Musician`s Manual
Musician's Manual
64 Voice Expandable Stage and Studio Keyboard
READ THIS FIRST!
WARNING!!
Grounding Instructions
This product must be grounded. If it should malfunction or break down, grounding provides a path of
least resistance for electric current to reduce 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 that is properly installed and grounded in accordance with all local codes and ordinances.
DANGER: Improper connection of the equipment-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 electrician.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION : TO REDUCE THE DANGER OF ELECTRIC SHOCK
DO NOT REMOVE COVER (OR BACK)
NO USER SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL
This symbol is intended to alert the user to the
presence of uninsulated "dangerous voltage"
within the product's enclosure that may be of
sufficient magnitude to constitute a risk of electronic shock to persons.
This symbol is intended to alert the user to the
presence of important operating and maintenance (servicing) instructions in the literature
accompanying the appliance.
SEE IMPORTANT SAFETY INSTRUCTIONS ON BACK COVER!
"INSTRUCTIONS PERTAINING TO A RISK OF FIRE,
ELECTRIC SHOCK, OR INJURY TO PERSONS"
IMPORTANT SAFETY INSTRUCTIONS
WARNING—When using electric products, basic precautions should always be followed, including
the following:
1.
Read all the instructions before using the product.
2.
Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet
basement, or near a swimming pool, or the like.
3.
This product should be used only with a cart or stand that is recommended by the manufacturer.
4.
This product, either alone or in combination with an amplifier and headphones or speakers, may be
capable of producing sound levels that could cause permanent hearing loss. Do not operate for 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, you should consult an audiologist.
5.
The product should be located so that its location or position does not interfere with its proper
ventilation.
6.
The product should be located away from heat sources such as radiators, heat registers, or other
products that produce heat.
7.
The product should be connected to a power supply only of the type described in the operating
instructions or as marked on the product.
8.
This product may be equipped with a polarized line plug (one blade wider than the other). This is a
safety feature. If you are unable to insert the plug into the outlet, contact an electrician to replace
your obsolete outlet. Do not defeat the safety purpose of the plug.
9.
The power supply cord of the product should be unplugged from the outlet when left unused for a
long period of time.
10. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through
openings.
11. The product should be serviced by qualified service personnel when:
a.
b.
c.
d.
The power supply cord or the plug has been damaged; or
Objects have fallen, or liquid has been spilled into the product; or
The product has been exposed to rain; or
The product does not appear to operate normally or exhibits a marked change in performance;
or
e. The product has been dropped, or the enclosure damaged.
12. Do not attempt to service the product beyond that described in the user-maintenance instructions.
All other servicing should be referred to qualified service personnel.
SAVE THESE INSTRUCTIONS
Table of Contents
Table of Contents
Chapter 1ÑWelcome ....................................................................................................................................................................... . 1
Getting Ready...................................................................................................................................................................................................................................................... 1
Explore the ZR-76 Sounds.............................................................................................................................................................................................................................2
Jam with the ZR-76 Drum Machine.............................................................................................................................................................................................................5
The Inspiration Catcher.....................................................................................................................................................................................................................................7
Listening to The ZR-61 and ZR-76 Demos .............................................................................................................................................................................................9
Playing Standard MIDI Files .......................................................................................................................................................................................................................... 10
The ZR-61 and ZR-76 Onscreen Help.................................................................................................................................................................................................. 11
Conceptual Overview of the ZR-61 and ZR-76.................................................................................................................................................................................. 12
ZR-61 and ZR-76 Controls ........................................................................................................................................................................................................................16
ZR-61 and ZR-76 Accessories .................................................................................................................................................................................................................17
Available Options for Your ZR-61 or ZR-76 ........................................................................................................................................................................................18
If You Experience Odd Behavior................................................................................................................................................................................................................18
Need More Help?........................................................................................................................................................................................................................................... 19
Chapter 2ÑThe ZR-76 Studio ................................................................................................................................................... . 21
Introduction ....................................................................................................................................................................................................................................................... 21
Getting Ready................................................................................................................................................................................................................................................... 21
What Connections Need to be Made? .......................................................................................................................................................................................... 21
Making MIDI Connections............................................................................................................................................................................................................................21
Using the ZR-76 as a Stand-Alone Studio ....................................................................................................................................................................................22
Using the ZR-76 as the Center of a MIDI Studio.........................................................................................................................................................................22
Using the ZR-76 with a Computer.................................................................................................................................................................................................. 23
Using the ZR-76 with an Audio Recorder ....................................................................................................................................................................................23
Using the ZR-76 with an Alternate Controller.............................................................................................................................................................................24
Using the ZR-76 with a MIDI Patchbay.......................................................................................................................................................................................... 25
Making Audio Connections.......................................................................................................................................................................................................................... 25
Making the Power Connection ................................................................................................................................................................................................................... 27
Setting Volume Levels ................................................................................................................................................................................................................................... 27
Chapter 3ÑGlobal Settings ........................................................................................................................................................... 29
How the ZR-76 Remembers System Settings ............................................................................................................................................................................29
General System Editing Techniques.......................................................................................................................................................................................................... 29
The System Groupings....................................................................................................................................................................................................................... 29
Setting Your System Preferences............................................................................................................................................................................................................... 31
Adjusting the KeyboardÕs Response to Velocity.......................................................................................................................................................................... 31
Adjusting the KeyboardÕs Response to Pressure.........................................................................................................................................................................32
Using the ZRÕs Four Outputs.............................................................................................................................................................................................................33
Routing Sounds to Specific Outputs ................................................................................................................................................................................................33
Determining the Behavior of the Aux Outs...................................................................................................................................................................................35
Enabling or Disabling Automatic Effect Routing ...........................................................................................................................................................................36
Protecting Track Settings in the 16 Track Recorder.................................................................................................................................................................. 38
Protecting the ZR-76Õs Memory .....................................................................................................................................................................................................39
The 16 Track Recorder Rewind Sound.........................................................................................................................................................................................40
Editing Global Pitch Settings .........................................................................................................................................................................................................................41
Using the Global Pitch Bend Settings .............................................................................................................................................................................................. 41
Global Pitch Bend Up and Down...................................................................................................................................................................................................... 41
Setting the Global Pitch Bend Mode ...............................................................................................................................................................................................43
Fine Tuning the ZR-76 ....................................................................................................................................................................................................................... 44
Using Pitch Tables.................................................................................................................................................................................................................................45
Setting Up Foot Switches............................................................................................................................................................................................................................... 46
Using Foot Switches.............................................................................................................................................................................................................................. 46
Using a CV Pedal as a Modulator.....................................................................................................................................................................................................49
Editing MIDI-Related Settings....................................................................................................................................................................................................................... 51
SoundFinderÕs MIDI Channel.............................................................................................................................................................................................................51
ENSONIQ ZR-76 Musician's Manual
i
Table of Contents
Synchronizing the ZR-76 to MIDI ...................................................................................................................................................................................................52
Synchronizing Other MIDI Devices to Your ZR-76.................................................................................................................................................................. 53
Setting the Global Reception of MIDI Bank Selects and Program Changes........................................................................................................................54
Responding to MIDI.............................................................................................................................................................................................................................. 54
Receiving Reset All Controllers MIDI Messages.......................................................................................................................................................................... 55
Setting the Response to All Notes Off MIDI Messages.............................................................................................................................................................. 55
Using SysEx Device IDs....................................................................................................................................................................................................................... 56
Setting Up New Real-Time Controllers.......................................................................................................................................................................................... 57
Entering GM Mode ........................................................................................................................................................................................................................................58
Using the ZR-76 with General MIDI ...............................................................................................................................................................................................58
Chapter 4ÑSoundFinder .............................................................................................................................................................. . 61
Sound Central................................................................................................................................................................................................................................................... 61
Choosing Sounds ............................................................................................................................................................................................................................................62
The SoundFinder Favorites Buttons ................................................................................................................................................................................................62
How to Find Sounds.............................................................................................................................................................................................................................. 64
How SoundFinder Works................................................................................................................................................................................................................... 65
Transposing the ZRÕs Keyboard In SoundFinder.................................................................................................................................................................................. 67
Understanding ZR-76 Sounds ................................................................................................................................................................................................................... 68
General Sound-Editing Techniques........................................................................................................................................................................................................... 69
Working with the SoundFinder Parameters............................................................................................................................................................................................71
Using Special Pitch Tables .................................................................................................................................................................................................................. 76
Editing ZR-76 Drum and Percussion Kits ................................................................................................................................................................................................88
Working with Special Drum/Percussion Kit Parameters.....................................................................................................................................................................91
Changing a Drum KeyÕs Sound ........................................................................................................................................................................................................92
Saving ZR-76 SoundFinder Sounds .........................................................................................................................................................................................................95
Splitting the ZR-76 Keyboard .....................................................................................................................................................................................................................98
Layering ZR-76 Sounds ........................................................................................................................................................................................................................... 100
Presets .................................................................................................................................................................................................................................................. 101
To Save a Split and/or Layer as a Preset.......................................................................................................................................................................... 103
To Select a Preset ................................................................................................................................................................................................................... 104
To Edit a Preset ........................................................................................................................................................................................................................ 105
To Save a Split and/or Layer as a Split/Layer Single Sound ...................................................................................................................................... 106
Moving a Sound to the 16 Track Recorder........................................................................................................................................................................................ 108
SoundFinder MIDI....................................................................................................................................................................................................................................... 109
Transmitting MIDI from the ZR-76............................................................................................................................................................................................. 109
Using the ZR as a Master Controller for External Sequencing ................................................................................................................................. 111
Receiving MIDI on the ZR-76....................................................................................................................................................................................................... 112
Using RPNs and NRPNs to Edit Parameters ....................................................................................................................................................................................... 113
Chapter 5ÑThe Drum Machine ............................................................................................................................................. . 115
Playing the Drum Machine....................................................................................................................................................................................................................... 116
Selecting Rhythms....................................................................................................................................................................................................................................... 116
The ZR-76 Rhythms....................................................................................................................................................................................................................... 116
Choosing Variations ................................................................................................................................................................................................................................... 119
Choosing Fills ................................................................................................................................................................................................................................................ 119
Setting the Rhythm Tempo ...................................................................................................................................................................................................................... 120
General Drum Machine Editing Techniques ...................................................................................................................................................................................... 121
Selecting a New Drum Kit for a Rhythm ............................................................................................................................................................................................... 123
Changing a RhythmÕs Loudness ............................................................................................................................................................................................................. 124
Learning a RhythmÕs Time Signature and Length ............................................................................................................................................................................. 124
Editing the Sounds Within a RhythmÕs Kit............................................................................................................................................................................................. 125
Drum Kits and Zones....................................................................................................................................................................................................................... 125
Editing Drum Kit Zones................................................................................................................................................................................................................... 126
The RthmEditKit....................................................................................................................................................................................................................... 126
Arranging Your Own Variations and Fills............................................................................................................................................................................................. 134
Saving Your Rhythms ................................................................................................................................................................................................................................ 138
Sending a Rhythm to the 16 Track Recorder..................................................................................................................................................................................... 140
Using MIDI to Play the Drum Machine ................................................................................................................................................................................................. 143
ii
ENSONIQ ZR-76 Musician's Manual
Table of Contents
Chapter 6ÑThe Idea Pad........................................................................................................................................................... . 145
The Inspiration Catcher.............................................................................................................................................................................................................................. 145
How the Idea Pad Works .......................................................................................................................................................................................................................... 146
Customizing the Idea Pad ......................................................................................................................................................................................................................... 148
Using the Idea Pad with the 16 Track Recorder................................................................................................................................................................................ 151
Erasing Ideas from the Idea Pad .............................................................................................................................................................................................................. 155
Chapter 7ÑRecording ................................................................................................................................................................. 157
ZR-76 Recording Concepts.................................................................................................................................................................................................................... 158
How the ZR-76 Records Your Music ........................................................................................................................................................................................ 158
Tracks................................................................................................................................................................................................................................................... 158
Sequences........................................................................................................................................................................................................................................... 159
Song Playlists and Songs ................................................................................................................................................................................................................. 160
Understanding the Recording LEDs ............................................................................................................................................................................................ 161
Introducing the 16 Track Recorder....................................................................................................................................................................................................... 162
Recording Tracks ........................................................................................................................................................................................................................................ 163
Selecting Tracks ................................................................................................................................................................................................................................ 164
Selecting Sounds for Tracks........................................................................................................................................................................................................... 164
Recording Your First Track............................................................................................................................................................................................................ 165
Track Undo......................................................................................................................................................................................................................................... 167
Overdubbing on a Track ................................................................................................................................................................................................................ 168
Track Tools and Techniques................................................................................................................................................................................................................... 169
Changing the Sound on a Track and Assigning a Sound to a New Track....................................................................................................................... 169
Scooping Notes From a Track ...................................................................................................................................................................................................... 170
Editing Track Sounds ....................................................................................................................................................................................................................... 171
The Fast Forward Button ................................................................................................................................................................................................................ 172
The Fast Forward Button ................................................................................................................................................................................................................ 173
