E-Mu Mo'Phatt Keys MK-6 Operating instructions
Operation Manual
© 2002 E-MU / ENSONIQ
All Rights Reserved
FI12324 Rev. B
E-MU World Headquarters
E-MU / ENSONIQ
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 / ENSONIQ
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 MK-6 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 MK-6, 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.
MK-6 Operation Manual
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Table of Contents
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E-MU Systems
Introduction ............................................................................. 1
Important Safety Instructions .................................................. 3
Safety Instructions - German ................................................... 6
Safety Instructions - French ..................................................... 8
Setup ...................................................................................... 13
Instant Gratification ............................................................... 19
Playing Demo Sequences ........................................................................19
Selecting and Quick Editing Presets .......................................................20
Exploring Beats Mode .............................................................................22
Exploring the Master Arpeggiator ...........................................................24
Multi-Channel Arpeggiator ....................................................................26
Basic Operations .................................................................... 29
Pitch & Mod Wheels ...............................................................................30
Quick Edit mode ................................................................................. 33
Preset MenuJump Keys ........................................................................... 36
MIDI Channel Selection ......................................................................... 37
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
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Beats Keys Layout ...................................................................................51
1-Bar Trigger Option ...........................................................................51
Beats Keys Offset .....................................................................................52
Beats Part Velocity ..................................................................................52
Beats Part Transpose ...............................................................................53
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
Controllers Menu ....................................................................71
Keyboard Velocity Curve ........................................................................ 73
Channel Aftertouch On/Off ................................................................... 74
Trigger Buttons Function ........................................................................ 75
Trigger Button Select ........................................................................... 76
Trigger Button Select ........................................................................... 77
Preset Select Send Buttons ...................................................................... 78
Trigger Button Select ........................................................................... 78
Program Change Number ................................................................... 78
Real-time Controller Assignment ........................................................... 79
MIDI Footswitch Assign ......................................................................... 80
Global Menu ...........................................................................83
Master Transpose/Tune .......................................................................... 84
Effects Multi Mode Control .................................................................... 88
Master FXA Algorithm ............................................................................ 89
FXA Parameters: Decay/HF Damping FxB -> FxA .................................. 90
Master FXB Algorithm ............................................................................ 90
FXB Parameters: Feedback/LFO Rate Delay Time ................................... 91
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Screen Viewing Angle .............................................................................92
MIDI Menu ............................................................................. 93
Keyboard Outputs MIDI .........................................................................94
Knobs Output MIDI ................................................................................94
Transmit MIDI Clock ..............................................................................94
Receive Program Change ........................................................................95
MIDI Program Change -> Preset .............................................................95
MIDI SysEx Packet Delay ........................................................................97
Send MIDI System Exclusive Data ..........................................................97
Programming Basics .............................................................. 99
Tempo-based Envelopes ....................................................................104
Envelope Repeat ................................................................................104
Low Frequency Oscillators (LFOs) .............................................................105
Preset Modulation Processors ....................................................................111
Using the Modulation Processors .........................................................113
MIDI Channels & Real-time Controls .......................................................124
Bank Select Commands ........................................................................126
Preset Edit Menu ..................................................................129
Selecting an Instrument ....................................................................... 132
Sound Navigator ............................................................................... 132
Defining the Velocity Crossfade Range ................................................ 135
Defining the Real-time Crossfade Range .............................................. 137
Transposing the Instrument ................................................................. 140
Background: Transpose vs. Coarse Tuning ....................................... 141
Selecting the Mode ............................................................................ 142
Defining the Volume Envelope ........................................................ 143
Sound Start Offset and Delay ............................................................... 144
Non-Transpose Mode ........................................................................... 145
Defining the Filter Envelope ............................................................. 152
Low Frequency Oscillators (LFOs) ........................................................ 153
Modulator Polarity ............................................................................ 158
Common Preset Parameters....................................................................... 161
Preset Effects ......................................................................................... 161
FXA Send Amounts ............................................................................... 164
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FXB Send Amounts ...............................................................................165
Initial Controller Amount ....................................................................167
Effects ................................................................................... 173
High Frequency Damping .................................................................176
Effects Programmed in the Preset ..............................................................177
Using the Effects Channel Settings in Multi Mode ..........................182
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
Sound Authoring ....................................................................................... 192
Rename Flash SIMM ............................................................................. 193
Duplicate Flash ..................................................................................... 194
Create Random Preset .......................................................................... 195
Preset Programming .............................................................197
Changing the Instrument .................................................................... 197
Changing the Tuning of an Instrument .............................................. 198
Adding the Filter Envelope ............................................................... 203
Changing Filter Types ....................................................................... 205
Envelope Repeat ................................................................................ 206
Appendix ...............................................................................209
Knob Controller Descriptions .............................................................. 210
PatchCord Amount Chart ......................................................................... 235
E-MU Expansion Sound Sets...................................................................... 236
Received Channel Commands ............................................................. 247
Index .....................................................................................251
MK-6 Operation Manual
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E-MU Systems
Introduction
Product
Description
Upgradable Sounds
MK-6 contains a thorough collection of Hip-Hop presets.These sounds are rich in harmonic texture and a perfect complement to the Z-plane filters.
MK-6 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. Each E-MU sound set has been meticulously crafted to be the finest of its kind. Samples are expertly matched and perfectly looped to create realistic instruments which form the exceptionally playable presets.
1024 Presets & more
MK-6 contains 512 user presets and 640 factory ROM presets, but it can be expanded with literally thousands of ROM 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.)
MK-6’s Sound Navigator makes it easy to find the exact sound you want. 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).
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
MK-6 Operation Manual
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Introduction
Product Description
every synth parameter in the MK-6 is controllable using the real-time knobs or by any internal or external control source.
SuperBeats
Beats Mode is a whole new way to create dynamic, original music. With
Beats, you trigger, latch and unlatch synced loops and grooves from the sixteen trigger keys. Simply select a
bts:
preset and go. Then use MK-6’s perfomance controls to alter and mutate the rhythm or the sound itself.
Multi-Channel Arpeggiators
MK-6’s Rhythmic Pattern Generator/Arpeggiator 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.
Ultra Powerful Synthesizer
The extremely flexible yet easy to use synthesizer makes it easy to build sounds of any kind. Up to 4 four layers can be switched or crossfaded using key position, velocity, real-time controllers or any modulation source. 64 voice polyphony ensures that you can play and sequence the most complex material. MK-6 also contains 50 different 2nd to 12th order resonant & modeling filters which are used to shape and modify over 1200 waveforms contained in 32 megabytes (MB) of ROM.
Sixty-four 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 also contains a set of arithmetic modifiers, allowing you to create complex synthesis models. Synth parameters as well as arpeggiator and BEAT tempos can be controlled from MK-6’s internal clock (or an external MIDI clock). Up to 8 LFOs and 12 envelopes can be perfectly synchronized at different rates.
24-bit Effects
Once you have created your preset, you can add richness to your sound using MK-6’s 24-bit stereo effects. You can choose a different effects setup for each preset from over 60 algorithms. MK-6’s effects section is actually two separate effects processors with control over each wet/dry mix level on four effects sends. 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 for increased flexibility.
Other features include multiple solo, voice assignment and performance modes for expressive control, 12 user-definable alternate tunings, and, of course, an extensive MIDI implementation.
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E-MU Systems
Important Safety Instructions
Grounding Instructions
Important Safety Instructions
Grounding
Instructions
Danger!
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.
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.
User
Maintenance
Instructions
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2.
The MK-6 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
MK-6 Operation Manual
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Important Safety Instructions
User Maintenance Instructions
This symbol is intended to alert you to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the unit.
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.
This symbol is intended to alert you to use caution when moving a cart/apparatus combination to avoid injury.
READ THESE INSTRUCTIONS:
When using electric products, basic precautions should always be adhered to, including the following:
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Read all instructions before using MK-6.
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 the MK-6 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 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.
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E-MU Systems
Important Safety Instructions
Radio and Television Interference
Radio and
Television
Interference
20.
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 MK-6 does cause interference to radio or television reception, you can try to correct the interference by using one or more of the following measures:
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Turn the television or radio antenna until the interference stops.
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Move MK-6 to one side or the other of the television or radio.
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Move MK-6 farther away from the television or radio.
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Plug MK-6 into an outlet on a different circuit than the television or radio.
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Consider installing a rooftop antenna with a coaxial lead-in between the antenna and television set.
Copyright
Information
It is the policy of E-MU / ENSONIQ 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 / ENSONIQ for product demonstration purposes only. Please contact E-MU / ENSONIQ with additional questions.
MK-6 Operation Manual
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Safety Instructions - German
Wichtige Sicherheitsvorschriften
Safety Instructions - German
Wichtige
Sicherheitsvorschriften
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.
Erdungsinstruktionen
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.
Gefahr
Unterhaltsinstruktionen für anwender
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MK-6 (Modell Nummer 9727) 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.
Vorsicht
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.
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.
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E-MU Systems
Vorsicht
Dieses Symbol weist den
Anwender auf wichtige
Gebrauchs- und Service-
Vorschriften in den beiliegenden Drucksachen.
Dieses Symbol verweist auf nicht-isolierte Stromspannungen im Geräte-Innern, welche zu einem elektrischen
Schlag führen könnten.
INSTRUKTIONEN BETR. FEUERRISIKO,
ELEKTROSCHOCK ODER VERLETZUNG VON
PERSONEN
WARNUNG; Beim Einsatz elektrischer Geräte sollten folgende Vorsichtsmassregeln stets beachtet werden:
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Lesen Sie vor dem Einschalten des MK-6 alle Instruktionen.
Zur Vermeidung von Verletzungsrisiken müssen Kinder bei eingeschaltetem MK-6 sorgfältig überwacht werden.
MK-6 nicht in der Nähe von Wasser in Betrieb nehmen -- z.B. in der
Nähe von Badewannen, Waschschüsseln, auf nassen Gestellen oder am
Swimmingpool.
MK-6 stets so aufstellen, dass seine Belüftung nicht beeinträchtigt wird.
MK-6 nicht in der Nähe von Hitze aufstellen, wie Heizkörper, offenem
Feuer, Öfen oder von Backöfen.
MK-6 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.
MK-6 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 MK-6 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.
12.
Servicearbeiten sollten nur qualifizierten Fachleuten anvertraut werden.
MK-6 Operation Manual
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Safety Instructions - French
Instructions de Sécurité Importantes
Safety Instructions - French
Instructions de Sécurité
Importantes
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.
Instructions de Mise à la
Terre
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 MK-6 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.
Danger
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.
Instructions de
Maintenance
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Le MK-6 (Model 9727) doit être maintenu propre et sans poussière.
Nettoyez-le périodiquement à l’aide d’un chiffon propre et nonpelucheux. N’utilisez pas de solvants, ou d’autres produits de nettoyage.
Aucune lubrification et aucun réglage ne sont nécessaires de votre part.
Pour tout autre service, référez-vous à un personnel qualifié.
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:
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E-MU Systems
Safety Instructions - French
Instructions de Maintenance
Ce symbole vous alerte de la présence d’instructions importantes d’opération et de maintenance dans la notice accompagnant l’appareil.
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.
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.
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Lisez bien toutes les instructions avant d’utiliser le MK-6.
Afin de réduire les risques de blessures, une attention particulière est nécessaire en la présence d’enfants en bas âge.
N’utilisez pas le MK-6 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 MK-6 doit être placé de façon à ce que sa position n’interfére pas avec sa propre ventilation.
Le MK-6 doit être placé loin de sources de chaleur telles que des radiateurs, cheminées, fours, ou groupies en chaleur.
Le MK-6 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 MK-
6.
Le MK-6 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 MK-6 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.
MK-6 Operation Manual
9
Safety Instructions - French
Interférences Radio et Télévision
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 MK-6 a été exposé à la pluie, ou
D. Le MK-6 est tombé, ou
E. Le MK-6 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 MK-6 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 MK-6 d’un côté ou de l’autre de la télé ou de la radio.
•
Eloignez le MK-6 de la télé ou de la radio.
•
Branchez le MK-6 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.
10
E-MU Systems
Declaration of Conformity
Declaration of Conformity
Manufacturer:
E-MU / Ensoniq
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:
MK-6
Model Number:
9727
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
MK-6 Operation Manual
11
Safety Instructions - French
12
E-MU Systems
Setup
This section thoroughly describes how to set up your new MK-6 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 MK-6 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 MK-6 box should include the following components:
•
MK-6 unit
•
Power cable
•
This operation manual
MK-6 Operation Manual
13
Setup
Basic Setup
Connection
Instructions
Basic Setup
Power Switch & AC Receptacle
The AC power switch is located on the rear panel. There is no 110/220 Volt power selector switch since MK-6 utilizes an auto-switching power supply which accepts from 100V-250V, 50-60Hz.
The Right Main output jack carries a mono mix of the left and right channels when the
Left Main plug is not plugged in.
MIDI Output
The MK-6 can control other MIDI instruments by connecting a MIDI cable between the MIDI out of MK-6 and the MIDI Input of the other instrument.
Outputs
In order to reproduce MK-6’s 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.
The Left Main output jack is a stereo jack carrying both channels when the right output jack is empty.
Footswitch & Footpedal
Connect a momentary footswitch and a Control Pedal for additional control. MK-6 auto-senses either normally-open or normally-closed
switches See page 15 for information about how the footpedal should be
wired.
14
E-MU Systems
Setup
Performance Setup
Performance Setup
Computer
Out
MIDI
Interface
In
Out
Additional
MIDI
Devices
MIDI In
Rear Panel
R
SUB 1
L R
OUTPUTS
MAIN
L
IN OUT THRU
MIDI
SWITCH PEDAL
FOOT
Mixer
Footswitch
Foot Pedal
Amp
FootPedal Wiring
Ground Tip
Tip
Ring
Ring
Ground
MIDI In/MIDI Out
MK-6 can be connected to a computer/sequencer via the MIDI In and MIDI
Out ports. MK-6 to playback complex multitimbral sequences.
Audio Outputs
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
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.
MK-6 Operation Manual
15
Studio Setup
Setup
Studio Setup
MIDI Controller
(MIDI Keyboard or Sequencer)
R E A L T I M E 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
S E Q U E N C E R
P R E S E T
S A M P L E
EMULATOR
E X I T
L E V E L
P A G E
E N T E R
P R E S E T S E L E C T R E T U R N
MIDI Out
Computer
Additional
MIDI
Devices
MIDI In
Rear Panel
R
SUB 1
L R
OUTPUTS
MAIN
L
IN OUT THRU
MIDI
FOOT
PEDAL
FOOT
SWITCH
Effect Device
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, MK-6 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
MK-6
(Use the MIDI Out port to send
MK-6
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.
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.
16
E-MU Systems
Setup
Studio Setup
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 MK-6 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
Ring
R
SUB 1
Tip
Ring
L R
MAINS
L
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.
MK-6 Operation Manual
17
18
E-MU Systems
Setup
Studio Setup
Instant Gratification
Playing Demo
Sequences
This section presents step-by-step instructions for the most fundamental operations to get you up and running as quickly as possible.
MK-6 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 MROM1
UNCANNY 1
To Play a Demo Sequence:
1.
Press and hold the
Main
and
Mix
buttons at the same time to enter the
Demo Sequence page. The screen shown above appears.
2.
3.
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: UNCANNY 1
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.
MK-6 Operation Manual
19
Instant Gratification
Auditioning Presets
Auditioning Presets
The front panel audition button allows you to hear any preset in MK-6 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.
O
To audition presets with their programmed effects, switch to Omni or Poly mode (located
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.
in the MIDI menu).
Bank MSB:015 LSB:2 MROM1
125
2
key: SynhissOrgan
To Audition a Preset:
1.
2.
3.
4.
5.
6.
7.
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.
Selecting and Quick
Editing Presets
The first thing you’ll do with the MK-6 is select and play the factory provided presets. MK-6 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
Preset
Location
C01 V127 P01
R
A:off User
125
2
key: SynhissOrgan
Blinking
Cursor
Preset
Number
Bank
Number
Preset
Category
Preset
Name
20
E-MU Systems
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 “MK-6” 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 “”MROM1” ROM installed, the
USER banks will go from 0-3, then start over from 0-3 for the MK-6 ROM banks.
Bank Organization
USER
USER
USER
USER
Bank 0
Bank 1
Bank 2
Bank 3
128 Presets
128 Presets
128 Presets
128 Presets
}
MROM1
MROM1
MROM1
MROM1
Bank 0
Bank 1
Bank 2
Bank 3
128 Presets
128 Presets
128 Presets
128 Presets
The User Banks are duplicated in the MK-6
ROM bank.
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
.
To Change the Preset:
1.
Select the main Preset Selection screen by turning off all the menu buttons below the LCD.
2.
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.
MK-6 Operation Manual
21
Instant Gratification
Exploring Beats Mode
O
You can select presets from the Preset Number, Bank
Number, Preset Category or
Preset Name fields.
3.
4.
5.
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).
Play the keyboard
(or press the Audition button) and listen to the sounds made by your MK-6!
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 four buttons labeled A-D, E-H, I-L, M-P allow the four controller knobs to control sixteen functions.
Exploring Beats
Mode
MK-6 contains a 16-track play-only sequencer that is optimized for live performance and groove creation. MK-6 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 MK-6 is properly set up.
Beats Setup:
Set the Trigger Buttons to Beats Mode
1.
Press the
Controllers
button on the front panel.
2.
3.
4.
Turn the
data entry control
clockwise until you fin the “TRIGGER
BUTTONS FUNCTION” screen.
Set the lower line of the display to read, “Play Beats Parts”.
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.
2.
3.
4.
Press the
right cursor button twice
so that the cursor is located beneath the
Category
field.
Turn the
data entry control
until
bts:
is shown in the Category field.
Press the
right cursor button
so that the cursor is underneath the
Preset Name
field.
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.
22
E-MU Systems
Instant Gratification
Exploring Beats Mode
Main Groove
1. Kick1
2. Snare1
3. Hihat1
4. Perc1
Alt. Groove
5. Kick2
6. Snare2
7. Hihat2
8. Perc2
Perc / Fills Instr/Wild
9. Perc3/Fill1
10. Perc4/Fill2
11. Perc5/Fill3
12. Perc6/Inst.
13. Inst1/Wild1
14. Inst2/Wild2
15. Inst3/Wild3
16. Bass
The Arp/Beats LED flashes in time with the Base
Tempo.
6.
7.
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.
• Change the Base Tempo from the last screen in the Controllers menu.
Get Busy!
Two of the Controller knobs are programmed to control Beats. Check it out!
8.
9.
10.
Press the
M-P
button in the
Controllers
section. Its LED will light.
Now turn the
Mod 1 knob
with a Beats Riff playing. Mod 1 is controls the
Beats Busy
parameter which adds or subtracts parts from the Beat.
Turn the
Mod 2 knob
with a Beats Riff playing. Mod 2 is 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 Status: P
BtsCh: Basic TrigCh:Basic
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.
2.
3.
4.
5.
6.
7.
8.
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.)
MK-6 Operation Manual
23
Instant Gratification
Exploring the Master Arpeggiator
Exploring the Master
Arpeggiator
MK-6’s multi-channel Pattern Generator/Arpeggiator is one of the greatest features ever put in a synth. Let’s explore the Master Arpeggiator.
To Arpeggiate a Single Preset:
1.
2.
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 P01
R
A:M MROM1
000
0
arp: Guitartar
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 on
4.
5.
6.
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.
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.
24
E-MU Systems
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 38
0
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.
MK-6 Operation Manual
25
Multi-Channel
Arpeggiator
Instant Gratification
Multi-Channel Arpeggiator
MK-6 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 A:P MROM1
026
3
arp:Hollographik
O
Sometimes a simple volume change will bring out hidden voices and patterns.
11.
12.
13.
14.
15.
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.
Play it!
17.
18.
19.
20.
21.
22.
23.
Now press
Trigger Buttons 1, 2 and 3
. You should be hearing three arpeggiators playing at once.
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.
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.
You can also
play the keyboard
. You’ll be playing the preset currently showing in the display.
Adjusting the front panel
Controller Knobs
modifies the preset showing in the LCD.
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.
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.
MK-6 Operation Manual
27
Instant Gratification
Multi-Channel Arpeggiator
Multisetups save your entire MK-6 setup. Find out more
Time to Save?
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.
Move the
cursor
to the lower line, select a location and press
Enter
.
28
E-MU Systems
Basic Operations
Basic Operations
CO 1 A Vo l 1 27 Pan00
032 2 bas : I n t e r f e r en c e
The MK-6 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.
MK-6 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 MK-6, 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 infor-
mation 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 infor-
mation about the Arp/Beats menu, see page 43.
MIDI Button
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
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 infor-
mation about the MIDI menu, see page 93.
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
LSB
Preset #
Bank MSB:015 LSB:3 MROM1
082
3
bts: Kraftwork
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
MK-6 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.
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.
32
E-MU Systems
Basic Operations
Real-time Controller Knobs
Knob Functions
O
Quick Edit knob movements can be recorded into an external sequencer.
Quick Edit mode
The Real-time controller knobs provide direct control of the MK-6’s synthesizer parameters when the Controller Function Select is set to Quick Edit.
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.
To Quick-Edit a Preset:
1.
2.
Select
Quick Edit
mode using the Controller Function Select button.
Use the Control Knobs to change the sound of the current preset as desired.
3.
4.
5.
6.
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.
MK-6 Operation Manual
33
Basic Operations
Screen View Buttons
Screen View
Buttons
Main
Multi
Mix Screen
The Screen View buttons switch between three display modes.
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.
C0 1 V127 P01
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079
3
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
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 Multi-
VOLUMES Chan: 01 Vol: 127
34
E-MU Systems
Demo Mode
Basic Operations
Screen View Buttons
PANS Chan: 01 Vol: 127
right left
Pressing the Main and Mix buttons simultaneously calls up the Demo
Sequence page. MK-6 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 MROM1
Arctic Drift
To Play a Demo Sequence:
1.
Press and hold the
Main
and
Mix
buttons at the same time to enter the
Demo Sequence page. The screen shown above appears.
2.
3.
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: UNCANNY 1
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.
MK-6 Operation Manual
35
Command
Functions
Preset Selection
Trigger Mode
Preset Menu
Jump Keys
Basic Operations
Command Functions
The Command Functions section serves multiple purposes which are listed below.
• Beats Part enable/disable.
• Assignable & latchable note triggers.
• Preset select keys.
• External preset select keys.
• Preset Edit menu jump keys.
See below.
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 comand buttons selects the preset you have assigned to the button.
See page 77 for more information.
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.
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
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.
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MIDI Channel
Selection
To Change the MIDI Channel:
1.
Press the Main button to display the Main screen.
2.
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
Bank
2
3
0
1
0
1
2
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
To Change the Preset:
1.
Press the
Main
button to display the Main screen.
2.
3.
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
079
3
bts: Logic
R
A:off User
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.
MK-6 Operation Manual
37
Basic Operations
Main Screen
Channel Volume
USER
USER
USER
USER
MIDI BANK SELECT
MSB LSB cc00 cc32
00
00
00
00
00
01
02
03
Bank 0
Bank 1
Bank 2
Bank 3
MROM1
MROM1
MROM1
MROM1
15
15
15
15
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 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
C01 V127 P01
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079
3
bts: Logic
To Change the Channel Volume:
1.
2.
Press the
Main
button to display the Preset Select screen.
Press either
cursor key
until the cursor is underneath the volume value.
3.
Rotate the
data entry control
to select a volume level. The Channel
Volume range is 000-127.
38
E-MU Systems
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
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Note:
Pan settings in the preset ADD algebraically with the Channel Pan setting. Therefore, if the pan setting in the preset were set to “63
R
,” moving the Channel Pan setting full left would return the sound to the center position.
To Change the Channel Pan:
1.
2.
Press the
Main
button to display the Preset Select screen.
Press either
cursor key
until the cursor is underneath the pan field.
3.
Rotate the data entry control to
select a pan value
. 64
L
indicates a hard left pan, 63
R
indicates a hard right pan. With a setting of “00,” the sound is centered in the stereo field.
