OWNER`S MANUAL
OWNER’S MANUAL
INTRODUCTION
Congratulations on choosing the Generalmusic Promega. The Promega
represents the pinnacle of musical instrument technology, utilizing
Generalmusic’s unique DRAKE technology to give you the powerful combination
of physical modeling and state-of-the-art stereo sample playback.
Physical modeling technology provides total accuracy of sound reproduction
while giving the complete dynamic range of the original instrument without
compromise, (unlike traditional sampling where the designer must choose a
few specific dynamics to sample). By combining this physical modeling
technology with hi quality sample playback techniques, Generalmusic have
created an electronic musical instrument without equal.
The Promega offers sounds which are 100% pure physical models, (like
RHODS1); sounds which are pure sample playback, (like STRINGS1), and sounds
which combine both technologies in sonic harmony, (like ST.GRAND1). Different
technologies were chosen for each sound according to which could provide the
best results in each case.
This powerhouse of technology is packaged in the most easy-to-use professional
instrument ever produced. The logical layout provides immediate access to all
the available features, allowing every function of the Promega, whether beeing
used as a simple stand-alone piano or a complex MIDI controller, to be fully
understood and utilized with the minimum of instruction.
In section #2 of this manual you’ll find the QUICK GUIDE. This provides stepby-step examples of how to combine sounds, split the keyboard, add effects
and save your sound combination into a Performance Memory. We recommend
that you familiarize yourself with the instrument by first following all the examples
in this section. The remainder of the manual offers a complete description of all
the other functions offered by the Promega. The last section contains reference
information such as the MIDI IMPLEMENTATION CHART and other useful data
concerning the structure of the instrument.
We hope you enjoy many years of great music making with your new Promega.
Generalmusic Promega 2
Table of contents
Section 1
Instrument Layout .........................................................................................
Rear Pannel .....................................................................................................
Power and Standby ...........................................................................................
Master Controls ................................................................................................
Section 2
1
2
3
3
Quick Guide ......................................................................................... 5
Example
Example
Example
Example
Example
Example
Example
Section 3
1
2
3
4
5
6
7
:
:
:
:
:
:
:
Layering sounds. ............................................................................ 7
Controlling the effects. .................................................................... 8
Splitting the keyboard. .................................................................... 9
A few things to try. ........................................................................ 10
Simple sound editing. ..................................................................... 11
Recalling performance memories ..................................................... 12
Storing your own creations ............................................................. 13
Front Pannel Controls ........................................................................ 15
Graphic EQ. .................................................................................................... 16
Other Controls ................................................................................................. 17
Performance Memories ..................................................................................... 18
Storing a new performance ............................................................................... 19
Pitch Bend and Modulation wheels ..................................................................... 20
Section 4
Effects ............................................................................................... 21
Adding an effect to a sound .............................................................................. 22
Using the same effect on multiple sounds ........................................................... 22
Enabling and disabling effects ........................................................................... 23
Storing parameter changes ............................................................................... 24
Section 5
Edit Sound ......................................................................................... 25
Section 6
Edit MIDI ........................................................................................... 27
Section 7
Edit Controls ...................................................................................... 31
Controls ......................................................................................................... 32
Pedal types and settings ................................................................................... 32
Section 8
Appendix ........................................................................................... 37
Technical Specifications .................................................................................... 38
Promega2 : Sound list ...................................................................................... 39
Promega2 : Effect list ....................................................................................... 39
Technology ..................................................................................................... 40
MIDI Implementation Chart ............................................................................ 42
Types of serial cables ....................................................................................... 43
Chart of charachters ........................................................................................ 44
Generalmusic Promega 2
Section 1
Instrument Layout
Generalmusic Promega 2
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REAR PANNEL
(1)
(2)
(3)
(4)
(5)
(6)
(7) (8) (9)
(10)
(11)
(1) MAIN
OUT The left and right channel when connecting the instrument in stereo. If you
are connecting in mono using only one cord, connect the cord to the LEFT/
(balanced)
MONO output and ensure that nothing is connected to the RIGHT output.
Right e Left/Mono
Assignable outputs 1and 2. Any section of the instrument can be
(2) AUX OUT
assigned to use these outputs. They can either be used separately or
1e2
as part of the stereo pair 1+2. For more information about assigning
sections of the instrument to use these outputs, see the description
of the OUT function in the CONTROLS chapter of this manual.
You can connect either a stereo device, (like a CD-Player or MIDI sound
(3) INPUT
module) or a mono device, (like a microphone or guitar), to these
Right e Left/Mono
inputs. If you are connecting a mono device using only one cord, connect
the cord to the LEFT/MONO input and ensure that nothing is connected
to the RIGHT input. The INPUT slider on the front panel controls the
volume of the device connected to these inputs.
MIDI
Used to receive midi data from other devices, (like a computer or
(4) In
controller keyboard).
Used to send midi data from the instrument to external devices, (like a
computer or MIDI sound module).
(5) Out
(6) Thru
Used when chaining a number of midi devices together. The THRU
connector sends a copy of what is arriving at MIDI IN; effectively
extending the MIDI IN cord to the next device in the MIDI chain.
(7) Mode Switch
This switch should be used to set the type of host PC.
For Mac computers the switch should be set to the MAC position.
For PC/Windows, the switch should be set to the PC2 (fast) position.
If you encounter any problems using the interface with this
configuration, try selecting the PC1 (slow) setting.
(8) Computer Connector
This connector is designed to accept the small 8-pin DIN plug at one
end of a Mac serial cable or the special cable supplied with the
Generalmusic Multimedia Kit.
(9) DISPLAY CONTRAST Controls the contrast between background and foreground colors
for the LCD display panel.
PEDAL
The connectors are used for the three optional pedals. The types of
pedals you can connect to these are as follows:
(10)PEDAL 2/PEDAL 1
Either a standard footswitch* or a continuous volume type pedal.
(11) DAMPER:
Either a standard footswitch* or the damper pedal of the optional
Generalmusic Pro Pedal Unit.
See the description of the functions DAM, PD1 and PD2 in the CONTROLS chapter of this manual
for information about assigning these pedals.
* Any type of footswitch can be used. The Promega will automatically detect the type of
footswitch connected and configure itself accordingly.
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POWER and STANDBY
The main power switch is located on the back panel of the
instrument. When you first turn the Promega on, the
instrument’s internal memory data is decompressed ready
for playing. This process takes around 60 seconds to complete.
On the left side of the rail below the keyboard you will find the STANDBY
button. This button can be used instead of the main power switch. When
you turn off the instrument with the STANDBY button the uncompressed
data remains in memory eliminating the need to wait when you switch the
instrument on next time.
To turn the instrument off with the STANDBY button, you need to keep it
pressed down for about two seconds. This is designed to avoid the possibility
of switching the instrument off in case the button is accidentally pressed
momentarily. You can release it when you see the panel lights go out. To
switch the instrument on again just press the STANDBY button quickly.
J
The light in the STANDBY button has two colors. Green for ON and red for
OFF.
For most purposes, the STANDBY button should be used instead of the main
power switch, (in much the same way that you might use the “sleep” or
“standby” function on a computer instead of “shut down”). If you are going
to leave the instrument turned off for a long period of time, (say, overnight
or longer), then you should shut the instrument down with the main power
switch. Also, if you plan to move the instrument and disconnect it from the
power socket, you should first turn it off using the main power switch instead
of using the STANDBY button.
MASTER CONTROLS
VOLUME
This controls the overall volume of the entire instrument. For best
results it should be set to about 75% of the maximum value. When
connecting the Promega to an amplification system for the first time,
begin by setting the VOLUME slider to its minimum position and
then increase the volume slowly to set the audio level. Adjust the
amplifier’s input gain so that the best listening level can be achieved
with the VOLUME slider set at about 75% of the maximum value.
INPUT
This controls the volume level of the devices connected to INPUTS 1
and 2 on the back panel. When connecting a device for the first
time, this slider should be set at minimum level and its value gradually
increased until a desirable listening level is reached.
HEADPHONES JACK
There are two headphones jacks located at the extreme left side of
the metal rail which runs beneath the keyboard; just below the
STANDBY button.
NOTE: Some devices such as CD players, MiniDisc Players
etc. will have a very different output level from an electronic
keyboard like the Promega. Wherever possible, you should
adjust the output volume of the device so that it delivers only
enough volume to allow the INPUT slider to be set to about
75% of its maximum value.
Generalmusic Promega 2
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Generalmusic Promega 2
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Section 2
Quick Guide
“For those of you who don’t like to read manuals or
wish to read the manual detail later, here’s everything
you need to get started”
Generalmusic Promega 2
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The Promega2 has been designed with ease of use and quick access to all features in
mind. Common functions such as layering sounds, splitting the keyboard and assigning
effect can all be carried out without the need to use any edit menus or LCD functions.
This chapter will serve as a quick guide to get you up and running as quickly as
possible with the Promega.
First we’ll look at “real-time operations” (setting up the instrument manually without
using the Performance Memories), and then move on to storing and recalling your
favorite sound combinations.
Essentially, you can think of the Promega as number of different sound modules or
sections, each of which has exactly the same controls. All of these sections have a
large red ON/OFF button so combining a number of sounds is as simple as switching
on a number of these sections simultaneously.
The Promega2 has three sound sections:
Section 1: PIANOS
Section 2: VINTAGE KEYS
Section 3: BASS/OTHER
Let’s start by looking at one of these sound modules in detail:
This is the PIANOS module from the PROmega2.
The EFFECTS buttons will
add or remove the
currently selected REVERB
and PRO EFX processing
to the current sound.
The large rotary
knob, (or V-POT), is
used
to
select
between the various
sounds in the section.
ò
ò ò
The red ON/OFF button
is used to activate or deactivate the section as
required.