The Fast Forward Button ................................................................................................................................................................................................................ 173
The Rewind Button........................................................................................................................................................................................................................... 175
Jumping to Any Location in a Sequence .................................................................................................................................................................................... 176
Punching In on a Track .................................................................................................................................................................................................................... 177
Step Recording in the 16 Track Recorder ................................................................................................................................................................................ 178
Erasing a Track................................................................................................................................................................................................................................... 186
Quantizing Tracks Conceptual Overview................................................................................................................................................................................. 192
Using a Quantization Template..................................................................................................................................................................................................... 197
Using Normal Quantization ........................................................................................................................................................................................................... 200
Using Delta Quantization ................................................................................................................................................................................................................ 205
Making Your Own Quantization Template.............................................................................................................................................................................. 206
Working with the Rhythm Track ............................................................................................................................................................................................................ 207
Rhythm Track: Two Tracks in One............................................................................................................................................................................................. 208
Putting a Rhythm on the Rhythm Track ..................................................................................................................................................................................... 208
Editing Rhythm Track Settings ...................................................................................................................................................................................................... 209
Playing a Drum Machine Rhythm in the 16 Track Recorder.............................................................................................................................................. 209
Recording Variation and Fill Selections ....................................................................................................................................................................................... 210
Recording Your Own Drum or Percussion Notes.................................................................................................................................................................. 211
Transmitting the Rhythm Track Into an External Sequencer ............................................................................................................................................... 214
Sequence Tools and Techniques........................................................................................................................................................................................................... 216
Selecting a Sequence....................................................................................................................................................................................................................... 216
Recording Modes.............................................................................................................................................................................................................................. 216
Sequence Parameters and Values ............................................................................................................................................................................................... 217
Using Regions .................................................................................................................................................................................................................................... 225
Looping Sequences.......................................................................................................................................................................................................................... 229
Copying a Sequence........................................................................................................................................................................................................................ 229
Erasing a Sequence........................................................................................................................................................................................................................... 232
Renaming a Sequence..................................................................................................................................................................................................................... 234
Recording Automated Sequence Tempo Changes............................................................................................................................................................... 235
Song Tools and Techniques .................................................................................................................................................................................................................... 237
Creating a New Song....................................................................................................................................................................................................................... 237
Creating a Song Playlist ................................................................................................................................................................................................................... 237
ENSONIQ ZR-76 Musician's Manual
iii
Table of Contents
Playing a Song .................................................................................................................................................................................................................................... 239
Renaming a Song .............................................................................................................................................................................................................................. 240
Editing an Existing Song Playlist..................................................................................................................................................................................................... 242
Selecting Another Song................................................................................................................................................................................................................... 242
Erasing a Song Playlist or an Entire Song.................................................................................................................................................................................... 246
Working with Standard MIDI Files (SMFs)........................................................................................................................................................................................... 248
The Two-Step Process of Converting an SMF into a ZR Sequence................................................................................................................................. 249
16 Track Recorder MIDI .......................................................................................................................................................................................................................... 252
Transmitting MIDI from 16 Track Recorder ............................................................................................................................................................................ 252
Receiving MIDI on the ZR-76....................................................................................................................................................................................................... 254
Recording Into the 16 Track Recorder From MIDI.......................................................................................................................................................................... 256
Using the ZR-76 with a Computer Sequencer.................................................................................................................................................................................. 260
ZR to Computer to ZR .................................................................................................................................................................................................................... 260
The Transportability of ZR-76 Sequences ............................................................................................................................................................................... 261
Using the ZR as a Master Controller for External Sequencing............................................................................................................................................ 261
Chapter 8ÑMixdown ................................................................................................................................................................. . 263
Mixing Your ZR-76 Music ...................................................................................................................................................................................................................... 263
Two Mixers In One .................................................................................................................................................................................................................................... 264
Mixing with the SoundFinder FX/Mixdown Strip ............................................................................................................................................................................. 264
SoundFinder FX/Mixdown ............................................................................................................................................................................................................ 264
Mixing with the 16 Track Recorder FX/Mixdown Strip................................................................................................................................................................. 268
16 Track Recorder FX/Mixdown ............................................................................................................................................................................................... 268
Recording Real-Time Mix and Pan Changes in a Sequence ............................................................................................................................................... 269
Recording Volume Changes for Multiple Tracks ................................................................................................................................................................... 270
Working with the Mix Knob..................................................................................................................................................................................................................... 271
Working with the Pan Knob...................................................................................................................................................................................................................... 273
Understanding How the ZR-76 Effects Work ................................................................................................................................................................................... 275
The ZR-76 Effects ............................................................................................................................................................................................................................ 275
Understanding Effects Busses ....................................................................................................................................................................................................... 276
Understanding the Special Alt. FX Bus ....................................................................................................................................................................................... 277
Effects, Sounds, Sequences and Songs ...................................................................................................................................................................................... 277
A Diagram of the ZR-76 Effects ............................................................................................................................................................................................................. 278
Applying an Effect to a Sound or Track ................................................................................................................................................................................................ 278
Assigning a SoundFinder Sound to an Effect............................................................................................................................................................................. 278
Assigning a Split or Layer Sound to an Effect ............................................................................................................................................................................ 279
Assigning a 16 Track Recorder Track to an Effect................................................................................................................................................................. 280
Working with the Insert Effect.................................................................................................................................................................................................................. 281
Selecting an Insert Effect.................................................................................................................................................................................................................. 285
General Technique for Editing an Insert Effect ......................................................................................................................................................................... 286
Working with the Global Chorus ............................................................................................................................................................................................................ 295
General Technique for Editing the Global Chorus.................................................................................................................................................................. 295
Working with the Global Reverb ............................................................................................................................................................................................................ 301
General Technique for Editing the Global Reverb.................................................................................................................................................................. 301
Working with Dry Sounds and Tracks.................................................................................................................................................................................................. 309
Bypassing the ZR-76 Effects ................................................................................................................................................................................................................... 310
Muting and Soloing Tracks in the 16 Track Recorder..................................................................................................................................................................... 312
Mute/Solo ........................................................................................................................................................................................................................................... 312
Chapter 9ÑStoring Your Music ............................................................................................................................................... 313
Understanding ZR-76 Memory ............................................................................................................................................................................................................ 313
ZR Memory Management....................................................................................................................................................................................................................... 314
Introducing The Librarian ............................................................................................................................................................................................................... 314
Working with Floppy Disks ...................................................................................................................................................................................................................... 323
About the ZR-76 Disk Drive......................................................................................................................................................................................................... 323
Saving Files to Floppy Disk ............................................................................................................................................................................................................. 324
Loading Files from Floppy Disk..................................................................................................................................................................................................... 335
Loading and Using Samples In the ZR-76........................................................................................................................................................................................... 346
Disk File Management ............................................................................................................................................................................................................................... 351
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ENSONIQ ZR-76 Musician's Manual
Table of Contents
Chapter 10ÑExpanding the ZR-76 ....................................................................................................................................... 357
Using EXP and MR-FLASH Expansion Boards .................................................................................................................................................................................. 357
Installing And Removing Expansion Boards In The ZR-76............................................................................................................................................................ 358
Updating the ZR-76 Operating System .............................................................................................................................................................................................. 360
Chapter 11ÑInsert Effect Parameters.................................................................................................................................... . 365
List of ZR-76 Insert Effects ....................................................................................................................................................................................................................... 366
List of Insert Effect Modulators ................................................................................................................................................................................................................ 366
LFO Wave Shapes...................................................................................................................................................................................................................................... 367
Distortion Curves ........................................................................................................................................................................................................................................ 367
Insert Effect Descriptions........................................................................................................................................................................................................................... 368
Chapter 12ÑUsing the Unisyn Editing Software ................................................................................................................. 411
Sound Editor Parameters .......................................................................................................................................................................................................................... 411
Perform Editor Parameters....................................................................................................................................................................................................................... 427
Drumkit Editor Parameters....................................................................................................................................................................................................................... 427
InsertFX Parameters ................................................................................................................................................................................................................................... 429
System Editor Parameters ........................................................................................................................................................................................................................ 429
Chapter 13ÑSupplemental Information ................................................................................................................................ 431
RhythmFinder Types.................................................................................................................................................................................................................................. 431
List of Wave Names and Classes............................................................................................................................................................................................................ 433
List of Rhythm Pattern Files....................................................................................................................................................................................................................... 439
EXP-4: The Perfect Piano™ by William Coakley.............................................................................................................................................................................. 440
The Perfect Piano™ Waves .......................................................................................................................................................................................................... 440
The Perfect Piano™ Sounds.......................................................................................................................................................................................................... 440
ENSONIQ Drum Map............................................................................................................................................................................................................................... 441
ENSONIQ Percussion Map...................................................................................................................................................................................................................... 441
Built-In ROM Presets.................................................................................................................................................................................................................................. 442
Velocity Response Curves in the ZR-76............................................................................................................................................................................................. 442
What Is MIDI? ............................................................................................................................................................................................................................................... 443
What Is General MIDI?............................................................................................................................................................................................................................... 445
General MIDI Sound Map ........................................................................................................................................................................................................................ 447
GM and GS Percussion Key Maps (Channel 10)............................................................................................................................................................................. 448
ZR-76 MIDI Implementation................................................................................................................................................................................................................... 450
Registered and Non-Registered Parameters (RPN/NRPN) .......................................................................................................................................................... 455
List of ROM System Pitch Tables ........................................................................................................................................................................................................... 457
Using the ZR-76 Outputs ........................................................................................................................................................................................................................ 459
A Note about Stereo Foot Switches....................................................................................................................................................................................................... 460
A Note about Mono Foot Switches........................................................................................................................................................................................................ 460
16 Track Recorder Messages ................................................................................................................................................................................................................ 464
Disk/Global/Storage Messages.............................................................................................................................................................................................................. 466
SoundFinder Message............................................................................................................................................................................................................................... 468
Global Error Message ................................................................................................................................................................................................................................ 468
Glossary.......................................................................................................................................................................................................................................................... 469
Index .................................................................................................................................................................................................. 475
ENSONIQ ZR-76 Musician's Manual
v
Audio Jacks
Phones, MainLeft (Mono), MainRight, AuxLeft (Mono),
AuxRight jacks allow you to listen to the
ZR-76. See Chapter 2.
Demo button
Plays special demonstration songs
to give you an idea of how terrific
the ZR-76 sounds. See Chapter 1.
Foot Pedal Jacks
CV¥Pedal (Volume), Footswitch1 (Sustain),
Footswitch2 jacks provide additional functionality
through the use of foot pedals. See Chapter 3.
Idea Padª
A special recorder that
continuously captures
your ideas. See Chapter 6.
E x i t / No but t on
This button is used to cancel commands and
answer questions posed on the display.
See Chapter 1.
Save
Demo
Load
Settings
Send
Recall
Idea
Start
Utilities
All Notes Off
To Track
Save All
System
Librarian
Help
MIDI
Edit
Save
Split
Layer
Exit
Stop
Disk/Global
I d e a Padª
Send
Tempo
To Track
Save
Edit
No
Send
To Rhythm Track
Tap
Variations / Fills
Transpose
Sound / Rhythm Type
Select
Sound
Hold To Spell
Master Volume
0
1
2
3
4
Disk Drive
This is used to load and store
sounds, rhythms, and songs.
See Chapter 9.
M odul at i on W heel
This is used to change or
modulate sounds and effects.
See Chapter 4.
5
Variation
Fill
Start
Hold To Spell
SoundFinderª
Master Volume Slider
This controls the volume of
the ZR-76. See Chapter 1.
Pitch Bend Wheel
This is typically used to raise
and lower the pitch.
See Chapter 3.
Select
Rhythm
Parameter
Stop
Drum Machine
6
7
8
9
A
B
C
D
E
Drum Machine
This module offers
various rhythms for
quickly creating and
editing your own rhythm
tracks. See Chapter 5.
SoundFinderª
This module is used to
select and edit sounds.
See Chapter 4.
Disk/Global
This module offers the
following disk drive controls:
LoadÑSee Chapter 9
SaveÑSee Chapter 9
UtilitiesÑSee Chapter 9
It also offers System controls:
System/MIDIÑSee Chapter 3
LibrarianÑSee Chapter 1 and 9
HelpÑSee Chapter 1
S ound/ R hy t hm &
P aram et er knob
This knob selects sound
types, Drum Machine
rhythm types, and is used
to navigate among
parameters.
See Chapter 1.
a l p h a - n u m e r i c c h a r a c t e r s (0 -9, A-Z)
The keys correlating to the alpha-numeric
characters can be used to name and select
sounds and sequences. See Chapters 4 and 9.
MIDI Jacks
MIDI In, Out Thru jacks allow interfacing
with other MIDI devices.
See Chapter 2.
AC L i n e / P o w e r
Jack and switch used for powering up the
ZR-76. See Chapter 1.
LCD D i splay
The 40-character display shows
information and offers choices.
See Chapter 1.
General MIDI-com patible
The ZR-76 is General MIDIcompatible. See Chapter 3.
Edit
Copy
Erase
Quantize
Reverb
Chorus
1
2
3
4
Insert FX
Routing
5
6
7
8
Undo
Copy
Bypass
Enter
Sound / Rhythm Name
Value
Rewind
Rhythm
11
12
14
15
16
Record
Stop
Play
Scoop
Locate
Top
H
I
J
K
S ound/ Rhyt hm Nam e
& Value knob
This knob selects sounds
using ENSONIQ's exclusive
SoundFinderª and
RhythmFinderª. It is also
used to edit displayed
parameters.
See Chapter 1.
Up/Down Arrow
buttons
These buttons are used
to select ZR-76
parameters. See
Chapter 1.
L
M
N
Loop
R
Mute
Countoff
RecordMode
Add
16 T r a c k R e c o r d e r
This module is used to
turn your idea into a
fully-realized musical
arrangement.
See Chapter 7.
From
To
Track Mix
Final Mix
Region
S e que nce s
A
B
C
Intro
Verse 1
D
E
F
G
H
Solo
Ending
Mix
Select
Song
Fast
Forward
O
Chorus
1
New Song
Verse 2
Chorus
2
Bridge
Song Playlist
Bank (A-H)
FX / Mixdown
P
Q
R
S
Song Editor
T
FX/Mixdown
This module controls the
volume and pan settings,
and accesses the effects
settings. See Chapter 8.
U
V
W
X
Song Editor
This module provides control
over each sequence.
See Chapter 7.
SoundFinderFavorites
2
3
4
5
6
Piano
EP. i a n o
Or gan
Keys
Gui tar
Bas s
7
8
9
10
11
12
Str i ngs
Bras s
Sax
V o c al s
Synth
Pad
Synth
Lead
1
1
2
3
Hold To Spell
Ent er/ Yes but t on
This button is used to answer
questions posed on the
display. See Chapter 1.
SoundFinder
F av ori t es but t ons
These provide instant
access to your favorite
sounds. See Chapter 4.
Click
Tap
Solo
16 Track Recorder
G
Tempo
Replace
L
13
Misc.
Step
Yes
9
Erase
Pan
Y
Z
Chapter 1ÑWelcome
C h apt er 1
Wel co m e
Congratulations on the purchase of your new ZR-76, and thank you for choosing ENSONIQ, the leader in
workstation design since the 1987 introduction of the first affordable workstation, the ESQ-1. The ZR-76 is
an exciting, third-generation product. Based on the popular MR-76, the ZR-76 takes the concept of a song
composition workstation to the next step.