Channel Arpeggiator
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.
To Play the Arpeggiator (Quick Start):
1.
2.
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.
3.
4.
5.
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.
MK-6 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 V127 P00 A:off User
064
1
w al: Raverotic
Preset Category
Preset Name
To Change the Preset Category:
1.
2.
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:
1.
After selecting a category, move the cursor to the Preset Name field.
2.
Rotate the data entry control to scroll through the presets in the selected category. Note that the preset numbers will no longer change sequentially.
Instrument Category
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 ROM:MROM1
064
1
wal: Raverotic
40
E-MU Systems
Basic Operations
Multisetups
Multisetups
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 MK-6. There are 64 setups numbered 0-63. All the
Multisetups are user programmable except 63, the factory setup.
O
MK-6 always defaults to
Multisetup 00 on power up.
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, MK-6 will retain the changes, even if power is turned off. They are of course, overwritten when you restore a Multisetup.
Restoring
Multisetups
MK-6 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
To Restore (Select) a Multisetup:
1.
2.
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 MK-6 will be displayed. The cursor appears below the first character of the screen heading on line one.
MK-6 Operation Manual
41
Multisetup
Name
Saving
Multisetups
Basic Operations
Multisetups
3.
4.
5.
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.
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:
1.
2.
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.
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.
42
E-MU Systems
Arp/Beats Menu
Arp/Beats Menu
MK-6’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!
MK-6 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 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 MK-6. 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 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.
If another Multisetup is
“Restored” any unsaved changes will be lost if you haven’t saved the Multisetup.
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 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.
MK-6 Operation Manual
43
Arp/Beats Menu
Beats
Beats
MK-6 contains a 16-track play-only sequencer that is optimized for live performance and groove creation. MK-6 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:
Main Groove
1. Kick1
2. Snare1
3. Hihat1
4. Perc1
Alt. Groove
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
_
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
keyboard Beats Layout Keys, you can trigger Beats and MIDI notes using the Trigger buttons.
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.
44
E-MU Systems
Arp/Beats Menu
Beats
Factory Setup
Multisetup 63
C-2 C-1 C0
Main
Groove
Alternate
Groove
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.
O
If Mute is set to 1-bar, the Part mutes for 1 bar then un-mutes.
• Start/Stop Trigger
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.
• Clear Parts
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.
• Mute
• Trig Hold
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.
MK-6 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 Status: P
BtsCh: Basic TrigCh:Basic
The Basic Channel is the
MIDI channel currently displayed in the Main Screen.
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 Status: P
BtsCh: Basic 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.
3.
4.
Turn the
data entry control
clockwise until you fin the “TRIGGER
BUTTONS FUNCTION” screen.
Set the lower line of the display to read, “Play Beats Parts”.
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.
3.
4.
Turn the
data entry control
until
bts:
is shown in the Category field.
Press the
right cursor button
so that the cursor is underneath the
Preset Name
field.
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.
Main Groove
1. Kick1
2. Snare1
3. Hihat1
4. Perc1
Alt. Groove
5. Kick2
6. Snare2
7. Hihat2
8. Perc2
Perc / Fills Instr/Wild
9. Perc3/Fill1
10. Perc4/Fill2
11. Perc5/Fill3
12. Perc6/Inst.
13. Inst1/Wild1
14. Inst2/Wild2
15. Inst3/Wild3
16. Bass
6.
7.
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.
MK-6 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
M-P
button in the
Controllers
section. Its LED will light.
Now turn the
Mod 1 knob
with a Beats Riff playing. Mod 1 is controls the
Beats Busy
parameter which adds or subtracts parts from the Beat.
Turn the
Mod 2 knob
with a Beats Riff playing. Mod 2 is 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 Status: P
BtsCh: Basic TrigCh:Basic
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.
2.
3.
4.
5.
6.
7.
8.
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.)
48
E-MU Systems
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.
Original
Part
Transposed
+12
Kick Crowd
The Mod 1 controller knob is assigned to Beats Busy.
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.
MK-6 Operation Manual
49
Arp/Beats Menu
Beats Controllers
O
A PatchCord amount of
50% is enough to drive Beat
Busy to the maximum setting.
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.
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”.
O
Cool Tip!
Connecting
Key Pressure to Beat Busy at
50% increases BEAT complexity the harder you press.
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.
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 Mod 2 controller knob is assigned to Beats
Variation.
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 which Parts are brought in and out, thus providing even more permutations to the Beat.
50
E-MU Systems
Arp/Beats Menu
Beats Keys Layout
Beats Keys Layout
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:
_
Save your Beats Keys
Layouts and all other Arp/Beats parameters using “Save Setup” function in the Multisetup menu.
• Key . . . . . . . . .
Selects which keyboard key triggers the Part
• Latch
. . . . . . . . The first key press turns the Part on, the next turns it off.
• Unlatch
. . . . . . The Part plays only while the key is held.
• 1-bar
. . . . . . . . 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
Part continues to end of measure then stops.
1 2 3
Measure 1
4 1 2 3
Measure 2
4
Trig Key pressed here
Part begins at next measure and plays entire measure
1 2 3
Measure 1
4 1 2 3
Measure 2
4
MK-6 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
Beats Part Velocity
Negative Offset Positive Offset
Trigger
Keys
Beats Keys Offset slides the entire group of beats triggers up or down the keyboard.
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
To Set the Velocity for each Part:
1.
Press the left cursor button to move the cursor under the Part field.
2.
3.
4.
5.
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.
52
E-MU Systems
Arp/Beats Menu
Beats
Beats Part Transpose
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
To set the Transposition for each Part:
1.
Press the left cursor button to move the cursor under the Part field.
2.
3.
4.
5.
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.
Original
Part
Transposed
+12
Kick Crowd
MK-6 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.
To Assign a Part to a Group:
1.
Press the left cursor button to move the cursor under the Part field.
2.
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.)
3.
4.
5.
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.
Master Riff
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 MROM1
Plays: KEY-C3
To Assign the Master Riff:
1.
Use the cursor buttons to move the cursor to the lower line of the display.
2.
3.
4.
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 MK-6 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.
54
E-MU Systems
Riff Tempo
Riff Controllers
Arp/Beats Menu
Beats
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
To Set the Riff Tempo Mode:
1.
2.
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.
3.
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
To Turn Riff Controllers On or Off:
1.
2.
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.
3.
Press the Enter/Home button or use the cursor keys to move the cursor back to the screen heading.
MK-6 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 MK-6 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. MK-6 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
Arp Settings in the
Preset are Used
C01 V127 P00 A:P USER
047
3
arp: Sine Drum
All arpeggiators share MK-6’s master clock and its current setting. The master clock can be MK-6’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. MK-6 contains 200 factory patterns and 100 user definable patterns.
MK-6 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.
Arpeggiator Extension (ArpExt)
This control changes the Arpeggiator Extension Count. It
adds
to the extension count programmed in the Arpeggiator Note Value screen.
Arpeggiator Velocity (ArpVel)
This control changes the Arpeggiator Velocity Value. It
scales
the velocity value set in the Arpeggiator Note Value screen.
Arpeggiator Gate (ArpGate)
This control changes the Arpeggiator Gate Time. It
adds
to the gate time set
in the Arpeggiator Gate Time screen.
Arpeggiator Interval (ArpIntvl)
This control modulates the Arpeggiator Extension Interval. It
adds
to the
extension programmed in the Arpeggiator Extension Interval screen.
“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 Access the Master Arpeggiator Parameters:
1.
2.
3.
4.
Press the
Arp
menu button lighting the LED. The Arpeggiator menu screen displays the menu page most recently selected since powering up
MK-6. 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.
58
E-MU Systems
Status
Mode
Arp/Beats Menu
Master Arpeggiator Parameters
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 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
• Up/Down
Held notes arpeggiate continuously from highest to lowest pitch.
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
• Pattern
Held notes arpeggiate continuously in a random fashion.
Held notes play the selected pattern (see “Pattern” on page 60 for details).
MK-6 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 1/8 dot
Note value has no effect when the mode is set to
“pattern.”
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
MASTER ARPEGGIATOR
Pattern 99
1
Pattern Name
60
E-MU Systems
Arp/Beats Menu
Master Arpeggiator Parameters
Velocity
Controller Knob O is programmed to control Arp
Velocity.
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
Gate Time
Controller Knob P is programmed to control Arp Gate
Time.
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%
The
note-on
time is used for the start-of-time when calculating note durations. See
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%
key-on time
75%
key-on time
50%
key-on time
25%
MK-6 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 8 7 9
Extend 1 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 7
62
E-MU Systems
Sync
Pre-Delay
Arp/Beats Menu
Master Arpeggiator Parameters
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
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
MK-6 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).
Post-Delay
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.
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
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 off
64
E-MU Systems
Arp/Beats Menu
Master Arpeggiator Parameters
Recycle
Keyboard Thru
Latch
Keys
Pressed
Notes Sound Arp Plays
Pre-Delay Duration
Re cyc
le on
Notes Sound
Post-Delay
Re
cycle on/No-PreDl
y
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
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 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
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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
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
Send data as you would a regular sequence. Sending data in one huge chunk may clog the MIDI input buffer on
MK-6.
Transmits the Arpeggiator Patterns via the MIDI out port as MIDI System
Exclusive data to another MK-6 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.
00
0
to 99
0
Transmits only the individual pattern you have selected.
SEND MIDI SYSEX DATA
All User Arp Patterns
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E-MU Systems
Arp/Beats Menu
Send MIDI System Exclusive Data
Editing a User
Arpeggiator Pattern
Bank 0
= User Patterns
Bank 1
= Factory Patterns
Bank 2
= Factory Patterns
MK-6 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.
EDIT USER PATTERN
01
1
DRUMnBASS 1
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.
To Select the Pattern to Edit:
1.
2.
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 KEY VEL DUR RPT
S01 +0 ply 1/8 2
Pattern Step number
Key offset Velocity Duration Repeat
3.
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.
MK-6 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 +48 -24
Offset
-12 0
Played
Note
+12 +24
+
Offset
+36
_
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.
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.
+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.
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E-MU Systems
Velocity
Duration
Repeat
Arp/Beats Menu
Send MIDI System Exclusive Data
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.
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
32nd Note
1/16t
16th Note Triplet
1/32d
Dotted 32nd Note
1/16
16th Note
1/8t
8th Note Triplet
1/16d
Dotted 16th Note
1/8
1/4t
8th Note
Quarter Note Triplet
1/8d
1/4
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 Edit a User Pattern:
1.
2.
3.
4.
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.
MK-6 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 KEY VEL DUR RPT
S01 +0 ply 1/8 2
To Name a User Pattern:
1.
2.
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
00
0
Mod Cycle
3.
4.
5.
6.
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.
Multichannel
Arpeggiating
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.
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E-MU Systems
Controllers Menu
The Controllers menu contains functions related to the keyboard, knobs or trigger buttons of MK-6. 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
MK-6. 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.
MK-6 Operation Manual
71
Controllers Menu
Keyboard Transpose
Realtime
Control
Functions
This section describes how set up the Realtime Controllers on MK-6.
Realtime Controllers are performance controls such as the controller knobs, velocity & pressure sensitive keyboard, and the trigger buttons.
Keyboard Transpose
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”.
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 On/Off
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
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E-MU Systems
Controllers Menu
Keyboard Velocity Curve
MIDI
Out
CO 1 A Vo l 1 27 Pan00R
032 bas : I n t e r f e r en c e
MIDI
In
Keyboard Velocity
Curve
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.
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 MK-6 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
MIDI OUT MIDI IN
Instrument
Z-Plane
Filter
L
Amp
R
Master
Velocity Curve
Internal
Synthesizer
Keyboard
Velocity Curve
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.
MK-6 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 MK-6’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. MK-6 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
• MIDI Footswitch
In this mode the footswitch is routed to the
“FootSw1” PatchCord source in the Preset Edit,
Cords menu.
It is also transmitted out on the Footswitch Controller number as programmed in the Controllers menu.
• Tap Tempo
• Channel +
Pressing the footswitch allows you to tap in the current tempo with your foot.
Pressing the footswitch increments the MIDI channel number.
• Channel -
•
•
Preset +
Preset -
Pressing the footswitch decrements the MIDI channel number.
Pressing the footswitch increments the current preset number.
Pressing the footswitch decrements the current preset number.
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E-MU Systems
Controllers Menu
Foot Pedal Function
Foot Pedal Function
The foot pedal jack on MK-6’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
Ground
Ring
• Foot Controller
• Channel Volume
• Master Volume
In this mode the Foot Pedal is routed to the
“Pedal” PatchCord source in the Preset Edit, Cords menu.
It is also transmitted out on MIDI Continuous Controller #4 on the basic
MIDI channel.
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.
The Foot Pedal controls the overall volume of the
MK-6. 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.
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
MK-6 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 MIDI Channel
Velocity
O
Latched buttons are especially useful for triggering arpeggiated presets.
To Setup the Trigger Buttons:
1.
Press the Controllers button. Its LED will illuminate.
2.
3.
4.
5.
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:
1.
Press the Controllers button. Its LED will illuminate.
2.
3.
4.
5.
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.
76
E-MU Systems
Controllers Menu
Preset Select Buttons
Preset Select Buttons
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.
The Basic MIDI channel is the channel currently showing in the main screen.
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 User
006
0
bas: Fatty
Preset Number
Category
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.
Quick Method of Programming the Preset Select Buttons:
1.
2.
Select the preset
you want from the Main screen.
Press and hold the
Preset Select
button, then press one of the sixteen
Trigger
buttons.
3.
The preset will be stored in the trigger button you selected.
To Program the Preset Select Buttons from the Menu:
1.
Press the
Controllers
button. Its LED will illuminate.
2.
3.
4.
5.
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:
1.
From the main preset selection screen, press the
Preset Select
button.
Its LED will illuminate.
2.
Press any of the 16 buttons to select a new preset.
MK-6 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 Bank LSB Program Change
Number
To Program the Program Change Send Buttons:
1.
2.
Press the Controllers button. Its LED will illuminate.
Turn the data entry control to select the “PRESET - SELECT SEND” screen.
3.
4.
5.
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:
1.
2.
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.
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E-MU Systems
Knob Preset
Quick-Edit
Controllers Menu
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
Tip:
MK-6 factory presets have certain synth parameters assigned to each controller letter and so these are
“Global” controller assignments.
Use these three pages to assign sixteen real-time control sources. Each MIDI
Controller is assigned a letter (A - P). The front panel Controller Knobs
and
sixteen MIDI controller numbers share the A-P controller routings.
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).
REALTIME CONTROLLER #
A: 74 B: 71 C: 25 D: 26
For example, assigning a MIDI controller to “A” in this screen would let you control filter Fc for
“Front Panel Knob Functions” on page 209.
REALTIME CONTROLLER #
E: 73 F: 75 G: 85 H: 72
REALTIME CONTROLLER #
I: 78 J: 77 K: 27 L: 28
REALTIME CONTROLLER #
M: 01 N: 03 O: 82 P: 83
MK-6 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
7 - Volume
8 - Balance
9 - Undefined
10 - Pan
11 - Expression
MIDI Footswitch
Assign
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 MK-6.
FOOTSWITCH CONTROLLER #
1: 64 2: 65 3: 66
Rear panel footswitch input
Calibrate Controllers
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.
The Controllers should
ALWAYS be calibrated after you reinitialize user data. (And you should always reinitialize user data after updating the operating system.)
CALIBRATE CONTROLLERS
Start Mod Wheel
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E-MU Systems
Controllers Menu
Tempo Controller
To Calibrate the Controllers:
1.
Press the Global button. Its LED will illuminate.
2.
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 • Pitch Wheel • Foot Pedal • Aftertouch
4.
5.
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
.
Tempo Controller
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 0-
31, 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, MK-6 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 MK-6 is in Omni mode, in which case all channels are accepted. This control has no effect when using an external clock.
TEMPO CONTROLLER# CHAN
Up: 03 Down: 09 16
MK-6 Operation Manual
81
Controllers Menu
Base Tempo
Base Tempo
The Arp/Beats LED flashes in time with the Base
Tempo.
MK-6 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.
• 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 Change the Base Tempo:
1.
2.
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.
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:
1.
2.
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.
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E-MU Systems
Global Menu
The Global menu contains functions that affect the overall operation of
MK-6. 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 MK-6. 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.
MK-6 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 MK-6 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 MK-6 is perfectly tuned to concert pitch (A=440 Hz).
MASTER TRANSPOSE TUNE
+00 semitones +00
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.
The maximum pitch bend range is ±12 semitones or one octave in each direction.
MASTER BEND RANGE
+/- 7 semitones
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Global Menu
Defining Global Parameters
Master Velocity
Curve
The Master Velocity curve is normally set to “Linear” and the Keyboard Velocity Curve is used to adjust the keyboard feel.
Incoming velocity data or internal keyboard velocity can be altered by one of thirteen velocity curves. These curves are designed to adapt MK-6 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.
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.
For a complete list of all available velocity curves,
see “Master Velocity Curves” on page 234 of the Appendix.
Keyboard
Velocity Curve
120
100
80
60
40
20
0
Linear
0 20 40
60 80 100
120
Played Velocity
120
100
80
60
40
20
0
Curve 9
0 20 40
60
80 100 120
Played Velocity
Instrument
Z-Plane
Filter
L
Amp
R
Internal
Synthesizer
Master
Velocity Curve
120
100
80
60
40
20
0
Curve 2
0 20 40
60 80 100
120
Played Velocity
120
100
80
60
40
20
0
Curve 13
0 20 40
60 80 100
120
Played Velocity
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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 Outs
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.
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E-MU Systems
Global Menu
Defining Global Parameters
OUTPUT SECTION
& EFFECTS PROCESSORS
MIDI CHANNEL
MIDI Channel 1
MIDI Channel 2
MIDI Channel 3
MIDI Channel 16
Preset
FX Sends
Send 1
15%
Send 2
10%
Send 3
0%
Send 4
0%
Hall 1
Effect
A
B
➟
A
S
E
N
D
1
M
A
I
N
FX Sends
Send 1
0%
Chorus
Send 2
0%
Send 3
20%
Send 4
15%
Effect
B
Jack
Detect
S
E
N
D
2
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.
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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 infor-
mation 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 MK-6 is currently in Omni mode.
FX MULTIMODE CONTROL
(using Omni mode)
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E-MU Systems
Master FXA
Algorithm
Global Menu
Master Effects
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.
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
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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
FXA DECAY HFDAMP FxB>FxA
040 096 001
FXA Send Amounts
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 1:100%
2: 50% 3: 10% 4: 0%
Master FXB
Algorithm
This parameter selects the type of effect used for the “B” effect. The following effect types are available.
MASTER FXB ALGORITHM
Chorus 1
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E-MU Systems
Global Menu
Master Effects
B Effect Types
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
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
17.
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
FXB Parameters:
Feedback/LFO Rate
Delay Time
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 FEEDBK LFORATE DELAY
000 003 0
FXB Send Amounts
These parameters set the effects amounts for each of the four stereo effects busses. See the Effects chapter for detailed information.
FXB SEND AMOUNTS 1:100%
2: 50% 3: 10% 4: 0%
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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.
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 Table: 1
Key: C1 Crs: 036 Fine: 00
Screen Viewing
Angle
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
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E-MU Systems
MIDI Menu
Most of the parameters in MK-6 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 MK-6. 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.
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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 MK-6 is running on its own internal clock (page 82) it
transmits 24 MIDI clocks per quarter note. When MK-6 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 MK-6 unit to respond to the MIDI channels reserved for the other devices.
MIDI ENABLE channel 01: On
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E-MU Systems
MIDI Menu
Receive Program Change
Because the MIDI Enable function only makes sense if you are in Multi mode, MK-6 disables this feature when in Omni or Poly mode.
In Multi
Mode
MIDI ENABLE channel 16: On
In Omni
Mode
MIDI ENABLE
(using Omni mode)
Receive Program
Change
Use this function to instruct MK-6 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
The Program->Preset
Change only works for program changes received in Bank 0.
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 MK-6 receives MIDI program change #26.
The four fields shown below are editable.
MIDI PROG CHNG -> PRESET
000 User 000
0
Incoming Program
Change in Bank 0
ROM Bank
Program No.
Bank No.
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95
MIDI Menu
MIDI SysEx ID
O
Programs and presets are the same thing. “Preset” is the E-MU term for MIDI
Program.
Selected
Program
10
20
30
40
50
60
70
80
90
100
110
120
0 1 2 3 4 5 6 7 8 9
0 0 0 0 0 0 0 0 0
00 01 02 03 04 05 06 07 08 09
0
2 0 1 0 0 0 1 0 4
44 91 50 01 15 88 99 78 32 88
0
1 0 0 0 2
34 73 106 55 43 75
0
12
0 0 0
120 121 100
2
0 0 0 0 0 0 0 0 0
30 31 32 33 34 35 36 37 38 39
0
0 0 0 0 0 0 0 0 0
40 41 42 43 44 45 46 47 48 49
0
0 0 0 0 0 0 0 0 0
50 51 52 53 54 55 56 57 58 59
0
0 0 0 0 0 0 0 0 0
60 61 62 63 64 65 66 67 68 69
0
0 0 0 0 0 0 0 0 0
70 71 72 73 74 75 76 77 78 79
0
0 0 0 0 0 0 0 0 0
80 81 82 83 84 85 86 87 88 89
0
0 0 0 0 0 0 0 0 0
90 91 92 93 94 95 96 97 98 99
0
0 0 0 0 0 0 0 0 0
100 101 102 103 104 105 106 107 108 109
0
0 0 0 0 0 0 0 0 0
110 111 112 113 114 115 116 117 118 119
0
0 0 0 0 0 0 0
120 121 122 123 124 125 126 127
0
Mapped
Program
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
MK-6 to another, the ID numbers of both units must be the same.
This page defines the MIDI system exclusive (SysEx) device ID number. The
SysEx ID lets an external programming unit to distinguish between multiple MK-6 units connected to the same preset editor. In this case each unit must have a unique SysEx ID number.
MIDI SYSEX ID
000
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E-MU Systems
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 MK-6 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 MK-6 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 MK-6. The MIDI data can be sent to a computer, sequencer or to another MK-6. When transferring data between two MK-6’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.
_
WARNING:
When transferring SysEx data from one
MK-6 to another, the ID numbers of both units must match.
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.
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.
Any Individual Preset
Transmits only the selected preset.
MK-6 Operation Manual
97
MIDI Mode
MIDI Menu
MIDI Mode
The Enter LED will be flashing. Press the Enter button to confirm the operation. To receive MIDI data, simply send the MIDI data into MK-6 from another MK-6 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.
2.
Place the sequencer into record mode, then Send MIDI Data.
To Receive MIDI SysEx Data from an External Sequencer:
Simply play back the sequence containing the SysEx data into MK-6.
MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi.
MIDI MODE CHANGE multi 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.
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E-MU Systems
Programming Basics
This chapter explains how MK-6 sounds are constructed and contains important background information on how to create your own custom presets.
Your initial involvement with MK-6 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.
MK-6 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.
MK-6 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.
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E-MU Systems
Turning the volume control back and forth on your home stereo is an example of
Amplitude Modulation.
MK-6 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 MK-6 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 MK-6 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.
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 MK-6.
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.
MK-6 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 MK-6, you define a modulation source and a modulation destination. Then, you connect the source to the destination using “PatchCords.” MK-6’s PatchCords are connected in the software. MK-6 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
Amount +/-
Destination
-
LFO 1
+
Amp
Volume
Modulation
Source
LFO 1
LFO 2
Amp Env
Filt Env
Aux Env
Wheel
Pressure etc.
Destination
Amp Vol
Pitch
Pan
LFO Rate
Aux Env
Env Atk
Glide etc.
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E-MU Systems
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. MK-6’s envelope generators provide great flexibility for programming both complex and simple envelopes.
_
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.
Atk2
Dcy1
Dcy2
Rls1
Atk1
Sustain
Level
Rls2
level time
Key
Down
Key
Released
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
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.
