 51
tuning 92
velocity 101
Keyboard
beats trigger layouts 44
key 101
layering & splitting 208
pressure 101
range 133, 134
semitone transpose 72
splitting 208
thru, arpeggiator 65
transpose 140
on/off 145
tuning 168
19-tone 168
equal temperment 168
gamelan 168
just C 168
Kirnberger 168
repeating octave 168
Scarlatti 168
Vallotti 168
Werkmeister III 168
velocity curve 73
diagrams 221
Keyboard/Knob Channel 72
Kirnberger Tuning 168
Knob
controller 125
keyboard channel 72
typical functions 209
Knob Preset Quick-Edit 79
Knobs Output MIDI 94
L
Lag Amount, preset lag 111
Lag Processor 109
Latch
beats part 51
keys in beats 44
mode, arpeggiator 65
triggers 36
Layer
copy 188
definition 130
instrument 99
presets 208
selecting 131
Legato 145
LFO 153
effect B 91
flanger 186
key sync 154
master FXB rate 91
rate 176
rate, effect 91
tricks & tips 154
trigger 106
variation 156
Vintage Keys Operation Manual 247
Index
M
waveforms 105
waveshape 153
Linking Presets 170, 208
Local Control On/Off 72, 74, 75
Looping Envelopes 104
Low Frequency Oscillator 101, 105, 153
delay 156
free running 154
sync 153, 154
variation 156
Lowpass Filter 118
example 120
M
Main Button 34
Master
arpeggiator 24
parameters 58
bend range 84
clock
current tempo 82
modulation 106
sync delay time to 176
effects 88, 173, 178, 181
FXA algorithm 89
FXB algorithm 90
riff 46, 54
tempo, offset 171
velocity curve 85
volume control 29
Melody Solo Mode
high 145
last 145
low 145
MIDI
A-P assignments 79
bank select display 20, 31
channel
routing outputs by 86
tempo controller 81
channel inc/dec
using a footswitch 74
channel selection 37
clock
output enable 94
continuous controller
assignment 79
continuous controllers 101, 124
controller #7 38
device ID 96
enable 94
external clock 82
footswitch assign 74, 80
implementation chart 231, 233
in channels 94
248 E-MU Systems
input channels 94
knob transmit 94
menu button 31
mode 94, 173
multi mode 98
note triggers 36, 75, 76
omni mode 98
out, arp/beats 56
out, knob enable 94
pan control #10 39
panic button 31
poly mode 98
real-time controllers 124
receive program change 95
received channel commands 238
receiving sysex data 98
recording sysex data 98
send sysex data 98
sequencer, recording into an
external 72
song start 56
standardized controller numbers 80
sysex packet delay 97
sysex, send/receive 97, 98
velocity
curve input 85
curve output 73
Minimoog, solo mode 146
Mix Output 160
description 86
function 174
programmed in the preset 160
Mix Screen 34
Mod Wheel 101
Mode
arpeggiator 59
latch 65
controller 32
effects 180
factory envelope 200
filter envelope 204
MIDI 94, 173
mono 238
multi 98, 173, 238
non-transpose 145
omni 98, 180, 238
poly 98, 180, 238
solo 145
time-based envelope 204
Modulation 158
amplitude 100
clock 107
delay time 176
definition 100
destinations 108
note-on 108
Index
N
polarity 102, 106, 158
processors 109, 113
random 102
routing 157
sources 101
sources & destinations 159
wheel 80
calibration 80
Momentary Footswitch 14
Mono Aftertouch 101
Mono A-I, assign group 146
Mono Mode 238
Morph Filter 122
Multi Button 34
Multi Channel
arpeggiators 26
Multi Mode 98, 173, 238
effects control 88
Multichannel Volume/Pan Control 34
Multiple Trigger, solo mode 145
Multisetup
definition 34, 41
name 42
restoring 41
saving 42
send/receive 97
Mute Beats 44, 45
N
Name
multisetup 42
preset 130
user arp pattern 70
Noise & Random Generators 101
Non-Transpose Mode 145
Notch Filter 119
Note Value
arpeggiator 60, 64
Note-On Modulation 108
O
Offset, arpeggiator key 68
Omni Mode 98, 180, 238
Output
jack 14, 15, 16
jacks 17
mix 86, 160, 174
mono 14
routing 160
Overall Tuning, adjusting 84
P
Packet Delay, MIDI sysex 97
Pan 123
channel 39
initial 141
preset link 170
Panic Button, MIDI 31
Panning Delay, effect 186
Parametric Filters 121
Part, beat 44
Patchcord 102, 157
amount 124, 157
copy 189
example 113
routing 108
Pattern
arpeggiator 57, 60
naming 70
repeat 69
speed 60
user 67
velocity 69
inc/dec
using a footswitch 74
Pedal 101
connection 14, 15
programming 75
wiring diagram 15
Performance Controllers 32, 36, 101
Pink Noise, example 115
Pitch Wheel 101
calibration 80
master bend range 84
range 160
Pitch, shifting 198
Pitchbend Range 160
Play
solo layers 171
trigger buttons 76, 77, 78
Polarity
modulation & LFO 158
patchcord 102, 106
ramp rate 112
Pole, filter 120
Poly All, assign group 146
Poly Mode 98, 180, 238
Poly, assign group 146
Portamento 147
Power Consumption 239
Power Switch 14, 29
Preset
architecture 130
audition 20
category 21, 40
Vintage Keys Operation Manual 249
Index
Q