The ZR-76 offers a comprehensive array of tools for the composer and performer: terrific CD-quality 44kHz
soundsÑincluding The Perfect Pianoª by William CoakleyÑcrystal-clear 18-bit effects, a full-featured 16
Track Recorder, a powerful FX/Mixdown facility, a built-in Drum Machine for jamming, and ENSONIQÕs
revolutionary Idea Padª, a brand-new way to capture inspiration as it strikes. The ZR-76 also features the
latest advances in ENSONIQÕs SoundFinderª technology, as well as onscreen Help. These features, and
more, will be discussed in the overview later in this chapter.
The first thing youÕd probably like to do is check out some of your ZRÕs exciting features.
G e t t i n g Re a d y
The simplest way to listen to the ZR-76 is by using stereo headphones. Push the ZRÕs Master Volume slider
all the way down and plug your headphones into the rear-panel Phones jack. The Phones jack output
works with both low and high impedance headphones. Make sure you set the Master Volume slider
carefullyÑhigh-output volume levels could damage your hearing. Play some keys on the keyboard, and
carefully move the Master Volume slider up to a comfortable listening level.
You may also listen using the rear-panel Main Left and Main Right outputs (or the Main Left output only if
you want to listen in mono). If youÕre connecting your ZR-76 to a mixer, lower the mixerÕs input trims and
faders all the way. Move the ZRÕs Master Volume slider all the way up, and then adjust the input trims and
faders on your mixer to set the volume to an appropriate level.
If youÕd like to run the ZRÕs Main outputs through your home stereo, bear in mind that your ZR-76 is
capable of producing a far greater dynamic range than what your system may be used to, and so, a little
care is required. Set the ZRÕs Master Volume slider about halfway up, and operate your stereo at
conservative levels to be on the safe side.
ThereÕs a more detailed description of how to connect the ZR-76 and set appropriate volume levels in
Chapter 2 of the ZR-76 Musician's ManualÑThe ZR-76 Studio.
Powering Up
Once youÕve got a listening method established, you can power up your ZR-76.
To Turn On the ZR-76
1.
2.
3.
Plug the ZRÕs line cord into the AC Line receptacle on its rear panel.
Connect the other end of the cable to a grounded AC outlet.
Press the Power button on the right side (viewed from the front) of the ZRÕs rear panel.
Once your ZR-76 completes its power-up sequence, the display will look something like this:
Sound
EXP036:00
PIANO-A :PerfectPno
YouÕre ready to start enjoying your ZR-76 sounds.
ENSONIQ ZR-76 Musician's Manual
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Chapter 1ÑWelcome
E x p l o r e th e ZR - 7 6 So u n d s
Finding Favorite Sounds
In the center of the ZR-76Õs front panel, underneath its display, youÕll find the two rows of SoundFinder
Favorites buttons. These buttons provide instant access to the best of the ZR-76Õs sounds.
Under each Favorites button is a description of the sound that will be selected when you press the button.
To Select Sounds Using the Favorites Buttons
1.
Press any of the Favorites buttonsÑthe sound assigned to the button will be selected and shown in the
ZRÕs display. For example, if you press the Strings Favorites button, youÕll see:
Sound
ROM005:040
STRGSECT:Dyn Marcato
i
The name of the sound youÕve just selected
2.
3.
Play the ZRÕs keyboard to enjoy this sound.
Press the other Favorites buttons and play the keyboard to hear to the sounds they select.
Ti p: You can select six additional favorites by holding down an upper button and pressing
the button just beneath it, or vice versa.
You can actually assign any sound you like to any of Favorites button, or upper/lower pair of buttons. To
learn more about the Favorites buttons, see Chapter 4ÑSoundFinder.
Introducing SoundFinder™
SoundFinderª sorts the ZRÕs many onboard sounds into useful categories, so that finding them is a snap!
SoundFinder also allows you to locate sounds by typing their names on the keyboard.
SoundFinder will be described more fully in the conceptual overview later in this chapter, and in full detail
in Chapter 4ÑSoundFinder. You can find a complete list of the ZR-76 sounds in Chapter 13ÑSupplemental
Information.
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ENSONIQ ZR-76 Musician's Manual
Chapter 1ÑWelcome
To Choose ZR-76 Sounds by Category
1.
Locate the SoundFinder section on the ZRÕs front panel.
2.
Press the Select Sound buttonÑits LED lights and the main SoundFinder display appears:
Sound
PIANO-A
ROM004:000
:PerfectPno
i
The sound you see displayed may be different
3.
4.
Play the keyboard to hear the selected sound.
Turn the left-hand Sound/Rhythm Type knob clockwise and counter-clockwise on the ZRÕs front panel.
As you turn the knob, different sound categories appear in the lower left corner of the display.
Sound
ROM005:077
SAX-SOLO:BreathySopr
i
The currently selected sound type
5.
6.
Find a sound type category that interests you.
Turn the Sound/Rhythm Name knob in either direction to choose a sound of the selected type.
ENSONIQ ZR-76 Musician's Manual
3
Chapter 1ÑWelcome
Sound names appear on the lower right-hand portion of the display.
Sound
ROM005:079
SAX-SOLO: Tenor Lead
i
The currently selected sound
7.
8.
Play some music on the keyboard to hear the sound youÕve selected.
To select other sounds, use the same method: turn the Sound/Rhythm Name knob to locate the type of
sound you want to hear, and the Sound/Rhythm Name knob to pick an individual sound.
Working with the ZR-76 sounds, and with SoundFinder, is described fully in Chapter 4ÑSoundFinder.
To Locate a ZR-76 Sound By Name
1.
2.
Locate the SoundFinder section on the ZRÕs front panel.
Press the Select Sound button, and hold it down.
Each white key on the ZRÕs keyboard from the C two octaves below Middle C to the B nearly three
octaves above has been assigned a number or letter, printed on the ZR just above the key. The G# in
each octave types a blank space.
Note: The keys outside of the range shown above are not used for the selection of sounds.
3.
While continuing to hold the Select sound button down, use the keyboard to type the beginning of the
name of the sound youÕre looking for.
By watching the ZRÕs display, youÕll see SoundFinder continually narrowing the search as you type
each letter. Sometimes just the first few letters are enough to identify a sound if no other sound shares
those letters.
Sound
RAM:004:013
ALL-SND :Real El.Pno
i
The name of each sound you find is shown here
4
ENSONIQ ZR-76 Musician's Manual
Chapter 1ÑWelcome
If you can only recall the beginning of a soundÕs name, and SoundFinder locates more than one sound
matching what youÕve typed, it will display the alphabetically first sound. To access the other matches,
turn the Sound Name knob clockwise.
J a m wi t h th e ZR - 7 6 Dr u m Ma c h i n e
Introducing the Drum Machine
The ZR-76 includes its own Drum Machine that you can play along with as you investigate musical ideas,
or when you just want to have some fun.
To Turn the Drum Machine On
1.
Locate the Drum Machine on the ZR's front panel.
2.
Press the Select Rhythm buttonÑits LED lights up.
The main Drum Machine display appears:
Rhythm VAR1
™:106
ALL-RTHM: Pop Soul 1
i
The rhythm you see displayed may be different
3.
Press the Drum MachineÕs Start/Stop button to hear the selected rhythm. The Start/Stop LED lights,
and the Drum Machine begins to play.
Each rhythm has eight variationsÑlooped patterns that play over and overÑand eight drum fills.
ENSONIQ ZR-76 Musician's Manual
5
Chapter 1ÑWelcome
4.
Without stopping the Drum Machine, press the Variation Fill button until the LED under the word
ÒVariationÓ lights. When this LED is lit, each time you press a Variations/Fills button, youÕll be
selecting one of the rhythmÕs variations.
5.
Try pressing each of the Variations/Fills buttons to hear how the rhythm changes.
6.
Press the Variation Fill button until the LED under the word ÒFillÓ lights. When this LED is lit, each
time you press a Variations/Fills button, youÕll be selecting one of the rhythmÕs fills.
7.
Press each of the Variations/Fills buttons to hear the rhythmÕs fills . After each fill plays, the Drum
Machine returns to the last-selected variation..
Play along with the rhythm by playing on the keyboardÑthe currently selected SoundFinder sound will
be heard. Feel free to use SoundFinder to select other sounds while the Drum Machine plays.
Press the Drum Machine Start/Stop button to stop the Drum Machine. The Start/Stop LED goes out,
and the Drum Machine stops playing.
8.
To Select Other Rhythms
1.
Press the Select Rhythm button so that its LED lights.
2.
Turn the left-hand Sound/Rhythm Type knob clockwise and counter-clockwise on the ZR's front panel.
As you turn the Sound/Rhythm Type knob, youÕll see different Rhythm categories appear in the lower
left part of the ZRÕs display.
Rhythm
ROCK
VAR1
™: 86
:Swing 16th1
i
The selected rhythm type
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ENSONIQ ZR-76 Musician's Manual
Chapter 1ÑWelcome
3.
4.
Find a rhythm type category that interests you.
Turn the Sound/Rhythm Name knob clockwise or counter-clockwise to choose a rhythm of the
selected type.
Rhythm names appear on the lower right-hand portion of the display.
Rhythm
ROCK
VAR1
™:133
:
Cookin'
i
The currently selected rhythm
5.
6.
Press the Drum MachineÕs Start/Stop button to hear the rhythm youÕve chosen, and try out its
variations and fills.
Press the Start/Stop button to turn off the Drum Machine.
Ti p: You can also select rhythms by holding down the Select Rhythm button and spelling
the desired rhythmÕs name on the keyboard. There is a list of the rhythms that shipped
with your ZR-76 in Chapter 13.
Working with the Drum Machine is described more fully in Chapter 5ÑThe Drum Machine.
Th e In s p i r a t i o n Ca t c h e r
Introducing the Idea Pad
Certainly one of the most truly exciting innovations in the ZR-76 is the Idea Pad, an ingenious recorder
thatÕs always recording, capturing everything you play. No more grasping at evaporating flashes of
brillianceÑthe Idea Pad catches every one.
To Listen To What You Just Played
1.
Press the Recall Idea buttonÑthe Idea Pad will play the last idea it captured, and then stop.
ENSONIQ ZR-76 Musician's Manual
7
Chapter 1ÑWelcome
2.
To hear your latest music again, press the Start/Stop button.
To Listen to Other Ideas Captured by the Idea Pad
1.
If youÕve just listened to an idea, the display will show:
Recall Your Ideas :
Idea=
3 of 9
i
The currently selected idea
i
The number of ideas in the Idea Pad
If you havenÕt been listening to the Idea Pad, press Recall Idea.
Each idea is assigned a number as itÕs recorded. The higher the number, the more recent the idea is.
You can use the up/down arrow buttons...
...or the Parameter knob to select the idea youÕd like to hear.
If the Idea PadÕs Auto-Play parameter is set to On, selecting an idea with the up or down button will
cause it to automatically begin playing (Chapter 6 describes all of the Idea Pad settings).
2. Use the up/down arrow buttons or the Parameter knob to select an idea.
3. If youÕve selected an idea with the Parameter knob, press the Idea Pad Start/Stop button to begin
playback of the idea.
4. Press the Idea Pad Start/Stop button to end playback of the selected idea.
The Idea Pad is described in detail in Chapter 6ÑThe Idea Pad.
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ENSONIQ ZR-76 Musician's Manual
Chapter 1ÑWelcome
L i s t e n i n g to Th e ZR - 7 6 De m o s
The Built-In Demos
Your ZR-76 comes with a collection of built-in demonstration songs that will give you an idea of how great
it sounds. These demos are easily accessed by pressing the Demo button on the ZRÕs front panel.
To Play the ZR-76 Demos
1.
Press the Demo button.
The display shows:
Start demo playback?
MAINDEMO:
Internal
2.
Your display may differ. Turn the Sound/Rhythm Name knob counter-clockwise until the display looks
as it does above.
Press the Enter/Yes button.
3.
The demo will begin playing.
If youÕd like to stop the demo before itÕs finished, press the Exit/No button.
Note: The Demo button also functions as a MIDI All Notes Off button. See below.
Selecting Other Demos
You can select any of the ZRÕs demos at any time. TheyÕre sorted by stylistic category so that you can easily
find a demo of interest.
To Select Another Demo to Listen To
1.
If youÕve already pressed the Demo button and listened to the main demo, the display should look
something like this.
Start demo playback?
MAINDEMO:
Internal
i
Demo category
ENSONIQ ZR-76 Musician's Manual
i
Demo name
9
Chapter 1ÑWelcome
2.
If it doesnÕt, press the Demo button now.
Use the Sound/Rhythm Type knob to select a demo category.
3.
Use the Sound/Rhythm Name knob to select a specific demo.
4.
5.
Press the Enter/Yes button to play the demo.
If youÕd like to stop the demo, press the Stop/No button to end playback.
P l a y i n g St a n d a r d MI D I Fi l e s
The ZR-76 can import Standard MIDI Files (SMFs) created on a computer or some other musical device.
Loadable SMF files can be as large as 215k in size.
To Import and Play a Standard MIDI File
1.
2.
Insert a DOS-formatted HD or DD disk containing an SMF into the ZRÕs floppy disk drive.
Press the Load button.
After a few moments, the ÒLoad from Disk?Ó display will appear.
If your display doesnÕt show Ò1-MIDIFILEÓ in its lower left corner, turn the ZRÕs Parameter knob until it
does.
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ENSONIQ ZR-76 Musician's Manual
Chapter 1ÑWelcome
3.
If thereÕs more than one SMF on the floppy, you can turn the Value knob to select the desired file.
4.
Press the Yes button.
5.
6.
Press the Yes buttonÑthe selected SMF will load into the lowest-numbered empty sequence location.
Press the 16 Track Recorder Play button to hear the imported SMF.
7.
You can press the Stop button to end playback.
Chapter 7ÑRecording describes converting Standard MIDI Files into ZR sequences, changing its sounds,
adjusting its track settings and recording new tracks.
T h e ZR - 7 6 On s c r e e n He l p
The ZR-76 offers special informational displays that explain the purposes of each front-panel button.