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.
•
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 MK-6’s Volume Envelope, you can simulate the different types of natural instrument volume envelopes by programming them appropriately.
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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 synchro-
nized 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.
Atk1
Atk2
Dcy1
Dcy2
Rls1
Rls1
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.
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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 MK-6 has two multi-wave LFOs for each channel. The LFO waveforms are shown in the following illustration.
R a n d o m T r i a n g l e
S a w t o o t h
S i n e S q u a r e 3 3 % P u l s e
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.
★
When routing Hemi-quaver to Pitch:
+38 = major scale
-38 = phrygian scale
+76 = whole tone scale
(+38) + (+76) = diminished
(two cords) odd amount = S+H sound
2 5 % P u l s e 1 6 % P u l s e 1 2 % P u l s e
P a t : O c t a v e s
+ Octave
- Octave
C
P a t : F i f t h + O c t a v e
C
G
C
A #
P a t : N e e n e r
G
S i n e 1 , 2
S i n e + N o i s e
H e m i - q u a v e r
C
P a t : S u s 4 t r i p
G
F
S i n e 1 , 3 , 5
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.
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).
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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.
N e g a t i v e A m o u n t
+
S a w t o o t h I n v e r t e d S a w t o o t h
Clock
Modulation
Envelopes are triggered on the positive going edge of the clock. LFOs are triggered on the negative going edge of the clock.
The tempo of the master clock is set in the Global menu.
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.
Triggered LFO
LFO Wave
Clock
LFO Trigger
causes the LFO to reset each time the clock waveform goes low.
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Programming Basics
Clock Modulation
LFO Synced to 1/4 Note Clock
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.
•
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.
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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 #01
ModWhl -> RTXfade +036
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.
Instrument
Freq.
Layer
Z-Plane
Filter
Gain
Vol
Amp
Pan
L
R
Envelope
Gen.
Envelope
Gen.
LFOs
Mod
Wheel
Envelope
Gen.
MIDI
Controls
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.
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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
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Programming Basics
Modulation Processors
Diode
The diode blocks negative input values, passing only positive values.
Diode
The value of a digital
“1” is equal to the PatchCord amount.
Flip-Flop
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 y
Flip-Flop
x 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
Lag 0 sum
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Programming Basics
Preset Modulation Processors
Preset
Modulation
Processors
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.
O
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
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
Positive Rate
Preset Ramp
Negative Rate
time
original value original value
time
1st Note
Played
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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 MK-6).
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.
Real Rocket Science
One Layer
Percussion
Instrument
Z-Plane
Filter
Initial Setting
-96 dB
(off)
Amp
Vol
Pan
R
L
Cord
+100
Invert
DC
Rate
Out
Preset
Ramp
Cord
-100
Decay Time
(MIDI G)
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.
Cord
-100
Preset
Cords
Perc. Amount
(MIDI H)
Cord
+100
Layer
Cords
1.
2.
3.
4.
5.
6.
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
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E-MU Systems
Using the
Modulation
Processors
Programming Basics
Preset 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
~
Cord
Switch
Switch On when
Velocity > 0
Cord
Switch value is Scaled by
Cord Amount
Pitch
The patch illustrated above is programmed by setting the PatchCord screens as shown below.
L1
PATCHCORD #01
Vel+- -> Switch +100
L1
PATCHCORD #02
Switch -> Pitch +022
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.
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E-MU Systems
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
~
DC
Cord
21
Cord
Switch
Switch On when
Velocity > 0
Cord
Switch value is Scaled by
Cord Amount
Pitch
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
PATCHCORD #01
Vel+- -> Switch +100
L1
PATCHCORD #02
DC -> Switch -021
L1
PATCHCORD #03
Switch -> Pitch +022
More Examples
Programming Basics
Preset Modulation Processors
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.
MK-6 pink noise is actually more like very low frequency filtered noise, but it is perfect for use as a random control source.
Pink
Noise
Cord
Lag
Processor
Lag Smooths
Pink Noise
Cord
Filter
Cutoff
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 SYNC
sawtooth key sync
L1
LFO1 RATE DELAY VAR
0.35Hz 000 000
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Programming Basics
Preset Modulation Processors
O
The 4x Amp can be used to get more steps or increase the interval of the Quantizer.
L1
PATCHCORD #01
LFO1+ -> Quantize +030
L1
PATCHCORD #02
Quantize -> Pitch +100
O
Experiment with this patch by connecting other sources and destinations to the
Quantizer.
L1
PATCHCORD #03
DC -> Pitch -050
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.
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E-MU Systems
Dynamic
Filters
Programming Basics
Dynamic Filters
The block diagram of the MK-6’s signal path is shown below.
Instrument
Z-Plane
Filter
Freq.
Q
Amp
Vol Pan
L
R
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
60
40
20
40 80 160 360 720 1440 2880 ...
Frequency
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What is a Filter?
Programming Basics
Dynamic Filters
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
80
60
40
20
Output of Filter
Low Pass
Filter
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
80
60
40
20
Filter Output
High Pass
Filter
40 80 160 360 720 1440 2880 ...
Frequency
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E-MU Systems
Programming Basics
Dynamic Filters
A filter which only lets a certain band of frequencies pass is called a
band-pass filter
.
100
80
60
40
20
Center Frequency
Filter
Output
Band Pass
Filter
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.
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
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E-MU Systems
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 MK-
6 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.
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
Lowpass
4-pole
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.
Programming Basics
Dynamic Filters
Parametric 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.
+18 dB
Freq.
Boost
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
15
10
5
0
-5
500 10,000 15,000
Linear Frequency - Hertz
20,000
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.
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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
B Filter
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E-MU Systems
A Filter
Frequency
The Z-plane filter has the unique ability to change its function over time.
Morph
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.
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
Pitch
Sample
Start
Z-Plane
Filter
Freq Q
DCA
Filter
Envelope
Velocity
Volume
Volume
Envelope
Pan
R
L
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 “MK-6 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.
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Programming Basics
MIDI Channels & Real-time Controls
MIDI Channels
&
Real-time
Controls
The following MIDI controls are automatically routed in MK-6:
Pitch Wheel
pwh
Modulation Wheel
01
Pedal
Volume
04
07
Pan
Expression
10
11
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. MK-6 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.
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 MK-6.
MIDI
Channel 1
Note
On/Off
Program
Change
Continuous
Controllers
MIDI
Channel 2
Note
On/Off
Program
Change
Continuous
Controllers
MIDI
Channel 3
Note
On/Off
Program
Change
Continuous
Controllers
MIDI
Channel 16
Note
On/Off
Program
Change
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 MK-6 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 MK-6. MK-6 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 MK-
6. 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-P controls connected to standard synthesizer functions (marked on the front panel). By choosing any four of the 16 standard functions, the four sliders on your keyboard will work the
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E-MU Systems
Programming Basics
MIDI Channels & Real-time Controls
same on every preset. The chart below shows how this might work if your keyboard transmitted the slider settings on MIDI controllers 21-24.
Control MIDI Controller # Routing Standard Function
Slider 1 74 A Controls Filter Frequency
Slider 2
Slider 3
Slider 4
71
25
26
B
C
D
Controls Filter Resonance
Controls Filter Attack
Controls Filter Decay
MIDI
MIDI
Menu
0
1
2
31
64
95
MIDI
Controller
A
0
1
2
31
64
95
MIDI
Controller
B
0
1
2
31
64
95
MIDI
Controller
C
0
1
2
31
64
95
MIDI
Controller
P
16 Control
Knobs
A
B
C
P
-
-
-
Preset Edit
Menu
-
A
B
C
P
+
+
+
+
Amount
Cord
Cord
Cord
Cord
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 16 controllers A-P. 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.
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125
Programming Basics
MIDI Channels & Real-time Controls
Bank Select
Commands
When you press the
Audition button, the Bank Select
MSB and LSB are displayed on the top line of the display.
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).
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.
MK-6 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 MK-6 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.
USER
USER
USER
USER
MIDI BANK SELECT
MSB LSB cc00 cc32
00
00
00
00
00
01
02
03
Bank 0
Bank 1
Bank 2
Bank 3
MROM1
MROM1
MROM1
MROM1
15
15
15
15
00
01
02
03
Bank 0
Bank 1
Bank 2
Bank 3
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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,
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127
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E-MU Systems
Programming Basics
Stereo Mix Outputs
Mix Output
Ch 1
Ch 2
Ch 3
Ch 16
PRESET
SEND 2
SEND 3
PRESET
EDIT MENU
Mix
Output
Send 1
SEND 4
GLOBAL MENU
S
E
N
D
3
S
E
N
D
4
S
E
N
D
2
S
E
N
D
1
OUTPUT SECTION
& EFFECTS PROCESSORS
FX Sends
Send 1
15%
Send 2
10%
Send 3
0%
Send 4
0%
Hall 1
Effect
A
B
➟
A
FX Sends
Send 1
0%
Chorus
Send 2
0%
Send 3
20%
Send 4
15%
Effect
B
Jack Detect
M
A
I
N
S
U
B
1
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.
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.
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 MK-6.
The cursor appears below the first character of the screen heading on line one.
_
If there is no “A” option in the Layer field, you must enable the “Edit All Layers” function in the Global Menu
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.
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129
Preset Edit Menu
Preset Name
Preset Name
You can also select characters using the keyboard.
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.
PRESET NAME
000
1
syn: VOSIM-Voc
Four Layer
Architecture
MK-6 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
DCA
Pan
R
L
Instrument
Z-Plane Filter
Layer 2
DCA
Pan
R
L
Instrument
Z-Plane Filter
Layer 3
DCA
Pan
R
L
Instrument
Z-Plane Filter
Layer 4
DCA
Pan
R
L
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E-MU Systems
Selecting Layers
Preset Edit Menu
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 ROM:MROM1
0305 bas:Moog Sub
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.
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131
Defining
Layer
Parameters
Selecting an
Instrument
Preset Edit Menu
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: MROM1
0078 bas : Booty Q 2
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: MROM1
0078 bas : Booty Q 2
1. Choose Category
2. Scroll through Instruments
Selecting Categories of Instruments using Sound Navigator.
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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 Fade Out
L1
KEY: LO FADE HIGH FADE
C-2 000 C2 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.
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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 C3 C4 C5 C6
Layer 1
Switch
Layer 2
Switch
Layer 3
Switch
Layer 4
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.
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 FADE HIGH FADE
C0 000 F1 000
L2
KEY: LO FADE HIGH FADE
F#1 000 C3 000
L3
KEY: LO FADE HIGH FADE
C#3 000 F#4 000
L4
KEY: LO FADE HIGH FADE
G4 000 C6 000
If two layers do overlap, both will play as shown in the next example.
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E-MU Systems
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
KEY: LO FADE HIGH FADE
C0 000 C6 000
L2
KEY: LO FADE HIGH FADE
C0 000 C6 000
Defining the Velocity
Crossfade Range
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 FADE HIGH FADE
36 012 96 012
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135
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E-MU Systems
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.
0
Velocity
127
Layer 1
36
Fade
Layer 2
Fade
96
Layer 3
Switch
Layer 4
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.
0
Increasing Velocity
127
L1
VEL: LO FADE HIGH FADE
000 000 127 127
L2
VEL: LO FADE HIGH FADE
000 127 127 000
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.
0 Realtime Control Value 127
Layer 1
Fade
Layer 2
Fade
Layer 3
Switch
Layer 4
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
RT: LO FADE HIGH FADE
000 000 127 127
L2
RT: LO FADE HIGH FADE
000 127 127 000
1.
2.
3.
Select a prese
t.
Press the
Preset Edit
button to access the Preset Edit menu.
Go to the
Instrument
page and select instruments for Layers 1 and 2.
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137
138
E-MU Systems
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 #01
MidiA -> RTXfade +100
10.
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
Layer 1
32
Switch
48
Layer 2
64
Switch
80
Layer 3
96
Switch
112
Layer 4
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
RT: LO FADE HIGH FADE
000 000 031 000
L2
RT: LO FADE HIGH FADE
032 000 063 000
L3
RT: LO FADE HIGH FADE
064 000 095 000
L4
RT: LO FADE HIGH FADE
096 000 127 000
4.
5.
6.
7.
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.
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139
Preset Edit Menu
Transposing the Instrument
L1
PATCHCORD #01
XfdRand -> RTXfade +100
8.
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.
Transposing the
Instrument
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 C6 C7 C8 G8
The range of transposition is -36 to +36 semitones.
L1
TRANSPOSE
+36 semitones
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E-MU Systems
Tuning
Amplifier
Preset Edit Menu
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.
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: 48
L
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.
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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.
O
Factory Mode is useful for Instruments containing multiple drums, since each drum can have its own envelope settings.
Selecting the Mode
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.
A factory drum kit envelope actually contains a separate envelope for every voice on every key instead of a single global envelope.
L1
VOLUME ENVELOPE
Mode: factory
_
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.
• 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.
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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 RATE LEVEL
Attack 1 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 LEVEL
(using factory envelope)
_
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.
Dcy1
Atk2
Dcy2
Rls1
Atk1
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.
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143
Preset Edit Menu
Chorusing the Layer
Chorusing the Layer
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.
_
WARNING
: Because it works by doubling instruments,
Chorusing halves the number of notes you can play.
L1
CHORUS WIDTH
off 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 DELAY
127 127
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E-MU Systems
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.
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.
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Assign Group
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.
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.
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Glide
Preset Edit Menu
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 CURVE
0.000 sec/oct 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.
Linear Exp1 Exp8
Last
Note
New
Note
Last
Note
New
Note
Last
Note
New
Note
Glide can be either polyphonic or monophonic depending of the state of
Solo Mode
.
To Set up a Glide Rate Knob:
1.
2.
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.
3.
4.
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.
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Preset Edit Menu
Z-Plane Filters
Z-Plane Filters
MK-6 Filter Types
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.
MK-6 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, MK-6 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. MK-6 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, MK-6 would be limited to 64 voices.
This screen allows you to choose the type of filter for the current layer.
L1
FILTER Ord Type
Phazer 2 E4 6 PHA
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
Filter Name Order Type Description
Smooth 02 LPF Typical OB type low-pass filter with a shallow
12 dB/octave slope.
Classic 04 LPF
Steeper
MegaSweepz
EarlyRizer
Millennium
KlubKlassik
BassBox-303
Shallow
Deeper
Band-pass1
Band-pass2
06
12
12
12
12
12
02
04
02
04
LPF
LPF
LPF
LPF
LPF
LPF
HPF
HPF
BPF
BPF
4-pole low-pass filter, the standard filter on classic analog synths. 24 dB/octave rolloff.
6-pole low-pass filter which has a steeper slope than a 4-pole low-pass filter.
36 dB/octave rolloff!
“Loud” LPF with a hard Q. Tweeters beware!
Classic analog sweeping with hot Q and
Lo-end.
Aggressive low-pass filter. Q gives you a variety of spiky tonal peaks.
Responsive low-pass filter sweep with a wide spectrum of Q sounds
Pumped up lows with TB-like squelchy Q factor.
2-pole high-pass filter. 12 dB/octave slope.
Classic 4-pole high-pass filter. Cutoff sweep progressively cuts 4th Order High-pass.
Band-pass filter with 6 dB/octave rolloff on either side of the passband and Q control.
Band-pass filter with 12 dB/octave rolloff on either side of the passband and Q control.
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Preset Edit Menu
MK-6 Filter Types
Filter Name Order Type Description
ContraBand
Swept1>1oct
Swept2>1oct
Swept3>1oct
DJAlkaline
AceOfBass
06
06
06
06
12
12
BPF
EQ+
EQ+
EQ+
EQ+
EQ+
A novel band-pass filter where the frequency peaks and dips midway in the frequency range.
Parametric filter with 24 dB of boost or cut and a one octave bandwidth.
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.
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.
Band accentuating filter, Q shifts “ring” frequency.
Bass-boost to bass-cut morph
TB-OrNot-TB
BolandBass
12
12
BassTracer
RogueHertz
RazorBlades
RadioCraze
AahAyEeh
Ooh-To-Aah
MultiQVox 12
Ooh-To-Eee 12
TalkingHedz 12
Eeh-To-Aah 12
UbuOrator
DeepBouche
PhazeShift1
12
12
12
12
06
06
12
12
06
EQ+
EQ+
EQ+
EQ+
EQ-
Great Bassline “Processor.”
Constant bass boost with mid-tone Q control.
Low Q boosts bass. Try sawtooth or square waveform with Q set to 115.
Bass with mid-range boost and smooth Q.
Sweep cutoff with Q at 127.
Cuts a series of frequency bands.
Q selects different bands.
Band limited for a cheap radio-like EQ EQ-
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.
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.
VOW Multi-Formant, Map Q To velocity.
VOW Oooh to Eeee formant morph.
VOW “Oui” morphing filter. Q adds peaks.
VOW “E” to “Ah” formant movement.
Q accentuates “peakiness.”
VOW Aah-Uuh vowel with no Q. Raise Q for throaty vocals.
VOW French vowels! “Ou-Est” vowel at low Q.
PHA Recreates a comb filter effect typical of phase shifters. Frequency moves position of notches.
Q varies the depth of the notches.
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Preset Edit Menu
MK-6 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
CruzPusher
FlangerLite
AngelzHairz
DreamWeava
MeatyGizmo
DeadRinger
ZoomPeaks
AcidRavage
BassOMatic
LucifersQ
ToothComb
EarBender
FuzziFace
BlissBatz
KlangKling
12
06
12
12
12
12
12
12
12
12
12
12
12
06
12
PHA
PHA
FLG
FLG
FLG
REZ
REZ
Phasey movement. Try major 6 interval and maximum Q.
Accentuates harmonics at high Q.
Try with a sawtooth LFO.
Contains three notches. Frequency moves frequency and spacing of notches.
Q increases flanging depth.
Smooth sweep flanger. Good with vox waves. eg. I094, Q =60
Directional Flanger. Poles shift down at low Q and up at high Q.
Filter inverts at mid-Q.
Permanent “Ringy” Q response.
Many Q variations.
REZ
REZ
REZ
REZ
High resonance nasal filter.
Great analog Q response. Wide tonal range. Try with a sawtooth LFO.
Low boost for basslines. Q goes to distortion at the maximum level.
Violent mid Q filter! Take care with Q values 40-90.
REZ Highly resonant harmonic peaks shift in unison. Try mid Q.
WAH Midway between wah & vowel. Strong mid-boost. Nasty at high Q settings.
DST Nasty clipped distortion. Q functions as mid-frequency tone control.
SFX Bat phaser from the Emulator 4.
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 Q: 019
Filter Envelope
Preset Edit Menu
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 RATE LEVEL
Attack 1 84 100%
• 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 RATE LEVEL
Attack 1 1/4 100%
• 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.
To Turn on Envelope Repeat:
1.
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:
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151
Preset Edit Menu
Auxiliary Envelope
L1
FILTER ENVELOPE
Repeat: off
3.
Move the cursor underneath the on/off field, then turn the data entry control clockwise so that Repeat is On.
See the Programming
Basics section of this manual for detailed information about how the Envelopes work.
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.
Defining the Filter Envelope
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.
+100
Atk2
Dcy1
Sustain
Rls2
Atk1
0 time
Dcy2
Rls1
-100
Key Down Key Released
Auxiliary Envelope
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.
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E-MU Systems
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. MK-6 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 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 SYNC
sawtooth 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.
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153
Preset Edit Menu
Low Frequency Oscillators (LFOs)
R a n d o m
T r i a n g l e
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.
★
When routing Hemi-quaver to Pitch:
+38 = major scale
-38 = phrygian scale
+76 = whole tone scale
(+38) + (+76) = diminished
(two cords) odd amount = S+H sound
S i n e
2 5 % P u l s e
S q u a r e
1 6 % P u l s e
P a t : O c t a v e s
+ Octave
- Octave
C
P a t : F i f t h + O c t a v e
C
G
Note:
References to musical intervals in the pattern LFO shapes are with the LFO routed to pitch and a
PatchCord amount of +38
.
C
A #
P a t : N e e n e r
G
S i n e + N o i s e
S i n e 1 , 2
H e m i - q u a v e r
S a w t o o t h
3 3 % P u l s e
1 2 % P u l s e
C
P a t : S u s 4 t r i p
G
F
S i n e 1 , 3 , 5
LFO Synced to 1/4 Note Clock
Sync
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.
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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 DELAY VAR
0.08Hz 60 020
Tempo-based Rates
(based on Master Tempo)
octal whole note dotted quad whole note octal whole note triplet quad whole note dotted double whole note quad whole note triplet double whole note dotted whole note double note triplet whole note dotted half note whole note triplet half note dotted quarter note half note triplet quarter note dotted 8th note quarter note triplet
8th note dotted 16th note
8th note triplet
16th note dotted 32nd note
16th note triplet
32nd Note
Display
1/1d
2/1t
1/1
1/2d
1/1t
1/2
1/4d
1/2t
8/1
4/1d
8/1t
4/1
2/1d
4/1t
2/1
1/4
1/8d
1/4t
1/8
1/16d
1/8t
1/16
1/32d
1/16t
1/32
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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.
_
Variation is disabled when a Tempo-Based LFO is selected.
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.
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E-MU Systems
LFO variation changes the rate of each note to create an “ensemble” effect.
PatchCords
Preset Edit Menu
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. MK-6 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
LFO 1
-
Amount +/-
+
Destination
Amp
Volume
Modulation
Source
LFO 1
LFO 2
Amp Env
Filt Env
Aux Env
Wheel
Pressure etc.
Destination
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 #01
RlsVel -> AmpVol +100
L1
PATCHCORD #24
Key+ -> FiltRes -27
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E-MU Systems
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
63
0
127
+64
-127 -63 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.
Preset Edit Menu
PatchCords
Note:
Flip-Flop Footswitches
1 & 2 remain in their last condition when a new preset is selected.
Flip-Flop Footswitch 3 resets to the Off condition whenever a new preset is selected.
Note:
The Envelope Sustain parameter controls the Decay 2
Level segment of the envelope generator.
Here is a list of all layer modulation sources and destinations in MK-6.
Modulation Sources: Modulation Destinations
Off
Key (+, +)
Velocity (+, +, <)
RlsVel (Release Velocity)
Gate
Pressure (Aftertouch)
PitchWhl (Pitch Wheel)
ModWhl (Modulation Wheel)
Pedal
MIDI Volume (Controller 7)
MIDI Pan (Controller 10)
MIDI Expression (Controller 11)
MIDI A-P
PLagOut (Preset Lag Out)
PRampOut (Preset Ramp Out)
FootSw1 - 3 (Foot Switch 1-3)
FootFF (Flip-Flop Foot Switch 1 -3)
Key Glide
VolEnv +, +, < (Volume Envelope)
FilEnv +, +, < (Filter Envelope)
AuxEnv +, +, < (Auxiliary Envelope)
LFO 1 & 2 (+, +)
White (White Noise)
Pink (Pink Noise)
XfdRand (Crossfade Random)
KeyRand 1 & 2 (Key Random)
Lag 0 sum (summing amp out)
Lag 1 sum (summing amp out)
Lag 0 & 1 (Lag Processor)
Clk Divisors (Octal, Quad, Double
Whole, Whole, Half, Qtr, 8th,16th)
Off
KeySust (Key Sustain)
FinePtch (Fine Pitch)
Pitch
Glide
ChrsAmt (Chorus Amount)
‘SStart (Sample Start) -note-on)
SLoop (Sample Loop)
SRetrig (Sample Retrigger)
FiltFreq (Filter Frequency)
‘FiltRes (Filter Resonance -note-on)
AmpVol (Amplifier Volume)
AmpPan (Amplifier Pan)
RTXfade (Real-time Crossfade)
VEnvRts (Volume Envelope Rates -all)
VEnvAtk (Volume Envelope Attack)
VEnvDcy (Volume Envelope Decay)
VEnvSus (Volume Envelope Sustain)
VEnvRls (Volume Envelope Release)
FEnvRts (Filter Envelope Rates -all)
FEnvAtk (Filter Envelope Attack)
FEnvDcy (Filter Envelope Decay)
FEnvSus (Filter Envelope Sustain)
FEnvRls (Filter Envelope Release)
FEnvTrig (Filter Envelope Trigger)
AEnvRts (Auxiliary Envelope Rates -all)
AEnvAtk (Auxiliary Envelope Attack)
AEnvDcy (Auxiliary Envelope Decay)
AEnvSus (Auxiliary Envelope Sustain)
AEnvRls (Auxiliary Envelope Release)
DC (DC Offset)
Summing Amp
Switch
Absolute Value
AEnvTrig (Auxiliary Envelope Trigger)
LFO 1 & 2 Rate
LFO 1 & 2 Trigger
Lag Processor In 0 & 1
Diode Sum (Summing Amp)
Flip-Flop Switch
Quantizer
4x Gain
Abs (Absolute Value)
Diode
Quantize
Flip-Flop
Gain 4x
Cord 1-24 Amount
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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
PITCHBEND RANGE
+/- 12 semitones
Mix Output
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.