ò
ò
The TO LEFT button
will assign the sound
in this section to the
left side of the current
keyboard split point.
The slider can be used to adjust
the volume of the section, (and
many other parameters as
we will see later on).
The OCTAVE buttons are
used to raise or lower
the pitch of the section
by 12 half-steps.
You can repeatedly press the + or – button to
keep shifting the section’s pitch higher or lower.
To return the section to it’s original pitch, simply
press both the + and – button together. Original
pitch is indicated by both leds being off.
That’s it! Having explained how the controls of one of these modules operate, you should
now be able to see that all the other sound modules work in exactly the same way.
Generalmusic Promega 2
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Let’s try some examples combining these various modules together and you’ll begin to see
just how easy it is to work with the Promega. We recommend that you work through these
examples in order since each example starts with the settings from the previous one.
EXAMPLE 1: Layering sounds
Start by switching on the instrument so that you have the only
the main piano sound active. You’ll notice that only the first
section is switched on, (its red ON/OFF button is illuminated).
Now let’s add a string sound to this piano. Because of the
way the Promega is designed, you can set up your second
sound and make all the adjustments you need BEFORE
you actually hear it.
1) Go to the BASS/OTHER section and use the VirtualPOT to select the sound SLOWSTRING PAD, (at the
6 o’clock position).
1
2) Use the slider to adjust its volume level to about 90.
2
Now we can add some reverb to this sound.
Make sure that the REVERB button is turned on and
the PRO EFX button is turned off.
Finally, we need to check that the sound is in its normal octave
range and also that it is not assigned to a split keyboard.
Check that the OCTAVE setting is normal, (both leds should
be off. Pressing both buttons together will accomplish this).
Check that the TO LEFT button is turned off.
Now we’re ready to turn the section on.
3) Press the red ON/OFF button in this section.
You should now hear the string sound mixed with the
piano.
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3
J
EXAMPLE 2: Controlling the effects.
Let’s spice our string sound up a little by adding a chorus effect.
1
In the PRO EFX part of the EFFECTS section, turn
the Virtual-POT to select CHORUS, (at the 1 o’
clock position).
Now, we want to add this effect to the string sound.
2
In the BASS/OTHER section, turn on the PRO EFX button.
We also need to make sure that this effect is not applied to the piano sound.
In the PIANOS section, make sure that the PRO EFX button is turned off.
J
You should now hear the chorus effect on the string sound but not on the piano. A quick
glance at the panel should tell you that the piano sound now contains reverb, (its REVERB
button is on and its PRO EFX button is off) while the string sound has both reverb and chorus,
(both its REVERB and PRO EFX buttons are switched on).
Since both sounds are using the reverb effect, we might want to set a different amount of
reverb for each sound. This can be achieved by using REVERB SEND control.
1
In the REVERB part of the EFFECTS section, press the SEND button.
J
Notice how all the values displayed in each section have changed? Before we pressed SEND,
each section’s display was telling you it’s respective volume level. Now, instead, they are
telling you the amount of reverb applied to each section. The slider which had previously been
used to adjust a section’s volume can now be used to adjust the amount of reverb for that
section.
2 Using the slider in the BASS/OTHER section, set the value to 120.
3 Using the slider in the PIANOS section.
The string sound now contains twice as much reverb as the piano sound. Now that we’ve
finished making adjustments, we can return the instrument to normal playing mode.
Press the flashing REVERB SEND button once again to turn it off.
You may also want to adjust the amount of chorus applied to the
string sound. This can be done in the same way using the PRO
EFX SEND button.
1 In the PRO EFX part of the EFFECTS section, press
the SEND button.
2
Using the slider in the BASS/OTHER section, adjust
the amount of effect.
Press the flashing PRO EFX SEND button once again to
turn it off.
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2
1
When we pressed each of those SEND buttons, we temporarily put the instrument into EDIT
MODE. In this mode each section’s slider and display allowed you to view and modify something
other than the section’s volume level, (which is what they normally do). To let you know that
the instrument was in EDIT MODE, all of the displays started flashing along with the actual
button you pressed to put the instrument into EDIT MODE, (in this case, the SEND button).
There are a number of occasions when you will need to put the instrument into EDIT MODE to
adjust some value or other. Occasionally, you might hit an edit button by accident and set the
instrument flashing without knowing how you did it. To return the instrument to normal, the
procedure is always the same; locate the button which is flashing and simply press it once to
escape from EDIT MODE.
EXAMPLE 3: Splitting the keyboard.
Now let’s try to split the keyboard, placing a bass sound on the left side of the split.
First we’ll set up the bass sound.
1
Go to the BASS/OTHER section and use the VirtualPOT to select the sound FRETLESS, (at the 2 o’clock
position).
Use the slider to adjust it’s vo-
ò ò ò
2 lume level to about 120.
We should remove any reverb from this sound.
Make sure that the REVERB button is
ò
3 turned off.
And we’ll add a little chorus.
Next, check that the sound is in its normal octave range.
ò
Now, since we want to place this sound to the
left of the split, we need to activate the TO
LEFT function.
2 Turn on the TO LEFT button.
Now we’re ready to turn the section on.
J
J J
ò
Check that the OCTAVE setting is normal,
(both leds should be off). Press both OCATVE
buttons together to restore normal range
ò
1 Turn the PRO EFX button on.
J
3 Press the red ON/OFF button in this section.
J
You should now hear the piano on the right side of the keyboard and the newly selected
bass sound on the left.
Generalmusic Promega 2
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If you like you can change the split point.
You’ll notice that the green
EDIT & CONTROLS display
temporarily showed the
name of the note where the
keyboard was split. If you
ever need to know the current
split note, just hold the
SPLITP. button for a few
seconds and the display
will tell you.
Stop playing for a moment
and hold down the SPLIT P.
button in the EDIT &
CONTROLS section. While
keeping it pressed, with
your other hand, press the
keyboard key where you
want the new split to be.
Release the SPLIT P. button
when you’re done.
Finally, let’s adjust the amount of chorus on our bass sound:
1 In the PRO EFX part of the EFFECTS
1
section, press the SEND button.
2
Using the slider in the BASS/OTHER
section, set the value to 100.
J
Press the flashing PRO EFX SEND
2
J J
3
3 button once again to turn it off.
EXAMPLE 4: A few things to try
The TO LEFT button in each section is used to assign any section to the left side of the split
point. Let’s put one more sound on the left side along with the bass:
Press the red ON/OFF button in the VINTAGE KEYS section and then press the TO LEFT button
Now you can hear two sounds on the left side of the split while the piano
sound remains on the right. Now let’s put the new sound on the right side.
Press the TO LEFT button in the VINTAGE KEYS section once again to turn it off.
There is no specific button on the Promega to split the keyboard. As long as one of the
sections is assigned TO LEFT, a split will automatically be created. If none of the TO LEFT
buttons in any of the sections are pressed then there will be no split. Try this:
Turn off the TO LEFT button in the BASS/OTHER section.
Now that no section is assigned TO LEFT the split has disappeared. You can now hear three
sounds layered together across the entire length of the keyboard. You can re-create the split
simply by pressing any one of these TO LEFT buttons:
Press the TO LEFT button in the VINTAGE KEYS section.
The new sound is now assigned to the left side of the split. This would be useful for playing chords
but the sound is in the wrong octave. We’ll use the OCTAVE buttons to put the sound into a more
useable playing range.
Generalmusic Promega 2
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While playing chords below the split, press the OCTAVE
+ key in the VINTAGE KEYS section. You will hear the
pitch of the sound raise by one octave. Press this key
a second time to place the sound in a more playable
range.
J
Example 5: Simple sound editing
Sometimes you may want to make a sound a little brighter or darker to make it more or
less prominent in the mix. The EDIT SOUND function contains a simple little filter which
allows you to adjust the brilliance of any section.
Turn off the VINTAGE KEYS section and select the sound
SLOWSTRING PAD in the BASS/OTHER section
Press the SOUND button in the EDIT & CONTROLS section.
J
J
The EDIT & CONTROLS display now shows FLT indicating that you
are ready to adjust the filter setting for each section. The individual
displays of each section are now showing you their current filter
setting, (normally these will be at zero).
Let’s make the string sound on the left side a little darker and the
piano sound on the right side a little brighter. Moving the slider
upwards will increase the brilliance while moving it downwards will
decrease it. When the slider is in the central position the sound is
restored to it’s normal setting of zero.
Move the slider in the BASS/OTHER section downwards to
select a value of about –30. You can hear this change in real
time while you are playing the sound.
Move the slider of the PIANOS section, upwards to select a
value of about 30.
J
Edit functions such as SOUND, MIDI and CONTROL, (CONTR.) contain
a number of different functions under one button. You can switch
between these various functions using the PAGE UP/PAGE DOWN
keys underneath the EDIT & CONTROLS display. Let’s use the next
function of EDIT SOUND.
Press the PAGE UP button, (>)
The EDIT & CONTROLS display now shows PAN indicating that you
are ready to adjust the pan position, (or stereo balance), for each
section. The individual displays of each section are now showing
you their current pan position, (normally these will be at zero
meaning that the sound is sent equally to the left and right channel).
J
NOTE:
The
instrument must
be amplified in
stereo to hear
this effect.
Let’s send the string sound slightly more to the left channel and the piano sound slightly more to
the right channel.
Move the slider in the BASS/OTHER section downwards to select a value of about 30
You should hear the sound move slightly towards the left channel.
Move the slider of the PIANOS section, upwards to select a value of about 30.
You should hear the sound move slightly towards the right channel.
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Now we can return the instrument to normal playing mode. Remember,
this is achieved by simply pressing the button which is flashing; in this
case EDIT SOUND.