When youÕd like to learn what a particular button does, youÕll find the answer right in your ZR-76.
To Access the ZR-76 Onscreen Help
1.
Press the Help button.
The display will show:
Press a button for
help on its function
2.
Press the button youÕd like to learn aboutÑthe display will provide information about that button:
ENSONIQ ZR-76 Musician's Manual
11
Chapter 1ÑWelcome
The Select Sound
button allows you ¯
i
This is the onscreen help for the SoundFinder Select Sound button
3.
Many of the help entries contain more than one displayÕs worth of information.
Press the down arrow on the ZRÕs front panel to view the next help page.
4.
Continue pressing the down button until youÕve finished reading the description of the selected button.
to choose sounds
by holding the
˘
¯
5.
To go back to an earlier page, press the up button.
6.
The help function will display the last-selected page for a few moments and then return to what you
were doing before accessing help.
If youÕd like to exit from a help display immediately, press the Help button again.
7.
C o n c e p t u a l Ove r v i e w of th e ZR - 7 6
SoundFinder™
SoundFinder, as its name implies, is the place to go for ZR-76 sounds. The ZR-76 contains hundreds of
CD-quality sounds constructed from the many high-quality digital sound waves resident in the each ZR76. Typical sounds use up to 16 of these waves.
The ZR-76 also offers a special category of soundsÑdrum and percussion kitsÑwhich can have up to 64
standard sounds assigned to individual keys. Though these are most commonly drum and percussion
sounds, you can use any kind of sound youÕd like in a kit. Each drum or percussion kit key has its own
volume, pan, pitch and effect settings. The drum and percussion kits youÕll find in your ZR-76 were
programmed to work seamlessly with the ZR-76 Drum Machine.
All of the ZR-76 sounds can be customized to suit your needs using the extensive SoundFinder editing
options. In addition, if youÕve got a computer, you can use the supplied Unisyn editing software to build
your own ZR-76 sounds from scratch. Sounds can be saved to high-density and double-density floppy
disks using the ZRÕs disk drive.
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ENSONIQ ZR-76 Musician's Manual
Chapter 1ÑWelcome
You can add new sounds to your ZR-76 by purchasing ENSONIQ ZRD Series Sound Disks. You may also
install ENSONIQ EXP Series Wave Expansion Boards, which provide completely new sound waves, and
sounds based on them. Additional sounds that take advantage of expansion board waves can be obtained
through the purchase of ENSONIQÕs EXD Series Disks.
In SoundFinder, you can use any sounds to easily create:
¥
splitsÑwhere one sound is heard in the lower part of the keyboard and a different sound is heard in
the upper part
¥
layersÑwhere two sounds are heard stacked on top of each other
¥
combination split/layersÑwhere the lower part of the keyboard plays the split sound, and the upper
area contains two sounds layered on top of each other
Each of these combinations can be saved as a presetÑan ideal tool for performanceÑor as a single sound
that can be used for recording in the ZR-76.
SoundFinder is more than just an area on the front panel of your ZR-76. ItÕs an incredibly simple-to-use
method for finding the sounds you want. Computer users may be familiar with databases, which allow you
to view information in a manner of your choosing. SoundFinder operates in much the same way. Your ZR76 keeps a list of all the sounds available to it at any given time, and shows them to you in logical,
musically convenient categories called sound types.
Sound types show you sounds by instrument familyÑVOCALS or BELLS, for exampleÑor by a number of
other useful criteria, including the location in the ZR's memory where they reside. The ALL-SND category is
especially useful, since it shows all of the ZR's sounds arranged in alphabetical order. The *CUSTOM and
USER-SND categories can be used for storing your own sounds.
If you know the name of the sound youÕre looking for, you can hold down SoundFinderÕs Select Sound
button and spell the soundÕs name using the ZR's keyboard. Each key has been assigned a number or
letter, which is printed above the key. SoundFinder will retrieve the sound you want.
Any sound you select in SoundFinder can be sent to the ZRÕs 16 Track Recorder when it comes time to
develop one of your musical ideas.
The SoundFinder section also unlocks the ZRÕs power as a MIDI keyboard for performance. By setting a
SoundFinder sound, split and/or layer to transmit MIDI, your keyboard can be turned into a three-way
MIDI master controller.
Any sound in SoundFinder can also be selected via MIDI. The sounds are arranged inside the ZR-76 in
groupings called banks. Each bank corresponds to a MIDI Bank Select number, and each sound has its
own MIDI program change.
Sounds, SoundFinder and the customization of sounds are all discussed fully in Chapter 4ÑSoundFinder.
Drum Machine
The ZR-76 Drum Machine provides highly realistic rhythmic accompaniment for music-making in a wide
variety of styles. Simple to operate, yet packed with editing options, the Drum Machine is perfect for
playing along with in performance, for fun, or while searching for new song ideas.
To operate the Drum Machine, all you need to do is select a rhythm and hit the Start button. The Drum
Machine has its own version of SoundFinderÑcall it RhythmFinder, if you will. Rhythms are divided into
categories that can be selected with the Sound/Rhythm Type knob. The Sound/Rhythm Name knob
chooses individual rhythms from within the selected category. Additional rhythms are available on
ENSONIQÕs ZRD Series Sound Disks.
Each Drum Machine rhythm contains eight variations of the same musical style, as well as eight drum fills
for providing musical punctuation to your beats. Just about everything in a rhythm is customizable: you
can change the drum or percussion kit used by a rhythm, alter the sounds in the kit, or change what each
variation or fill plays. You can change a rhythmÕs tempo by tapping on the Drum MachineÕs Tempo button,
or by dialing it in manually. You can even swap musical phrases between one rhythm and another to
assemble your own rhythms, which can be stored in your ZRÕs memory, and on floppy disk for safekeeping.
You can also save a collection of rhythms to floppy as a rhythm bank. If youÕve got a PC-compatible
computer, you can make your own rhythms using the RhythmBuilder utility you can find at ENSONIQÕs
World Wide Web site at http://www.ensoniq.com.
You can send a Drum Machine rhythm to the 16 Track Recorder, for use as a rhythm track for your music.
The Drum Machine is discussed fully in Chapter 5ÑThe Drum Machine.
ENSONIQ ZR-76 Musician's Manual
13
Chapter 1ÑWelcome
Idea Pad
The ZR-76 presents ENSONIQÕs innovative Idea Pad. If youÕve ever had fleeting magic slip through your
fingers when your were unable to recreate something youÕve played, youÕll appreciate the Idea Pad.
The Idea Pad is a special recorder thatÕs always running, automatically capturing everything you play.
Since itÕs always active, you can be confident that everything youÕve just played is safely stashed in the
ZR's memory. To retrieve your ideas, simply press the Idea PadÕs Recall Idea and Start/Stop buttons, and
youÕll hear your latest musical discovery intact, just as it sounded the first time. The Idea Pad will have
caught your idea, the sound you used, and the rhythm you were playing along with if you were jamming
with the Drum Machine.
The Idea Pad is also the perfect place to stash those sudden inspirations that send you running for your
keyboard in the middle of the night or day. Simply turn your ZR-76 on, play your new idea on the
keyboard before it evaporates, and the Idea Pad will capture it for you, fresh from your musical
imagination. No more stopping to set tempos, pick tracks or wait for your computer to boot up: the Idea
Pad gets your thoughts down quickly, before that initial spark has a chance to fade.
If the Idea Pad captures something youÕd like to keep, you can send your ideaÑalong with any Drum
Machine rhythm you were usingÑover to the ZR's 16 Track Recorder for further work.
As you perfect tracks in the 16 Track Recorder, the Idea Pad keeps listening to you, capturing take after
take that you can retrieve and audition at will.
The Idea Pad is described more fully in Chapter 6ÑThe Idea Pad.
16 Track Recorder
The 16 Track Recorder is a digital MIDI sequencer adorned with powerful editing features that will help
you turn your inspirations into full-blown musical arrangements. In addition to standard recording
methods, the 16 Track Recorder offers such treats as looped ADD modeÑwhere the sequence plays over
and over and you can add music each time it cycles around. It includes handy scoop-erase functions. You
can record real-time volume and stereo panning changes on each of its 16 tracks. YouÕll also find several
useful methods for locating to various points within a sequence.
The ZRÕs Undo function allows you to restore any track to the state it was in before the last recording or
editing operation. And when youÕre working with the 16 Track Recorder, the Idea Pad keeps on going,
recording everything you do. As you refine your music take after take, the Idea Pad catches each one and
holds onto it for youÑwith the Idea Pad running, thereÕs no such thing as going a few takes too far. You
can always move an earlier take out of the Idea Pad and right back into the 16 Track Recorder.
The 16 Track Recorder can play Drum Machine rhythms on a special rhythm track. You can record Drum
Machine performancesÑyour inspired selection of variations and fillsÑon this track. You can even record
additional drum notes right on top of the rhythm. The tempo of any sequence can be tapped out or set
manually.
The 16 Track Recorder records each section of musicÑeach sequenceÑas a Standard MIDI file. When
youÕve finished taking advantage of the ZRÕs extensive recording track editing tools, you can save each
sequence to floppy disk and move over to your computer for further work in your favorite software
sequencer. Your computer can send MIDI back to your ZR-76, so that you can continue to use its sounds
and rhythms without missing a beat.
Your ZR-76 loads Standard MIDI Files (SMFs) from DOS-formatted floppies. The 16 Track Recorder can
immediately play SMFs created on a computer or other musical device. SMFs can also be easily converted
to ZR sequences, so that you can customize them to your needs or add new tracks recorded on your ZR76.
16 Track Recorder sequences can also be used as set-ups for live performance. By assigning the sounds
you use in a particular song to different tracks in the same sequence, you can use the sequence as a kind
of super-preset containing everything you need for that song. You can set up a whole setÕs worth of sounds
in this manner by creating a sequence for each song youÕll be playing, and saving the whole set as an ZR76 song.
The 16 Track Recorder is described more fully in Chapter 7ÑRecording.
Song Editor
The Song Editor is the command center for ZR-76 recording operations, providing total control over each
song, from its reference metronome to the manner in which the 16 Track Recorder records, to the lengths
and names of the songÕs component sections . The Song EditorÕs playlist function lets you line up your
14
ENSONIQ ZR-76 Musician's Manual
Chapter 1ÑWelcome
sections in the order youÕd like them to be heard, regardless of the order in which they were recorded.
When youÕre done experimenting with different structures, youÕll have created a new song.
Chapter 7ÑRecording details the workings of the Song Editor.
FX/Mixdown
The ZR's FX/Mixdown facility allows you to add the final polish to your sounds, sequences and songs with
its comprehensive volume and stereo panning controls, and by providing access to the ZR's powerful 24-bit
effects (or FX). Each sound and sequence can take advantage of three types of effects:
¥
the insert effectÑeach sound in SoundFinder or sequence in the 16 Track Recorder can have one of
these exceptional effects; sounds in the 16 Track Recorder use the sequenceÕs insert effect
¥
a Global ChorusÑeach song has its own high-quality digital chorus effect that can be used by
SoundFinder sounds, or by 16 Track Recorder sounds
¥
a Global ReverbÑeach song has its own high-quality digital reverb effect that can be used by
SoundFinder sounds, or by 16 Track Recorder sounds
¥
dryÑmany of the ZR-76 sounds sound terrific without any effect at all
The effects are applied by sending each sound or 16 Track Recorder track to an effect bus, or FX Bus.
There are six effect busses:
¥
¥
¥
¥
¥
¥
the
the
the
the
the
the
Insert FX Bus
Chorus FX Bus
LightReverb FX Bus
MediumReverb FX Bus
WetReverb
Dry FX Bus (sounds using this bus are un-effected)
Each FX bus has its own settings that determine how it will use the effect (or effects) it can access, as well
as which rear-panel outputs it will ultimately utilize.
The ZRÕs FX/Mixdown section also provides muting and soloing options for isolating individual tracks or
groups of tracks in the 16 Track Recorder.
Chapter 8ÑFX/Mixdown provides a complete description of the ZRÕs FX/Mixdown facility and the ZR-76
effects.
The ZR-76 Memory and Storage
The ZRÕs memory is divided into two general categories:
¥
ROM for ÒRead Only MemoryÓÑpermanent, un-erasable memory that holds sounds, rhythms and
presets created by ENSONIQ
¥
INT for ÒInternalÓÑwritable memory that you can use to store your own sounds, rhythms, presets,
sequences and songs
The INT memory itself contains two different types of memory:
¥
FLASHÑmemory which remains in your ZR-76 even when you power off. In addition to holding all of
your system-wide settings, FLASH makes an ideal place to store sounds, rhythms and presets that
youÕll always want to have on hand as creation and performance tools.
¥
RAMÑshort for ÒDRAMÓÑan area of memory useful for holding items that youÕll only need for a
particular work session. When you turn your ZR-76 off, RAM memory is cleared of its contents. The
Idea Pad and the 16 Track Recorder share this type of memory with RAM sound and rhythm banks.
The ZRÕs librarian allows you to perform a number of memory management tasks that allow you to get the
most out of your ZR-76. Using the librarian, you can, among other things, configure your INT memory to
suit your purposes, keep track of your FLASH and RAM memory usage and initiate various kinds of MIDI
System Exclusive data transmissions.
Your ZR-76 has a built-in high-density floppy disk drive (it can also read double-density disks) so you can
save your work to floppy disks. Sounds, rhythms, presets, sequences and songs can be easily saved to
disk.
As a convenience, the ZR-76 Save LED will flash when youÕve got a sound, preset, rhythm or sequence in
RAM that hasnÕt yet been stored on a floppy disk for safekeeping.
ENSONIQ ZR-76 Musician's Manual
15
Chapter 1ÑWelcome
If youÕve got a computer, and would like to use your favorite sequencing program to further develop your
sequences, you can pop your ZR-76 floppy into your computerÕs drive and load in your ZR-76 music. Any
computer that can read a DOS-formatted diskÑand that includes just about every recent type of
computerÑcan read the Standard MIDI files on an ZR-76 floppy.
The ZR-76 memory and floppy disk operations are described in Chapter 9ÑMemory and Storage.