To Control the Mix Output from the Preset:
1.
Move the cursor until it is underneath the Layer field and change the
Layer using the data entry control.
2.
3.
4.
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”.
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Preset Edit Menu
Common
Preset
Parameters
This section of the Preset Edit menu chapter describes parameters that affect all layers in the preset.
Preset Effects
MK-6 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.
Layers
FX Send Amount
Reverb, Delay
Effect
A
Dry Signal
FX Send Amount
Effect
B
Chorus, Flange
Sum
Sum
Main
Outs
Refer to the Effects chapter for additional information and instructions for setting up both the Preset Effects and the Master Effects.
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Preset Edit Menu
Preset Effects
Mix Output
Ch 1
Ch 2
Ch 3
Ch 16
PRESET
SEND 2
SEND 3
PRESET
EDIT MENU
Mix
Output
Send 1
SEND 4
GLOBAL MENU
S
E
N
D
4
S
E
N
D
3
S
E
N
D
2
S
E
N
D
1
OUTPUT SECTION
& EFFECTS PROCESSORS
FX Sends
Send 1
15%
Send 2
10%
Send 3
0%
Send 4
0%
Hall 1
Effect
A
B
➟
A
FX Sends
Send 1
0%
Chorus
Send 2
0%
Send 3
20%
Send 4
15%
Effect
B
Jack Detect
M
A
I
N
S
U
B
1
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.
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FXA Algorithm
Preset Edit Menu
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
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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 HFDAMP FxB>FxA
048 064 000
FXA Send Amounts
These parameters set the effects amounts for each of the four stereo effects busses.
FXA SEND AMOUNTS 1:100%
2: 50% 3: 10% 4: 0%
FXB Algorithm
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.
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
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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 FEEDBK LFORATE DELAY
032 003 200ms
FXB Send Amounts
These parameters set the effects amounts for the four stereo effects busses.
FXB SEND AMOUNTS 1:100%
2: 50% 3: 10% 4: 0%
Preset Patchcords
O
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.
Increasing the controller amount will crossfade from FXA to FXB.
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
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
.
PRESET CORDS #01
Pedal -> FXBSend2 +100
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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
Preset Edit Menu
Preset Patchcords
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
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 MK-6, 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).
MIDI
MIDI
Menu
0
1
2
31
64
95
MIDI
Controller
A
0
1
2
31
64
95
MIDI
Controller
B
0
1
2
31
64
95
MIDI
Controller
C
0
1
2
31
64
95
MIDI
Controller
P
16 Control
Knobs
A
B
C
P
Preset Edit
Menu
-
-
-
-
A
B
C
P
+
+
+
+
Amount
Cord
Cord
Cord
Cord
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.
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Preset Edit Menu
Keyboard Tuning
Keyboard Tuning
In addition to the standard equally divided octave tuning, MK-6 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
Equal Temperament
Just C
Vallotti
19-Tone
Gamelan
Just C2
Just C-minor
Just C3
Werkmeister III
Kirnberger
Scarlatti
Repeating Octave
User 1-12
Description
Standard Western tuning
(12 equally spaced notes per octave)
Just intonation. (Based on small interval ratios. Sweet and pure, non-beating intervals.)
Valotti & Young non-equal temperament. (Similar to 12 tone equal temperament. Each key has a different character for a given scale.)
19 tone equal temperament. (19 notes per octave.
Difficult to play, but works well with a sequencer.)
5 tone Slendro and 7 tone Pelog. (Javanese. Pelog are white keys, Slendro are black keys. Exotic tunings of
Gamelan flavor.
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
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
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
A “well” temperament developed in the 17th century.
Although you can play in all keys, each key sounds slightly different.
Another well temperament developed by Johann
Philipp Kirnberger where no pitch is more than 12 cents off from equal temperament.
A variant of Meantone tuning which was used from the
15th to 18th centuries.
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.
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.
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Preset Edit Menu
Keyboard Tuning
MK-6 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.
The Just C Tuning Tables
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!
MK-6 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, C
m
, C#
m
, E
m
, F#
m
, G
m
, A
m
Just C2
Play these chords:
C, E, F, G, A, B, C#
m
, D#
m
, E
m
, G#
m
, A
m
, B
m
Just C2 minor
Play these chords:
C, D
b
, D, E
b
, G, A
b
, C
m
, E
m
, F
m
, G
m
Just C3
Play these chords:
C, D, F, B
b
, C#
m
, D
m
, E
m
, F#
m
, G#
m
, A
m
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Preset Links
Preset Edit Menu
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 MROM
000
2
Preset Name
LINK 1 KEY VEL
RANGE C-2 G8 000-127
LINK 1 VOLUME PAN
+0dB 00
LINK 1 TRANSPOSE DELAY
+00 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.
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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
Listening to the Riffs is a quick way to learn the sounds in
MK-6. If a preset has hidden tricks or controllers, these will be shown off in the Riff.
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.
The Riffs themselves cannot be modified.
AUDITION SELECTION
Plays:KEY-MiddleC
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.
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
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E-MU Systems
Preset Edit Menu
Play Solo Layers
Effects
Effects
Overview
The Effects Sends
MK-6 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 MK-6 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
Dry Signal
Main
Outs
Sum
FX Send Amount
Effect
B
Chorus, Flange
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.
MK-6 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.
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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
PRESET
EDIT MENU
FX Sends
Send 1
15%
Send 2
10%
Send 3
0%
Send 4
0%
Hall 1
Effect
A
B
➟
A
Mix
Output
Send 1
S
E
N
D
1
M
A
I
N
FX Sends
Send 1
0%
Send 2
0%
Chorus
Send 3
20%
Send 4
15%
Effect
B
Mix Output
Ch 1
Ch 2
PRESET
SEND 2
S
E
N
D
2
Jack Detect
S
U
B
1
Ch 3
Ch 16
SEND 3
SEND 4
GLOBAL MENU
S
E
N
D
4
S
E
N
D
3
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.
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.
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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.
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 MK-6’s preset effects.
To Program the Effects as Part of the Preset:
1.
Press the Preset Edit button. The LED illuminates and the Preset Edit screen appears.
2.
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 HFDAMP FxB>FxA
90 127 127
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.
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177
Effects
Master Effects
FXB FEEDBK LFORATE DELAY
127 127 635ms
9.
10.
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.
Master Effects
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.
To Program the Master Effects
1.
2.
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 HFDAMP FxB>FxA
90 127 127
The FxB -> FxA parameter lets you route the B effect through the A effect.
See “Effect B Into Effect A” on page 182.
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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 FEEDBK LFORATE DELAY
127 127 145ms
_
The MIDI mode (MIDI
Menu) must be set to Omni or
Poly mode in order to select the effects in the preset.
9.
10.
11.
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.
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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.
To Bypass the Effects:
1.
Press the Global menu button. The LED lights and the last Global parameter screen used is displayed.
2.
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.
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.
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E-MU Systems
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
Ch 1
FX
Master Effects
(Multi mode)
Preset
Ch 16
FX
3
Master
FX
(Multi mode)
Selected FX Control Channel
Preset
Ch 1
FX
Preset
Ch 16
FX
One Channel's
Preset determines the Effect Settings
To Program the Effects Globally for all Presets in Multi Mode:
1.
2.
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 CHANGE multi accepted
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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.
To Program the Effects by Channel Number in Multi Mode:
1.
2.
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.
3.
4.
5.
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.
Effect B Into Effect A
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.
Access the FXA parameter screen (in either the Global or Preset Edit menus) that contains the FXB –>FXA parameter.
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E-MU Systems
Effects
Master Effects
FXA DECAY HFDAMP FxB>FxA
127 127 127
2.
3.
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 1: 10%
2: 20% 3: 30% 4: 40%
4.
5.
6.
7.
8.
9.
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
B
➟
A
100%
Main Send
0%
Effect A
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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 MK-6 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.
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
Delay
Reflex
Cluster
Reverb
TIME
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.
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Chorus
Doubling
Slapback
Stereo Flanger
Effects
General Effect Descriptions
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.
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 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.
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.
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Delay
Stereo Delay
Panning Delay
Dual Tap
Vibrato
Distortion
Effects
General Effect Descriptions
The MK-6 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 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.
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.
A panning delay is similar to the normal delay lines except that the echoes bounce back and forth between the two stereo speakers.
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.
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 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.
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E-MU Systems
Save/Copy Menu
Saving a Preset
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.
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 User
020
1
Destination Preset
To Save a Preset:
1.
2.
Press the
Save/Copy
menu button.
Move the cursor
to the bottom line on the display.
3.
4.
Select
the new preset location using the data entry control.
Press the
Home/Enter
button.
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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 MROM1
009
3 pad: Dreamer
All the Sound Navigator features work when using the
Copy functions.
To Copy a Preset:
1.
Select the Preset
you want to copy information
into
.
2.
Press the
Save/Copy
menu button.
3.
4.
5.
6.
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.
Copy Layer
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
L1 -> L4
020
1
Source Preset
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E-MU Systems
Save/Copy Menu
Copying Information
Copy PatchCords
To Copy a Layer:
1.
Select the Preset and Layer
you want to copy information
into
.
2.
3.
4.
5.
6.
7.
8.
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/Ent
er 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
L1 -> L4
020
1
Source Preset
To Copy a PatchCord:
1.
2.
S
elect the Preset and Layer
you want to copy information
into
.
Press the
Save/Copy
menu button.
3.
4.
5.
6.
7.
8.
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.
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189
Copy Preset
PatchCords
Save/Copy Menu
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 User
020
1
Source Preset
To Copy a Preset PatchCord:
1.
2.
Select the Prese
t you want to copy information
into
.
Press the
Save/Cop
y menu button.
3.
4.
5.
Move the cursor to the bottom line on the display.
Select the prese
t containing the information you want to copy.
Press the
Home/Enter
button.
Copy Arpeggiator
Settings
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 MROM1
052
0
syn: Syn Chaos
To Copy the Arpeggiator Settings:
1.
From the Main screen,
select the User Preset
you want to copy the Arp setting
into
.
2.
3.
4.
5.
6.
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 MK-6 is waiting for your response.
The Arp Settings are copied into the current preset.
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E-MU Systems
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 MROM1
96
1
TRANCED
Copy
Preset Bank
To Copy the Arpeggiator Pattern:
1.
Press the
Save/Copy
menu button.
2.
3.
4.
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:
00
0
No Control
5.
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: MROM1
2
To: User
1
ROM or RAM
Preset Location
Bank No.
Destination
Bank No.
To Copy a Preset Bank:
1.
2.
Press the
Save/Copy
menu button.
Move the cursor to the
“From”
field on the bottom line on the display.
3.
4.
5.
6.
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.
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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 MK-6 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 238
.
The four sound SIMM sockets in MK-6 are marked 0-3.
The destination
Flash SIMM must be placed in SIMM socket 1.
COPY USER BANK TO FLASH
From: User
0
To: Flash
2
_
If there is no Flash SIMM in the unit, the error message,
“Requires Flash SIMM” will be displayed.
To Copy a User Bank to Flash:
1.
2.
3.
4.
5.
6.
Make sure a Flash SIMM is inserted into the extra MK-6 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.
The Flash presets cannot be used until MK-6 is rebooted (power off then on).
Reboot
the MK-6 and verify that the new Flash bank has been properly copied.
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E-MU Systems
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 MK-6 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.
RENAME FLASH SIMM Flash
New Name: Drums ID: 110
_
If there is no Flash SIMM in the unit, the error message,
“Requires Flash SIMM” will be displayed.
1.
2.
3.
4.
5.
6.
Make sure a Flash SIMM is inserted in a MK-6 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 MK-6 is rebooted (power off then on).
Reboot
the MK-6 and verify that the new Flash bank has been properly renamed.
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193
Save/Copy Menu
Duplicate Flash
Duplicate Flash
This utility allows you to duplicate Flash SIMMs using MK-6. 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 238.
DUPLICATE SLOT 0 FLASH
Start
_
If there are no Flash
SIMMs in the unit, or if the
SIMMs are in the wrong slots, an error message will be displayed.
1.
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.
When MK-6 has finished duplicating the SIMM, turn power off, remove the copied SIMM, then
reboot
. That’s it!
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E-MU Systems
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 User
000
0
Any User Preset
Examine interesting presets to learn how they work using the Edit menu.
To Create a Random Preset:
1.
Press the
Save/Copy
menu button.
2.
3.
4.
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.
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E-MU Systems
Save/Copy Menu
Create Random Preset
Preset Programming
There is so much you can do with the MK-6 it would be impossible to describe it all. This chapter is will give you a few ideas for programming your own custom sounds and contains step-by-step instructions to help you get started. In order to get the most from this chapter, we recommend 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 MK-6. If you don’t like what you hear, simply select a new preset, then MK-6 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
O
The
Preset Edit Jump
Buttons
are located in the
“Command Functions” section of the front panel.
Changing the instrument is the easiest and most dramatic way to modify an existing preset.
To Change the Instrument for the Current Layer:
1.
Choose any cool preset, then press the
Preset Edit
button.
2.
Press the
#1 Jump button
twice to jump directly to the Instrument
See “Preset Menu Jump Keys” on page 36.
L1
INSTRUMENT ROM:MROM1
0320 str:RapOrchRiff
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.
MK-6 Operation Manual
197
Preset Programming
Editing Presets
To Change the Instrument for any Layer in the Preset:
6.
Use the
Channel Select
buttons to select another layer.
L2
INSTRUMENT ROM:MROM1
0321 str:Heartbreaker
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).
To Tune the Instrument of the Current Layer:
1.
Press the
#3 Jump button
twice to jump directly to
Tuning
page.
L1
TUNING
Coarse: +36 Fine: +6
2.
3.
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 MK-6.
To Chorus a Layer:
1.
Press the
#5 Jump button
to jump directly to the Chorus page.
2.
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
CHORUS WIDTH
off 100%
Volume Envelope
3.
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.
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 MK-6 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.
MK-6 Operation Manual
199
Preset Programming
Editing Presets
Piano
Organ
Strings
Percussion
Dcy1
Atk2
Dcy2
Rls1
level
Atk1
Sustain
Rls2
time
Key Down Key Released
Every instrument in MK-6 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 “tempo-based,” 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 MK-6 have been preprogrammed to adjust these four volume envelope parameters. A diagram of this standard ADSR envelope is shown below.
Decay
Attack
Release
Sustain
Level
level me
Key Down Key Released
1.
2.
Front panel knobs E-H 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, Amp Sustain, Amp Release.
200
E-MU Systems
Preset Programming
Editing Presets
3.
4.
5.
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 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.
Try out the Sustain & Release knobs. The Sustain knob control the volume LEVEL after the Decay phase has finished and while the key continues to be held. As soon as you release the key, the Release phase begins.
To Create a Complex Volume Envelope:
1.
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
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.)
2.
Now move on to the next screen to set the Volume Envelope parameters.
L1
VOL ENV TIME LEVEL
Attack 1 50 100%
3.
4.
5.
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 MK-6 six segment envelope generators. The trick is to only use segments: Attack1, Decay2, and Release1.
1.
2.
Set Atk1, Atk2 & Dcy1 levels to 100.
Set Rls1 & Rls2 levels to 0.
MK-6 Operation Manual
201
Preset Programming
Editing Presets
3.
4.
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.
Atk1
Dcy2
Used
Atk1
Dcy2
Rls1
Rls1
Unused
Atk2
Dcy1
Rls2
Sustain
Level
level time
Key
Down
Key
Released
Working with Filters
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 “MK-6 Filter Types” on page 148 for a complete list of MK-6’s
filters and their descriptions.
In preparation for the next tutorial, set up the MK-6 with a single instrument layer on Layer 1.
1.
1.
Go to the Instrument screen (Preset Edit menu) and select
Instrument
#434 - Wave Cutter
. 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 Ord Type
Classic 4 LPF
Front panel knobs A & B are routed to the filter parameters and will affect the initial settings made here.
1.
2.
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
202
E-MU Systems
Preset Programming
Editing Presets
gets more and more dull as you remove more and more high frequencies from the sound. At some point, the sound completely disappears. (You have filtered out everything.) The chart on the following page illustrates what you just did.
100
80
60
40
20
Cutoff Frequency
Output of Filter
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.
To Setup the Filter Envelope:
1.
Go to the
PatchCord
screen by pressing the
Cords
Jump Key.
L1
PATCHCORD #03
FiltEnv+ -> FiltFreq +100
2.
3.
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
.
MK-6 Operation Manual
203
204
E-MU Systems
Preset Programming
Editing Presets
L1
PATCHCORD #01
FiltEnv+ -> FiltFreq +100
This setup connects the Filter Envelope Generator to the Filter Cutoff as shown in the following diagram.
R
Instrument
Fc
Filter
Q
DCA Pan
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 RATE LEVEL
Attack1 50 100%
8.
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 RATE LEVEL
Attack1 50 +88%
9.
10.
Change the
attack rate
and note the change in the sound.
Set the envelope parameters as shown in the following table.
Envelope Phase
Attack 1
Attack 2
Decay 1
Decay 2
Release 1
Release 2
Time
40
65
80
25
97
73
Level %
65
100
85
50
20
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 Ord Type
Aah-Ay-Eeh 6 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.
MK-6 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.
To Make the Filter Envelope Repeat:
1.
2.
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.
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.
Practice Modulating
•
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 (Patch-
Cord 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 MK-6.
206
E-MU Systems
Troubleshooting
Preset Programming
Editing Presets
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 MK-6 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.
R
Instrument
Z-Plane
Filter
DCA Pan
L
You’re getting the general idea by now. 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 MK-6 you can design the custom radical instruments you’ve always wanted!
MK-6 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.
O
See “Preset Links” on page 170 for more information.
To Layer Two Presets:
1.
2.
Select the first preset you want to layer.
Press the
Preset Edit
button.
3.
Go to the
Link
screen by pressing the
Links
Jump Key.
LINK 1 PRESET MROM1
off
4.
5.
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.
To Create a Split Keyboard Using Links:
1.
2.
Follow steps 1 through 4 above.
Press
Enter
and use the
Jump Key
to advance to the next page.
LINK 1 KEY VEL
RANGE C-2 B4 000 127
3.
4.
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 FADE HIGH FADE
C5 000 G8 000
5.
Set the range of the original preset so it fills the remaining keyboard area.
Save the preset.
208
E-MU Systems
Appendix
Front Panel
Knob
Functions
This section provides some of the more technical information about MK-6.
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.
Match the controller knobs on an external MIDI controller to the Realtime
Controller Assignments in the Controllers menu if you want to externally control these functions.
MK-6 Operation Manual
209
Appendix
Front Panel Knob Functions
Knob Controller
Descriptions
The Front Panel Knobs can be reprogrammed for each preset and stored in any of the
User Presets. The functions shown here are the factory programmed settings.
Filter Cutoff
............... Filter Frequency
Filter Q
....................... Filter Resonance
Filter Attack
................ Filter Envelope Attack Rate
Filter Decay
................ Filter Envelope Decay and Release Rate
Amp Attack
................ Volume Envelope Attack Rate
Amp Decay
................. Volume Envelope Decay Rate
Amp Sustain
............... Volume Envelope Sustain Level
Amp Release
.............. Volume Envelope Release Rate
Velocity -> Amp
.......... Key Velocity to Volume
Velocity -> Filter
......... Key Velocity to Filter Frequency
LFO 2 Amount
............ LFO 2 Amount
LFO 2 Rate
.................. LFO 2 Frequency
Mod 1
......................... FX Send A (bts:preset = Beats Busy)
Mod 2
......................... FX Send B (bts:preset = Beats Variation)
Arp Velocity
................ Scales the Velocity values of arpeggiated notes
Arp Gate
..................... Varies the arpeggiator Gate Time
210
E-MU Systems
Appendix
Preset Listing
Preset Listing
User Bank 0, MK-6 Bank 4
0.
1.
bts:Plinky bts:TellUSumptin
43.
44.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
bts:Sensitive bts:Only Paper bts:Litey Luv arp:C1 LatchGruv key:RodeWarrior str:Harp+String led:SoExpressive bas:Monoical gtr:U & I syn:Invitation hit:LovePad
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
PITCH WHEEL
•
Select preset kit:Platinum
Move the Pitch Wheel in either direction. The Pitch Wheel is usually assigned to pitch, but here it controls envelope retrigger, creating machinegun rolls, etc.
13.
14.
15.
16.
17.
18.
19.
20.
pad:Aaart Vox kit:WheelO'Fuzz sfx:Mytummyhertz bts:Creekside bts:Po! Noe bts:HeartBroken bts:Uptown bts:Dirt Bag
56.
57.
58.
59.
60.
61.
62.
63.
21.
22.
23.
24.
bts:KandyRappR bts:Her Echo bts:ShagNastee bts:Mello Lady
64.
65.
66.
67.
25.
26.
27.
28.
bts:DeepFried bts:Fan Tu C bts:ParlorOrgan bts:So'Wut
68.
69.
70.
71.
29.
30.
31.
32.
bts:KnoWudIMean?
bts:E-MU Class bts:Sandcastle bts:So'
72.
73.
74.
75.
33.
34.
35.
36.
bts:NoT awrite bts:Mad MP bts:BackInTheDay bts:Rodeo
76.
77.
78.
79.
37.
38.
39.
40.
bts:GritzKeyd bts:?:) bts:Yup bts:Sic Yo
80.
81.
82.
83.
41.
42.
bts:Circulatin' bts:Qic Lee
84.
bts:NoDogFights bts:Perc Jam bts:Mo n' Mo bts:SheikFunk bts:QicTasy bts:MikroSize bts:ToTheRToTheB bts:LeadR Phatt bts:Oo! Noe bts:Next Stop bts:Laid&Back bts:Les Gooo arp:RUFillinDis?
arp:XTREMScratch arp:PluckMaster arp:BassAnnoyze arp:SynchroHorn arp:Penetrate arp:BellRinger arp:Big Beater arp:DirtyPianoze arp:RapPizzSeq arp:SkipRope arp:DaGranSlam!
arp:Pattern Mac arp:Ice Beep arp:Big GeetaR arp:Extasy EP arp:Seagul Hit arp:HipGHit arp:Qwik Cut key:Mutant Wheel key:OceanEP key:Synetics key:Org Maker key:CartoonOrgan key:Dirkey key:DiscontinYou key:Veracity key:PickOrgan key:Tough Keez key:Yulee
85.
86.
87.
88.
89.
90.
91.
92.
93.
94.
95.
96.
97.
98.
99.
100.
101.
102.
103.
104.
105.
106.
107.
108.
109.
110.
111.
112.
113.
114.
115.
116.
117.
118.
119.
120.
121.
122.
123.
124.
125.
126.