J
Press the EDIT SOUND button once to turn it off.
Example 6: Recalling performance memories
A performance memory is a complete set-up of all the features on the instrument. By
storing and recalling performance memories you can instantly change the sounds, pedal
assignments, midi settings and other features of the instrument with the touch of a
single button.
The Promega2 has 128 performance memories available. These are split into two groups
of 64 memories called PRESET and USER. The preset performance memories have been
programmed at the factory and can never be overwritten. The USER memories are
provided for you to store your own sound combinations and performance settings.
To become familiar the way these memories are organized, we’ll start by selecting some
of the PRESET memories. The first of these was selected automatically when you switched
the instrument on. It contains the main piano sound which we heard back in Example 1
and it is memory number A1.
The two sets of memories are organized into 8 banks called A, B, C, D, E, F, G and H. One of
these banks will always be selected. Look at the bottom row of buttons marked PERFORMANCE MEMORIES now and you will see that Bank A is selected, (assuming that you haven’t
selected anything different since power on).
Each bank contains 8 performance memories numbered 1-8. The last selected memory will be
currently lit, (again, it should be memory 1 unless you changed something).
Although memory A1 was the last selected, we’ve made a lot of changes since switching
the instrument on. We started with memory A1 and then made a number of modifications
from there. Let’s now re-select memory A1
Press the 1 button in the top row of the PERFORMANCE MEMORIES.
You should now hear that the instrument’s settings have changed back to the basic
piano sound we heard at the beginning of our examples. We are listening to PRESET A1.
If you ever wish to return the instrument to these settings at any time, follow these
three simple steps:
J
1. Press PRESET
2. Press A
3. Press 1
Now let’s listen some of the other memories stored in PRESET BANK A
Press 2, 3, 4, etc. Listen to the different preset sound combinations.
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Moving to a different bank requires 2 steps. The first step is where you select the new bank.
The second step is where you choose a memory within the newly selected bank. You will not
hear the sound change until you have completed this second step. Let’s select PRESET C4.
J
Press the C button.
Notice that the memory
buttons start to flash. The only
buttons not flashing are those
which represent the previous
selection.
J
Press 4.
Now that you are in PRESET BANK 4
you can listen to the 8 different
memories with a single button press
as before.
EXAMPLE 7: Storing your own creations
Now that we know how to use the performance memories let’s store something
into one of the USER locations.
First we’ll start by selecting the main piano sound in PRESET A1.
Press the A button.
Press the 1 button.
You should now hear the main piano sound. From this stage, were going to
re-create the piano/strings combination we made back in Example 1. Turn
back to Example 1 and follow all the steps to layer a string sound with the
piano.
Now we’re going to store this sound into USER A1.
J
Press the STORE button
Press the A button
Press the 1 button
J
You’ll notice that the PRESET button automatically turned off and the USER
button turned on. Because you pressed STORE, the instrument switched itself
into user mode. If you want go back to selecting factory presets, you need to
press PRESET again. Let’s check that our sound was stored correctly by
switching to a PRESET memory and then switching back to our newly stored
USER A1.
Press the PRESET button
Press the C button
Press the 4 button
Now you’ve selected PRESET C4 and the instrument has changed all it’s
settings. Let’s switch back to the sound we stored in USER A1 and check
that it was memorized correctly.
J
Press the USER button
Press the A button
Press the 1 button
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You should now hear the piano/string combination that we saved earlier.
Now we’ll save once more sound into a USER location. Turn back to Example
2 and Example 3. Follow all the steps in both examples so that you end up
with a split keyboard; bass on the left and piano/strings on the right.
We’re going to store this sound into USER A2.
J
Press the STORE button
Press the 2 button
Did you notice that there was one less step this time? Before we pressed
STORE, the currently selected performance was A1. Since we were storing
our new performance into the same bank that was already selected, it
was not necessary to press the A button again.
Now you have enough understanding of the basic functions of your Promega
to get started making your own sounds. As you read through the rest of
this manual you will find many more powerful functions which will help
you to unlock the full capability of this magnificent instrument.
Enjoy!
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Section 3
Front Pannel Controls
Following on from the Quick Guide, this section explains
how to use some of the other front panel controls.
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Graphic EQ.
The Promega offers a simple but powerful graphic EQ. section which uses a series of “led
bars” to represent the individual bands of the Equalizer. This system offers two powerful
advantages over a conventional Graphic EQ. that uses hardware sliders:
When a PERFORMANCE MEMORY is recalled
whose stored EQ. pattern differs from that
currently displayed, the Graphic EQ. section
will be immediately updated to display the
correct pattern.
The Promega2 offers a 4-band EQ.
The Graphic EQ. section features an ON/OFF button so that the section can be defeated when
not required.
Each band is equipped with a continuous knob which can be used to raise or lower the level of
attenuation for that specific band. This change is indicated by the “led bar” directly above each knob.
At the center of each “led bar” is a green led. This is equivalent to the zero or “reset”
position for that band. When a band is in this zero position, no raise or reduction is being
applied to that band. The band is said to be “flat”.
A useful starting point for any EQ. operation is to have every band in this ‘flat’ condition.
Using the Graphic EQ. with the Performance Memories
Every time you save a sound combination into one of the PERFORMANCE MEMORIES, the
current EQ. settings are memorized. Try recalling a few of the PRESET memories and you
should see the EQ. displays changing accordingly.
In this way, you can use the GraphicEQ. as a powerful way to modify the tone of each sound
you create on the Promega, (much like a band-pass filter on a synthesizer); giving you that
extra “edge” needed for a specific sound.
Using the Graphic EQ. as a master
Graphic EQ.s are often used in professional sound systems to compensate for unwanted
losses, (or surpluses), of particular frequencies in different types of performing environments.
For example, a high-ceilinged theater with brick walls would require much less attenuation
of the higher frequencies than a small carpeted lounge. In this situation, the sound engineer
would use a Graphic Equalizer to set up a “Master EQ. curve” so that whatever sound went
through the sound system was always processed in the same way. This Master EQ. setting
would remain the same throughout the entire performance.
If you want to use the Graphic EQ. on the Promega as a Master EQ., you need to ensure that
its values will not change every time you select one of the PERFORMANCE MEMORIES. This
can be achieved by pressing the LOCK button.
When the LOCK button is lit, the EQ. settings can be manually changed in the normal way
but they will not be affected by the selection of PERFORMANCE MEMORIES. In this way the
section can be used as a Master EQ.
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OTHER CONTROLS
TOUCH
The TOUCH button allows you to adjust the responsiveness of the Promega’s keyboard to
suit your playing style by setting what’s called a “velocity curve”. You can either select one
of three factory-preset curves or find your own personalized setting with the USER curve.
To access the TOUCH function, press the TOUCH button on right side of the instrument’s
front panel.
The TOUCH button starts to flash and the EDIT & CONTROLS display shows the threeletter abbreviation for the current velocity curve. You can select different curves by
using the PAGE > and PAGE < buttons. The available curves are as follows:
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SFT – SOFT CURVE.
Use this setting if you have a light touch, particularly if you are more familiar playing
synthesizer keyboards than piano. With this curve the keys do not have to be struck very
hard to achieve maximum level.
NOR – NORMAL CURVE .
This curve approximates the normal dynamic response of an acoustic piano. The normal
curve is set when your Promega leaves the factory.
HRD – HARD CURVE
This curve is designed for the stronger or more powerful player. You may find this curve
useful if you have been used to playing a piano with a heavy keyboard action. With this
curve, the keys need to be struck fairly hard to achieve maximum level.
USR – USER CURVE
The user curve offers a variable setting which can be adjusted while you play to find a
specific response to match your playing style. This variable setting ranges from 1 to 100
and the current setting can be seen in the display of the EFFECTS section. You can
change this value with the LEVEL slider in the EFFECTS section.
Setting the value to 1 will give a minimal amount of velocity control. The maximum
value, 100, will give an extremely hard response; even stronger than the factory preset
HARD setting. By choosing levels between 1 and 100 you can vary the curve between
these two extremes; from almost no touch response to extremely hard response.
When you have selected a curve which you feel comfortable with, press the TOUCH
button again to turn it off. Your settings will be memorized.
LOCAL OFF
The LOCAL OFF button effectively disconnects all the Promega’s internal sounds from the
keyboard allowing the instrument to be used as a silent controller for external sound sources.
This function is designed for use only when you want the entire instrument to be in Local
Off mode. If you want to switch only one or more sections to Local Off mode please see
the paragraph marked NOTE: Section Local On/Off in the description of PCH (Program
Change) in the MIDI section of this manual.
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DEMO
Each section is pre-programmed with its own demo song designed to highlight the sounds
of that section. When you press the DEMO button the ON/OFF button of each section
starts to flash. Press any section’s flashing ON/OFF button to hear its demo song.
To stop the song, either press the section’s ON/OFF button again or press DEMO to turn it off.
Pressing DEMO at any time will escape from DEMO mode and return the instrument to
normal operation.
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PERFORMANCE MEMORIES
The Promega offers 128 Performance Memories divided into two groups of 64: PRESET and USER.
The 64 PRESET performances are created at the factory and cannot be changed. They are provided to
highlight some of the best possible sound combinations.
The 64 USER performances are provided for you to store your own favorite sound combinations. If you
want, you can select one of the PRESET memories, modify its settings and then store the results in a
USER memory.
Next select a BANK using
one of the eight buttons
in the lower row labeled
A – H.
2
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Finally select one of the
eight performances in this
bank using one of the eight
numbered buttons in the
top row.
One of these Performance Memories will
always be selected.
To select a different
P e r f o r m a n c e
Memory, first choose
either the PRESET or
USER group using
one of the buttons at
the right side.