ENSONIQ EXP Series Wave Expansion Boards and MR-FLASH Boards
The ZR-76 can be expanded with the addition of ENSONIQ EXP Series Wave Expansion Boards and an
MR-FLASH board. The EXP boards provide a wealth of new sound waves and new sounds, while an MRFLASH board adds the ability to load AIF and .wav samples into your ZR. Expansion boards are mounted
inside the ZR's caseÑyou can easily install them yourself! You can also purchase ENSONIQ EXD Series
floppy disks, which contain additional sounds based on expansion board sound waves.
Your ZR-76 already contains one EXP board: EXP-4, The Perfect Pianoª by William Coakley. As its name
implies, this board adds to the ZRÕs built-in sound waves a top-quality set of Steinway D piano waves, as
well as waves sampled from a pair of electric pianos.
For more details about expanding the ZR-76, see Chapter 10ÑExpanding the ZR-76.
Z R - 7 6 Co n t r o l s
The ZR-76 Display
The ZR's display has been designed to provide you with all the information youÕll need as you use your ZR76. The display will change as you perform different tasks, since what youÕll need to know at any given
time will vary depending on what youÕre doing. The ZR-76 MusicianÕs Manual describes how the display
functions as you use each of the ZRÕs many features.
The Knobs Under the ZR-76 Display
Many of the ZRÕs begin with turning the two large knobs located under the ZRÕs display.
When you select sounds, rhythms or presets, the left knob functions as Sound/Rhythm Type selector,
while the right knob chooses individual sounds, rhythms and presets of the selected type.
Your ZR-76 provides many editing options. Each of these options is called a parameter. ItÕs setting is called
its value. When editing, the left knob chooses parameters and the right knob edits their values.
The up/down arrows to the right of the Sound/Rhythm Name-Value knob perform the same functions as
the knob, except as noted during the manual.
16
ENSONIQ ZR-76 Musician's Manual
Chapter 1ÑWelcome
The Buttons on Either Side of the ZR-76 Display
Many of the operations you can perform in your ZR-76 are offered as questions posed on the ZRÕs display.
Whenever you see a question, youÕll also find that the red LED in the Exit/No button and the green LED in
the Enter/Yes button are flashing.
The flashing LEDs underscore that an answer to the displayed message is required in order to proceed
with, or cancel, the current procedure. Press the Enter/Yes or Exit/No buttons to answer the displayed
question.
All Notes Off
When using MIDI equipment, there are occasions when your system may get confused. This can cause a
barrage of notes to sound which will continue until you do something to stop them. The ZR-76 provides an
All Notes Off button, which you can double-click (press two times quickly) to silence these unwanted notes.
You'll find it in the upper left area of the ZRÕs front panel (itÕs also the Demo button). Think of the All Notes
Off button as a Òpanic button.Ó
Z R - 7 6 Ac c e s s o r i e s
These accessories came along with your ZR-76. If any of these items is missing, please call ENSONIQ
Customer Service at (610) 647-3930.
¥
ZRD-100 Sound, Rhythm and Sequence Disk, containing:
¥ DRUMDEMO.MF3Ña 16 Track Recorder demo of the ZR-76 drum kits and Drum
Machine rhythms
¥ !FLSRTHM.RBKÑbackup of the 20 Default Flash (INT) Rhythm Patterns
¥ BALLADS.RBKÑbank of 7 Ballad Rhythms
¥ COUNTRY.RBKÑbank of 6 Country Rhythms
¥ DANCE_1.RBKÑbank of 7 Dance Rhythms
¥ DANCE_2.RBKÑbank of 7 Dance Rhythms
¥ ISLAND.RBKÑbank of 5 Island Rhythms
¥ JAZZ.RBKÑbank of 4 Jazz Rhythms
¥ LATIN.RBKÑbank of 7 Latin Rhythms
¥ POP.RBKÑbank of 6 Pop Rhythms
¥ R&B.RBKÑbank of 8 R&B Rhythms
¥ RAP&HOP.RBKÑbank of 9 Rap & Hip-Hop Rhythms
¥ ROCK.RBKÑbank of 16 Rock Rhythms
¥ WORLD.RBKÑbank of 3 World Rhythms
Note: The three-letter DOS file name suffixes are not visible when loading these files
into the ZR-76.
¥
¥
¥
¥
MusicianÕs Manual (MM-131)
Detachable power cord
Unisyn editing software
SW-6 single damper foot switch
ENSONIQ ZR-76 Musician's Manual
17
Chapter 1ÑWelcome
A v a i l a b l e Op t i o n s fo r Yo u r ZR - 7 6
These optional accessories are available from your Authorized ENSONIQ Dealer, or by calling ENSONIQÕs
toll-free accessory line at (800) 553-5151:
¥
¥
¥
¥
¥
¥
¥
ZRD Series Sound Disks
EXD Series Sound DisksÑfor use with specific ENSONIQ EXP Series Wave Expansion Boards
ENSONIQ EXP Series Wave Expansion Boards
ENSONIQ MR-FLASH Sample Memory Board
SW-10 Dual Damper Foot SwitchÑ2 pedal piano-type for sustain pedal, sostenuto, and sequencer
start/stop. The ZR-76 can use two of these for a total of four foot switches.
CVP-1 (CV Pedal)Ñfor voice/FX modulation or volume control
Detachable MS-1 Music Stand (ZR-76 only)
I f Yo u Ex p e r i e n c e Od d Be h a vi o r
If your ZR-76 is behaving peculiarlyÑfor instance, the display is showing characters that shouldnÕt be
there, or youÕre experiencing Òunexpected eventÓ messagesÑthefollowing procedures may fix your problem,
eliminating the need to call an authorized ENSONIQ repair station or ENSONIQ Customer Service:
¥
A soft restartÑa button combination that acts like turning your ZR-76 off and on.
Warning: Performing a soft restart will result in your ZR-76 clearing its RAM memory, in the
same way that powering off and on would. If you decide to do a soft restart, try saving any
sequences or RAM sounds, presets or rhythms youÕd like to preserve to a floppy disk before
performing the restart. (see Chapter 9 for details).
¥
A hard reinitialization procedure performs a very deep-level reinitialization of the ZR-76. This
procedure should be primarily be used only in cases where the ZR's front-panel buttons, for some
reason, donÕt allow you to perform a soft restart, or if a soft restart fails to solve your problem.
Warning: During a hard reinitialization, any sounds, rhythms or presets in FLASH, as well
as any sounds, rhythms, presets, sequences or songs stored in RAM will be lost. All system
parameters will be reset, as well. If you decide to reinitialize, try saving any items you want
to preserve to a floppy firstÑsee Chapter 9 for details. The sounds and rhythms that were
in FLASH when you first purchased your ZR-76 are safely stored on the ZRD-100 floppy
disk that came with your ZR.
To Perform a Soft Restart
Warning: Make sure that everything in RAM that youÕd like to keep has been safely stored
on a floppy disk before you reinitialize, since reinitialization will clear the ZR's internal RAM
memory.
1.
2.
Press and hold down the SoundFinder Save button.
While still holding Save, press the Exit/No button.
If performing a soft restart doesnÕt end the strange occurrences, you may need to perform a hard
reinitialization of your ZR-76.
To Perform a Hard Reinitialization
Warning: Make sure that everything in FLASH or RAM that youÕd like to keep has been
safely stored on floppy disk before you reinitialize, since reinitialization will clear the ZR's
internal entire INT memory (it will also reset all system settings to their default values). The
ZRD-100 floppy disk that shipped with your ZR contains a copy of the sound and rhythm
banks that were in FLASH when your ZR-76 shipped from the factory.
1.
2.
3.
18
Turn your ZR-76 off.
Press and hold down the Song Editor Erase button.
While still holding Erase, turn your ZR-76 on and allow it to power up fully before letting go of erase.
If reinitializing the ZR-76 fails to correct the problem, contact an Authorized ENSONIQ Repair Station
or ENSONIQ Customer Service at (610) 647-3930.
ENSONIQ ZR-76 Musician's Manual
Chapter 1ÑWelcome
N e e d Mo r e He l p ?
Whether youÕre an aspiring programmer looking for additional information about basic effect processing
techniques and MIDI theory, or a professional sound engineer working with advanced applications, you
may want more detailed information beyond the scope of this manual. The following books can help
enhance your understanding of effect processing, MIDI, and related topics. These, in addition to the
numerous monthly magazines, provide a wealth of information. While we donÕt endorse any one of these
publications, we offer this partial list as a resource for you to draw on.
The Mix Bookshelf
For prices and more information call: 1-800-233-9604
MIDI
BECOMING A COMPUTER MUSICIAN, Jeff Bowen
MAKING MUSIC WITH YOUR COMPUTER, David (Rudy) Trubitt, Ed.
MIDI: A COMPREHENSIVE INTRODUCTION, Joseph Rothstein
MIDI XPLAINED, Steinberg/Jones
THE MIDI MANUAL, David Huber
UNDERSTANDING MIDI, David Wills
WHATÕS MIDI?, Jon Eiche
RECORDING
IMPROVING YOUR SIGNAL PROCESSING SKILLS, (cassette & manual) Bill Gibson
MASTER HANDBOOK OF ACOUSTICS, F. Alton Everest
MODERN RECORDING TECHNIQUES, Huber & Runstein
SOUND REINFORCEMENT HANDBOOK, Davis & Jones
SYNTHESIS
FUNDAMENTAL TECHNOLOGIES OF THE SYNTHESIZER, Errol G. Specter
SYNTHESIZER PERFORMANCE, Jeff Pressing
WHATÕS A SYNTHESIZER?, Jon Eiche
VIDEOS
SHAPING YOUR SOUND, (video series) Tom Lubin
Alfred Publishing Company
For prices and more information call 1-818-891-5999
MIDI
ADVANCED MIDI APPLICATIONS, GPI
Hal Leonard Publishing
MIND OVER MIDI, GPI
BASIC MIDI APPLICATIONS, GPI
WHAT IS MIDI?, GPI
For prices and more information call 1-414-774-3630
TUNING IN: MICROTONALITY IN ELECTRONIC MUSIC, Scott R. Wilkinson
Monthly Magazines
The following magazines offer many specific articles and columns that can provide additional information.
THE TRANSONIQ HACKER
An independent news magazine for ENSONIQ Users. For prices and information, call 1-503-227-6848.
KEYBOARD
For subscription rates and more information call 1-800-289-9919
ELECTRONIC MUSICIAN
For subscription rates and more information call 1-800-888-5139
HOME & STUDIO RECORDING
For subscription rates and more information call 1-818-407-0744
MIX
For subscription rates and more information call 1-800-888-5139
EQ
ENSONIQ ZR-76 Musician's Manual
For subscription rates and more information call 1-212-213-3444
19
Chapter 2ÑThe ZR-76 Studio
C h apt er 2
T h e ZR- 7 6 St u d i o
I n tr o d u c ti o n
The ZR-76 is a MIDI recording studio unto itself, with powerful composition, arrangement, recording and
mixing tools. The ZR-76 also makes for an excellent central command center for a studio containing other
MIDI modules. In a more elaborate settingÑincluding perhaps a personal computer and/or audio
recorderÑthe ZR-76 is a valuable creative and sonic resource. This chapter describes how to connect and
use the ZR-76 in some of the most popular studio environments.
The key to setting up any studio is to approach the process in an orderly, methodical manner. As each
cable or wire is added, the studio grows in complexity. If you have a firm grasp of whatÕs connected, and
where, youÕll find managing your rig to be much more pleasant. As you add more gearÑor troubleshootÑ
the extra care you take now will pay off in the ease with which youÕll be able to adapt your studio to future
needs.
G e t t i n g Re a d y
ItÕs always good policy to turn everything offÑand all volume settings downÑbefore you wire equipment
together. This protects you and your gear from unwelcome surprises.
1.
2.
3.
Turn the volume off for each piece of equipment you plan to include in your studio.
Turn down any mixer faders or other volume controls for the sound system youÕre using.
Turn off the power for everything being included in your set-up.
What Connections Need to be Made?
In any modern MIDI studio system, there are three types of connections to be made:
¥
¥
¥
MIDI connections
Audio connections
Power connections
M a k i n g MI D I Co n n e c t i o n s
The ZR-76 will communicate with the rest of your equipment via MIDI. The nature of these connections
and the number of MIDI cables youÕll need varies, depending on your set-up. Each studio has its own
needs, which weÕll explain in the individual set-ups in this chapter.
The studio scenarios described in this chapter are:
¥
Using the ZR-76 as a stand-alone studio
¥
Using the ZR-76 as the center of a MIDI studio
¥
Using the ZR-76 with a computer
¥
Using the ZR-76 with an audio recorder
¥
Using the ZR-76 with an alternate controller
¥
Using the ZR-76 with a MIDI patchbay
If youÕve got questions about MIDI itself, or any of the terms above, consult the Glossary or ÒWhat Is
MIDI?Ó sections of Chapter 13.
Even if your plans for the ZR-76 differ from the scenarios described in this chapter, youÕre likely to find the
set-ups useful as starting points for your own studio design.
ENSONIQ ZR-76 Musician's Manual
21
Chapter 2ÑThe ZR-76 Studio
Using the ZR-76 as a Stand-Alone Studio
The ZR-76 is a complete songwriting studio straight out of the box. See ÒMaking Audio ConnectionsÓ and
the ÒMaking the Power ConnectionÓ later in this chapter for important information on using the ZR-76 in a
variety of listening situations, and for tips on powering up.
To Learn More
Chapter 1 provides a good starting point for learning about the ZR-76.
Using the ZR-76 as the Center of a MIDI Studio
The ZR-76 makes an excellent command center for a MIDI studio containing other MIDI instruments,
including sound modules such as ENSONIQÕs ZR-Rack.
What YouÕll Need
¥
One less MIDI cable than the number of MIDI devices
Note: If youÕre going to connect more than one MIDI instrument to the ZR-76, and youÕre
not using a MIDI patchbayÑsee ÒUsing the ZR-76 with a MIDI PatchbayÓ later in this
chapterÑeach of the MIDI instruments must have a MIDI Thru capability (consult each
instrumentÕs manual for further info). This will allow you to Òdaisy-chainÓ the devices.