127.
key:PleasuR bas:Talkie bas:BassBallz bas:Puncher syn:Synpatico syn:Cubix syn:PlooKing syn:Milano syn:InTheValley syn:WOOBLE syn:SHOO Fly syn:SAD soSad syn:Whappo syn:Dejour syn:SupozWeLisTn str:AngryStrings str:St Section str:GritUpright str:SAD...sad
str:Crazy String gtr:Adults Only!
gtr:Funk Likka gtr:70eez Mute gtr:Knock Gtr gtr:Guit Fall hit:AttackThis hit:OOOnnf hit:The Drop hit:WindChimeHit hit:Patrice hit:ThatsTheHorn led:Mod Bites pad:ChemTrails pad:Its A....?
vox:Base B vox:StarChoir vox:Uncy Mono sfx:BedSprings sfx:BeepKeep kit:Brikz hertz kit:NewPhidelity kit:Tru Spit kit:NewFunk
MK-6 Operation Manual
211
Appendix
Preset Listing
Preset Listing
PRESET NOTES
102-0 Str:Pizz&Sct MW
Move the Mod. Wheel as you play and notice the legato section sound added to the pizz section.
125-0 Prc:Fill Me
The Mod. Wheel repeats the scratch.
The Controller N knob brings in three separate new parts to the fill.
User Bank 1, MK-6 Bank 0
0.
1.
2.
3.
4.
5.
kit:Becky Boise kit:Platinum kit:Reaper bas:SubLevel gtr:Wah Getarrs kit:Pun Chee key:Chords&Hits
6.
7.
8.
pad:Spirit Call str:GothStrings
9.
brs:"Pow"
10.
kit:The Mo'Pho'
11.
kit:Hive Jiver
12.
syn:Plucky
13.
bas:Slap Pop
14.
gtr:Sexy Slider
15.
pad:Cherubs
16.
syn:Kutter
17.
vox:theWatcher
18.
key:SOOTCaSE'000
19.
led:Handwormed
20.
hit:PongPing
21.
str:Sincerely
22.
syn:Synelead
23.
syn:Prof Brass
24.
gtr:HardCore
25.
bpm:Clockworx 1
26.
gtr:General'sGtr
27.
syn:SycoGirL
28.
key:Klav Synth
29.
str:MadDramA \
30.
hit:All 1
31.
gtr:NyLonArP
32.
bas:Juice
33.
str:Harpo
34.
pad:Synthetic
35.
bas:YarsRevenge
36.
pad:Blades
37.
brs:SlapdatBrass
38.
key:VINYL 73
39.
key:FAR-FG-NUGEN
40.
syn:LadyOrgan1
41.
pad:QuietTime
42.
led:Hopeless
43.
gtr:Linky Fingaz
44.
str:Ooops!
45.
pad:Nitrogen
46.
str:Pizz Strings
47.
kit:YeaYeaZ
48.
arp:SupermanSaw
49.
key:Orgg Doggie
50.
syn:TinkerToyz
51.
pad:JP Layer
52.
gtr:BedofFire
53.
key:Phat Klav
54.
prc:PHATTrSnares
55.
kit:Betta Beata
56.
led:AllJackedUp!
57.
prc:Itchey
58.
syn:DeGlown
59.
syn:Magic Harp
60.
kit:MuSic2DrIvBy
61.
gtr:SyCoCry
62.
vox:All Talk
63.
bas:Digger Bass
64.
gtr:Heavy
65.
kit:Oh Yeah
66.
kit:Jelly Belly
67.
str:Old Movie
68.
kit:Cool Guy
69.
kit:FriscoLayer
70.
gtr:Dist Dull
71.
key:Stereo Labs
72.
led:Pothole
73.
syn:WePhattField
74.
syn:Ohoooo!
75.
sfx:MarsattaksII
76.
key:Sitar 88
77.
vox:Agony Agony
78.
vox:Voicyst
79.
sfx:BLABTAR
80.
bas:Reedy Thang
81.
amb:Underground
82.
bas:Rez Ripper
83.
pad:DeadMetal 1
84.
syn:Pan Coyote
85.
key:Piano Jam
86.
key:Tiny Wonders
87.
kit:Obsession
88.
kit:Regal Gate
89.
bas:Fretless
90.
sfx:Sick Girl
91.
sfx:KindaMuddy
92.
syn:SPICEBOY:-)
93.
gtr:Destruct
94.
str:Fade It
95.
hit:StrikezAgain
96.
syn:REWIND
97.
bas:Box O Bass
98.
bas:Poppy
99.
pad:OuterLimits
100.
str:FakingIt
101.
102.
103.
104.
105.
106.
107.
108.
109.
110.
111.
112.
113.
114.
115.
116.
117.
118.
119.
120.
121.
122.
123.
124.
125.
126.
127.
str:Section
str:Pizz&Sct MW
str:Nightmare syn:SoftStuff kit:10HiHatMode str:MistyStrng pad:StringLayer pad:HiQ Skwarez vox:FemmeDoTell prc:Kix 1 prc:Kix 2 prc:Snares 1 prc:Snares 2 prc:Snares 3 prc:Hats 1 prc:Hats 2 prc:Cymbals prc:CongasBongos prc:ClapsnSnaps prc:Toms prc:Bells prc:Claves amb:LiquidBatz prc:ShakeHerz
prc:Fill Me
prc:Misc led:I Saw Worms
212
E-MU Systems
Appendix
Preset Listing
Preset Listing
PRESET NOTES
107-1 Gtr:Chickn’Slide
108-1 Gtr:Exciteable
109-1 Gtr:Hen Drix
110-1 Gtr:Lik Delay
Move the Controller N knob while re-triggering notes to hear the start of the sample change. You can tailor the sound to taste with this knob.
User Bank 2, MK-6 Bank 1
0.
1.
syn:Alkalined syn:Auto Doom II
2.
3.
led:Touche pad:Darth Works
4.
5.
key:Harp Klav key:Tine Split
6.
7.
syn:VoxRoller prc:Rainstick
8.
9.
prc:WhirlyBird prc:Fills
10.
prc:MO STacT Snr
11.
prc:Scratches
12.
prc:SciFi Toy 1
13.
prc:SciFi Toy 2
14.
hit:SaddyFace
15.
gtr:Gener El
16.
hit:All 2
17.
prc:Thumb Piano
18.
prc:Per Oct
19.
prc:PerOctLink
20.
gtr:NylonFantasy
21.
brs:Crunchy
22.
syn:Swapy Brass
23.
bas:SubVocoder
24.
brs:Blowhard
25.
brs:Synth Brass
26.
kit:TribeOMatic
27.
bas:Standin
28.
str:Ballad Harp
29.
hit:Sucka Punch
30.
key:CityGiggin
31.
brs:Philta
32.
brs:Biggg
33.
gtr:WackaParty83
34.
gtr:WackaParty2
35.
gtr:Wacka 96
36.
gtr:Wacka 113
37.
gtr:Wacka 3 83
38.
key:Crunch Klav
39.
brs:Hitz
40.
bas:Sonic Sine
41.
vox:TB Eweew
42.
gtr:Cyclone
43.
sfx:DownTheDrain
44.
arp:PhiltaSweepa
45.
kit:09HiHatMode
46.
bas:SubSonicTri
47.
brs:Brass+Tine
48.
sfx:YaYaYa
49.
bas:Deeper
50.
bas:Acid
51.
bas:BelowaWoofer
52.
bas:GutPunched
53.
kit:WhatYouWant?
54.
bas:It Too
55.
brs:Lotsa
56.
bas:Fishy
57.
bas:SubOne
58.
sfx:Brain Rot
59.
bas:FuzzSubby
60.
bas:SubTwo
61.
bas:Pikes Pick
62.
bas:SubFour
63.
bas:SubFive
64.
bas:Pick-A-Sub
65.
bas:Phunky Slap
66.
bas:Homisquare
67.
bas:Crandle
68.
bas:Frogged
69.
bas:Babybass
70.
bas:Soulfuzz
71.
bas:Speakeasy
72.
bas:BellyButton
73.
bas:KeyOnate
74.
bas:Prophet
75.
bas:Persistent
76.
bas:Squared
77.
bas:TheoryBass
78.
bas:MarkOther
79.
bas:Analow
80.
bas:Funk Pop 2
81.
bas:Velo SlapPop
82.
bas:Funky Finger
83.
bas:Funky Pik
84.
bas:Funk Wave
85.
bas:Accidental
86.
bas:Finger Bass
87.
bas:Bagg
88.
bas:Distroy
89.
bas:Blip
90.
bas:Hecho Itter
91.
bas:Dubby
92.
bas:Dubby 2
93.
bas:Grit
94.
bas:Dubby 3
95.
bas:Obeidoo It
96.
bas:Technoid
97.
bas:Akoostik
98.
bas:Plucky
99.
bas:Harpbass
100.
101.
102.
103.
bas:Upright gtr:Crybabe 1 gtr:Chop Drone gtr:Wacka Talkin
104.
105.
106.
107.
108.
109.
110.
111.
112.
113.
114.
115.
116.
117.
118.
119.
120.
121.
122.
123.
124.
125.
126.
127.
gtr:Wacka Do gtr:Chickn'1 gtr:Chickn'Dist
gtr:Chickn'Slide gtr:Exciteable gtr:Hen Drix gtr:Lik Delay
gtr:Lik Choppy gtr:Wackaloo gtr:Willpy gtr:Odlil gtr:YeWah gtr:Wah DisLik gtr:Wah Not gtr:Wah Scale 4 gtr:Wah Scale 7 gtr:Wah Upper gtr:SpRinkel hit:Blue Note syn:WapperFuzz syn:Slippery gtr:DirtyNoter kit:HappY'Z str:Uni Strings
MK-6 Operation Manual
213
Appendix
Preset Listing
Preset Listing
PRESET NOTES
034-2 Vox:All Female
035-2 Vox:All Male
Try moving the Mod Wheel and notice that a presence filter is introduced to give the vocals a high-end sizzle. Move the FC knob (A) in conjunction for some interesting EQ settings.
038-2 Key:RoBotRhodes
056-2 Key:SYCO KOOL
063-2 Key:DEEPrTHaN?8
Watch your ears!
Fc transforms everything!
000-2 Gtr:Wah Walker
122-2 ScratchMatic
Move the Mod Wheel while holding a note. The note repeats!
User Bank 3, MK-6 Bank 2
0.
1.
2.
3.
4.
5.
6.
gtr:Wah Walker syn:Sin Symph 1 gtr:Mood gtr:Nylon gtr:Nylon 2 gtr:Slide Hit gtr:Fine Slide gtr:Grit Slide
7.
8.
9.
10.
11.
gtr:Strata gtr:Strum Glass gtr:Flange Pick gtr:Grunge
12.
13.
14.
15.
16.
17.
18.
19.
syn:Cutting Thru gtr:Slo Strum gtr:Kraked Tube gtr:Burnt vox:Skylab gtr:Slicer gtr:Dissed Hit gtr:Doom 1
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
pad:Drone 1 pad:Drone 2 pad:Drone Swirl str:Ensemble 1 key:Frittering hit:Guit n Hat hit:Satisfying hit:Org Creept led:Deep Thought led:70's Lead led:Guitlet syn:Synthomatic pad:Transform key:Syco vox 88
vox:All Female vox:All Male
gtr:Dev Bitter key:So Kazual
key:RoBotRhodes
bas:DropOffSine1 bas:DropOffSine2 key:Org Basic key:Klav Mav
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
syn:ReturnToZoo str:Disco Diva pad:DanceLitez gtr:Weeoww led:RaveEEEE led:RaveAAHH pad:AditivOrgan pad:Trans pad:Narwhal str:Mondostring kit:WideOne kit:ThugItUp kit:OnDaStreet
key:SYCO KOOL
pad:KnobbyTwirly kit:PhilterFreak kit:Nu Funk kit:Relapse kit:HardStep rom:Play Thru key:DEEPrTHaN?8
hit:Knock U Out hit:Nice Under hit:Splash str:Suspence key:Growl Drop key:HarpsiFlange str:HybridSweep key:Kool Kord key:Org Roll key:Perk Organ str:Synth String key:Horror Glide brs:Caliente brs:Trump Slide led:FantasyWormz led:Asthma Wheez led:Yearning led:Reeder led:Violetta led:Stevie sfx:Mr.Clean
sfx:Shield
86.
87.
88.
89.
90.
91.
92.
93.
sfx:Syclear sfx:GoDzilaVsEmu vox:Ahyeeyah pad:Pulsar hit:Carney Hits hit:Brazit 1 hit:Brazit 2 hit:Brazit 3
94.
95.
96.
97.
hit:Multiphase hit:Brazit 4 hit:Spizy pad:Worry
98.
99.
100.
101.
str:Orchestsyn syn:Grinder syn:Weeperr amb:Seascape
102.
103.
104.
105.
106.
107.
108.
109.
110.
111.
112.
113.
114.
115.
116.
117.
118.
119.
120.
121.
122.
123.
124.
125.
126.
127.
sfx:Wet Trippy syn:Two Step syn:Prosync kit:Mo Dist kit:Slappy kit:DarkFlower kit:Funk 4 Life kit:Perky kit:Crunch kit:Klippy kit:GM Two kit:SubwayTunnel kit:ClasikStudio kit:Tracer gtr:Vinylist kit:Vilper kit:DubItUp kit:NewBeat kit:CornaSto' sfx:BlowinUp1MW prc:ScratchMatic kit:Construction kit:NuMetal bas:Cube Bass bas:Iggio Basso syn:Objections
214
E-MU Systems
Appendix
Preset Listing
Preset Listing
PRESET NOTES
051-3 Str:VIRGOE
Play the sound then move the
FC knob all the way to the right and notice how the sound completely transforms from a string section to a distorted bass tone.
040-3 Key:Pretteeee
045-3 Key:MO 88
048-3 Gtr:Gen X
050-3 Key:Pretteeee
056-3 Key:StoneGroove
057-3 Key:WaThunk
These presets change timbres significantly when the FC knob is turned.
MK-6 Bank 3
0.
1.
2.
3.
4.
5.
6.
vox:Dronodians C kit:ItsUAgAIn?
kit:[email protected]&#!
prc:Randition prc:Ms.Alaneous
sfx:D'struCshunn kit:Final Fill str:StackedLegs
7.
8.
9.
10.
11.
syn:FunkBut!
vox:SingingTB vox:La Robofemme kit:RiDe E-Z
12.
13.
kit:Doopy Dooy kit:Krazy Kit
14.
15.
kit:SalsA Crunk kit:Wobulator
16.
17.
kit:Lesster key:NoMoreKlav
18.
19.
gtr:Phasy Strat kit:A YO IIGHT
20.
21.
kit:GOOD MU Sic syn:Sin Symph 2
22.
23.
hit:Dancerail hit:BiggieOrch
24.
25.
kit:GuesWho'sBak pad:Siren Spin
26.
27.
vox:Pretteeee.II
syn:OsterVoxer C
28.
29.
rom:I Like U bas:Bo's Bass
30.
31.
kit:TiME SquaRe led:Replicant
32.
33.
syn:Synth Symph syn:Cutter Lead
34.
35.
hit:Moody gtr:Geet Pik
36.
37.
str:Sa-Spen Ful key:Perc Klav
38.
39.
key:SiMPeL sfx:theHitcher
40.
41.
key:Pretteeee..
.
led:DARKLEAD
42.
amb:CosmicKlasik
43.
44.
syn:WAWIFLHEAD vox:Voxcade
45.
46.
key:MO 88
key:Piano Blip
47.
48.
syn:After Pluck key:Doodee
49.
50.
gtr:Gen X key:KeyStonE
51.
52.
str:VIRGOE
syn:Buchla Boy
53.
54.
arp:AgonyOrgon syn:Dreemy
55.
56.
key:MO'E DAN
key:StoneGroove
57.
58.
key:WaThunk
syn:CountryTalk
59.
60.
gtr:SprinkleItOn kit:EasyRider
61.
62.
led:KritterChiff kit:Stoopit
63.
64.
syn:SilkWerm syn:LadyOrgan2
65.
66.
hit:Houseping brs:Brashit
67.
68.
kit:Young Luv pad:TheMadSweep
69.
70.
kit:Woo Kid pad:JoVox
71.
72.
bas:Razza led:RaveLine
73.
74.
led:SineWorm led:ProphetLine
75.
76.
led:Worm4th led:Wheezy
77.
78.
led:Homie pad:OB Layer
79.
80.
amb:VocodAhhh...
key:PhatttTines
81.
82.
sfx:JedImindtrik syn:Whisle Heave
83.
84.
key:FuTureRHodes syn:PowerTool
85.
pad:Luxury
86.
87.
led:Glue Tone kit:MarchMadnezZ
88.
89.
key:Tine Fuzzies gtr:Voyeur Trax
90.
91.
syn:BLASTO bas:Melophase
92.
93.
key:IntoTheLight gtr:Psycho
94.
95.
kit:7 HiHatMode key:Touch Klav
96.
97.
hit:Evil 8bit kit:WhatUstarted
98.
99.
kit:BabyDoll kit:Lo Kit
100.
led:Play Day
101.
kit:U NO
102.
prc:Hummer thumb
103.
kit:My Main Man
104.
vox:Releaser$
105.
scr:ItPlat Num
106.
arp:Nefarious
107.
prc:HiHatMono 1
108.
prc:HiHatMono 2
109.
key:Skini Klav
110.
prc:Bells Mono
111.
key:HipHopTines1
112.
key:HipHopTines2
113.
led:Reedy Leed
114.
led:Screamer
115.
led:MonoBrass
116.
pad:Chasers MW
117.
key:TremblRODES
118.
pad:MeltingHartz
119.
arp:Low&Square
120.
sfx:Tin Man
121.
str:Pitzy Pluck
122.
led:Slo Sex
123.
key:Love Phase
124.
key:NerveOrgan
125.
key:ReBeckTines
126.
key:Mutten Org
127.
:Default v1.0
MK-6 Operation Manual
215
Appendix
Preset Application Notes
Preset
Application
Notes
It is recommended you set the Master Tempo to 91 in the Controllers menu. Most of the MK-6 riffs were designed to be played at this tempo.
If you always want your unit to boot at 91 BPM, save that tempo to the first
Multisetup in the Multi Menu.
Preset #005-4 arp:C1 LatchGruv
•
Pressing
C1
latches an arpeggiated groove until retriggered.
• CTLs A-L
do the usual.
•
The
Mod Wheel
(which is also CTL M) controls the amount of FXB, fattening or thinning the mix with more or less chorus.
• CTL N
controls the tempo, from super slow to hyper fast.
• CTL O
extends the events of the arp pattern
• CTL P
extends the intervals of the arp pattern
Most of the control lies in the Preset Edit menu under Arps. Most importantly, the pattern selected determines the sound. Also, pattern speed, gate, pre delay, duration and recycle shape the results.
The rest of the control lies in selecting the sounds to arpeggiate (kits, perc or otherwise) in the Instrument menu. And of course, moving the knobs makes everything change!
This idea can spawn entire banks of spin-off grooves. Just select new arp patterns and/or kits and mess with the settings of the arps and controllers until you like what you hear. It's fun to save a bunch of preset variations, then scroll thru them with the groove latched on for cool beat variations and breaks.
Preset #011-4 syn:Invitation
This is a lovely and very involved preset. The tribal back beat on the bottom half of the keyboard can be added and removed with the mod wheel. The top half's harmonics can be controlled by moving Knob N.
Knob O is usually reserved for arpeggiator functions, but we made an exception this time. If you would like to change the speed of the backbeat
(which will also change the pitch), turn it!
Beats
There are lots of beats in the riff list that can be assigned to presets. For example, the following kit category presets become beats (bts) when assigned their respective beats riffs.
000-0 Becky Boiz
098-3 BabyDoll
047-0 YeaYeaZ
001-3 ItsUAgAIn?
And many existing beats presets play beats not designed for them with surprisingly cool results.
216
E-MU Systems
Appendix
Riff Listing
Riff Listing
1.
2.
3.
4.
5.
6.
AUD-C Triad
AUD-C1 (4 bars)
AUD-C3 (1 bar)
AUD-C3 (2 Bars)
AUD-C3 (4 Bars)
AUD-C4
7.
8.
AUD-Cm7
AUD-Cm9
9.
10.
AUD-Cmaj7
AUD-Cs Up
11.
12.
13.
14.
15.
16.
17.
18.
AUD-Cs Up-Down
AMB-Underground
AMB-Vocoder
BAS-Acid1
BAS-AnythingOnce
BAS-Avalanched
BAS-Bagg
BAS-Baby
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
BAS-BellyButton
BAS-BellyButton2
BAS-BelowaWoofer
BAS-Blip
BAS-Box O
BAS-Crandle
BAS-Cube
BAS-Decision99
BAS-Deeper
BAS-Digger
BAS-EatMe
BAS-Fishy
BAS-Frogged
BAS-Funk PM
BAS-Funk Pop
BAS-Funk Slap
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
BAS-Funky Pik
BAS-Grit
BAS-GutPunched
BAS-HarpOS1
BAS-HarpOS2
BAS-HarpOS3
BAS-HellaBoom
BAS-Hummertime
BAS-InTheory
BAS-It Too
BAS-KeyONate
BAS-KeyONate2
74.
75.
76.
77.
70.
71.
72.
73.
66.
67.
68.
69.
62.
63.
64.
65.
58.
59.
60.
61.
54.
55.
56.
57.
47.
48.
49.
50.
51.
52.
53.
86.
87.
88.
89.
90.
91.
92.
82.
83.
84.
85.
78.
79.
80.
81.
BAS-MarkOther
BAS-MidWest
BAS-Nanife
BAS-Persistence
BAS-PhattPeaches
BAS-Plucky
BAS-PluckySynth
BAS-Poppy
BAS-Prophet
BAS-RezRipper
BAS-SP Stand-Up
BAS-SlapPop
BAS-SonicSine
BAS-Soulified
BAS-Soul Trouble
BAS-Soulfuzz
BAS-Speakeasy
BAS-Speakeasy 2
BAS-Squared
BAS-Standin
BAS-Standin 2
BAS-Subby
BAS-SubFive
BAS-SubOne
BAS-SubsonicTRi
BAS-Talk2Me
BAS-Technoid
BAS-TheDeepest
BAS-TheDeepest2
BAS-Theory
BAS-TheOtherMarc
BAS-Upright One
BAS-WarmWelcome
BAS-We Be Subbin
BAS-WhereIsShe
BAS-WoofaWrekka
BAS-YarsRevenge
BRS-Bigg
BRS-BrassTine
BRS-Hitz
BRS-Caliente
BRS-Crunchy
BRS-Lotsa
BRS-Lotsa2
BRS-Mo
BRS-Philta
93.
94.
95.
96.
97.
BRS-SlapDatBrass
BRS-SlapDat 2
GTR-AllWahs
GTR-Burnt
GTR-Chord Bed
GTR-Cyclone
98.
99.
100.
GTR-DissedHit
GTR-Fine Slide
101.
GTR-Flange Pick
102.
103.
104.
105.
GTR-Gen X
GTR-Gen X 2
GTR-GenerEl
GTR-Grit Slide
106.
107.
108.
109.
110.
111.
112.
113.
GTR-Grunge
GTR-HrndrixWah
GTR-Lik Choppy
GTR-LikeThisLik
GTR-Mood Riff
GTR-Nylon
GTR-Nylon 1 2
GTR-Nylon 2
114.
115.
116.
117.
118.
119.
120.
121.
122.
123.
124.
125.
126.
127.
128.
129.
130.
131.
132.
133.
134.
135.
136.
137.
GTR-Nylon 2 2
GTR-NylonArp
GTR-NylonArp2
GTR-NylonFantasy
GTR-One Shot
GTR-PhiltaSweep
GTR-Pinky Fingaz
GTR-Pop 2
GTR-RBNylonWav
GTR-SlideHit
GTR-Slo Strum
GTR-Sprinkle
GTR-Strata
GTR-Strata 2
GTR-StrumGlass
GTR-Wacka 113
GTR-Wacka 96
GTR-Wackaloo
GTR-WahGettars
GTR-Wah Not
GTR-WahScale4
GTR-WeezlFuzz
HIT-DroppinOff
HIT-GuitHat
MK-6 Operation Manual
217
Riff Listing
Appendix
Riff Listing
139.
140.
141.
142.
143.
144.
145.
146.