1
3
At this point, all of the Promega’s settings will change according to what has
been stored in the selected Performance Memory.
Although the last selected Performance Memory remains selected, you are free to
change the panel settings in any way you want. To restore the settings from the
current Performance Memory, just select it again, (you only need to press the
numbered button which is already lit).
Once you are within a Performance Bank, (for example, Bank A), you can select
any of the eight performances in that bank by pressing only the numbered buttons
in the top row. You do not need to re-select the bank each time.
In addition to the instrument and effect
settings, each performance also has a name
which is shown in the LCD display on the left
side of the panel.
Concert 9’ Grand
When you store your own performances, you can also type in new names to go with them.
Note: to RESTORE the factory USER performances, turn on the instrument while holding
down the STORE button.
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Storing A New Performance
Any time you find a sound combination that you like, you can store
it into one of the USER Performance Memories. First press STORE.
At this point you can enter a name. If you prefer not to, you can
simply proceed to the next step. If you want to input a name for
your Performance, use the keys of the keyboard to type in the
name. In this mode, the keyboard is divided into alphabetical
characters on the white keys from A2 to E6; numeric characters
on the black keys from C#5 to A#6; and special control keys from
D2 to G2. These are described below.
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D2: Uppercase/Lowercase switch
D#2: Insert/Overwrite
E2: Space
F2: Delete
G2: Backspace
Simply type in the name you want using the keys of the keyboard.
After each character has been typed, the cursor will advance to
the next position. If you make a mistake you can use the Backspace
key (G2) to return to the previous character.
In the top line of the LCD, on the right side, you can see the state
of the both the Uppercase/Lowercase, (“u” or “l”) and Insert/
Overwrite, (“i” or “o”) parameters. To change the state of either of
these settings, simply press the Uppercase/Lowercase, (D2) key
or the Insert/Overwrite, (D#2), key.
Once you’ve finished entering a name for your performance,
the next step is to choose which bank you want to store it into.
Press one of the eight bank buttons, (labeled A-H).
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And finally, select one of the eight
numbered memories. This completes the
storage process.
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2
Your Performance is now stored in the memory location
you chose. Remember that when you want to select this
Performance in the future, you must be in the USER group
and not the PRESET group.
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3
PITCH BEND AND MODULATION WHEELS
The PITCH BEND and Modulation wheels can be used to control either the internal sounds of
the Promega and/or any external MIDI device connected to it. Both wheels can also be reprogrammed to have other functions.
PITCH BEND
This wheel is used to “bend” the pitch of a sound in order to emulate, for example, the bending
of a string on a bass guitar or the scooping of a note in a brass section.
The preset range of the PITCH BEND wheel is +/- 2 half-steps or semitones. This means that
the maximum amount of pitch shift will be 2 half-steps higher when the wheel is pushed
upwards and 2 half-steps lower when the wheel is pulled downwards.
To change the amount of pitch shift in half-steps, press the CONTROLS, (CONTR.) button in
the EDIT & CONTROLS section and select the function “PIT” using the Page <> buttons.
The LCD will display the current settings for the PITCH BEND
wheel. Use the MASTER TRANSPOSE b and # buttons to increase
of decrease the range.
NOTE: If you have no
pedals connected then
“PIT” will be the first
function you see.
At the same time, you can see which sections the Pitch Wheel
will affect when it is moved. Each section shows its Pitch Wheel
assignment as being ON or OFF. You can change this setting with
the LEVEL slider in each section.
The PITCH BEND wheel can also be re-programmed to have a
different function. In the EFFECTS section display, you will see
the current function of the wheel. Using the LEVEL slider in the
EFFECTS section, you can select a different function. The functions
available are as follows:
Pb – Pitch Bend, (Original Function)
PAN – Panpot or Stereo Balance control
UAH – Wah controls, (only works when WAH effect is configured
appropriately)
FLT – Filter control
MODULATION
The MODULATION wheel is normally used to apply a motion effect, (usually vibrato or tremolo),
to the sound. This allows you to apply the same type of vibrato that a string or horn player might
use; letting the sound play normally for a second or two and then adding an increasing amount of
vibrato as the note sustains. This is achieved by moving the wheel slowly upwards from its zero
position, (the zero position is when the wheel is pulled all the way down).
When not being used, the wheel should be returned to this zero position. If you ever find that a
sound contains a vibrato or tremolo effect even when the PRO EFX are turned off, this is probably
because the Modulation Wheel has been left in a non-zero position. Pulling it all the way down
should rectify the problem.
The Modulation Wheel can be assigned to any section of the instrument and can also be reprogrammed to have a different function.
To change the settings of the Modulation Wheel, press the CONTROLS, (CONTR.) button in the
EDIT & CONTROLS section and select the function “MOD” using the Page <> buttons.
You can now see which sections the Modulation Wheel will affect when it is moved. Each section
shows its wheel assignment as being ON or OFF. You can change this setting with the LEVEL
slider in each section.
To change the function of the wheel, use the LEVEL slider in the EFFECTS section. The display in the
EFFECTS section shows the current function of the wheel. For a description of all the available functions,
see the table entitled “CONTINUOUS PEDAL and MOD WHEEL” in the CONTROLS section of this manual.
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Section 4
Effects
“This section explains how to use the two effect
processors - REVERB and PRO EFX”
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The EFFECTS section of the Promega2 contains two independent effects processors which
can be applied in varying amounts to each section of the instrument.
While each effect processor has it’s own independent controls, both sections share a common
display. Each section offers the following controls:
A V-POT to select the effect type.
A master DEPTH control.
Two parameter controls.
A SEND button.
Each effect has been pre-programmed at the factory to provide appropriate settings for most
applications. In many cases you won’t need to adjust any parameters for the effect to be useable.
Adding an effect to a sound
There are three simple steps to add an effect to any sound.
1. Select the desired effect.
2. Assign the sound section to that effect
3. Adjust the amount of effect.
1
For example, to add the CHURCH reverb effect to ST.GRAND1.
1. Use the REVERB Virtual-POT to select the CHURCH effect
2. Assign the PIANOS section, to the reverb effect by pressing the
REVERB button in that section.
3. Press the REVERB DEPTH button and use the LEVEL slider in the
EFFECTS section to control the amount of effect.
2
Another example; to add the CHORUS effect to STRING1
sound.
1. Use the PRO-EFX Virtual-POT to select the CHORUS effect.
2. Assign the BASS/OTHER section to the PRO EFX effect by
pressing the PRO EFX button in that section.
3. Press the PRO EFX DEPTH button and use the LEVEL slider in
the EFFECTS section to control the amount of effect.
3
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Using the same effect on multiple sounds
When an effect is applied to more than 1 sound, the SEND function
allows you to set a different amount of effect for each sound.
For example:
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Switch on every section of the instrument
1 and adjust their volumes so that they can
all be heard clearly
2
In each section, turn ON the REVERB
button and turn OFF the PRO EFX button.
3 Use the REVERB V-POT to
select the STADIUM effect.
You should now hear a heavy reverb effect on all sounds,
(if you don’t, try pressing the REVERB DEPTH button and
increasing the LEVEL slider in the EFFECTS section until
the effect is stronger).
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Now press the REVERB SEND button, (it starts to flash). You’ll notice
that the display in each section has changed. Each section is now
telling you how much reverb is being applied to it. Adjust the value of
each section to zero using their respective LEVEL sliders. You should
now hear no reverb at all.
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Try setting different levels of reverb for each section. When you’ve finished, turn off the
REVERB SEND button to stop it flashing. This returns the instrument to normal mode.
Let’s take this example even further by adding a delay from the PRO EFX section.
1 In each section, turn ON the PRO EFX button
2 Use the PRO EFX Virtual-POT to select the ST. DELAY effect
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You should now hear the delay effect in every section. Again, if you want to increase the overall
amount of effect, press the PRO EFX DEPTH button and use the LEVEL slider in the EFFECTS
section to increase the effect.
Now press PRO EFX SEND. As before, the button starts to flash and each section now shows
you how much of this effect is being applied to it. You can change the values by using the
LEVEL slider in each section.
When setting up multiple effects in this way, you can switch directly between REVERB SEND
and PRO EFX SEND without the need to escape each time. While the PRO EFX SEND button is
still flashing, press REVERB SEND and you can instantly return to adjusting the reverb levels.
Whenever the instrument is in REVERB SEND or PRO EFX SEND mode, while the LEVEL sliders in
each section can be used to adjust the individual amount of effect for each section, the LEVEL
slider in the EFFECTS section continues to function as a MASTER DEPTH control for that effect.
Enabling and disabling effects
Sometimes you may need to temporarily turn off one of the effects processors in order to hear
the other more clearly. For example, here are two different methods for temporarily disabling
the REVERB effect.
Method 1. Turn OFF the REVERB button in each section.
Method 2. Press the REVERB DEPTH button and use the LEVEL slider to reduce the level to zero.
While Method 2 is a little quicker, it does require that you remember the original depth when
you wish to return the effects to their previous state.
Parameter controls
Each of the 30 effects on the Promega offers two user-controllable parameters which allow you
to accurately tailor the effect to your needs.
REVERB SECTION
In the REVERB section the two available parameters are called TIME and DELAY, (or to use
their full names REVERB TIME and PRE-DELAY). No matter which reverb effect is selected, the
same two parameters are always available for adjustment.
TIME, (Reverb time)
When the TIME button is pressed the display in the EFFECTS section shows the current REVERB
TIME. This value can be adjusted using the LEVEL slider in the EFFECTS section.
Adjusting the REVERB TIME will increase or decrease the overall duration of the current reverb.
The higher the value, the longer it will take for the reverb to fade out.
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DELAY, (Pre-delay)
When the DELAY button is pressed the display in the EFFECTS section shows the current PREDELAY value. This value can be adjusted using the LEVEL slider in the EFFECTS section.