To Connect the ZR-76 to Other MIDI Devices
1.
2.
3.
4.
5.
Connect one end of a MIDI cable to the ZRÕs MIDI Out.
Connect its other end to the MIDI In of the first MIDI device you want to use.
If you want to add other MIDI instruments, connect another MIDI cable to the first deviceÕs MIDI Thru
jack (some MIDI instruments use the MIDI Out jack for MIDI Thru; see your deviceÕs manual if it has
no MIDI Thru jack).
Connect the cableÕs other end to the next deviceÕs MIDI In.
Repeat steps three and four for each MIDI device you want to add.
Note: If your set-up utilizes a MIDI patcher, consult your patcherÕs documentation to learn
how to set up the equivalent of this MIDI connection, and see ÒUsing the ZR-76 with a MIDI
PatchbayÓ later in this chapter.
To Finish Your Connections
Now that youÕve made your MIDI connections between your computer and the ZR-76, skip ahead to
ÒMaking Audio Connections,Ó and then ÒMaking the Power ConnectionÓ later in this chapter.
For more information on using your ZR-76 as a MIDI master controller, see Chapter 4.
22
ENSONIQ ZR-76 Musician's Manual
Chapter 2ÑThe ZR-76 Studio
Using the ZR-76 with a Computer
The ZR-76 is designed as the perfect companion for a personal computer. You can edit its sounds on your
computer using the supplied Unisyn software. Use the ZRÕs Idea Pad as your inspiration-catcher and its 16
Track Recorder to flesh out your initial idea. Save the components of the new songÑits sequencesÑto
floppy disk. Since ZR-76 files can be read by any computer that understands Standard Midi Files (SMFs)
and can read a DOS-formatted floppy, you can load your sequences straight off of a floppy and into your
computerÕs sequencerÑor combination sequencing/recording programÑfor further work. When youÕve
moved your ZR sequences over to your computer, your computer will communicate with the ZR-76 via
MIDI to access the sounds you used to create your new song. You can also use your computer to design
your own new sounds using an editing program. After setting up your hardware as described below, see
ÒUsing the ZR-76 with a Computer SequencerÓ at the end of Chapter 7.
Some computers are manufactured with MIDI In/Out/Thru jacks. If yours doesnÕt have built-in MIDI
jacks, youÕll need to purchase a MIDI interface for your computer. Make sure that your computer, its MIDI
programs, andÑif youÕre using oneÑits MIDI interface are configured correctly. Consult their
documentation to learn how to use them with a multi-timbral MIDI device like the ZR-76.
What YouÕll Need
¥
Two MIDI cables.
To Connect the ZR-76 and a Computer
1.
2.
3.
4.
Connect
Connect
Connect
Connect
one end of a MIDI cable to your computerÕs MIDI Out.
the cableÕs other end to the ZRÕs MIDI In.
one end of the other MIDI cable to the ZRÕs MIDI Out.
its other end to the computerÕs MIDI In.
Note: If your set-up utilizes a MIDI patcher, consult your patcherÕs documentation to learn
how to set up the equivalent of this MIDI connection, and see ÒUsing the ZR-76 with a MIDI
PatchbayÓ later in this chapter.
To Finish Your Connections
Now that youÕve made your MIDI connections between your computer and the ZR-76, skip ahead to
ÒMaking Audio Connections,Ó and then ÒMaking the Power ConnectionÓ later in this chapter.
To Learn More
See ÒUsing the ZR-76 with a Computer SequencerÓ in Chapter 7.
Using the ZR-76 with an Audio Recorder
The ZR-76 can provide the perfect MIDI complement for an audio recorder, digital or analog, tape or hard
driveÑthe ZR-76 handles all of the MIDI chores, while the recorder handles the audio. Add some effects to
your audio, using an effects processor, and youÕve got a finished master recording.
When using the ZR-76 with an audio recorder, youÕll want to have a means of synchronizing the two
devices. There are a number of capable synchronization products on the marketÑto work with the ZR-76,
yours must support MIDI clocks, as well as the type of synchronization required by your audio recorder
(consult its documentation to learn what kind of synchronization it responds to).
ENSONIQ ZR-76 Musician's Manual
23
Chapter 2ÑThe ZR-76 Studio
What YouÕll Need
¥
¥
Two MIDI cables to connect the ZR-76 to your synchronization device
The cabling necessary to connect your audio recorder to the synchronization device (consult their
manuals for further information)
To Connect the ZR-76 and an Audio Recorder
1.
2.
3.
4.
5.
Connect
Connect
Connect
Connect
Connect
one end of a MIDI cable to the ZRÕs MIDI Out.
the cableÕs other end to your synchronization deviceÕs MIDI In.
one end of the other MIDI cable to the ZRÕs MIDI In.
its other end to the synchronization deviceÕs MIDI Out.
the required cables between the audio recorder and synchronization device.
Note: If your set-up utilizes a MIDI patcher, consult your patcherÕs documentation to learn
how to set up the equivalent of this MIDI connection, and see ÒUsing the ZR-76 with a MIDI
PatchbayÓ later in this chapter.
To Finish Your Connections
Now that youÕve made the MIDI connections between your audio recorder and the ZR-76, skip ahead to
ÒMaking Audio Connections,Ó and then ÒMaking the Power ConnectionÓ later in this chapter.
To Learn More
Chapter 7 describes how to synchronize the ZRÕs 16 Track Recorder to external MIDI devices.
Using the ZR-76 with an Alternate Controller
You can use any MIDI controller to play the ZRÕs sounds in SoundFinder or the 16 track recorder. This
includes MIDI wind controllers and other MIDI keyboards, MIDI drum pads or triggers, MIDI guitars, or
anything else a musician might play which sends out MIDI data.
What YouÕll Need
¥
One MIDI cable
To Connect the ZR-76
1.
2.
24
Connect one end of your MIDI cable to your controllerÕs MIDI Out.
Connect the other end to the ZRÕs MIDI In.
ENSONIQ ZR-76 Musician's Manual
Chapter 2ÑThe ZR-76 Studio
Note: If your set-up utilizes a MIDI patcher, consult your patcherÕs documentation to learn
how to set up the equivalent of this MIDI connection, or see ÒUsing the ZR-76 with a MIDI
PatchbayÓ below.
To Finish Your Connections
Now that youÕve made the MIDI connections between your controller and the ZR-76, skip ahead to ÒMaking
Audio Connections,Ó and then ÒMaking the Power ConnectionÓ later in this chapter.
To Learn More
¥
¥
For further information:
on playing the ZRÕs sounds via MIDI, see ÒSoundFinder MIDIÓ in Chapter 4.
on recording onto an ZR-76 16 Track Recorder track via MIDI, see Chapter 7.
Using the ZR-76 with a MIDI Patchbay
A MIDI patchbayÑespecially one with merging capabilitiesÑis the ideal way to connect your ZR-76 to other
MIDI devices. Once everything is wired up to the patchbay, all inter-device connections are just a few
mouse clicks, button presses or knob twists away.
MIDI patchbays typically provide numbered pairs of MIDI In and Out jacksÑeach of these pairs is used by
a single MIDI device. Consult your patchbayÕs documentation to see if the manufacturer has
recommendations as to which locationÑthat is, pairÑshould be used by your computer or your master
controller (your ZR-76 can be used for this purpose). If your patchbayÕs documentation mentions no
specific rules in this regard, you can connect any device to any location.
What YouÕll Need
¥
A pair of MIDI cables for each MIDI device youÕll be connecting to the patchbay
To Make Your ZR-76 and Patchbay Connections
1.
2.
3.
4.
Select a patchbay location for the ZR-76.
Connect the ZRÕs MIDI Out to the MIDI In of the patchbay location youÕve chosen for the ZR-76.
Connect the same locationÕs MIDI Out to the ZRÕs MIDI In.
Repeat these steps for each MIDI device youÕd like to connect to your MIDI patchbay.
Consult your patchbayÕs documentation to learn how to route MIDI signals from one MIDI device to
another (or others). The optimal routings will depend on how youÕll be using your MIDI equipment. The
great thing about a patchbay is that, as new MIDI needs arise, it only takes a few moments to meet them.
To Finish Your Connections
Once youÕve programmed your patchbay, you can move on to Making Audio Connections below.
M a k i n g A u d i o Co n n e c t i o n s
In any set-up, youÕll need to determine what type of audio connection youÕd prefer to establish between the
ZR-76 and the rest of your system. There are a number of options.
¥
You can listen to the ZR-76 with headphones plugged into the rear-panel Phones jack. This is great for
ENSONIQ ZR-76 Musician's Manual
25
Chapter 2ÑThe ZR-76 Studio
privacyÑwhen youÕre practicing, no one else can hear what youÕre up to. ItÕs also a convenient way to
experience the ZRÕs crystal-clear sound without added noise from other equipment in your rig. The
ZRÕs Volume knob controls your listening volume.
¥
26
Using headphones is always available as an option, regardless of other audio connections youÕve made
with the ZR-76. Plugging in headphones does not mute the other audio outputs from the ZR-76.
If youÕd prefer to use the ZR-76 in mono through a traditional keyboard or guitar amplifier, or through
a single fader on a mixing console, connect one end of a 1/4Ó phone-type audio cable to the Main Out
Left jack on the ZRÕs back panel, and the other end to your amplifier or mixer. The ÒZR-76 Output
JacksÓ section in Chapter 13 contains technical information about the ZRÕs output jacks.
¥
If youÕd like to operate your ZR-76 in stereo through a pair of faders on a mixing console, a stereo
amplifier or two separate mono amps, youÕll need two 1/4Ó phone-type cables. Connect one end of each
cable to the ZRÕs rear-panel Main Out Left and Right jacks and the other end to your desired
destination. The ÒZR-76 Output JacksÓ section in Chapter 13 contains technical information about the
ZRÕs output jacks.
¥
You can also connect the ZR-76 to your home stereo, though a bit of caution is required. The ZR-76 is
capable of producing a far greater dynamic range than a home stereo typically encounters when
playing compact discs, cassettes and LPs. See ÒSetting Volume LevelsÓ below to learn how to safely set
the ZRÕs Volume when using it with a home stereo. YouÕll need two 1/4Ó-phone-to-RCA-type cables, or
youÕll need to create some by attaching adapters to standard 1/4Ó phone or RCA cables. Connect the
1/4Ó phone plug end of each 1/4Ó-to-RCA cable to the ZRÕs rear-panel Main Out Left and Right jacks
and the RCA end to your stereoÕs auxiliary inputs. The ÒZR-76 Output JacksÓ section in Chapter 13
contains technical information about the ZRÕs output jacks.
¥
If youÕre connecting the ZR-76 to an audio patch bay, or if youÕve got four available inputs on your
ENSONIQ ZR-76 Musician's Manual
Chapter 2ÑThe ZR-76 Studio
mixing console, you may elect to use all of the ZRÕs outs. The ZR-76 offersÑin addition to the Main
OutsÑa pair of Aux Outs, useful for extracting sounds or groups of sounds from the ZRÕs main outs
mix. This allows you to treat the extracted material with its own outboard processing, or to control its
volume more easily by assigning it separate faders on a mixer. To use all four outputs, youÕll need four
1/4Ó phone-type cables. Connect one end of each to the ZRÕs rear-panel Main and Aux Outs Left and
Right, and the other end to a patch bay position or mixer channel. The ÒZR-76 Output JacksÓ section
in Chapter 13 contains technical information about the ZRÕs output jacks.
ÒUsing the ZRÕs Four OutputsÓ in Chapter 3 describes how to route sounds to the Aux Outs. The ZR-76
also provides a simple switch for easily sending everything you may have routed to the Aux Outs back into
the Main Outs mix. See ÒDetermining the Behavior of the Aux OutsÓ in Chapter 3.
M a k i n g th e Po w e r Co n n e c t i o n
The ZR-76 requires grounded AC power, supplied through the power cord that came with your ZR-76. The
ZR-76 power supply is intelligent and will adjust to your local voltage.
To Provide Power to Your ZR-76
1.
2.
3.
Connect one end of the ZRÕs power cable to a grounded AC outlet.
Connect the other end of the ZRÕs power cord to the AC Line jack on the ZRÕs rear panel.
Connect the other pieces of equipment in your system which require AC power to AC outlets.
Powering Up
You should always turn on the device which will be transmitting MIDI before you turn on the device which
will be receiving it. If you have a series of MIDI devices, start with the first device in the chain, then power
up the second, the third, and so on. This prevents unpleasant surprises which can result from unplanned
MIDI information being ÒspitÓ out of transmitting devices as they power up. Such MIDI garbage could
confuse a receiving device, and possibly disable it temporarily. If this should occur for some reason, and
the ZR-76 becomes Òconfused,Ó try double-clicking the ZRÕs All Notes Off button. If this doesnÕt correct the
problem, turn the ZRÕs power off, and then back on.
S e t t i n g Vo l u m e Le ve l s
The ZRÕs best fidelity is obtained when its volume is turned all the way upÑyou should always set it as
high as possible. Here are some tips:
¥
¥
¥
¥
If youÕre using the ZRÕs Phones jack, the Volume slider controls your listening level. Set it to a
comfortable level.
If youÕre using the ZR-76 with a keyboard or guitar amplifier, start with your amp input at a low
setting. Turn the ZRÕs volume up as far as you can without experiencing distortion (unless thatÕs what
you want). Then turn up your amp channel to a comfortable listening level.
If youÕre routing the ZR-76 directly to a mixing console, or indirectly through a patchbay, turn the ZRÕs
volume all the way up and make adjustments to the input gain of your mixer faders to ensure the
sound doesnÕt undesirably distort.
If youÕre listening to the ZR-76 through a home stereo, set your stereoÕs volume to its normal level.
With the ZRÕs Volume slider all the way down, play the keyboard with maximum force, or load up the
loudest ZR-76 song you have and press Play. Slowly bring up the ZRÕs Volume slider as far as you can
without hearing distortion. The ZR-76 is capable of producing a far greater dynamic range than a
home stereo typically encounters when playing compact discs, cassettes and LPs, and you want to
make sure that loud music from the ZR-76 will not damage your system.