147.
148.
149.
150.
151.
152.
153.
154.
155.
156.
157.
158.
159.
160.
161.
162.
163.
164.
165.
166.
167.
168.
169.
170.
171.
172.
173.
174.
175.
176.
177.
178.
179.
180.
181.
182.
HIT-InConcert
HIT-KnockUOut
HIT-Nice Under
HIT-OrgCreept
HIT-Satisfying
HIT-Serious
HIT-Serious2
HIT-Splash
HIT-StrikezAgain
HIT-Sweeit
KEY-010FuzzTine
KEY-1NoteMello
KEY-ChordsHits
KEY-ChordsHits2
KEY-CityGiggin
KEY-DX Organ
KEY-Far fg nOrgn
KEY-GrowlDrop
KEY-HarpsiFlange
KEY-Horror Glide
KEY-HybridSweep
KEY-Keystone
KEY-Klav Synth
KEY-Klavin It
KEY-KoolKord
KEY-Mo 88
KEY-Mo E Dan
KEY-Org Roll
KEY-OrgLite
KEY-OrgRoll2
KEY-OrgStoneGruv
KEY-Perc Org
KEY-Sitar 88
KEY-Syco Vox 88
KEY-TremblRODES
KEY-Vinyl 73
KEY-WahChunk
LED-70s Lead
LED-Deep Thought
LED-DeepThought2
LED-Fantasy
LED-Fantasy2
LED-Fantasy3
LED-I Saw Worms
183.
184.
185.
186.
187.
188.
189.
190.
191.
192.
193.
194.
195.
196.
197.
198.
199.
200.
201.
202.
203.
204.
205.
206.
207.
208.
209.
210.
211.
212.
213.
214.
215.
216.
217.
218.
219.
220.
221.
222.
223.
224.
225.
226.
LED-ProphetLine
LED-Raveline
LED-Raveline2
LED-Reeder
LED-SineWorm
LED-SineWorm2
LED-Stevie
LED-Violetta
LED-Wali Wali
LED-Yearning
PAD-Addtive Org
PAD-Cherubs
PAD-Cherubs 2
PAD-DanceLitez
PAD-DeadMetal1
PAD-Drone 1
PAD-Drone 1 2
PAD-Drone 2
HIT-InConcert
HIT-KnockUOut
HIT-Nice Under
HIT-OrgCreept
HIT-Satisfying
HIT-Serious
HIT-Serious2
HIT-Splash
HIT-StrikezAgain
HIT-Sweeit
KEY-010FuzzTine
KEY-1NoteMello
KEY-ChordsHits
KEY-ChordsHits2
KEY-CityGiggin
KEY-DX Organ
KEY-Far fg nOrgn
KEY-GrowlDrop
KEY-HarpsiFlange
KEY-Horror Glide
KEY-HybridSweep
KEY-Keystone
KEY-Klav Synth
KEY-Klavin It
KEY-KoolKord
KEY-Mo 88
227.
228.
229.
230.
231.
232.
233.
234.
235.
236.
237.
238.
239.
240.
241.
242.
243.
244.
245.
246.
247.
248.
249.
250.
251.
252.
253.
254.
255.
256.
257.
258.
259.
260.
261.
262.
263.
264.
265.
266.
267.
268.
269.
270.
KEY-Mo E Dan
KEY-Org Roll
KEY-OrgLite
KEY-OrgRoll2
KEY-OrgStoneGruv
KEY-Perc Org
KEY-Sitar 88
KEY-Syco Vox 88
KEY-TremblRODES
KEY-Vinyl 73
KEY-WahChunk
LED-70s Lead
LED-Deep Thought
LED-DeepThought2
LED-Fantasy
LED-Fantasy2
LED-Fantasy3
LED-I Saw Worms
LED-ProphetLine
LED-Raveline
LED-Raveline2
LED-Reeder
LED-SineWorm
LED-SineWorm2
LED-Stevie
LED-Violetta
LED-Wali Wali
LED-Yearning
PAD-Addtive Org
PAD-Cherubs
PAD-Cherubs 2
PAD-DanceLitez
PAD-DeadMetal1
PAD-Drone 1
PAD-Drone 1 2
PAD-Drone 2
SYN-PLUCKY
SYN-Plucky 2
SYN-Prosync
SYN-Silkwerm
SYN-Syco Girl
SYN-Wan X
SYN-Weeperr
SYN-Winny
218
E-MU Systems
Riff Listing
Appendix
Riff Listing
271.
272.
273.
274.
275.
276.
277.
278.
279.
280.
281.
282.
283.
284.
285.
286.
287.
288.
289.
290.
291.
292.
293.
294.
295.
296.
297.
298.
299.
300.
301.
302.
303.
304.
305.
306.
307.
308.
309.
310.
311.
312.
313.
314.
315.
VOX-Agony Agony
VOX-DaddysGal
VOX-Voicyst
VOX-Voxcade
WAV-Sinusoid
WAV-Square
PRC-Kicks 1
PRC-Kix 1
PRC-Kix 2
PRC-Misc
PRC-Per Oct
PRC-Scratches
KIT-AllmyMoMeeS
KIT-BettaBeata
KIT-Construction
KIT-CornaSto
KIT-CornaSto2
KIT-Crunch
KIT-DarkFlower
KIT-DarkFlower2
KIT-DePhlanga
KIT-FriscoLayer
KIT-Funk 4 Life
KIT-GM One
KIT-GM Two
KIT-GuessWhosBak
KIT-HappyZ
KIT-HiverJiver
KIT-HiverJiver2
KIT-Hot n Steamy
KIT-KattznJammah
KIT-KlasicStudio
KIT-Klippy
KIT-Lesster
KIT-MO GM 1
KIT-MarchMadness
KIT-MarchMadnezZ
KIT-Mo Dist
KIT-Music2DrivBy
KIT-New Beat
KIT-NuMetal
KIT-Oh Yeah
KIT-OnDaStreet
KIT-Perky
KIT-Perky2
316.
317.
318.
319.
320.
321.
322.
323.
324.
325.
326.
327.
328.
329.
330.
331.
332.
333.
334.
335.
336.
337.
338.
339.
340.
341.
342.
343.
344.
345.
346.
347.
348.
349.
350.
351.
352.
353.
354.
355.
356.
357.
358.
359.
360.
KIT-PhiltaFreak
KIT-PhiltaFreak2
KIT-Relapse
KIT-Relapse2
KIT-ScratchHead
KIT-Slappy
KIT-SubwayTunnel
KIT-The Ultimate
KIT-ThugitUp
KIT-TimesSquare
KIT-U Aint
KIT-U No
KIT-Vilper
KIT-Vilper2
KIT-Warp
KIT-Wide One
KIT-WideOne2
KIT-Woo Kid
BTS-8nt Urz
BTS-AllMyMomeeS
BTS-BabyDoll
BTS-Beat Prophet
BTS-Becky Boise
BTS-Can I Talk
BTS-ClapYoHandZ
BTS-CreatrLayr
BTS-CreatrLayr2
BTS-DialToneZ
BTS-DirTay drTee
BTS-DJ GLO Jenkn
BTS-DoiTZ
BTS-Dr. Banner
BTS-FemaleBasher
BTS-Geechee GLO
BTS-GLO BabieeS
BTS-GrungeZ
BTS-HeY
BTS-Hot n Steam2
BTS-Hot n Steamy
BTS-I Miss U
BTS-Iced Out
BTS-ItsLikeDat
BTS-ItsUAgAIn
BTS-KattznJammah
BTS-LaLaZ
361.
362.
363.
364.
365.
366.
367.
368.
369.
370.
371.
372.
373.
374.
375.
376.
377.
378.
379.
380.
381.
382.
383.
384.
385.
386.
387.
388.
389.
390.
391.
392.
393.
394.
395.
396.
397.
398.
399.
400.
401.
402.
403.
404.
405.
BTS-Last Chance
BTS-Lily 3
BTS-Lily 4
BTS-Lily 5
BTS-Luv Joens
BTS-MaleBasher
BTS-MoHappyFeet
BTS-MooshooClan
BTS-MounTenbery
BTS-My Girl
BTS-NWO
BTS-Oh BaebeeZ
BTS-Play Cousin
BTS-Q BORO
BTS-ShakitZ
BTS-SistaHoney
BTS-SmoothOneZ
BTS-SpaceBoyZ
BTS-The Ultimate
BTS-U4 Got ME
BTS-VideoGamez
BTS-While U Werk
BTS-Wide Hive
BTS-YeaYeaZ
BTS-ZMan
BTS-BackInTheDay
BTS-Creekside
BTS-Dirt Bag
BTS-Emu Class
BTS-Fan Tu C
BTS-HeartBroken
BTS-Her Echo
BTS-KnoWudIMean
BTS-Les Gooo
BTS-Litey
BTS-Litey Luv
BTS-Mad MP
BTS-Mello Lady
BTS-Nitey Luv
BTS-NoT awrite
BTS-Oo
BTS-Oo! Noe
BTS-Plinky
BTS-Po! Noe
BTS-Qic Lee
MK-6 Operation Manual
219
Riff Listing
Appendix
Riff Listing
406.
407.
408.
409.
410.
411.
412.
413.
414.
BTS-Qictasey
BTS-Rodeo
BTS-Sic Yo
BTS-So
BTS-So Wut
BTS-Too Biz E
BTS-ToTheRToTheB
BTS-Vel awrong
BTS-Wel awrite
415.
416.
417.
418.
419.
420.
421.
422.
423.
BTS-Wut Smile
BTS-Yup
BTS-Z Lala
BTS-Zyon
BTS-ZMicrosize2
BTS-ZOnlyPaper4
BTS-ZSandpaper3
BTS-ZSandpaper5
BTS-ZGritzkeyz
424.
425.
426.
427.
428.
429.
430.
BTS-ZParlor Org
BTS-ZSensitive
BTS-ZShagNST
BTS-ZTellUSumpn
BTS-LaidBack
BTS-MillaTime
BTS-PercJam
220
E-MU Systems
Appendix
Instrument Listing
Instrument
Listing
27.
28.
29.
30.
23.
24.
25.
26.
19.
20.
21.
22.
15.
16.
17.
18.
35.
36.
37.
38.
31.
32.
33.
34.
39.
40.
11.
12.
13.
14.
7.
8.
9.
10.
3.
4.
5.
6.
0.
1.
2.
:None bas:The Deepest bas:Hummertime bas:WoofaWrekka bas:Hella Boom bas:Decision'99 bas:Acid 1 bas:Acid 2 bas:Crandle bas:Frog Factory bas:Talk2MeBaby bas:Soulified bas:Speakeasy bas:Warm Welcome bas:Belly-Button bas:KeyONate bas:TheOtherMarc bas:Closer To It bas:Fish Fry bas:Prophet bas:In Theory bas:Persistence bas:Funk Pop 1 bas:Funk Pop2 bas:Funk Slap bas:SlapPopSwtch bas:Funk Finger bas:Funk Hollow bas:Funk Pick bas:Funk Wave 1 bas:Funk Wave 2 bas:Accidental bas:Finger Bass bas:Bagg bas:Destroyer bas:Blipp bas:Echo Hitter bas:DubbyDoRite bas:Dub 2 bas:GrittyStanda bas:Gritty Pulla
This section lists the raw instruments in the MK-6 “MROM1” set.
Instruments consist of either multisamples or single samples.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
bas:Krafty 1 bas:Krafty 2 bas:Swing Hitter bas:Technoid bas:Bender Hit bas:Synth Boom bas:PluckySynth bas:HarpOneShot1 bas:HarpOneShot2 bas:HarpOneShot3 bas:Upright One bas:SP Stand-Up bas:Bass Slide bas:FX F#0-B0 gtr:All Wahs gtr:Crybaby Wah1 gtr:Crybaby Wah2 gtr:5strkchuck83 gtr:Wow Wacka 83 gtr:WackaGruv283 gtr:Wah Jan 83 gtr:Wacka 96bpm gtr:Wah 96 2 gtr:Wah 96 3 gtr:CoolWaRif113 gtr:WACKA Do 113 gtr:113 Wackaloo gtr:Wah Coming gtr:Chickenpickr gtr:Chickjacked gtr:Chucka Run gtr:ExcitableWah gtr:Hendrix Wah gtr:LikethisLik gtr:Lil' Chopper gtr:Lil' Chukka gtr:Lil Wah Run gtr:Oddlilhitter gtr:Oh YEahWah gtr:Versa Wa gtr:Wah LikDis
82.
83.
84.
85.
86.
87.
88.
89.
90.
91.
92.
93.
94.
95.
96.
gtr:Wah Not?
gtr:Wah Scale 1 gtr:Wah Scale 2 gtr:Wah Scale 3 gtr:Wah Scale 4 gtr:Wah Scale 5 gtr:Wah Scale 6 gtr:Wah Scale 7 gtr:Wah Scaler gtr:Wah Scaler 2 gtr:WahSurprised gtr:Wah Upper gtr:Walk On Waka gtr:Walker Wah gtr:Wuckit
97.
98.
gtr:Funky Likka gtr:Squawk Hit
99.
gtr:Vinyl Mood
100.
gtr:1 Note Mute
101.
gtr:RapNylonWave
102.
gtr:R&B NylonWav
103.
gtr:EffectsD0-B0
104.
gtr:Happy Strum
105.
gtr:Sexy Slide 1
106.
gtr:Sexy Slide 2
107.
gtr:2StrokeStrum
108.
gtr:Fast Slider
109.
gtr:Fine Slider
110.
gtr:Nln Strum Dn
111.
gtr:Gritty Slide
112.
gtr:Knock 1
113.
gtr:Knock 2
114.
gtr:Squeak 1
115.
gtr:Squeak 2
116.
gtr:General Elec
117.
gtr:Strat 1 Shot
118.
gtr:NotherElWave
119.
gtr:Dis One Notr
120.
gtr:Funk Pop
121.
gtr:Pop 2
122.
gtr:Chord Bed
MK-6 Operation Manual
221
Appendix
Instrument Listing
Instrument Listing
147.
148.
149.
150.
151.
152.
153.
154.
139.
140.
141.
142.
143.
144.
145.
146.
131.
132.
133.
134.
135.
136.
137.
138.
123.
124.
125.
126.
127.
128.
129.
130.
155.
156.
157.
158.
159.
160.
161.
162.
163.
164.
165.
166.
167.
gtr:Krackly Kord gtr:Amp Noise gtr:Amp Ped gtr:All Burners gtr:Hardcore gtr:Psycho Noise gtr:Fuzz Tone gtr:Slicer gtr:Dissed Hit gtr:Doooom pad:Drone 1 pad:Drone 2 pad:Drone 3 pad:Sirens hit:Guit n Hat hit:Wah Kicker hit:Satisfying hit:SP12OrgChord hit:Weird Gtr led:DeepThoughts led:Fantastic70s led:Guitlet Wave syn:Synthomatic led:Transformed brs:Caliente!
hit:Tpt Solo led:Hoodwormed led:Yearning 2 B led:ReedOPlenty led:AmberVioleta led:Stevie Rockz pad:Mr. Clean sfx:Shield sfx:Deadly Cycle sfx:Reaper vox:Atseeyeah pad:Pulsar gtr:1ShotElectra brs:CarnavalHits brs:Carnaval 1 brs:Carnaval 2 brs:Carnaval 3 brs:Carnaval 4 brs:Carnaval 5 hit:Spicy Brass
192.
193.
194.
195.
196.
197.
198.
199.
184.
185.
186.
187.
188.
189.
190.
191.
176.
177.
178.
179.
180.
181.
182.
183.
168.
169.
170.
171.
172.
173.
174.
175.
200.
201.
202.
203.
204.
205.
206.
207.
208.
209.
210.
211.
212.
sfx:Worry Pad str:Orcha Chord hit:DeathStrike hit:Sweetness 1 hit:Sweetness 2 hit:QuirkyDrmBed hit:Intro Beat hit:Knock U Out!
hit:Blip hit:Caprice hit:Sax Line gtr:Owp Hit hit:Bottom 1 hit:Bottom 2 hit:Nice Under hit:Nice Under 2 hit:Righteous sfx:Cop Tone 1 sfx:Cop Tone 2 sfx:Beep Tone 1 sfx:Beep Tone 2 sfx:ComputerBeep sfx:Ping Beep hit:Key Kord min hit:X hit:Honk sfx:Dial 8 sfx:Dial 6 sfx:Dial 5 sfx:Dial 4 sfx:Dial 3 sfx:Dial 2 sfx:Dial 1 hit:Annoy hit:Orchit brs:Waver Stab brs:40's Horn sfx:Bat hit:Bass Note hit:Hatthang sfx:AmusemntCrwd hit:SynChord hit:Synthetic hit:Padlove hit:8 Bit Fright
237.
238.
239.
240.
241.
242.
243.
244.
229.
230.
231.
232.
233.
234.
235.
236.
221.
222.
223.
224.
225.
226.
227.
228.
213.
214.
215.
216.
217.
218.
219.
220.
245.
246.
247.
248.
249.
250.
251.
252.
253.
254.
255.
256.
257.
hit:Synth Ditty hit:House Chrd ?
hit:HornStabber brs:Stabber sfx:JungleWiggly sfx:Wet Tripper hit:Dum Dum 1 hit:Dum Dum 2 hit:Jungle hit:Bongo Fury hit:Drop Off syn:2 Step hit:the Snap sfx:HookReverse brs:Tasty Lick brs:Next Tasty 1 brs:NotherTasty brs:Next Tasty 2 syn:Flutey hit:Brass Attack gtr:Single Next brs:Falling brs:Sfz syn:Grinder hit:HardSynStab1 hit:HardSynStab2 brs:Quirky Hit hit:StressRelief hit:Korn syn:Wheeeeper hit:It's A...
hit:It's A nothr hit:Rap Zapper hit:Uplifter hit:Good'Nuff hit:Laser Strike hit:Wild Horns hit:Cluster hit:To the Point hit:Tentative hit:Mood Swing syn:Sea Story str:Fade Hit hit:Sentimental hit:DeD RINGER
222
E-MU Systems
Appendix
Instrument Listing
Instrument Listing
258.
hit:Chord Ends
259.
hit:Monster
260.
hit:SP Super
261.
hit:With 2 Tts
262.
hit:Splashy
263.
str:SP Suspense
264.
hit:Weird Nylon
265.
hit:Sp Reversal
266.
gtr:Mood Riff
267.
syn:BrassProphet
268.
pad:Plucked Gold
269.
syn:Winny
270.
syn:P5 Sync
271.
wav:Sinusoid
272.
wav:Sine /\ 2
273.
wav:SineInvrt/\2
274.
wav:Sine /\ 3
275.
wav:SineInvrt/\3
276.
wav:Sawtooth
277.
wav:Square
278.
wav:Triangle
279.
key:010 El Tine
280.
key:1 Note Mello
281.
key:Nother1Noter
282.
key:010 FuzzTine
283.
key:Res 1 Shot
284.
key:Chords/Hits
285.
key:KoolOrgKord1
286.
key:Kool Kord 2
287.
key:Rhodes FX 1
288.
key:WindownLetGo
289.
key:Loop da Loop
290.
key:Growl Drop
291.
key:Org Roll 1
292.
key:Harpsinote
293.
hit:DanceKey1
294.
hit:DanceKey2
295.
hit:DanceKey3
296.
hit:DanceKey4
297.
hit:DanceKey5
298.
hit:Organ
299.
hit:Maj Org
300.
hit:DirtyTine
301.
hit:Piano Lick
302.
hit:In Concert
303.
key:Kool Kord
304.
key:Nother 'No
305.
key:Perc Organ
306.
str:Interrupted
307.
str:Section Pizz
308.
str:Orch Harp
309.
str:Hybrid Synth
310.
str:Sctn Legato
311.
str:Synthetic
312.
str:MoodChrdStab
313.
str:Mood Stab 2
314.
str:Harp Gliss
315.
str:Screenplay
316.
str:Sp Loooopy
317.
hit:Brass Balls
318.
str:Hip Hop Pizz
319.
str:Big PluckHit
320.
str:Rap OrchRiff
321.
str:Heartbreaker
322.
vox:TB Ooh! 1
323.
vox:TB Ooh! 2
324.
vox:Talk Box Ooh
325.
vox:Talk Box Aha
326.
vox:Freak!
327.
vox:TBLet'sDance
328.
vox:Booms!
329.
vox:Doit!
330.
vox:Oh Yeahs!
331.
vox:Dan Cher 1
332.
vox:Dan Cher 2
333.
vox:Funky 1
334.
vox:Funky 2
335.
vox:All Vowels
336.
vox:AllNTPVowels
337.
vox:VowelEachOct
338.
vox:Vowel Train
339.
vox:Vowel Train2
340.
vox:Vocoder
341.
vox:All Men
342.
vox:All Femmes
343.
vox:Owwwwwwww
344.
vox:Screamer
345.
vox:YahWailer
346.
vox:Wassup???
347.
vox:Techno Yeah
348.
vox:Scratch Talk
349.
hit:Scratch Box
350.
vox:Podge
351.
syn:Vox Pad
352.
vox:TB Pad 1
353.
vox:TB Pad 2
354.
vox:Talk Brush
355.
gtr:DistantCry
356.
gtr:Heavy
357.
syn:Vox Roller
358.
vox:TB Boom 1
359.
vox:TB Boom 2
360.
vox:TB Boom 3
361.
vox:TB Boom 4
362.
vox:TB Boom 5
363.
vox:TB Boom 6
364.
vox:TB Do It 1
365.
vox:TB Do It 2
366.
vox:TB Do It 3
367.
vox:TB Do It 4
368.
vox:TB Do It 5
369.
vox:TB Oh Yeah 1
370.
vox:TB Oh Yeah 2
371.
vox:TB Oh Yeah 3
372.
vox:TB Oh Yeah 4
373.
vox:TB Oh Yeah 5
374.
vox:TB Oh Yeah 6
375.
vox:TB Oh Yeah 7
376.
vox:TB Vowel A
377.
vox:TB Vowel E
378.
vox:TB Vowel I
379.
vox:TB Vowel O
380.
vox:TB Vowel U
381.
vox:TB Vowel Ah
382.
vox:TB Vowel Eh
383.
vox:TB Vowel Uh
384.
vox:TB Vowel Oo
385.
vox:Gina Ew 1
386.
vox:Gina Ew 2
387.
vox:Earth Lisa
388.
vox:Male 1
389.
vox:Male 2
390.
vox:Male 3
391.
vox:Male 4
392.
vox:Male 5
MK-6 Operation Manual
223
Appendix
Instrument Listing
Instrument Listing
393.
vox:Male 6
394.
vox:Male 7
395.
396.
397.
398.
vox:Male 8 vox:Male 9 vox:Male 10 vox:Femme 1
399.
400.
401.
402.
403.
404.
405.
406.
vox:Femme 2 vox:Femme 3 vox:Femme 4 vox:Femme 5 vox:Femme 6 vox:Femme 7 vox:Femme 8 vox:Femme 9
407.
408.
409.
410.
411.
412.
413.
414.
415.
416.
417.
418.
419.
420.
421.
422.
vox:Femme 10 vox:Femme 11 vox:Femme 12 vox:Femme 13 key:Farfisa Low key:Farfisa key:Vox Organ key:Organ 1 key:Organ 2 key:Org Day key:Org Nod key:Org Lite key:Disco Organ key:DX Organ key:JX Organ led:Full Force
423.
424.
425.
426.
427.
428.
429.
430.
431.
432.
433.
434.
435.
436.
syn:Brite Brass syn:Muted Brass syn:Classic 1 syn:Classic 2 syn:EdgyVeryEdgy syn:Tone Wall syn:Jungle Lead led:Wormy 1 led:Wormy 2 led:Wormy 3 led:H20 syn:Wave Cutter syn:Rail to Rail key:Klavin It
461.
462.
463.
464.
465.
466.
467.
468.
453.
454.
455.
456.
457.
458.
459.
460.
445.
446.
447.
448.
449.
450.
451.
452.
437.
438.
439.
440.
441.
442.
443.