DELAY inserts a tiny space between the source sound, (a key being pressed), and the resulting
reverb output. Adjusting the PRE-DELAY value will change the length of this space. The purpose
of pre-delay is to “clean-up” the resulting reverberated sound so that the original sounds can
be heard to speak clearly for a fraction of a second before the reverb effect kicks in.
PRO-EFX SECTION
Unlike the REVERB section, the two available parameters in the PRO-EFX section do not have
definitive names. They are named simply PARAM 1 and PARAM 2. Whenever you select a new
PRO EFX effect using the Virtual-POT, the functions of PARAM 1 and PARAM 2 will change
accordingly. This allows for maximum flexibility of the effects in this section without the need
for too many buttons.
For example, when you use an effect that contains movement or “modulation”, (such as a
CHORUS, or PHASER effect), it is very important to have a control for the speed of that movement,
(usually called the MODULATION FREQUENCY). However, certain effects contain no modulation,
(such as COMPRESSOR or LOUDNESS), so a dedicated speed control would have no function
when these particular effects were selected.
Below is a list of PARAM 1 and PARAM 2 functions in the case of each effect.
Effect Name
CHORUS1
CHORUS2
FLANGER
WAH
PHASER
TREMOLO
COMPRESSOR
LOUDNESS
EXCITER
STEREO DELAY
DELAY
CHORUS / DELAY
CHORUS / EXCITER
CHORUS / TREMOLO
CHORUS / FLANGER
Param 1 Function
Modulation Frequency
Modulation Frequency
Modulation Frequency
Modulation Frequency
Modulation Frequency
Modulation Frequency
Threshold
Threshold
Pre-Gain
Delay Time
Delay Time
Chorus Mod. Frequency
Chorus Mod. Frequency
Chorus Mod. Frequency
Chorus Mod. Frequency
Param 2 Function
Modulation Depth
Modulation Depth
Feedback Amount
Right Phase
Feedback Amount
Right Phase
Compression Ratio
Loudness Ratio
Stereo Image
Feedback Amount
Feedback Amount
Delay Time
K-pre
Tremolo Mod. Freq.
Flanger Mod. Freq.
Storing parameter changes
Whenever you select a new REVERB or PRO EFX effect using the VirtualPOT in either section, the two user controllable parameters related to that
effect will be reset to the factory pre-set values.
For example, let’s say you select FLANGER in the PRO EFX section and
then change the values of both PARAM 1 and PARAM 2. Now you temporarily
switch to a different effect, for example TREMOLO and then return to
FLANGER. The values of PARAM1 and PARAM2 will not be those which you
set earlier but the factory pre-set values. This ensures that each effect will
sound “correct’ when first selected.
The effect sections themselves do not have memories for storing these
parameter changes. If you have modified the parameters of an effect in
either section and wish to memorize these changes, you must store the
entire resulting sound combination into one of the PERFORMANCE MEMORIES.
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Section 5
Edit Sound
“This section explains the features available under the
SOUND button in the EDIT & CONTROLS section.”
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The SOUND button, allows you to make adjustments to the sounds in each of the four sections.
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To access the SOUND functions press the SOUND.
button in the EDIT & CONTROLS section.
The SOUND button starts to flash and the EDIT &
CONTROLS display shows “FLT”. This is the first page
of the EDIT SOUND menu.
You can select different pages by using the PAGE >
button or return to previous pages using the PAGE <
button.
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The title of each page is shown in the EDIT &
CONTROLS display and a description of each page
follows:
FLT – Lowpass Filter
This control allows you to adjust the brilliance of each
section using a dynamic filter. You can use the LEVEL
slider in each section to make the sound either brighter
or darker. To hear the sounds in any section as the
manufacturer originally intended, set the slider to it’s
center position, (value zero).
PAN – Panpot control
This control allows you to adjust the stereo PAN
POSITION or BALANCE for each section. You can use
the LEVEL slider in each section to pan the sound
towards the left or right channel. To place the sound
centrally in the stereo spectrum, set the slider to its
center position, (value zero).
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NOTE: This control will not work on any section which is assigned to AUX OUT 1 or AUX OUT
2 only. See the description of the OUT parameter in the CONTROLS section for more information.
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Section 6
Edit MIDI
This section explains the features available under the
MIDI button in the EDIT & CONTROLS section.”
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MIDI
In addition to being a self-contained instrument the Promega can be used as a powerful 3zone MIDI controller. Each section functions as it’s own MIDI “zone” and is capable of
independently controlling any piece of external MIDI equipment.
While the sound sections of the Promega are normally used to control the instrument’s internal
sound sources, each section can also be assigned it’s own MIDI channel, program change and
bank select MSB and LSB number.
The ON/OFF switch in each section is used to enable or disable the midi activity of that section.
Therefore, mixing two or more sounds together on an external MIDI device is a simple as
switching on two or more sections.
To access the MIDI functions press the MIDI
button in the EDIT & CONTROLS section.
The MIDI button starts to flash and the EDIT &
CONTROLS display shows “CHN”. This is the first
page of the EDIT MIDI menu. You can select
different pages by using the PAGE > button or
return to previous pages using the PAGE < button.
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The title of each page is shown in the EDIT & CONTROLS display and a description of each page follows:
CHN – Midi Channel Selection.
In this page the LEVEL slider in each section can be used to select which of the 16 available
MIDI channels that section is using.
If you wish to have a section not send any MIDI data at all, (for example, if you want to use a
particular section to play only internal sounds and not to interfere with other MIDI data being
sent), you can pull its LEVEL slider to the minimum position. At this position the section’s
display shows OFF and no MIDI data will be transmitted from that section.
PCH – Program Change
In this page you can remotely select which of the sounds, (called “programs” in MIDI-speak)
in the external MIDI instrument each section will play. The LEVEL slider in each section can be
used to select any program number between 0 and 127. Also, for greater accuracy in selecting
precise values, the OCTAVE +/- buttons in each section are configured in this mode to increment
or decrement the value by 1.
In the early days of MIDI, most instruments did not offer more than 128 sounds so the Program
Change standard only allowed for 128 programs to be accessed. MIDI equipment today however,
offers hundreds and sometimes even thousands of different sounds. In this case the sounds are
organized into banks where each bank can contain a maximum of 128 sounds.
When you choose a Program Change value using a section’s LEVEL slider, it will select the
appropriate sound in the current bank of the external instrument. You can change the current
bank using the BKM and BKL functions in the next two pages of EDIT MIDI. Refer to the
owner’s manual of your external equipment for more information about how the sound banks
are organized.
NOTE: Section local on/off: In this mode there are two different ways to select the first 15
sounds, (Program Change 0 – 14) on your external MIDI equipment. You can either use the
section’s V-POT or the LEVEL slider. If you use the V-POT, the section’s own internal sound
will continue to be audible, (called Local ON mode). If you use the slider, the internal sound
engine will be muted, (called Local OFF mode). In this case, you will notice that the red
pointer in the section’s V-POT goes off and will remain off after you exit the EDIT MIDI menu.
The absence of a red pointer in a section’s V-POT can be used as a quick indication that a
section has been set to LOCAL OFF is has been designated to control external sounds only.
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BKM – Bank Select MSB, (Midi Controller #0)
For the majority of MIDI equipment, this is the number used to select which bank to select
programs from. In this page the LEVEL slider in each section can be used to select any bank MSB
number between 0 and 127. Also, for greater accuracy in selecting precise values, the OCTAVE +/
- buttons in each section are configured in this mode to increment or decrement the value by 1.
Refer to the owner’s manual of your external equipment for more information about how the
sound banks are organized. This number, where required, will be referred to either as Bank Select
MSB or Midi CC#0)
BKL – Bank Select (LSB), (Midi Controller #32)
Some MIDI equipment uses a combination of Bank Select MSB and LSB values to determine to
current bank for program selection. In this page the LEVEL slider in each section can be used to
select any bank LSB number between 0 and 127. Also, for greater accuracy in selecting precise
values, the OCTAVE +/- buttons in each section are configured in this mode to increment or
decrement the value by 1. Refer to the owner’s manual of your external equipment for more
information about how the sound banks are organized. This number, where required, will be
referred to either as Bank Select LSB or Midi CC#32)
COM – Midi Common Channel
This page is used for setting the MIDI COMMON CHANNEL. The slider and display of the EFFECTS
section are used for this selection. If you wish to disable the common channel, move the LEVEL
slider of the EFFECTS section to its minimum position to select OFF.
The MIDI COMMON CHANNEL is used for remote control of certain Promega master features
which are not otherwise accessible using conventional MIDI messages.
For example:
A Program Change message received on the MIDI COMMON CHANNEL will remotely select one of
the PERFORMANCE MEMORIES. The following rules apply:
Program
Program
Program
Program
Program
Program
Program
Program
Change
Change
Change
Change
Change
Change
Change
Change
#
#
#
#
#
#
#
#
0 through 7 will select PRESET A1 through A8
8 through 15 will select PRESET B1 through B8
16 through 23 will select PRESET C1 through C8
24 through 31 will select PRESET D1 through D8
32 through 39 will select PRESET E1 through E8
40 through 47 will select PRESET F1 through F8
48 through 55 will select PRESET G1 through G8
56 through 63 will select PRESET H1 through H8
Program
Program
Program
Program
Program
Program
Program
Program
Change
Change
Change
Change
Change
Change
Change
Change
# 64 through 71 will select USER A1 through A8
# 72 through 79 will select USER B1 through B8
# 80 through 87 will select USER C1 through C8
# 88 through 95 will select USER D1 through D8
#96 through 103 will select USER E1 through E8
# 104 through 111 will select USER F1 through F8
# 112 through 119 will select USER G1 through G8
# 120 through 127 will select USER H1 through H8
A volume message, (Midi Controller #7) received on the MIDI COMMON CHANNEL will be interpreted
as a MASTER VOLUME message.