ENSONIQ ZR-76 Musician's Manual
27
Chapter 3ÑGlobal Settings
C h apt er 3
Gl o bal S et t i n g s
The ZR-76 offers a range of options that allow you to tailor its behavior to suit your way of working. These
global, system-wide settings operate in the background, letting you get on with the art of making music.
They remain in effect at all times and are preserved when the ZR-76Õs power is switched off.
These options can be found in the Disk/Global area of your ZR-76. They are accessed by pressing the
System button.
How the ZR-76 Remembers System Settings
All ZR-76 system settings are stored in FLASH memory. 15 seconds after you change any of them, or
when you leave the ZRÕs System area, normal operations will pause briefly to allow the ZR to store the
new settings into FLASH.
The display will briefly show:
Saving system setup.
Please wait...
For more information about FLASH memory, see Chapter 9.
G en er a l S ys tem E d i ti n g Tec h n i q u es
The System Groupings
The ZR-76 provides a great many system settings. In order to make getting to them simpler, theyÕve been
grouped into five sections. Each section is accessed by answering ÒyesÓ to a displayed question.
To Edit G lobal System Settings
1.
Press the System button.
2.
The No and Yes LEDs will begin to flash.
Locate the Parameter knob on the ZRÕs front panel.
ENSONIQ ZR-76 Musician's Manual
29
Chapter 3ÑGlobal Settings
3.
Turn the Parameter knob to select one of the following questions:
System/MIDI:
Set system prefs?
If you now press the Yes button in response to this display, you can change the keyboardÕs velocity
and pressure response, set effect output routings, and control aspects of sound selection and
memory protection.
System/MIDI:
Alter system pitch?
When you press the Yes button in response to this display, you can change the global pitch bend
settings, global tuning and the global pitch table.
System/MIDI:
Set up foot control?
When you press the Yes button in response to this display, you can assign various functions to the
four possible foot switches available when you add two ENSONIQ SW-10 foot pedals to your ZR-76.
System/MIDI:
Edit MIDI settings?
When you press the Yes button in response to this display, you can change the way the ZR-76 works
with other MIDI devices.
System/MIDI:
Enter GM mode?
4.
30
When you press the Yes button in response to this display, you can set up the ZR-76 for General
MIDI. (For a description of General MIDI, see ÒWhat Is General MIDI?Ó in Chapter 13.
Press the Yes button in response to the question youÕve selected.
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
5.
6.
Each one of the system options that you may adjust is called a parameter. Turn the Parameter knob
to select the system parameter youÕd like to set.
Use the Value knob to change the selected parameterÕs value.
Each of the system parameters is described later in this chapter.
S etti n g Y o u r S ys tem P r ef er en c es
Adjusting the KeyboardÕs Response to Velocity
A keyboard such as the one in your ZR-76 senses how hard you play by measuring the velocity of your
keystrikes. The Touch Curve parameter allows you to adjust the velocity response of the ZR-76 keyboard
to match your playing style and technique. Taking the time to find the right setting for you will help you
get the most out of the ZRÕs expressive sounds. There are six velocity curve (Touch) settings:
¥
¥
¥
Table-1
Table-2
Table-3
¥
¥
¥
Table-4
Fixed 64
Fixed127
For more information about the ZR-76 velocity curves, see Chapter 13.
N o t e : The ZR-76 keyboard transmits release velocity according to a single speciallyoptimized release curve.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Ad just Keyboard Velocity
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
3.
Press Yes if youÕd like to change the current system preferences. Press No if youÕd like to cancel the
procedure.
ENSONIQ ZR-76 Musician's Manual
31
Chapter 3ÑGlobal Settings
4.
Turn the Parameter knob until the display shows:
System Preferences:
Touch Curve= Table-1
i
The current Touch Curve value
5.
Turn the Value knob or press the up/down arrow buttons to set the Touch Curve parameter to the
value that best matches your playing style. Play some music at each setting to find the value that
feels the most comfortable for your style of playing.
The Touch Curve values that begin with ÒFixedÓ will cause every key to play at the same velocity, no
matter how hard or soft you play.
N o t e : This parameter affects the way your ZR-76 responds to velocity internally, as well
as the velocity values it transmits via MIDI.
Adjusting the KeyboardÕs Response to Pressure
Some of the sounds in the ZR-76 respond to the Channel Pressure messages produced by the ZRÕs
keyboard when you press down on its keys at the bottom of their travel. ItÕs a good idea to customize your
ZRÕs pressure settings so that you can activate channel pressure without either doing so inadvertently, or
with too much difficulty.
The Press Threshold parameter allows you to adjust the pressure of the keyboard to match your playing
style and technique. The pressure threshold can be varied between SOFT (minimum force required to
bring in pressure) and HARD (maximum force required to bring in pressure).
¥
¥
¥
¥
SOFTÑis for someone with a light touch. With this setting, a minimum amount of pressure is
required to reach the maximum level of any pressure-controlled parameter.
MEDÑrequires slightly harder pressing to reach maximum pressure levels. This is the default
setting.
FIRMÑrepresents average pressure sensitivity. A FIRM setting should be right for the player with an
average touch.
HARDÑis for the strong player who presses the keys hard. It allows the widest possible range of
pressure sensitivity.
T i p : Start with the default settings, then go up or down to find your optimal setting.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Adjust Keyboard Pressure
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
32
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
3.
4.
Press Yes if youÕd like to change the current system preferences. Press No if youÕd like to cancel the
procedure.
Turn the Parameter knob until the display shows:
System Preferences:
Press Threshold= Med
i
The current Press Threshold value
5.
If you would like to make it easy to generate keyboard pressure by pressing on the keys, set the
parameter to Soft. If you would like to make it more difficult to generate keyboard pressure by
pressing on the keys, set the parameter to Hard. Try different settings to find the one most
comfortable for you.
Turn the Value knob or press the up/down arrow buttons to set the Touch Curve parameter to the
value that best matches your playing style.
N o t e : This parameter affects the way your ZR-76 responds to pressure internally, as well
as the pressure values it transmits via MIDI.
Using the ZRÕs Four Outputs
The rear panel of the ZR-76 offers four audio outputs. There are two stereo pairs: the Main Outs and the
Aux Outs.
The Main Outs are used as the primary feed from the ZR-76. The Aux Outs are useful for extracting
sounds or groups of sounds from the ZRÕs Main Out mix. By routing a sound to the Aux Outs, you can
treat it to its own outboard processing, or control its volume individually by assigning it to its own fader
on a mixer. Use standard balanced (TRS stereo cables) or unbalanced (TS mono cables) for the Main and
Aux Outs.
As the labels on the Aux Out jacks and Main Out jacks indicate, the ZR-76 employs automatic switching
on each pair of outputs:
¥
¥
Main Outputs Left and Right are normally stereo outputs. However, if nothing is plugged into the
Right Output, the stereo signal will be summed to mono and sent to the Left Main Output.
Similarly, the Aux Outputs Left and Right are normally stereo outputs. However, if nothing is plugged
into the Right Aux Output, the stereo signal will be summed to mono and sent to the Left Aux Output.
Routing Sounds to Specific Outputs
All tracks sounds are routed to a rear-panel output via an effect bus. In routing a sound to a particular
pair of outs:
¥
¥
¥
The sound is assigned to an FX bus.
The bus goes to an effect (except the dry bus, which goes directly to the outputs you choose).
The effect is assigned to either the Main Outs or the Aux Outs.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
ENSONIQ ZR-76 Musician's Manual
33
Chapter 3ÑGlobal Settings
To Send a Sound to the Desired Outputs
1.
2.
If youÕre using SoundFinder, select the sound youÕd like to send to a particular output and route it to
an effect bus. (To learn how to route a SoundFinder sound to an effect bus, see Chapter 8.)
If youÕre using the 16 Track Recorder, press the track button containing sound youÕd like to send to
a particular output, and route it to an effect bus. (To learn how to route a sound on a track to an
effect bus, see Chapter 8.)
Press the System button.
3.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
4.
5.
Press Yes if youÕd like to change the current system preferences. Press No to cancel the procedure.
Turn the Parameter knob until the display shows the output assign parameter for the FX bus youÕve
chosen.
N o t e : The LightReverb, Medium Reverb and WetReverb busses all use the
GlobalReverbOut parameter.
6.
Use the Value knob to select either the Main or Aux Outs.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Ro u t e a S pec i f i c E f f ec t Bu s t o t h e D esi red O u t pu t s
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
3.
4.
Press Yes if youÕd like to change the current system preferences, or No to cancel the procedure.
Turn the Parameter knob until the display shows the name of the Effect Bus you would like to assign
to an output.
System Preferences:
Insert FX Out= Main
i
The name of the effect bus
34
i
The current output assignment
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
5.
You can change the routing of the insert, global chorus, global reverb, and dry effect busses. Each of
these effect busses can be routed either to:
¥
MainÑthe ZRÕs primary outputs
¥
AuxÑthe ZRÕs additional outputs
Turn the Value knob to route the effect bus you selected to the desired output.
Determining the Behavior of the Aux Outs
The Aux Outs are used for the extraction of sounds from the Main Outs mix. The ZR-76 is designed to
provide the maximum flexibility when using the Aux Outs in your rig. The AuxToMainOuts System
parameter offers three different ways to employ the Aux Outs. You can choose which one will work best
for you.
When AuxToMainOuts is set to Auto, the ZR employs intelligent jack switching, which allows it to sense
whether or not youÕve got a cable plugged into the Left Aux Out jack. If you do, the Main and Aux Outs
function as totally discrete stereo feeds. If thereÕs nothing connected to the jack, any signal sent to the
Aux Outputs will be summed into the Main Outputs. This is convenient for musicians who seek to keep
mixer input use to a minimum, or who anticipate using the Aux Outs only rarely.
Musicians who would prefer to permanently connect all four ZR keyboard outs will find the remaining
two AuxToMainOuts values useful. When the parameter is set to Never, the Aux and Main Outs are kept
discrete. When itÕs set to Always, the Aux Outs are summed into the Main Outs. This allows musicians to
leave all four ZR-76 output cables connected. When the Aux Outs are needed as a separate stereo feed,
the AuxToMainOuts parameter can be set to Never. When only the Main Outs are required, it can be set
to Always.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Enable Automatic Aux Out Routing Based on Cabling
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
3.
4.
Press Yes if youÕd like to change the current system preferences. Press No if youÕd like to cancel the
procedure.
Turn the Parameter knob until the display shows:
System Preferences:
AuxToMainOuts= Auto
i
The current AuxToMainOuts value
The AuxToMainOuts parameter can be set to:
¥
NeverÑthe Aux and Main Outs will be discrete, even if the Left Aux Out is not connected.
¥
AlwaysÑthe Aux signal will be summed into the Main outputs, even if the Left Aux Out is
connected.
¥
AutoÑthe ZR-76 will sum any sounds sent to the Aux Outs into the Main Outs if thereÕs no cable
ENSONIQ ZR-76 Musician's Manual
35
Chapter 3ÑGlobal Settings
5.
plugged into the Left Aux Out jack.
Use the Value knob to set AuxToMainOuts to Auto.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To U t i li z e Perman en t ly C on n ec t ed A u x Ou t s
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
3.
4.
Press Yes if youÕd like to change system preferences. Press No if youÕd like to cancel the procedure.
Turn the Parameter knob until the display shows:
System Preferences:
AuxToMainOuts= Auto
i
The current AuxToMainOuts value
5.
The AuxToMainOuts parameter can be set to:
¥
NeverÑthe Aux and Main Outs will be discrete, even if the Left Aux Out is not connected.
¥
AlwaysÑthe Aux signal will be summed into the Main outputs, even if the Left Aux Out is
connected.
¥
AutoÑthe ZR-76 will sum any sounds sent to the Aux Outs into the Main Outs if thereÕs no cable
plugged into the Left Aux Out jack.
Use the Value knob to set AuxToMainOuts to Never when you need to use the Aux Outs as a discrete
stereo feed, or to Always when using the Main Outs only.
Enabling or Disabling Automatic Effect Routing
ZR-76 sounds that use an insert effect are also assigned an alternate effect bus routing for situations in
which the desired insert effect is unavailable. This would include times when youÕre already committed
to using some other insert effect in a SoundFinder preset or a 16 Track Recorder sequence. For sounds
that depend on an insert effect, the alternate effect bus, or Alt. FX Bus, provides a sensible ÒsecondbestÓ choice for those situations. The Alt. FX Bus setting for sounds that use an insert effect can be
edited using the supplied Unisyn sound editing editing software.
Not all sounds use an insert effect. Each sound can be assigned instead to the global chorus, global
reverb, or left dry, according to the setting of its FX Bus parameter. This parameter is accessed by
pressing the Routing button in the FX/Mixdown section of the ZRÕs front panel. When you set a soundÕs
FX Bus parameter to Chorus, LightReverb, MediumReverb, WetReverb or Dry, and save the sound, youÕve
also set its Alt. FX Bus to the same value. The Alt. FX Bus for each sound can be directly accessed using
your Unisyn software.
For more on how the ZRÕs effects work, see Chapter 8.
There may be times when you donÕt want this pre-programmed effect routing to be used. The ZR-76
provides the AutoSelect FXBus parameter for enabling or disabling the use of each soundÕs Alt. FX Bus
36
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
setting when selecting new split or layer sounds in SoundFinder, or track sounds in the 16 Track
Recorder.
Wh en Selec t i n g a Spli t or L ay er Sou n d i n Sou n d Fi n d er
When you select a new split or layer sound in SoundFinder:
¥
¥
with AutoSelect FXBus on, the sound you choose will be routed to its Alt. FX Bus
with AutoSelect FXBus off, the split or layer effect bus setting will remain unchanged when you
select the new sound
N o t e : After youÕve selected a split or layer sound, you can manually change its effect bus
as you please, regardless of the setting of the AutoSelect FXBus parameter.
When Selecting a Sound for a New, Undefined Track
In the 16 Track Recorder, when you select a sound for a new, undefined track:
¥
¥
with AutoSelect FXBus on, the sound you choose will be routed to its Alt. FX Bus
with AutoSelect FXBus off, the track will be set to the effect bus routing currently being used in
SoundFinder
N o t e : After youÕve selected a sound, you can manually change the trackÕs effect bus as
you please, regardless of the setting of the AutoSelect FXBus parameter.