444.
469.
470.
471.
472.
473.
474.
475.
476.
477.
478.
479.
480.
key:Klav Love key:Klav Love b syn:Buzz Wave prc:All Kicks 1 prc:All Kicks 2 prc:Kicks 2 Tuned prc:All Snares 1 prc:All Snares 2 prc:All Snares 3 prc:KikSnarePlc1 prc:All Hats 1 prc:All Hats 2 prc:All Cymbals prc:Rainstick prc:Whirlybird prc:All Stix prc:All Bongos prc:AllClaps&Snp prc:All Claves prc:All Toms prc:All Bells prc:All Fills prc:All Shakers prc:AllScratches prc:All Misc sfx:ScaryBastard prc:Sci Fi Toy 1 prc:Sci Fi Toy 2 prc:Thumpiano scr:Scratch Map scr:Scratch Talk scr:Rodeo Roper scr:Chipmunk Rap scr:StuttrSteppr scr:Whale backer scr:Nother Drop scr:Hiccup scr:Rotator scr:Hard Drop prc:Shaker Loop prc:St Flexi 1 prc:Flexi 2 prc:Flexi 3 prc:Flexi 4
505.
506.
507.
508.
509.
510.
511.
512.
497.
498.
499.
500.
501.
502.
503.
504.
489.
490.
491.
492.
493.
494.
495.
496.
481.
482.
483.
484.
485.
486.
487.
488.
513.
514.
515.
516.
517.
518.
519.
520.
521.
522.
523.
524.
prc:Kick 5 prc:Kick 6 prc:Kick 7 prc:Kick 8 prc:Kick 9 prc:Kick 10 prc:Kick 11 prc:Kick 12 prc:Kick 13 prc:Kick 14 prc:Kick 15 prc:Kick 16 prc:Kick 17 prc:Kick 18 prc:Kick 19 prc:Kick 20 prc:Flexi 5 kit:Lily GM1 kit:Lily GM2 kit:Lily GM3 kit:Lily GM4 kit:Lily GM5 kit:Funky GM One kit:Funky GM 2 kit:Funky GM 3 kit:Funky 4 kit:Funky 5 kit:Funky 6 prc:Kick 1 prc:Kick 2 prc:Kick 3 prc:Kick 4 prc:Kick 21 prc:Kick 22 prc:Kick 23 prc:Kick 24 prc:Kick 25 prc:Kick 26 prc:Kick 27 prc:Kick 28 prc:Kick 29 prc:Kick 30 prc:Kick 31 prc:Kick 32
224
E-MU Systems
Appendix
Instrument Listing
Instrument Listing
549.
550.
551.
552.
553.
554.
555.
556.
541.
542.
543.
544.
545.
546.
547.
548.
533.
534.
535.
536.
537.
538.
539.
540.
525.
526.
527.
528.
529.
530.
531.
532.
557.
558.
559.
560.
561.
562.
563.
564.
565.
566.
567.
568.
569.
prc:Kick 49 prc:Kick 50 prc:Kick 51 prc:Kick 52 prc:Kick 53 prc:Kick 54 prc:Kick 55 prc:Kick 56 prc:Kick 57 prc:Kick 58 prc:Kick 59 prc:Kick 60 prc:Kick 61 prc:Kick 62 prc:Kick 63 prc:Kick 64 prc:Kick 33 prc:Kick 34 prc:Kick 35 prc:Kick 36 prc:Kick 37 prc:Kick 38 prc:Kick 39 prc:Kick 40 prc:Kick 41 prc:Kick 42 prc:Kick 43 prc:Kick 44 prc:Kick 45 prc:Kick 46 prc:Kick 47 prc:Kick 48 prc:Kick 65 prc:Kick 66 prc:Kick 67 prc:Kick 68 prc:Kick 69 prc:Kick 70 prc:Kick 71 prc:Kick 72 prc:Kick 73 prc:Kick 74 key:Tine Chord 1 key:Tine Chord 2 key:Tine Chord 3
594.
595.
596.
597.
598.
599.
600.
601.
586.
587.
588.
589.
590.
591.
592.
593.
578.
579.
580.
581.
582.
583.
584.
585.
570.
571.
572.
573.
574.
575.
576.
577.
602.
603.
604.
605.
606.
607.
608.
609.
610.
611.
612.
613.
614.
prc:Snare 6 prc:Snare 7 prc:Snare 8 prc:Snare 9 prc:Snare 10 prc:Snare 11 prc:Snare 12 prc:Snare 13 prc:Snare 14 prc:Snare 15 prc:Snare 16 prc:Snare 17 prc:Snare 18 prc:Snare 19 prc:Snare 20 prc:Snare 21 key:Tine Chord 4 key:Tine Chord 5 key:Tine Chord 6 key:Tine Chord 7 key:Tine Hit 1 key:Tine Hit 2 key:Tine Hit 3 key:Tine Hit 4 key:Tine Hit 5 key:Tine Hit 6 key:Tine Hit 7 prc:Snare 1 prc:Snare 2 prc:Snare 3 prc:Snare 4 prc:Snare 5 prc:Snare 22 prc:Snare 23 prc:Snare 24 prc:Snare 25 prc:Snare 26 prc:Snare 27 prc:Snare 28 prc:Snare 29 prc:Snare 30 prc:Snare 31 prc:Snare 32 prc:Snare 33 prc:Snare 34
639.
640.
641.
642.
643.
644.
645.
646.
631.
632.
633.
634.
635.
636.
637.
638.
623.
624.
625.
626.
627.
628.
629.
630.
615.
616.
617.
618.
619.
620.
621.
622.
647.
648.
649.
650.
651.
652.
653.
654.
655.
656.
657.
658.
659.
prc:Snare 51 prc:Snare 52 prc:Snare 53 prc:Snare 54 prc:Snare 55 prc:Snare 56 prc:Snare 57 prc:Snare 58 prc:Snare 59 prc:Snare 60 prc:Snare 61 prc:Snare 62 prc:Snare 63 prc:Snare 64 prc:Snare 65 prc:Snare 66 prc:Snare 35 prc:Snare 36 prc:Snare 37 prc:Snare 38 prc:Snare 39 prc:Snare 40 prc:Snare 41 prc:Snare 42 prc:Snare 43 prc:Snare 44 prc:Snare 45 prc:Snare 46 prc:Snare 47 prc:Snare 48 prc:Snare 49 prc:Snare 50 prc:Snare 67 prc:Snare 68 prc:Snare 69 prc:Snare 70 prc:Snare 71 prc:Snare 72 prc:Snare 73 prc:Snare 74 prc:Snare 75 prc:Snare 76 prc:Snare 77 prc:Snare 78 prc:Snare 79
MK-6 Operation Manual
225
Appendix
Instrument Listing
Instrument Listing
684.
685.
686.
687.
688.
689.
690.
691.
676.
677.
678.
679.
680.
681.
682.
683.
668.
669.
670.
671.
672.
673.
674.
675.
660.
661.
662.
663.
664.
665.
666.
667.
692.
693.
694.
695.
696.
697.
698.
699.
700.
701.
702.
703.
prc:Snare 96 prc:Snare 97 prc:Snare 98 prc:Snare 99 prc:Snare 100 prc:Snare 101 prc:Snare 102 prc:Snare 103 prc:Snare 104 prc:Snare 105 prc:Snare 106 prc:Snare 107 prc:Snare 108 prc:Snare 109 prc:Snare 110 prc:Snare 111 prc:Snare 80 prc:Snare 81 prc:Snare 82 prc:Snare 83 prc:Snare 84 prc:Snare 85 prc:Snare 86 prc:Snare 87 prc:Snare 88 prc:Snare 89 prc:Snare 90 prc:Snare 91 prc:Snare 92 prc:Snare 93 prc:Snare 94 prc:Snare 95 prc:Snare 112 prc:Snare 113 prc:Snare 114 prc:Snare 115 prc:Snare 116 prc:Snare 117 prc:Snare 118 prc:Snare 119 prc:Snare 120 prc:Snare 121 prc:Snare 122 prc:Snare 123
226
E-MU Systems
728.
729.
730.
731.
732.
733.
734.
735.
720.
721.
722.
723.
724.
725.
726.
727.
712.
713.
714.
715.
716.
717.
718.
719.
704.
705.
706.
707.
708.
709.
710.
711.
736.
737.
738.
739.
740.
741.
742.
743.
744.
745.
746.
747.
prc:Snare 140 prc:Snare 141 prc:Snare 142 prc:Snare 143 prc:Snare 144 prc:Snare 145 prc:Snare 146 prc:Snare 147 prc:Snare 148 prc:Snare 149 prc:Snare 150 prc:Snare 151 prc:Snare 152 prc:Snare 153 prc:Snare 154 prc:Snare 155 prc:Snare 124 prc:Snare 125 prc:Snare 126 prc:Snare 127 prc:Snare 128 prc:Snare 129 prc:Snare 130 prc:Snare 131 prc:Snare 132 prc:Snare 133 prc:Snare 134 prc:Snare 135 prc:Snare 136 prc:Snare 137 prc:Snare 138 prc:Snare 139 prc:Snare 156 prc:Snare 157 prc:Snare 158 prc:Snare 159 prc:Snare 160 prc:Snare 161 prc:Snare 162 prc:Snare 163 prc:Snare 164 prc:Snare 165 prc:Snare 166 prc:Snare 167
772.
773.
774.
775.
776.
777.
778.
779.
764.
765.
766.
767.
768.
769.
770.
771.
756.
757.
758.
759.
760.
761.
762.
763.
748.
749.
750.
751.
752.
753.
754.
755.
780.
781.
782.
783.
784.
785.
786.
787.
788.
789.
790.
791.
prc:Snare 168 kit:Nu Soul kit:80s+Drm&Bass kit:Electronica1 kit:Dub Reggae kit:DarkBeats kit:DarkBeats2 kit:LoFi Kit kit:Nu Metal hit:All Hits 1 rom:Thru Memory rom:Vowels hit:All Hits 2
kit:1NoHats kit:1NoKickSnare kit:2NoHats kit:2NoKickSnare kit:3NoHats kit:3NoKickSnare kit:4NoHats kit:4NoKickSnare kit:5NoHats kit:5NoKickSnare kit:6NoHats kit:6NoKickSnare kit:7NoHats kit:7NoKickSnare kit:8NoHats kit:8NoKickSnare kit:9NoHats kit:9NoKickSnare kit:10NoHats kit:10NoKikSnare kit:11NoHats kit:11NoKikSnare kit:12NoHats kit:12NoKikSnare kit:13NoHats kit:13NoKikSnare kit:14NoHats kit:14NoKikSnare kit:15NoHats kit:15NoKikSnare kit:16NoHats
Appendix
Instrument Listing
Instrument Listing
816.
817.
818.
819.
820.
821.
822.
823.
808.
809.
810.
811.
812.
813.
814.
815.
800.
801.
802.
803.
804.
805.
806.
807.
792.
793.
794.
795.
796.
797.
798.
799.
824.
825.
826.
827.
828.
829.
830.
831.
832.
833.
834.
835.
prc:Hat 18 prc:Hat 19 prc:Hat 20 prc:Hat 21 prc:Hat 22 prc:Hat 23 prc:Hat 24 prc:Hat 25 prc:Hat 26 prc:Hat 27 prc:Hat 28 prc:Hat 29 prc:Hat 2 prc:Hat 3 prc:Hat 4 prc:Hat 5 prc:Hat 6 prc:Hat 7 prc:Hat 8 prc:Hat 9 prc:Hat 10 prc:Hat 11 prc:Hat 12 prc:Hat 13 prc:Hat 14 prc:Hat 15 prc:Hat 16 prc:Hat 17
kit:16NoKikSnare kit:17NoHats kit:17NoKikSnare kit:18NoHats kit:18NoKikSnare kit:19NoHats kit:19NoKikSnare
gtr:Scrape 1 gtr:Strum Up gtr:Strum Down gtr:Bonk gtr:Chop gtr:Pick Noise vox:All Talkbox str:StackedLegs prc:Hat 1
860.
861.
862.
863.
864.
865.
866.
867.
852.
853.
854.
855.
856.
857.
858.
859.
844.
845.
846.
847.
848.
849.
850.
851.
836.
837.
838.
839.
840.
841.
842.
843.
868.
869.
870.
871.
872.
873.
874.
875.
876.
877.
878.
879.
prc:Hat 46 prc:Hat 47 prc:Hat 48 prc:Hat 49 prc:Hat 50 prc:Hat 51 prc:Hat 52 prc:Hat 53 prc:Hat 54 prc:Hat 55 prc:Hat 56 prc:Hat 57 prc:Hat 58 prc:Hat 59 prc:Hat 60 prc:Hat 61 prc:Hat 30 prc:Hat 31 prc:Hat 32 prc:Hat 33 prc:Hat 34 prc:Hat 35 prc:Hat 36 prc:Hat 37 prc:Hat 38 prc:Hat 39 prc:Hat 40 prc:Hat 41 prc:Hat 42 prc:Hat 43 prc:Hat 44 prc:Hat 45 prc:Hat 62 prc:Hat 63 prc:Hat 64 prc:Hat 65 prc:Hat 66 prc:Hat 67 prc:Hat 68 prc:Hat 69 prc:Hat 70 prc:Hat 71 prc:Hat 72 prc:Hat 73
904.
905.
906.
907.
908.
909.
910.
911.
896.
897.
898.
899.
900.
901.
902.
903.
888.
889.
890.
891.
892.
893.
894.
895.
880.
881.
882.
883.
884.
885.
886.
887.
912.
913.
914.
915.
916.
917.
918.
919.
920.
921.
922.
923.
prc:Hat 74 prc:Hat 75 prc:Hat 76 prc:Hat 77 prc:Cymbal 1 prc:Cymbal 2 prc:Cymbal 3 prc:Cymbal 4 prc:Cymbal 5 prc:Cymbal 6 prc:Cymbal 7 prc:Cymbal 8 prc:Cymbal 9 prc:Cymbal 10 prc:Cymbal 11 prc:Cymbal 12 prc:Cymbal 13 prc:Cymbal 14 prc:Cymbal 15 prc:Cymbal 16 prc:Cymbal 17 prc:Cymbal 18 prc:Cymbal 19 prc:Cymbal 20 prc:Bongo 1 prc:Bongo 2 prc:Bongo 3 prc:Bongo 4 prc:Bongo 5 prc:Bongo 6 prc:Bongo 7 prc:Bongo 8 prc:Bongo 9 prc:Bongo 10 prc:Bongo 11 prc:Bongo 12 prc:Bongo 13 prc:Bongo 14 prc:Bongo 15 prc:Bongo 16 prc:Bongo 17 prc:Claps&Snp 1 prc:Claps&Snp 2 prc:Claps&Snp 3
MK-6 Operation Manual
227
Appendix
Instrument Listing
Instrument Listing
948.
949.
950.
951.
952.
953.
954.
955.
940.
941.
942.
943.
944.
945.
946.
947.
932.
933.
934.
935.
936.
937.
938.
939.
924.
925.
926.
927.
928.
929.
930.
931.
956.
957.
958.
959.
960.
961.
962.
963.
964.
965.
966.
967.
prc:Clave 6 prc:Clave 7 prc:Clave 8 prc:Clave 9 prc:Clave 10 prc:Clave 11 prc:Clave 12 prc:Clave 13 prc:Clave 14 prc:Clave 15 prc:Clave 16 prc:Clave 17 prc:Tom 1 prc:Tom 2 prc:Tom 3 prc:Tom 4 prc:Claps&Snp 4 prc:Claps&Snp 5 prc:Claps&Snp 6 prc:Claps&Snp 7 prc:Claps&Snp 8 prc:Claps&Snp 9 prc:Claps&Snp 10 prc:Claps&Snp 11 prc:Claps&Snp 12 prc:Claps&Snp 13 prc:Claps&Snp 14 prc:Clave 1 prc:Clave 2 prc:Clave 3 prc:Clave 4 prc:Clave 5 prc:Tom 5 prc:Tom 6 prc:Tom 7 prc:Tom 8 prc:Tom 9 prc:Tom 10 prc:Tom 11 prc:Tom 12 prc:Tom 13 prc:Tom 14 prc:Tom 15 prc:Tom 16
968.
969.
970.
971.
972.
973.
974.
975.
976.
977.
978.
979.
980.
981.
982.
983.
984.
985.
986.
987.
988.
989.
990.
991.
992.
993.
994.
995.
996.
997.
998.
999.
1000.
1001.
1002.
1003.
1004.
1005.
1006.
1007.
1008.
1009.
1010.
1011.
prc:Bell 11 prc:Bell 12 prc:Bell 13 prc:Bell 14 prc:Bell 15 prc:Bell 16 prc:Fill Etc 1 prc:Fill Etc 2 prc:Fill Etc 3 prc:Fill Etc 4 prc:Fill Etc 5 prc:Fill Etc 6 prc:Fill Etc 7 prc:Fill Etc 8 prc:Fill Etc 9 prc:Fill Etc 10 prc:Tom 17 prc:Tom 18 prc:Tom 19 prc:Tom 20 prc:Tom 21 prc:Tom 22 prc:Bell 1 prc:Bell 2 prc:Bell 3 prc:Bell 4 prc:Bell 5 prc:Bell 6 prc:Bell 7 prc:Bell 8 prc:Bell 9 prc:Bell 10 prc:Fill Etc 11 prc:Shaker 1 prc:Shaker 2 prc:Shaker 3 prc:Shaker 4 prc:Shaker 5 prc:Shaker 6 prc:Shaker 7 prc:Shaker 8 prc:Shaker 9 prc:Shaker 10 prc:Shaker 11
1012.
1013.
prc:Shaker 12 prc:Shaker 13
1014.
1015.
prc:Shaker 14 prc:Shaker 15
1016.
1017.
prc:Shaker 16 prc:Shaker 17
1018.
1019.
prc:Shaker 18 prc:Shaker 19
1020.
1021.
prc:Shaker 20 prc:Shaker 21
1022.
1023.
prc:Shaker 22 prc:Shaker 23
1024.
1025.
prc:Shaker 24 prc:Shaker 25
1026.
1027.
prc:Shaker 26 prc:Shaker 27
1028.
1029.
prc:Shaker 28 prc:Shaker 29
1030.
1031.
prc:Misc 1 prc:Misc 2
1032.
1033.
prc:Misc 3 prc:Misc 4
1034.
1035.
prc:Misc 5 prc:Misc 6
1036.
1037.
prc:Misc 7 prc:Misc 8
1038.
1039.
prc:Misc 9 prc:Misc 10
1040.
1041.
prc:Misc 11 prc:Misc 12
1042.
1043.
prc:Misc 13 prc:Misc 14
1044.
1045.
prc:Misc 15 prc:Misc 16
1046.
1047.
prc:Misc 17 prc:Misc 18
1048.
1049.
prc:Misc 19 prc:Misc 20
1050.
1051.
prc:Misc 21 prc:Misc 22
1052.
1053.
prc:Misc 23 prc:Misc 24
1054.
1055.
prc:Misc 25 prc:Misc 26
228
E-MU Systems
Appendix
Instrument Listing
Instrument Listing
1056.
1057.
prc:Misc 27 prc:Misc 28
1058.
1059.
prc:Misc 29 prc:Misc 30
1060.
1061.
prc:Misc 43 prc:Misc 44
1062.
1063.
prc:Misc 31 prc:Misc 32
1064.
1065.
prc:Misc 33 prc:Misc 34
1066.
1067.
prc:Misc 35 prc:Misc 36
1068.
1069.
prc:Misc 37 prc:Misc 38
1070.
prc:Misc 39
1071.
1072.
prc:Misc 40 prc:Misc 41
1073.
1074.
prc:Misc 42 prc:Misc 45
1075.
1076.
prc:Misc 46 prc:Misc 47
1077.
1078.
prc:Misc 48 prc:Misc 49
1079.
1080.
prc:Misc 50 prc:Misc 51
1081.
1082.
prc:Misc 52 prc:Misc 53
1083.
1084.
prc:Misc 54 prc:Misc 55
1085.
prc:Misc 56
1086.
1087.
1088.
1089.
1090.
1091.
1092.
1093.
1094.
1095.
1096.
1097.
1098.
1099.
prc:Misc 57 prc:Misc 58 prc:Misc 59 prc:Misc 60 prc:Misc 61 prc:Misc 62 prc:Misc 63 prc:Misc 64 prc:Misc 65 prc:Misc 66 prc:Misc 67 prc:Misc 68 prc:Misc 69 prc:Misc 70
MK-6 Operation Manual
229
Appendix
Keyboard Velocity Curves
Keyboard
Velocity
Curves
For more information about the velocity curves, see
The keyboard velocity curves modify the response of the MK-6 keyboard to adapt to your personal playing style. The “Keyboard Velocity Curve” selection screen is located in the Controllers menu.
120
100
80
60
40
20
0
Soft 1
120
100
80
60
40
20
0
Soft 2
0 20
40
60
80 100 120
Soft Hard
0 20
40
60
80 100 120
Soft Hard
120
100
80
60
40
20
0
Soft 3
0 20
40
60
80 100 120
Soft Hard
120
100
80
60
40
20
0
Soft 5
0 20 40
60 80 100 120
Soft Hard
120
100
80
60
40
20
0
Soft 4
0 20
40
60
80 100 120
Soft Hard
120
100
80
60
40
20
0
Medium 1
0 20 40
60 80 100 120
Soft Hard
230
E-MU Systems
Keyboard Velocity
Curves
60
40
20
0
120
100
80
Medium 2
0 20 40
60 80 100 120
Soft Hard
60
40
20
0
120
100
80
Medium 4
0 20 40
60 80 100 120
Soft Hard
120
100
80
60
40
20
0
Medium 6
0 20
40
60
80 100 120
Soft Hard
Appendix
Keyboard Velocity Curves
60
40
20
0
120
100
80
Medium 3
0 20 40
60 80 100 120
Soft Hard
120
100
80
60
40
20
0
Medium 5
0 20 40
60 80 100 120
Soft Hard
120
100
80
60
40
20
0
Medium 7
0 20
40
60
80 100 120
Soft Hard
MK-6 Operation Manual
231
Keyboard Velocity
Curves
120
100
80
60
40
20
0
Medium 8
0 20
40
60
80 100 120
Soft Hard
120
100
80
60
40
20
0
Loud 2
0 20 40
60 80 100 120
Soft Hard
120
100
80
60
40
20
0
All 127
0 20 40
60 80 100 120
Soft Hard
Outputs velocity 127 only
232
E-MU Systems
Appendix
Keyboard Velocity Curves
120
100
80
60
40
20
0
Loud 1
0 20
40
60
80 100 120
Soft Hard
120
100
80
60
40
20
0
All 64
0 20 40
60 80 100 120
Soft Hard
Outputs velocity 64 only
Appendix
Master Velocity Curves
Master
Velocity
Curves
For more information about the velocity curves, see
This section provides diagrams and descriptions of the MK-6 velocity curves. The master velocity curves modify the velocity values from the
MIDI input port and the keyboard before going into thesynthesizer engine.
120
100
80
60
40
Linear
20
0
0 20 40
60 80 100 120
Input Velocity
Linear - No Change to Velocity
120
100
80
60
40
20
0
Curve 1
0 20 40
60 80 100 120
Input Velocity
Compresses Velocity Range
120
100
80
60
40
20
Curve 2
0
0 20
40
60
80 100 120
Input Velocity
Expands Dynamics in low range,
emphasizing medium velocity
values and compressessing high
velocity values.
120
100
80
60
40
20
0
Curve 4
0 20 40
60 80 100 120
Input Velocity
Expands Velocity Range.
Outputs High Values.
120
100
80
60
40
20
0
Curve 3
0 20
40
60
80 100 120
Input Velocity
Expands Velocity Range.
Soft -> Loud
120
100
80
60
40
20
Curve 5
0
0 20 40
60 80 100 120
Input Velocity
Shifts Velocity Values Upward.
Good Dynamic Range.