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MID – MIDI MODE
The Promega has two different modes for MIDI operation called GLOBAL and MULTIPLE. When
this page is selected, (the EDIT & CONTROLS DISPLAY shows ‘MID”), you can switch between
the two modes by using the 1 and 2 buttons in the PERFORMANCE MEMORIES section.
Button 1 selects GLOBAL MODE while button 2 selects MULTIPLE MODE. The currently selected
mode is indicated by the button whose led is solid, (not flashing).
GLOBAL MODE: In this mode the MIDI settings selected will always remain constant regardless
of which PERFORMANCE MEMORY is selected. This allows for the instrument to be set-up for
simple MIDI applications where the same settings are likely to be needed all the time.
MULTIPLE MODE: In this mode the MIDI settings can be different for every PERFORMANCE
MEMORY. Every time the MIDI settings are changed and the result is stored in a PERFORMANCE MEMORY, the changes made will only remain in effect while that particular PERFORMANCE
MEMORY is selected. This allows the Promega to be used as a powerful programmable MIDI
controller keyboard.
DMP – MIDI BULK DATA DUMP
The Promega’s internal memory, (USER PERFORMANCES) may be sent via MIDI to a data filer,
sequencer or other type of SysEx storage program. In this way you can keep backups of your
performance data or store multiple sets of performance data on external media.
To send a MIDI dump to any storage device, first connect the Promega in a MIDI loop with the
storage device, (MIDI OUT to MIDI IN and MIDI IN to MIDI OUT). Since MIDI DUMP uses the
MIDI SYSTEM EXCLUSIVE protocol, there is no need to set MIDI channels on either the Promega
or your computer or data filer.
Next, from this DMP screen, press the STORE button to start the dump. The LCD will show the
progress of the data being dumped. When you see the message DUMP EXECUTED
SUCCESSFULLY, your data has been transferred. At this point, if you’re using a data filer, save
the data to a blank disk; if you’re using a computer save the current file.
If you see the message DUMP EXECUTED UNSUCCESSFULLY, it is likely that the data transmission
was interrupted in some way. This could be because of incorrect MIDI settings in your software,
an improperly configured MIDI interface in your computer or simply because one of your MIDI
cables is bad. Check all settings and cables first. Make sure that no other programs are running
on your computer and, if necessary, restart the computer and the dump software. If you still
have problems, try re-installing your MIDI interface and running any diagnostic software that
came supplied with it.
To send a stored dump file back to the Promega, simply connect the two MIDI cables in a loop as
described earlier and start transmission on your storage device. The Promega receives this data
“invisibly” so you won’t see any changes in the displays of the instrument nor will the sound
change. The new data will be available as soon as you select a new USER PERFORMANCE.
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Section 7
Edit CONTROLS
“This section explains the features available under the
CONTR.button in the EDIT & CONTROLS section.”
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CONTROLS
The functions found under the CONTROL (CONTR.) menu allow you to configure the Promega
to suit your own personal needs. Here you can set-up the pedals, wheels, audio outputs and
access other powerful functions such as user-tuning and Midi Dump.
To access the CONTROL functions press the CONTR. button in the EDIT & CONTROLS section.
The CONTR. button starts to flash and the EDIT & CONTROLS display shows “DAM”. This is the
first page of the EDIT CONTROL menu. You can select different pages by using the PAGE >
button or return to previous pages using the PAGE < button.
The title of each page is shown in the EDIT & CONTROLS display and a description of each page follows:
DAM: Damper pedal assign
NOTE: If no pedal is connected to the PEDAL 1 jack you will not see this option.
The pedal connected to the back panel DAMPER jack can be assigned to affect any section of
the instrument when pressed. In this page you will see that each section’s display shows
whether the pedal is assigned to be ON or OFF. This value can be changed using the LEVEL
slider in each section; move the slider up for ON and down for OFF.
PD1 – Pedal 1 assign.
NOTE: If no pedal is connected to the PEDAL 1 jack you will not see this option.
The pedal connected to the back panel PEDAL 1 jack can be assigned to affect any section of
the instrument when pressed. In this page you will see that each section’s display shows
whether the pedal is assigned to be ON or OFF. This value can be changed using the LEVEL
slider in each section; move the slider up for ON and down for OFF. See the following section
PEDAL TYPES AND SETTINGS for pedal functions.
PD2 – Pedal 2 assign
NOTE: If no pedal is connected to the PEDAL 2 jack you will not see this option.
The pedal connected to the back panel PEDAL 2 jack can be assigned to affect any section of
the instrument when pressed. In this page you will see that each section’s display shows
whether the pedal is assigned to be ON or OFF. This value can be changed using the LEVEL
slider in each section; move the slider up for ON and down for OFF. See the following section
PEDAL TYPES AND SETTINGS for pedal functions.
PEDAL TYPES AND SETTINGS
The Promega uses Generalmusic’s exclusive AUTO-PEDAL SENSING technology to make the
job of configuring different types of pedals as easy as possible.
Each of the back panel connectors marked DAMPER, PEDAL1 and PEDAL2 can be used to
connect either a FOOTSWITCH, (like a damper/sustain pedal), or a CONTINUOUS PEDAL, (like
a volume pedal).
Whenever you insert a pedal into one of these jacks, the Promega automatically runs a check
on the pedal to see which type it is and configures the CONTROL menu accordingly. If you have
no pedals connected, you will not see any of the options DAM, PD1 or PD2 described in the
preceding text. If you connect only a Damper pedal, you will only see the DAM option. If you
connect something to both the DAMPER and PEDAL 1 jacks then you will see both the DAM and
PD1 options. If you connect all three pedals then you will see all three options. The system in
intelligently designed so that, if you are only using one pedal, you don’t need to see menus for
the other two pedals which you don’t have.
In addition to determining how many pedals are connected, the system can also tell which
types of pedal have been connected. There are three different types of pedal commonly
available.
Generalmusic Promega2
Page 32
TYPE 1: Footswitch with normally closed contacts.
TYPE 2: Footswitch with normally open contacts.
TYPE 3. Continuous or “volume” type pedal.
Other instruments offer a separate menu where you have to tell the system which type of
pedal has been connected. With the Promega, you don’t have tell the system anything
because the instrument works it all out for you.
Once the instrument has ascertained which types of pedal are connected, it then configures
the CONTROL menu with appropriate options for each pedal. For example, if you have
connected a footswitch to one of the pedal jacks then this cannot be used as a volume
control so there is no need to see the “VOLUME” option for that pedal. Similarly if you
connect a continuous pedal to one of the jacks, it cannot be used to switch between
performances so there is no need for this option to be offered.
When you select either the DAM, PD1 or PD2, the EFFECTS section display will show the
current function of that pedal. Refer to the charts below to interpret the three-letter abbreviations
used for each function. You may select a different function by moving the LEVEL slider in the
EFFECTS section. Also, for greater accuracy in selecting precise values, the TUNING +/- buttons
are configured in this mode to increment or decrement the value by 1.
The following charts show the options which are available for each different type of pedal.
FUNCTION
Section On/Off
Performance Performance +
Soft
Sostenuto
FUNCTION
Volume
Expression
Filter
Pan
Wha
Mid
controllers
119 – 0*
FOOTSWITCH (either type)
DISPLAY SHOWS
DESCRIPTION
SEC
Switches the assigned section on or off
Selects the previous performance to the
Pdn
currently selected one.
Selects the next performance after the
currently selected one.
PuP
SOF
Piano Soft pedal function
SOS
Piano Sostenuto function
CONTINUOS PEDAL and MOD WHEEL
DISPLAY SHOWS
DESCRIPTION
vOL
Internal section volume
Epn
Internal section Expression
FIL
Internal section Filter
PAn
Internal section Pan
UHA
PRO EFX Wha – realtime pedal control
119-0, (display shows
each number) **
Midi continuous controllers from 119 to 0.
The controller will be sent via MIDI OUT on
the related channel of each assigned section.
* The MIDI CONTINUOUS CONTROLLER family is an industry standard set of controllers which
can be used to remote control various parameters inside other synthesizers and sound modules.
Only certain controller numbers will work on each piece of equipment. Refer to the MIDI
IMPLEMENTATION CHART of your synth or sound module to see which controllers are recognized.
**Not every number from 119 to zero is displayed. Certain numbers in the MIDI CONTINUOUS
CONTROLLER family are not available here. The numbers not displayed are on/off functions
used to control features which do not lend themselves to a continuous pedal, (like Controller#64,
Damper/Hold). These functions will be available if you insert a footswitch instead of a continuous
pedal. See the back section of this manual for a list of all MIDI CONTINUOUS CONTROLLERS
and their functions.
Generalmusic Promega2
Page33
PIT – Pitch Bend wheel assign
The Pitch Bend wheel on the far left side of the front panel can be assigned to affect any
section of the instrument when moved. In this page you will see that each section’s display
shows whether the wheel is assigned to be ON or OFF. This value can be changed using the
LEVEL slider in each section; move the slider up for ON and down for OFF.
The Pitch Bend wheel can also perform a number of different functions. The current function is
shown in the EFFECTS section display. This can be changed using the LEVEL slider in the
EFFECTS section. The functions available are as follows:
Pb – Pitch Bend, (Original Function)
PAn – Panpot or Stereo Balance control
UAH – Wah controls, (only works when WAH effect is configured appropriately)
FLT – Filter control
To return the wheel to its original function, (Pitch Bend), set the function back to “Pb”.