change disable 129
change enable 95
changing 21
copy 188
edit button 32
editing 197
effects 161, 177
links 170, 171, 208
listing 211
menu jump buttons 36
MIDI changes 95
naming 130
random 195
selecting 20, 37
selecting via command buttons 36,
77
tempo offset 171
user 97
view screen 37
Preset Lag Processor 111
Preset Ramp Processor 111
Processor
4x gain 110
absolute value 109
diode 110
effect 173
flip-flop 110
modulation 113
preset lag 111
preset ramp 111
quantizer 110
Product Description 1
Program Change
receive enable 95
Program->Preset Map 95
send/receive 97
Programmable Knobs 79
Programming Basics 99
Q
Q 119, 149, 150, 202, 205
Quantized, arp sync 63
Quantizer 110, 116
example 115
Quick Edit
enabling 79
mode 33
R
Ramp Rate 112
Random
creating presets 195
crossfade 102
crosswitch 138
250 E-MU Systems
generator, noise and 101
modulation sources 102
Range
arp extension count 62
key 133, 134
keyboard 133
pitchbend 160
velocity 135
Rate
effect, LFO 91, 176
glide 147
LFO 154
master FXB LFO 91
Rate/Level Envelopes 103
Realtime Control of Arps 58
Realtime Controller 72
assignment 79, 94
crossfading 137
tutorial 124
Realtime Crossfade 137
Receive Program Change 95
Receiving MIDI SysEx Data 98
Record
MIDI sysex data 98
Rectifier 109
Release
envelope 199
velocity 101
Rename, arpeggiator pattern 70
Repeat
arpeggiator pattern 69
Resonance, filter 119, 149, 150, 205
Restoring Multisetups 41
via MIDI command 41
Return Signal 17
Reverb 175, 184
envelope 184
Riff
assignment 171
controllers 55
listing 219, 220
playing 20, 31
tempo 55
ROM Card Identifier 21
Routing
FXA submix 90, 164, 165
FXB submix 91
modulation 157
output 86, 160, 173
Index
S
S
Save
arp menu parameters 41
arp parameters 43
controllers menu parameters 41
global menu parameters 41
MIDI menu parameters 41
multiple arp setup 28
multisetup 42
preset 187
preset/volume/pan/arp
assignments 41
Save/Copy
button 31, 187
menu 187
Scaling
MIDI Velocity In 85
MIDI Velocity Out 73
Scarlatti Tuning 168
Screen View Buttons 34
Screen Viewing Angle 92
Selecting
menus with jump buttons 197
presets 20, 37
using command buttons 36, 77
Semitone
transpose keyboard by 72
Send
amount 173
FXA 90, 164, 165
FXB 91
effect 86
preset effect 160
Setup
basic 14
performance 15
studio 16
Signal Path 123, 173
Slapback 185
Solo Layer 171
Solo Mode 145
Sound Navigator 40
selecting instruments 132
Sound Start 144
Sources, modulation 159
Specifications, technical 239
Split Keyboard 170, 208
using links 208
Stack
layers 135
presets 170
Standardized MIDI Controller
Numbers 80, 233
Start/Stop Beats 44, 45
Stereo Delay, effect 186
Stolen Voices 146
Studio Setup 16
Sub Output Jacks 17
Submix Routing
FXB 91
Summing Amp 109, 110
Summing Nodes 100
Swept EQ Filter 121
Switch Processor 109, 113
Sync
arp key 63
delay effect to master clock 176
LFO 153, 154
MIDI song start 56
Synth Solo Mode
high 146
last 145
low 146
System Exclusive
device ID 96
packet delay 97
send arp data 66
send data 98
T
Tap Tempo 82
using a footswitch 74
Technical Specifications 239
Tempo
base 82
change via MIDI controller 81
controller 81
offset 171
Tempo-based Envelope 104, 142, 151,
200
Time
arpeggiator gate 61
master FXB delay 91
Time-based Envelope 103, 142, 151, 200,
204
Transmission Errors 97
Transmit MIDI Clock 94
Transmit MIDI, knob 94
Transpose 84, 140, 141
arpeggiator 62
beat part 53
keyboard 72
preset link 170
Trig Hold, beats 45
Trigger Buttons 75, 76
controlling multiple arps 22, 26
Trigger Channel 46
Vintage Keys Operation Manual 251
Index
U
Trigger Key 44
Trigger Mode 36, 76, 77, 78
Troubleshooting 207
Tune 84
Tuning 141, 198
19-tone 168
coarse 198
equal temperment 168
fine 198
gamelan 168
just C 168
key 92
keyboard 168
Kirnberger 168
repeating octave 168
Scarlatti 168
Vallotti 168
Werkmeister 168
Tutorial
arpeggiator 24
beats 22
filter 117
Volume
channel 38
control 29
control #7 38
curve 199
envelope 103, 123, 142, 143, 199, 201
preset link 170
W
Waveform
instruments 215
inverting 106
LFO 105
Werkmeister Tuning 168
Wheel
modulation 101
pitch 101
Width, chorus 199
Z
Z-Plane Filter 122, 123, 148
U
Unlatch Beats Part 51
User
banks 21
key tuning 92
presets 97
tuning tables 92
User Pattern
arpeggiator 67
naming 70
repeat 69
velocity 69
V
Vallotti Tuning 168
Variation
beats 50
LFO 156
Velocity
arpeggiator 61
crossfade 135, 136
curve, keyboard 73
curve, master 85
key 101
keyboard curve charts 221
preset link 170
release 101
user pattern 69
Vibrato, effect processor 186
Viewing Angle, screen 92
Voices, stolen 146
252 E-MU Systems
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