MK-6 Operation Manual
233
Master Velocity
Curves
Appendix
Master Velocity Curves
120
100
80
60
40
20
Curve 6
0
0 20 40
60 80 100 120
Input Velocity
Shifts Velocity Values Up, while compressing the midde range
120
100
80
60
40
Curve 8
20
0
0 20
40
60
80 100 120
Input Velocity
Similar to number 6 with more emphasis on the middle range.
120
100
80
60
40
20
Curve 10
0
0 20 40
60 80 100 120
Input Velocity
Extreme Dynamic Range
Compression. Outputs Low Values.
120
100
80
60
40
20
0
120
100
80
60
40
20
0
120
100
80
60
40
20
0
Curve 7
0 20
40
60
80 100 120
Input Velocity
Similar to Curve 6.
Curve 9
0 20 40
60 80 100 120
Input Velocity
Extreme Dynamic Range
Compression.
Curve 11
0 20 40
60 80 100 120
Input Velocity
Extreme Dynamic Range
Compression, but doesn't output low values.
234
E-MU Systems
Appendix
PatchCord Amount Chart
120
100
80
60
40
20
Curve 12
0
0 20 40
60
80 100 120
Input Velocity
Less Severe Version of Curve 11.
40
20
0
120
100
80
60
Curve 13
0 20 40
60
80 100 120
Input Velocity
Extreme Expansion of Velocity
Range.
PatchCord
Amount Chart
The following chart shows the PatchCord “Amount” settings in order to get semitone intervals when modulation sources are connected to pitch.
Semitone
13
14
15
16
9
10
11
12
17
18
19
20
7
8
5
6
3
4
1
2
PatchCord
Amount
3
6 approx. 9 approx. 12
16
19
22
25
28 approx. 31
35
38
41
44
47
50 approx. 53
57
60
63
Semitone
33
34
35
36
29
30
31
32
37
38
39
40
25
26
27
28
21
22
23
24
PatchCord
Amount
66
69 approx. 72.5
approx. 76
79
82
88
91 approx. 95
98
MK-6 Operation Manual
235
E-MU
Expansion
Sound Sets
Appendix
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 MK-6. 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 MK-6’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!
236
E-MU Systems
Appendix
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.
MK-6 Operation Manual
237
Appendix
Installing Sound SIMMs
Installing
Sound SIMMs
MK-6 can be easily expanded to contain up to 128 MB of sound data
(4 SIMMs).
Remove the ROM Hatch Cover:
1.
2.
The sound SIMM sockets in MK-6 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):
1.
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.)
2.
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.
rear of unit
1. Set SIMM into socket with the notch toward front of unit.
2. Tilt the SIMM up so that both tabs click and lock the
SIMM into place.
Notch
ROM 0
ROM 1
ROM 2
ROM 3
front of unit
238
E-MU Systems
Appendix
Installing Sound SIMMs
Install a New ROM SIMM
1.
Ground yourself by touching a grounded object, then remove the memory SIMM modules from the static protected packaging.
2.
3.
4.
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
5.
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.
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 /
ENSONIQ Customer Service at (831) 438-1921. Telephone support hours are 8:00-5:00 PST, Monday through Friday.
MK-6 Operation Manual
239
MIDI
240
E-MU Systems
MIDI Implementation Chart (part 1)
MIDI Channels
Note Numbers
Program Change
Bank Select Response?
Modes: Omni
(Mode 1)
Mono
(Mode 2)
Poly
(Mode 3)
Mode 4
Multi
(Mode 5)
Note On Velocity
Note Off Velocity
Channel Aftertouch
Poly (Key) Aftertouch
Pitch Bend
Active Sensing
System Reset
Tune Request
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)
NRPNs
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)
MIDI Timing & Sync
MIDI Clock
Song Position Pointer
Song Select
Start
Continue
Stop
MIDI Information Transmitted Recognized Remarks
Yes
No
No
No
Yes
No
Yes
No
Yes
No
Yes
Yes
No
No
No
No
No
No
No
No
No
No
No
No
No
No
1-16
0-127
0-127
No
No
No
No
No
No
MSB + LSB
Yes
No
No
No
No
No
Yes
No
No
Yes
No
No
Yes
No
No
No
Yes
Yes
Yes
No
Yes
No
Yes
Yes
Yes
No
No
No
No
No
No
No
No
No
No
No
No
No
1-16
0-127
0-127
Yes
Yes
Yes
Yes
No
Yes
Appendix
MIDI
MIDI Information Transmitted Recognized Remarks
MIDI Time Code No
MIDI Machine Control No
No MIDI Show Control
Extension Capability
General MIDI Compat?
Is GM default mode?
DLS compatible?
Import DLS Files?
Export DLS Files?
No
No
No
No
No
Import Std MIDI files
Export Std MIDI files
No
No
No
No
No
No
No
No
No
No
No
No
Appendix
MIDI
MK-6 Operation Manual
241
242
E-MU Systems
Appendix
MIDI
MIDI Implementation Chart (part 2 - Controllers)
17
18
19
20
21
22
23
24
25
30
31
32
33
26
27
28
29
34
35
36
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
Control # Function
0 Bank Select MSB
Transmitted Recognized Remarks
Yes Yes
Mod Wheel MSB
Breath Cntrl MSB
Foot Cntrl MSB
Portamento MSB
Data Entry MSB
No
No
Chan Volume MSB Yes
Balance MSB No
Yes
No
No
Yes
No
No
Yes
No
Yes
No
No
No
Pan MSB Yes
Expression MSB No
Effect Cntrl 1 MSB No
Effect Cntrl 2 MSB No
GenPur Ctrl 1 MSB
Yes
Yes
No
No
*
*
*
*
*
*
*
*
*
*
*
*
* see note
* see note
*
*
GenPur Ctrl 2 MSB
GenPur Ctrl 3 MSB
GenPur Ctrl 4 MSB
™
™
Bank Select LSB
Mod Wheel LSB
Breath Cntrl LSB
Foot Cntrlr LSB
Yes
Yes
Yes
No
Yes
Yes
Yes
No
*
*
*
*
*
*
* see note
*
*
*
*
*
*
*
*
*
*
* Filt Attck
* Filt Decy
*
Appendix
MIDI
66
67
68
69
62
63
64
65
70
71
72
73
74
58
59
60
61
54
55
56
57
50
51
52
53
46
47
48
49
42
43
44
45
38
39
40
41
Control # Function
37 Portamento LSB
Data Entry LSB
Chan Volume LSB
Balance LSB
Pan LSB
Expression LSB
Effect Cntrl 1 LSB
Effect Cntrl 2 LSB
Gen Pur Ctrl 1 LSB
Gen Pur Ctrl 2 LSB
Gen Pur Ctrl 3 LSB
Gen Pur Ctrl 4 LSB
Transmitted
Sustain Pedal Yes
Portamento on/off No
Sostenuto
Soft Pedal
No
Legato Footswitch
Hold 2
Variation
Timbre/Har Inten
Release Time
Attack Time
Brightness
Yes
Yes
Yes
Yes
Recognized
Yes
No
No
Yes
Remarks
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
MK-6 Operation Manual
243
244
E-MU Systems
Appendix
MIDI
104
105
106
107
100
101
102
103
108
109
110
111
112
96
97
98
99
92
93
94
95
88
89
90
91
84
85
86
87
80
81
82
83
76
77
78
79
Control # Function
75 Sound Cntrlr 6
™
Transmitted Recognized Remarks
Yes Yes
* Decay
Sound Cntrlr 7
Sound Cntrlr 8
™
Sound Cntrlr 9 ™
Sound Cntrlr 10
Yes
Yes
Yes
Gen Purp Cntrlr 5 Yes
Gen Purp Cntrlr 6
Gen Pur Ctrlr 7 ™
Gen Pur Ctrlr 8
™
Yes
Yes
Portamento Cntrl
™
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Effects 1 Depth
Effects 2 Depth
Effects 3 Depth
Effects 4 Depth
Effects 5 Depth
Data Increment
Data Decrement
NRPN (LSB)
NRPN (MSB)
RPN (LSB)
RPN (MSB)
Yes
Yes
*
*
*
*
*
*
*
*
*
*
*
* Vel->Filt
* Vel->amp
See note
See note
*
* Arp Vel
* Arp Gate
*
* Sustain
Appendix
MIDI
Control # Function
113
118
119
120
121
114
115
116
117
All Sound Off
Reset All Contlrs
Transmitted Recognized Remarks
No
No
Yes
Yes
See note
122 Local Cntrl on/off No No
123 All Notes Off No Yes
124
125
126
127
Omni Mode Off
Omni Mode On
Poly Mode Off
Poly Mode On
No
No
No
No
Yes
Yes
Yes
Yes
if enabled if enabled if enabled if enabled
NOTES: *
MK-6 can transmit and receive ANY continuous controller number from 1 to 95. Because of MK-6’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 MK-6.
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
MK-6 Operation Manual
245
246
E-MU Systems
Appendix
MIDI
Product ID for MK-6 = 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
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.
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.
Comments Command
Note Off
Message
8n kk vv
Note On
Program Change
Channel Aftertouch
Pitch Bend
Real-time Controller
Footswitch
Volume
Pan
9n kk vv
Cn vv
Dn vv
En ll mm
Bn cc vv
Bn cc vv
Bn 07 vv
Bn 0A vv
All Sound Off
Reset All Controllers
All Notes Off
Omni Mode Off*
Bn 78 00
Bn 79 00
Bn 7B 00
Bn 7C 00
Omni Mode On* Bn 7D 00
Mono Mode On (Poly Off)* Bn 7E 00
Poly Mode On (Mono Off)* Bn 7F 00
Bank Select MSB Bn 00 bb
Bank Select LSB Bn 20 bb velocity 0 = note off
0-127
0-127 l = lsb, m = msb cc = 00-31, 64-95 cc = 64-79, vv
≥
64 = on
0-127
0=left, 127=right, 64=center turns all sound off ignored in omni mode ignored in omni mode forces all notes & controls off forces all notes & controls off forces all notes & controls off forces all notes & controls off
bb = bank MSB (see page 126) 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
MK-6 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 MK-6 will be available soon on the official E-MU Systems, Inc. web site: www.emu.com
MK-6 Operation Manual
247
Appendix
Technical Specifications
Technical
Specifications
Audio Channels:
MIDI:
MIDI Channels:
Presets:
64
MIDI In, MIDI Out, MIDI Thru
16
512 user presets.
(The number of ROM presets is determined by the sound SIMMs installed.)
Filters:
Audio Outputs:
Submix Inputs:
Max. Output Level:
Output Impedance:
2nd order to 12th order filters
(50 different types)
4 polyphonic analog outputs
2 analog inputs (sum to main outs)
+4 dB
1000 Ohms
Sound Memory:
Data Encoding:
32 MB (expandable to 128 MB)
16-bit linear data
Effects Engine:
24-bit internal processing
Sample Playback Rate:
44.1 kHz
Signal to Noise:
Dynamic Range:
Frequency Response:
THD + Noise:
IMD
Stereo Phase
>92 dB
>90 dB
20 Hz - 20 kHz (+2/-1 dB)
< 0.02% (1kHz sine wave, A-weighting)
< 0.05%
Phase Coherent +/- 1º at 1 kHz
Power Consumption:
Voltage Input:
20 Watts
90VAC-260VAC at 50Hz-60Hz
248
E-MU Systems
Appendix
Warranty
Warranty Please read this warranty, as it gives you specific legal rights.
Limited Warranty
Warranty
Restrictions
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-1-
2002), from the date of such purchase from an authorized E-MU/ ENSONIQ dealer, provided that: (a) the Warranty Registration Card is filled out and returned to E-MU / ENSONIQ within 14 days of the purchase date; (b) the
E-MU / ENSONIQ service center is provided a copy of the consumer purchaser’s sales receipt; and (c) E-MU / ENSONIQ has confirmed the validity of the subject unit's serial number.
Specifically, but without limitation, E-MU / ENSONIQ 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 / ENSONIQ.
•
Any unit with an invalid or wholly or partially obliterated serial number.
NO OTHER EXPRESS OR IMPLIED WARRANTY IS MADE, AND E-MU /
ENSONIQ SPECIFICALLY DISCLAIMS ANY IMPLIED WARRANTY OF
MERCHANTABILITY, SATISFACTORY QUALITY, AND FITNESS FOR A
PARTICULAR PURPOSE. E-MU / ENSONIQ’S LIABILITY UNDER
WARRANTY IS LIMITED TO REPAIR OR REPLACEMENT OF THE UNIT, OR
REFUND, AT EMU’S OPTION. IN NO EVENT WILL E-MU / ENSONIQ BE
LIABLE FOR LOSS OF REVENUE OR SAVINGS, LOSS OF TIME, INTER-
RUPTION 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.
MK-6 Operation Manual
249
Appendix
Warranty
How To Obtain
Warranty Service
All E-MU / ENSONIQ 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 / ENSONIQ 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 / ENSONIQ factory.
When returning your unit to the E-MU / ENSONIQ factory, you will be issued a Return Merchandise Authorization (RMA) number. Please label all cartons, shipping documents and correspondence with this number.
E-MU / ENSONIQ 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 / ENSONIQ.
E-MU / ENSONIQ will pay return shipping charges. You will be responsible for any damage or loss sustained during shipment in any direction.
3/99
250
E-MU Systems
Index
Symbols
“+” modulation polarity
“±” modulation polarity
Numerics
1-bar trigger 51
2-pole filters
4-pole filters
6-pole filters
A
A effect types
Absolute Value Processor
ADSR Envelopes
Aftertouch calibration
mono
Algorithm
FXA
FXB
master FXB
All Layers
All Notes Off, MIDI
All Sound Off, MIDI command
Alternate Tunings
Amount
envelope
modulation
Arpeggiator
button
channel
controllers 58 copy pattern 191
Index
Symbols
copy settings
190, 191 delay 63, 64 extension 58 extension count
62 extension interval
62 factory patterns 60 gate 58 time
61
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
Attack
Audition beats
46
riff
B
B Effect Types
Balance
Bandwidth
Bank Select Display
Banks
selecting via MIDI
Base Tempo
Basic Channel
46 setting keyboard & wheels to
Basic Setup
Basics, programming
Beats 43, 46 busy
49
MK-6 Operation Manual
251
Index
C
252
E-MU Systems channel
46 initial setup 47 keys layout 51 keys offset
52 part chart
part group 54 part transpose 53 part velocity
52 played using trigger buttons
44, 76
playing on a different MIDI channel
riffs 44 variation 50 control knob
velocity group 1-4 49 xpose group 1-4 49
Bts Busy 49
Button
arpeggiator/beats
audition
controllers
cursor
global
main
MIDI panic
multi
C
Calibrate Controllers
Category instrument
preset
Center Frequency
Change
preset
Channel
+/- buttons
arpeggiator
selection, MIDI
volume
Chorus
Chorus, effect
Chorusing
Clear Beats Part 44, 45
Clock divisor
MIDI output enable
modulation
using external MIDI
Coarse Tuning
Comb Filter, effect
Command Buttons external preset selection
preset menu jump keys
selecting presets
trigger mode
Command Functions
Compare Button
Connection Instructions
Continuous Controller
Contour, envelope
Control
effects multi mode
keys
45 volume
Controller
calibration
footswitch
knobs
modes
menu
menu button
MIDI
MIDI #10
quick edit
realtime knobs
standardized MIDI numbers
tempo
trigger buttons
Copy layers 188 patchcord 189 preset
188 preset banks
191 preset patchcords 190
Crossfade random
ranges
Current Tempo
Cursor
definition
Curve
master velocity
volume
Cutoff Frequency
D
Damping, high frequency
Data Entry Control
DC Offset, example
DCA
Decay effect A
effects
envelope
Default Assignment, beats
45
Delay arpeggiator
63, 64 effect B
effects
LFO
master FXB
preset link
Demo Sequences
Descending Arpeggiator
57
Destinations, modulation
Device ID
Diode Processor
Display, viewing angle
Double & Detune
Doubling, effect
Dual Channel Beats
46
Dual Tap, delay effect
Duration, arp pattern 69
Dynamic Range
E
Echo Thru, Local Control on/off
Edit All Layers Enable
Edit Section
Index
D
Editing arp user patterns 67 presets
Effects
B into effect A
B type
busses
chorus
delay
diagram
distortion
dual tap delay
FXA decay
FXA HF damping
FXB feedback
FxB->FxA
global
LFO rate
A algorithm
B algorithm
FxB->FxA
LFO rate
multi mode control
panning delay
processor
returns
reverb
sends
slapback
stereo delay
type B
vibrato
wrong effect playing with beats
Enable
MIDI channels
quick-edit mode
MK-6 Operation Manual
253
Index
F
254
E-MU Systems
Envelope
attack
auxiliary
decay
filter
generator
mode, filter
release
repeat
repeating
volume
Equal Temperment Tuning
Errors, data transmission
Extension count, arpeggiator 62 interval, arpeggiator
62
External Clock, MIDI
F
Factory
patterns, arpeggiator 60
Feedback
FXB
Fills, beats 44
Filter
bandpass
definition
dynamic
envelope
attack
frequency
highpass
lowpass
mode
morph
notch
parametric
programming
swept EQ
troubleshooting
tutorial
changing
Z-plane
Fine Tuning
Flip-Flop Processor
Foot Pedal calibration
connecting
programming
Frequency filter
Front Panel Knobs
FX Cords
FXA Algorithm
FXB -> FXA
FXB Algorithm
FXB Parameters
FXB Submix Routing
G
Gamelan Tuning
time 61
Generator
filter envelope
volume envelope
Glide
key
rate
Global
controller assignments
menu
Grooves, beat
44
Group assigning channels to a
beats 44
Index
H
H
Highpass Filter
Home/Enter Button
I
Implementation Chart, MIDI
Initial pan position
volume
selecting
Inverting LFO Waves
J
Jump Buttons
using
description
Just Intonation
K
Key
layout, beats
51 offset, arpeggiator 68 range arpeggiator
66
preset link
sync, arpeggiator 63 transpose
trigger
51
velocity
Keyboard beats trigger layouts 44
layering & splitting
range
semitone transpose
splitting
thru, arpeggiator 65 transpose
equal temperment
gamelan
Kirnberger
Scarlatti
Vallotti
Werkmeister III
Keyboard/Knob Channel
Kirnberger Tuning
Knob controller
keyboard channel
L
Lag Amount, preset lag
Lag Processor
Latch beats part
51 keys in beats 44 mode, arpeggiator 65
Layer copy
188 definition
presets
LFO
master FXB rate
rate
tricks & tips
trigger
variation
waveforms
waveshape
Linking Presets
Local Control On/Off
Low Frequency Oscillator
delay
free running
variation
Lowpass Filter
example
MK-6 Operation Manual
255
Index
M
256
E-MU Systems
M
Master arpeggiator
parameters 58 bend range
clock
modulation
effects
FXA algorithm
FXB algorithm
riff 46, 54 tempo, offset
velocity curve
volume control
Melody Solo Mode
low
MIDI
bank select display
channel routing outputs by
tempo controller
channel inc/dec using a footswitch
channel selection
clock output enable
continuous controller assignment
continuous controllers
device ID
external clock
in channels
input channels
knob transmit
menu button
mode
multi mode
omni mode
out, arp/beats 56 out, knob enable
pan control #10
poly mode
real-time controllers
receive program change
received channel commands
receiving sysex data
recording sysex data
sequencer, recording into an external
song start 56
standardized controller numbers 80
sysex, send/receive
velocity curve input
curve output
Minimoog, solo mode
function
programmed in the preset
Mix Screen
Mod Wheel
Mode arpeggiator
59 latch 65 controller
factory envelope
filter envelope
MIDI
mono
non-transpose
98, 180, 247 poly 98, 180, 247
solo
clock
definition
destinations
note-on
random
routing
sources
calibration
Mono Aftertouch
Multi Button
Multi Channel
Index
N
Multi Mode
effects control
Multichannel Volume/Pan Control
Multisetup definition
restoring
saving
send/receive
Mute Beats 44, 45
N
Name multisetup
preset
user arp pattern
70
Noise & Random Generators
Notch Filter
Note Value arpeggiator
60, 64
Note-On Modulation
O
Offset, arpeggiator key
68
Output jack
mono
routing
Overall Tuning, adjusting
P
Pan
channel
initial
preset link
Panic Button, MIDI
Panning Delay, effect
Part, beat
44
Patchcord
amount
copy 189
routing
Pattern arpeggiator
57, 60 naming
70 repeat 69 speed
60 user
67 velocity 69 inc/dec
Pedal
connection
programming
wiring diagram
Performance Controllers
Pink Noise, example
Pitch Wheel
calibration
master bend range
range
Pitch, shifting
Pitchbend Range
Play solo layers
trigger buttons
Polarity modulation & LFO
ramp rate
Pole, filter
Poly All, assign group
Poly Mode
Poly, assign group
Portamento
Power Consumption
Power Switch
Preset
audition
category
change enable
changing
copy 188 edit button
editing
links
menu jump buttons
MIDI changes
random 195
selecting via command buttons
user
view screen
Preset Lag Processor
MK-6 Operation Manual
257
Index
Q
258
E-MU Systems
Processor
4x gain
absolute value
effect
flip-flop
modulation
preset lag
quantizer
Program Change receive enable
send/receive
Programmable Knobs
Programming Basics
Q
Quantized, arp sync
63
Quantizer
Quick Edit enabling
mode
R
Ramp Rate
Random creating presets 195
generator, noise and
Range arp extension count 62
pitchbend
velocity
Rate effect, LFO
LFO
Rate/Level Envelopes
Realtime Control of Arps 58
Realtime Controller
assignment
crossfading
tutorial
Realtime Crossfade
Receive Program Change
Receiving MIDI SysEx Data
Record
MIDI sysex data
Rectifier
Release
velocity
Rename, arpeggiator pattern
70
Repeat arpeggiator pattern
69
Resonance, filter
Restoring Multisetups
via MIDI command
Return Signal
Reverb
Riff assignment
controllers
55 playing
tempo 55
Routing
FXA submix
modulation
output
S
Save arp menu parameters
arp parameters 43 controllers menu parameters
global menu parameters
MIDI menu parameters
multisetup
preset
187 preset/volume/pan/arp assignments
Save/Copy
menu
187
Scaling
MIDI Velocity In
MIDI Velocity Out
Scarlatti Tuning
Screen Viewing Angle
Selecting menus with jump buttons
presets
Semitone, transpose keyboard by
Index
T
Send amount
FXA
FXB
effect
Setup basic
performance
Slapback
selecting instruments
Sources, modulation
Specifications, technical
Stack layers
Standardized MIDI Controller
Numbers
Start/Stop Beats
44, 45
Step-By-Step Preset Programming 197
Studio Setup
Sub Output Jacks
Submix Routing
FXB
Swept EQ Filter
Switch Processor
Sync arp key
63
LFO
MIDI song start 56
Synth Solo Mode
low
System Exclusive device ID
send arp data 66 send data
T
Tap Tempo
Tempo
change via MIDI controller
controller
offset
Tempo-based Envelope
Time arpeggiator gate
61
Time-based Envelope
Transmission Errors
Transmit MIDI Clock
Transmit MIDI, knob
Transpose
arpeggiator
62 beat part
53
Trig Hold, beats
45
controlling multiple arps 22, 26
Trigger Channel
46
Trigger Key 44
Trigger Mode
Tune
19-tone
equal temperment
gamelan
key
Kirnberger
Scarlatti
Werkmeister
Tutorial arpeggiator
beats
filter
synth programming
MK-6 Operation Manual
259
Index
U
260
E-MU Systems
U
Unlatch Beats Part
51
User
key tuning
tuning tables
User Pattern arpeggiator
67 naming
70 repeat 69 velocity 69
V
Variation beats
50
LFO
Velocity arpeggiator
61
curve, keyboard
keyboard curve charts
preset link
release
user pattern 69
Vibrato, effect processor
Volume channel
control
curve
envelope
preset link
W
Waveform
inverting
LFO
Werkmeister Tuning
Wheel modulation
pitch
Width, chorus
Z
Z-Plane Filter
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