MOD – Modulation wheel assign
The modulation wheel on the far left side of the front panel can be assigned to affect any
section of the instrument when moved. In this page you will see that each section’s display
shows whether the wheel is assigned to be ON or OFF. This value can be changed using the
LEVEL slider in each section; move the slider up for ON and down for OFF.
The modulation wheel can perform a number of different functions. The current function is
shown in the EFFECTS section display. This can be changed using the LEVEL slider in the
EFFECTS section. Also, for greater accuracy in selecting precise values, the TUNING +/- buttons
are configured in this mode to increment or decrement the value by 1. See the preceding
chart CONTINUOUS PEDAL and MOD WHEEL for a description of the functions available.
To return the wheel to its original function, (Modulation), set the function to Controller #1, (so
that EFFECTS section display shows “1”).
OUT – Audio output assign
The Promega offers 4 audio output jacks divided into two sections – MAIN OUT and AUX OUT.
The Audio output assign page is used to determine which of these outputs each section will use.
The MAIN OUT jacks must always be used as a stereo pair, (although using the PAN function
under EDIT SOUND will allow you to send a sound to only one of these if desired). The AUX
OUT jacks can either be used as a stereo pair or as two individual mono outputs.
When the OUT page is selected the display in each section will tell you to which output that
section is assigned. This can be changed by moving the LEVEL slider in each section. The
choices available are as follows:
L-R
The section is assigned to the MAIN OUT stereo pair, (LEFT/MONO and RIGHT)
1-2
The section is assigned to the AUX OUT stereo pair, (1 functions as the left
while 2
functions as the right channel)
1
2
The section is assigned in mono to AUX OUT 1 only**
The section is assigned in mono to AUX OUT 1 only**
**NOTE: The EDIT SOUND function PAN will not have any effect in this case.
Generalmusic Promega2
Page 34
channel
TUN – Microtuning selection
This page offers a selection of alternative tunings, (also called “scales” or “temperaments”) which
allow you to more accurately interpret music from different classical periods and styles. There is
also a USER tuning preset which allows you to completely re-tune the instrument yourself.
The large LCD display will show you the name of the currently selected tuning preset. There
are 7 different choices. The number of the currently selected tuning preset will be indicated by
one of the PERFORMANCE MEMORY buttons labeled 1-7, (the one which is solid, (not flashing).
You may choose any of the others by pressing the appropriately numbered button. The available
choices are as follows:
1. EQUAL
2. PIANO 1
3. PIANO 2
4. MEANTONE
Equal temperament tuning. Each octave is tuned to
identical intervals giving a mathematically consistent
tuning for playing in many different keys
A typical stretch tuning favored by many piano tuners
as a more “musical” alternative to Equal Temperament
Another alternative favorite stretch
tuning
A mathematically accurate tuning designed to
optimize notes of the C scale.
5. KIRNBERGER
A popular alternate classical tuning
6. TARTINI-VALLOTTI
A popular alternate classical tuning
7. USER
User programmable tuning. See next paragraph for full
description.
User Tuning: When button number 7 is pressed in EDIT/CONTROLS/
MICROTUNING the instrument goes into USER TUNING MODE. In this mode
individual keys of the keyboard can be tuned using the LEVEL slider in the
EFFECTS section. Also, for greater accuracy in selecting precise values, the
TUNING +/- buttons are configured in this mode to increment or decrement
the value by 1.
TUN IN G
Begin by pressing a keyboard key whose tuning you want to change, (you’ll
see the display prompting you to “press a key”). As soon as you press a key
the LCD will provide you with information about that key’s current tuning offset.
While continuing to play the key, move the LEVEL slider in the EFFECTS section
to adjust its tuning. Remember you are re-tuning just this one individual key.
Whenever you are ready to begin working with a new key, just press it and
repeat the same procedure.
Your USER TUNING is automatically memorized. There is no need to store it
anywhere because it is already memorized. Whenever you return to the
MICROTUNING page and select USER, the tuning you just created will be recalled.
To return the instrument to its normal tuning simply re-select button number
1, 2 or 3 (according to preference).
Note: to restore di factory microtuning parameters, turn on the
instrument while holding down the TUNING +/- buttons.
Generalmusic Promega2
Page35
J
J
PRF – Performance select mode
The PERFORMANCE MEMORIES can be set to work in one of two ways, (called MODE 1 and
MODE 2). Normally they are set to work in MODE 1 but you can change their mode in this page.
The different modes are selected using the numbered 1 and 2 buttons in the PERFORMANCE
MEMORIES section. The current mode is displayed in the LCD and is also indicated by the
button whose led is solid (not flashing). To change mode press the other (flashing) button. The
two modes are described below:
MODE 1: When a new BANK is selected using the buttons A-H, the instrument will wait until a
PERFORMANCE is subsequently selected (using buttons 1-8), before changing the sounds and
settings.
J
MODE 2: When a new BANK is selected using the buttons A-H, the instrument immediately
changes sounds and settings, recalling the last PERFORMANCE (1-8) that was used in that
bank since the instrument was turned on. If this particular bank has not been accessed since
power on, the instrument will recall PERFORMANCE #1.
PED – Pedal assign mode
The Promega has two different modes for handling the way the three pedals, Damper, Pedal
1 and Pedal 2, are assigned and re-programmed. These two modes are called GLOBAL and
MULTIPLE. When this page is selected, (the EDIT & CONTROLS DISPLAY shows ‘PED”), you
can switch between the two modes by using the 1 and 2 buttons in the PERFORMANCE
MEMORIES section.
Button 1 selects GLOBAL MODE while button 2 selects MULTIPLE MODE. The currently selected
mode is displayed in the LCD and is also indicated by the button whose led is solid, (not flashing).
GLOBAL MODE: In this mode the pedal settings made under the CONTROLS menu will always remain
constant regardless of which PERFORMANCE MEMORY is selected. This allows for the instrument to be
set-up for simple applications where the same pedal settings are likely to be needed all the time.
MULTIPLE MODE: In this mode the pedal settings can be different for every PERFORMANCE
MEMORY. Every time the pedal settings are changed and the result is stored in a PERFORMANCE MEMORY, the changes made will only remain in effect while that particular PERFORMANCE
MEMORY is selected. This allows the Promega to be used as a powerful programmable MIDI
controller keyboard with different pedal configurations for every PERFORMANCE MEMORY.
STP – Startup Mode
This allows you to choose what you will get when the instrument is first switched on. There are
two choices available.
DEFAULT: The factory pre-programmed, (Grand Piano) setting will be recalled every time you
switch the instrument on.
USER: The setting that you last used before switching the instrument off will be recalled when
you switch the instrument on.
Button 1 selects DEFAULT MODE while button 2 selects USER MODE. The currently selected
mode is displayed in the LCD and is also indicated by the button whose led is solid, (not
flashing).
Generalmusic Promega2
Page 36
Section 8
Appendix
“This section contains additional reference material for
the technology, sounds, effects and MIDI parameters”
Generalmusic Promega2
Page 3 7
TECHNICAL SPECIFICATION
Sound Generation
Keyboard
Generation
Max Poliphony
Multitimbricity
Sounds
Performances
Effects
Graphic EQ.
Extra
PROMEGA2
88 keys Hammer Action and After Touch
PCM, Physical Modeling
160 notes
3 parts
45 (15x3 sections)
64 Presets, 64 User
2 processors - Reverb (15 effects) Proefx (15 effects)
Stereo Damper Physical Model
4 bands
Natural String Resonance, Advanced Release Technology, F.A.D.E.
(Filter Algorithm Dynamic Emulation)
Display and controls
Display
Wheels
Faders
Connections
Audio
Pedals
Midi
Other
2x16 LCD + 5x 3digits
4x EQ bars LED
5x 15leds VirtualPot
Display Contrast
2 - Pitch Bend and Modulation
6
2 OUT balanced (LeftMono/Right) + 2 Aux (1 e 2 )
2 IN (LeftMono/Right)
2 Headphones jacks
3 - Damper, Ped1 and Ped2
1 In/1Out/1Thru
Computer Host + selector (PC1,PC2, MAC)
Generalmusic Promega2
Page 3 8
PROMEGA2 : SOUND LIST
Prog
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
PIANOS
ST.GRAND1
ST.GRAND2
PRO2
JAZZ
POP
ROCK
UPRIGHT
CP GRAND
NEW AGE
HONKY
TECHNO
DANCE
FUNKY
GRAND1
GRAND2
VINTAGE KEYS
RHOD1
RHOD2
RHOD3
RHOD4
WURL1
WURL2
HYBRID1
HYBRID2
FMDX1
FMDX2
CLAVI1
CLAVI2
HARPSI
VIBES
MARIMBA
BASS/OTHER
ACOUSTIC B.
ELECTRIC B.
F.LESS
B.RIDE
CHOIR
SYNTH VOX
WARM PAD
SLOWSTR.PAD
HOLLOW PAD
STRING1
STRING2
LEGATO
JAZZ ORG.
ROCK ORGAN
CHURCH ORGAN
PROMEGA 2 : EFFECTS LIST
#
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
REVERB
RECITAL ROOM
CONCERT HALL
CHURCH
PLATE
STADIUM
SPRING
CANYON
MATRIX1
MATRIX2
AMBIENCE
GATE1
GATE2
TIGHT ROOM
TILED ROOM
GARAGE
PROEFX
CHORUS1
CHORUS2
FLANGER
WAH
PHASER
TREMOLO
COMPRESSOR
LOUDNESS
EXCITER
STEREO DELAY
DELAY
CHORUS/DELAY
CHORUS/EXCITER
CHORUS/TREMOLO
CHORUS/FLANGER
Generalmusic Promega2
Page 3 9
TECHNOLOGY
The Promega2 features no less than five unique applications of sound design technology including
Physical Modeling to entirely replicate electro-mechanical instruments, (like Clavinet and Rhods),
and also to simulate the particular harmonic characteristics of a piano soundboard.
Physical Modeling
Physical Modeling is a method of sound synthesis based upon a mathematical model which
describes the physical construction of the instrument being simulated. Unlike sampling technology,
in which an existing sound is simply recorded at a particular moment in time, (to remain
essentially the same forever), the sounds produced by a Physical Model continuously react and
respond to the player’s input, maintaining all the little nuances and imperfections which provide
the most reliable subconscious assurance that the instrument being played is the real thing.
A detailed description of the patented physical models used in the Promega is beyond the
scope of this section but the advantages of physical modeling technology over sample-playback
are very easier to describe and even easier to hear. A sampled sound can be likened to a
“snapshot” of a particular moment in time during which an instrument is being played. It’s like
taking a photograph. If you were to stand in front of The Great Pyramids in Egypt and take a
photograph, that photograph might serve as a simple reminder of the time that you were there,
but in no way will it ever replicate the actual experience of being there; of being able to view
the Pyramids from any angle or distance; to breathe the air and listen to the distinctive sounds
of that region. Now, if we were to render the Pyramids in a 3D virtual reality environment,
adding some appropriate sounds and smells and allowing you to walk around the site, to pick
things up and touch them, we could get much closer to replicating the actual experience. In
this simple analogy, you can think of the 3D rendering, complete with its sounds and smells and
user interaction, as a Physical Model of the pyramids.
The goal of Physical Modeling is this: Instead of simply recording the final audible product of a
instrument like an electric piano, we replicate all the elements which are incorporated into its
construction. If the physical model is constructed carefully and accurately with meticulous
attention to detail, the resulting sound should be exactly like the real thing and, more importantly,
the experience of playing and interacting with the instrument should be similarly convincing.
In the Promega, all the acoustic piano sounds are created by combining sample playback with
Generalmusic’s Natural String Resonance, Damper Physical Model, Advanced Release and FADE
technologies, (described below).
Other instruments such as RHODS, WURLI and CLAVINET are created using pure Physical
Modeling.
Natural String Resonance
This physical modeling technology, patented by Generalmusic as Natural String Resonance,
allows all of the complex harmonics normally produced by a piano’s soundboard to be faithfully
reproduced. This means that a note’s individual sound will always be slightly different depending
upon which other notes are currently being held, (and consequently which strings are undamped and free to resonate in sympathy with the note played). If you hold down a low C and
let the note decay, the strings for that note are still un-damped for as long as the key remains
depressed. If you now strike another C higher up the keyboard, (staccato), you will hear the
sympathetic resonance of the low C strings in response to the new note played. This natural
effect replicates exactly what happens inside a grand piano. If you experiment with different
combinations of notes you will hear harmonic colors particular to each. Because this effect is
produced by physical modeling and not by samples or DSP effects, the result is a musically and
technically accurate simulation of a piano’s soundboard and virtually infinite combinations of
harmonics can be produced.
Generalmusic Promega2
Page 4 0
Damper Physical Model
Another technology patented by Generalmusic is Damper Physical Model. Although it looks like an ordinary
damper footswitch, the optional continuous damper pedal for the Promega series is not actually a switch
but, instead, a continuous pedal which actually simulates the effect of the dampers being moved closer to
or further away from the strings of the piano. Because of this, effects such as partial or half damping can
be easily achieved. The dampers can even be slowly “squeezed” back against the strings. Whenever the
damper pedal is depressed, the damper physical model simulates the effect of sympathetic resonance
being produced by the strings which the action of the pedal has now left free to resonate. Even if you are
using a standard switch-type damper pedal you can hear the effect of the Damper Physical Model by
comparing the sounds of notes played in the highest octave of the instrument with and without the damper
pedal depressed.
Advanced Release Technology
The particular sound of a piano string being stopped by a damper while in motion is replicated
by Generalmusic’s unique Advanced Release Technology, (Patent Pending). Sample based
electronic pianos traditionally use a envelope generator to control what happens when a key is
released. This simply allows the sample loop to continue playing for a set period of time until its
amplitude is finally reduced to zero by the envelope generator. In an acoustic piano, vibrating
strings are silenced when a felt damper comes into contact with the moving string. When this
happens, depending on how hard the key was struck and the length of the string itself, certain
frequencies are damped earlier than others while some other frequencies are even accentuated,
(anyone who ever studied how to produce harmonics on a guitar will recognize this principle).
This produces a distinctive harmonic “ring” as the different frequencies in the string’s tone
dissipate throughout the piano soundboard. This Advanced Release Technology in the Promega
series simulates these phenomena with complete accuracy throughout the 88 note range.
FADE - Filter Algorithm Dynamic Emulation
Reproduction of the complex harmonic and dynamic changes which take place as you increase
or decrease the velocity of a key-strike on a piano have always presented a serious problem for
traditional sample-playback technology. The only practical way to replicate these changes has
been to select three or four distinctly different levels and switch between these according to
the velocity with which the key is struck. This produces the unnatural effect of having clearly
audible steps between different velocity levels, further diminishing the authenticity of the
sound reproduction. Unlike the velocity-switching methods used in other electronic pianos,
Generalmusic’s unique FADE technology utilizes only one specially configured sound source per
note. At the heart of the FADE engine is a extensive database which can be used to lookup the
precise harmonic content of any note played at any velocity level. Whenever a note is played,
the FADE engine analyzes the velocity of the key-strike and constructs, in real-time, a model
of the necessary harmonic content for that particular note played at that velocity. The note’s
sound source is processed by the FADE engine with appropriate harmonic content being added
or subtracted accordingly. In practice, FADE technology provides seamless transition from
pianissimo all the way through to fortissimo for each note without any audible switching.
Generalmusic Promega2
Page 4 1
MIDI Implementation Chart
Model: PROMEGA2
Function
Version: 1.00
Transmitted
Recognized
Remarks
There are up to 3 Basic Channels in
PROMEGA2 and an extra Common Channel
Basic
Channel
Default
Changed
1-16
1-16
1-16
1-16
Mode
Default
Messages
Altered
Mode 3
x
****************
Mode 3
x
x
True voice
0-127
****************
0-127
0-127
Note
Number
Velocity
Note On
Note Off
o
o
o
o
After
Touch
Key’s
Channel
x
o
x
x
o
Pitch Bend
o
1 (m) – Modulation Wheel
7 (m) – Volume
10 (m) – Pan
11 (m) – Expression
64 (m) – Damper
66 (m) – Sostenuto
67 (m) – Soft Pedal
74 (m) – Filter Cutoff
91 (m) – Send to Rev
93 (m) – Send to Efx
0-119 (m)
Control
Change
Program
Change
True Number
System Exclusive
7 (c) – Master Volume
12, 44 (c) – Equalizer levels
16, 48 (c) – Rev/Efx Select
17, 49 (c) – Rev/Efx param 1
18, 50 (c) – Rev/Efx param 2
86 (c) – Wah Control
91 (c) – Rev Depth
93 (c) – Efx Depth
7 (c) – Master Volume
12, 44 (c) – Equalizer levels
16, 48 (c) – Rev/Efx Select
17, 49 (c) – Rev/Efx param 1
18, 50 (c) – Rev/Efx param 2
86 (c) – Wah Control
91 (c) – Rev Depth
93 (c) – Efx Depth
0-127 (m) (c)
1-15 (m) or 0-127 (c)
****************
1-15 (m)
o
o
System
Common
Song Position
Song Select
Tune Request
x
x
x
x
x
x
System
Real Time
Clock
Commands
x
x
x
x
Aux
Messages
All Sound Off
Reset All Contr
Local On/Off
All Notes Off
Active Sensing
System Reset
x
o
x
o
o
x
o
o
x
o
o
x
In trasmission, every Control Change Number
can be assigned to the Modulation Wheel or
to a continuous pedal
CtrlChg12 value: 0-4 number of band
CtrlChg44 value: 54-74 level (64=0dB)
CtrlChg16 value: 0=Reverb, 1=PROEFX
CtrlChg48 value: 1-15 number of Rev/Efx
CtrlChg17 value: 0=Reverb, 1=PROEFX
CtrlChg49 value: 0-127 Delay / Param1
CtrlChg18 value: 0=Reverb, 1=PROEFX
CtrlChg50 value: 0-127 Time / Param 2
Program Change on a Basic Channel
represents a change of sound, while a
Program Change on the Common Channel
represents a change of Performance
Only Midi Dump
Notes
(m)
(c)
one of Basic Channels
Common Channel
Mode 1: Omni On, Poly
Mode 3: Omni Off, Poly
Mode 2: Omni On, Mono
Mode 4: Omni Off, Mono
Generalmusic Promega2
Page 4 2
o: Yes
x: No
TYPE OF SERIAL CABLES
PROMEGA
Mini DIN 8 PIN
PC/WINDOWS
Macintosh
RS232C (D-sub 9 pin)
Mini DIN 8 PIN
RS232C (D-sub 25 pin)
Nota: per trasferire dati dal Promega alla porta seriale di un PC è necessario installare i driver MIDI
GENERALMUSIC per Windows 95/98 (http://www.generalmusic.com).
Note: to transfer data via the PC serial port and the Promega, you need to install the GENERALMUSIC
MIDI driver for Windows 95/98 (http://www.generalmusic.com).
Generalmusic Promega2
Page 4 3
A1
A2
Back space
Delete
Inser t/Over write
Space
Uppercase/Lowercase switch
Generalmusic Promega2
A2
A3
A B C D E F G H I
A4
A5
J K L M N O P Q R S T
U V W
Page 4 4
A7
A6
X
Y Z
1
2
3 4
5
6
7
8
9
0
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