When Changing the Sound on a Track
When you change the sound on a track in the 16 Track Recorder:
¥
¥
with AutoSelect FXBus on, the sound you choose will be routed to its Alt. FX Bus
with AutoSelect FXBus off, the track effect bus setting will remain unchanged when you select the
new sound
N o t e : After youÕve changed the trackÕs sound, you can manually change the trackÕs effect
bus as you please, regardless of the setting of the AutoSelect FXBus parameter.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Set the AutoSelect FXBus Parameter
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
3.
Press Yes if youÕd like to change the current system preferences. Press No if youÕd like to cancel the
procedure.
ENSONIQ ZR-76 Musician's Manual
37
Chapter 3ÑGlobal Settings
4.
Turn the Parameter knob until the display shows:
System Preferences:
AutoSelect FXBus= On
i
The current AutoSelect FXBus value
5.
The AutoSelect FXBus parameter can be set to:
¥
OnÑto let the ZR-76 pick the chorus or reverb bus for newly-selected sounds that have no
insert effect in SoundFinder, and for newly selected split, layer and 16 Track Recorder track
sounds
¥
OffÑto leave the effect bus assignment unchanged when a new sound is selected anywhere in
your ZR-76
Use the Value knob to set AutoSelect FXBus to the desired setting.
Protecting Track Settings in the 16 Track Recorder
Sounds are programmed with their own optimal settings, and when you choose a sound, it brings those
settings along. As a result, the following 16 Track Recorder track parameters will be reset when you
select a new sound on a track: Pitch Bend Up, Pitch Bend Down, Octave Shift, Semitone Shift, Fine
Tuning, PtchTbl, Glide Mode, Glide Time, Delay Time, SyncLFO&Noise, Normal LFO Rates, LFO Depth,
LFO Delay Time, Amp Env Attack, Amp Env Decay, Amp Env Release, Filter Cutoff, Filt Env Attack, Filt
Env Decay, Filt Env Release and Amp&FiltEnv Vel.
You might want to choose a new sound without losing your current track settings. You can use the
system Track ParamReset parameter to determine whether or not these track parameter settings will be
retained when you select a new sound. This parameter affects 16 Track Recorder sound selection from
the ZR-76Õs front panel, as well as sound selection through the reception of MIDI Program Changes.
The system Track ParamReset parameter also affects how tracks respond to a Reset All Controllers MIDI
message. When the ResetControlRecv System parameterÑdescribed later in this chapterÑis set to On, a
number of track parameters are reset to default values when the ZR-76 receives a Reset All Controllers
message. (See ÒReceiving Reset All Controllers MIDI MessagesÓ later in this chapter.) Setting the Track
Param Reset to Off will protect the settings of the track parameters listed above from Reset All Controllers
MIDI messages.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Determine if New Sounds Reset Track Parameters
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
3.
38
Press Yes if youÕd like to change the current system preferences. Press No if youÕd like to cancel the
procedure.
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
4.
Turn the Parameter knob until the display shows:
System Preferences
Track ParamReset= On
i
The current Track ParamReset value
5.
The Track ParamReset parameter may be set to:
¥
OnÑ16 Track Recorder track parameters will be reset when a new sound is selected for a track
or when Reset All Controllers MIDI messages are received.
¥
OffÑ16 Track Recorder track parameters will not be reset when a new sound is selected for a
track, or when Reset All Controllers MIDI messages are received.
Use the Value knob to set Track ParamReset to the desired setting.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Protect Track Parameters from Reset All Controllers
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
3.
4.
Press Yes if youÕd like to change the current system preferences. Press No if youÕd like to cancel the
procedure.
Turn the Parameter knob until the display shows:
System Preferences
Track ParamReset= On
i
The current Track ParamReset value
5.
The Track ParamReset parameter may be set to:
¥
OnÑtrack parameters will be reset when a new sound is selected for a track or when Reset All
Controllers MIDI messages are received.
¥
OffÑtrack parameters will not be reset when a new sound is selected for a track, or when Reset
All Controllers MIDI messages are received.
Use the Value knob to set Track ParamReset to the desired setting.
Protecting the ZR-76Õs Memory
When caught in a burst of creativity, itÕs all too easy to inadvertently erase things youÕd rather preserve.
The ZR-76 offers a special screen prompt as a reality check during activities that could result in the loss
of sounds, rhythms or presets you donÕt really want to lose. When saving sounds, rhythms or presets,
ENSONIQ ZR-76 Musician's Manual
39
Chapter 3ÑGlobal Settings
the ZR can be set to display:
INT memory is write
protected! Override?
When you encounter this message, you can press Yes to continue what you were doing, or press No to
abort the procedure. The Write Protect system parameter allows you to enable this parameter if you feel
youÕd benefit from this double-check, or to disable it if youÕd find the prompt unnecessary:
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Enable or Disable the Write Protect Prompt
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
3.
4.
Press Yes if youÕd like to change the current system preferences. Press No if youÕd like to cancel the
procedure.
Use the Parameter knob to scroll until the display shows:
System Preferences:
Write Protect=Prompt
i
The current Write Protect value
¥
5.
OffÑthe ZR-76 will save a sound, rhythm or preset to the RAM or FLASH bank without
displaying the write-protect prompt.
¥
PromptÑthe ZR-76 will display the write-protect prompt before it saves a sound, rhythm or
preset to the RAM or FLASH bank.
Use the Value knob to set Write Protect to the desired value.
The 16 Track Recorder Rewind Sound
Many recording engineers have fond (and some not-so-fond) memories of the classic reel-to-reel
recording tape recorders. One such memory was the sound produced when the tape was rewound. The
ZR-76 offers this novelty sound as an option when you press the 16 Track Recorder Rewind button.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
40
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
To Enable/Disable the 16 Track Recorder Rewind Sound
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set system prefs?
3.
4.
Press Yes if you'd like to change the current system preferences. Press No if you'd like to cancel the
procedure.
Turn the Parameter knob until the display shows:
System Preferences:
Rewind Sound=
On
i
The current Rewind Sound value
5.
The Rewind Sound parameter may be set to:
¥
OnÑpressing the 16 Track Recorder Rewind button will play the rewind sound.
¥
OffÑpressing the 16 Track Recorder Rewind button will not play the rewind sound.
Use the Value knob to set Rewind Sound to the desired setting.
E d i ti n g G l o b a l P i tc h S etti n g s
Using the Global Pitch Bend Settings
The pitch bend wheel is the spring-loaded wheel located to the far left of the keyboard. ItÕs most
commonly used to bend the pitch of notes up or down by pushing the wheel forward (up) or pulling it
back (down).
Most ZR-76 sounds are programmed to respond to Pitch Bend messages in ways appropriate to the
purpose of the sound. The ZR also offers a global pitch bend setup, which is always available to any
sound. By setting the soundÕs pitch bend up and down parameters to ÒSys,Ó you can instruct a sound to
use the global pitch bend settings instead of its own programmed settings. (See Chapter 4 for details.)
The ZR-76 offers three parameters for controlling the global pitch bend:
¥
¥
¥
Pitch Bend Up
Pitch Bend Down
PitchBendMode
Global Pitch Bend Up and Down
Both pitch bend up and pitch bend down have their own individual settings, and either can be set to
raise or lower the pitch of any sound. This parameter affects any sound whose Pitch Bend Up or Down
parameter is set to ÒSys.Ó
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
ENSONIQ ZR-76 Musician's Manual
41
Chapter 3ÑGlobal Settings
To Determine the Global Pitch Bend Up Range
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Alter system pitch?
3.
4.
Press Yes if youÕd like to change the system pitch settings, or No to cancel the procedure.
Turn the Parameter knob until the display shows:
System Pitch:
Pitch Bend Up=
2up
i
The current Pitch Bend Up value
5.
The global Pitch Bend Up parameter can be set to:
¥
1-12dn or 1-12upÑthe pitch of sounds whose Pitch Bend Up=Sys will be lowered or raised by
the number of equal-temper semitones set here when the pitch bend wheel is pushed all the way
forward.
¥
OffÑsounds whose Pitch Bend Up=Sys will not change pitch when the pitch bend wheel is
pushed forward.
Use the Value knob to set the Pitch Bend Up value you desire.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Determine the Global Pitch Bend Down Range
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Alter system pitch?
3.
42
Press Yes if youÕd like to change the current system pitch settings. Press No if youÕd like to cancel
the procedure.
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
4.
Turn the Parameter knob until the display shows:
System Pitch:
Pitch Bend Down= 2dn
i
The current Pitch Bend Down value
5.
The global Pitch Bend Down parameter can be set to:
¥
1-12dn or 1-12upÑthe pitch of sounds whose Pitch Bend Down=Sys will be lowered or raised
by the number of equal-temper semitones set here when the pitch bend wheel is pulled all the
way back.
¥
OffÑsounds whose Pitch Bend Down=Sys will not change pitch when the pitch bend wheel is
pulled back.
Use the Value knob to set the Pitch Bend Down value you desire.
Setting the Global Pitch Bend Mode
The PitchBendMode parameter unlocks a powerful feature that allows you to decide which notes will be
affected by the pitch bend wheel. This parameterÑwhich affects all onboard soundsÑcan be set to one
of three values:
¥
¥
¥
NormalÑPitch Bend messages will affect all notes currently sounding.
HeldÑPitch Bend messages will affect only those notes sounding from keys which are being
physically held down.
Notes held with the sustain pedal or already ringing off will remain at their original pitch. This
feature can be used to create guitar-style pitch bends or to ÒpaintÓ with pitch, leaving different notes
sustaining at different pitches.
ProgÑPitch Bend messages will affect notes according to each soundÕs programmed pitch bend
mode.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Control Which Notes Will Bend
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Alter system pitch?
3.
Press Yes if youÕd like to change the current system pitch settings. Press No if youÕd like to cancel
the procedure.
ENSONIQ ZR-76 Musician's Manual
43
Chapter 3ÑGlobal Settings
4.
Turn the Parameter knob until the display shows:
System Pitch:
PitchBendMode=
Prog
i
The current PitchBendMode value
5.
The global PitchBend Mode parameter can be set to:
¥
NormalÑall notes that are playing will be affected by Pitch Bend messages.
¥
HeldÑonly notes which are being physically held down will be affected by Pitch Bend messages.
¥
ProgÑPitch Bend messages will affect notes according to each soundÕs programmed pitch bend
mode.
Use the Value knob to set the PitchBend Mode to the desired value.
Fine Tuning the ZR-76
There may be a time when you need to use the ZR-76 with an instrument that just canÕt be tuned, or
when you have to deal with musicians who donÕt want to retune for one reason or another. The tuning
parameter allows you to adjust the ZR-76Õs tuning to match other instruments. The ZR-76 defaults to
A=440, with an equi-tempered pitch table.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Fine Tune the ZR-76
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Alter system pitch?
3.
4.
Press Yes if youÕd like to change the current system pitch settings. Press No to cancel the procedure.
Turn the Parameter knob until the display shows:
System Pitch:
Fine Tuning= Ocents
i
The current fine tuning value
5.
Use the Value knob to set the amount that you want to raise or lower the pitch. The pitch can be
lowered or raised from -50 to +49 cents.
N o t e : Setting the ZR-76 to 0 cents is equivalent to A=440. 100 cents is the equivalent of a
semitone.
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ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
Using Pitch Tables
The intervals (or relationships) between notes in a scale can be altered to create special pitch tables. The
ZRÕs pitch tables have a tuning resolution of 256 cents per semitone. The default pitch table is
ÒEqualTemper,Ó the western 12-tone equi-tempered pitch table. However, you can select from a large
assortment of traditional, modern, ethnic, and exotic pitch tables in the ZR-76. The ZR also provides a
RAM location for a custom pitch table, and supports the MIDI pitch table Bulk Tuning Dump and Single
Note Tuning Change standards (this is explained fully in Chapter 13). If youÕve got the appropriate
computer program, you can create your own pitch tables, and transmit them to the ZR-76 via SysEx.
T i p : Each track in the 16 Track Recorder has its own PitchTbl parameter that determines
the pitch table the track will use. By setting each track to a different pitch table, you can
set up the ZR-76 to produce 16 different tunings at once!
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Assign a Global Pitch Table
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Alter system pitch?
3.
4.
Press Yes if youÕd like to change the system pitch settings, or No to cancel the procedure.
Turn the Parameter knob until the display shows:
System Pitch:
PitchTbl=EqualTemper
i
The current PitchTbl value
5.
Use the Value knob to select the pitch table that you want to use. This selects the system pitch table,
and will affect all sounds and tracks that have their PitchTbl parameter set to ÒSys.Ó (See Chapter 4
for details.)
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Assign a Sound to the G lobal Pitch Table
1.
2.
If youÕre using SoundFinder, select the sound youÕd like to assign to the global pitch table and press
the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, press the track button whose sound youÕd like to assign to the
global pitch table.
Turn the Parameter knob until the display shows ÒPitchTbl=Ó
ENSONIQ ZR-76 Musician's Manual
45
Chapter 3ÑGlobal Settings
3.
PitchTbl can be set to:
¥
ProgÑto use the PitchTbl value programmed into the sound
¥
SysÑto use the global system pitch table
¥
the special pitch tables built into the ZRÕs memory
Turn the Value knob to set PitchTbl to Sys.
N o t e : When you select a new sound, PitchTbl will be reset to Prog. This can be prevented
in the 16 Track Recorder by setting the System Track ParamReset parameter to Off. The
Track ParamReset parameter is described earlier in this chapter.
This parameter also responds to an NRPN LSB value of 021. To learn what an NRPN, and what it would
be used for, see ÒUsing RPNs and NRPNs to Edit Sound ParametersÓ at the end of Chapter 4.
For a complete list of pitch tables and their descriptions, see Chapter 13Ñ Supplemental Information.
S etti n g U p Fo o t S w i tc h es
Using Foot Switches
The ZR-76 is equipped with two stereo foot switch jacks, located on its rear panel:
These two independent foot switch jacks support either a single (mono) or dual (stereo) foot switch, and
can be assigned to a number of different functions, allowing a total of four independent foot switch
controllers when two optional ENSONIQ SW-10 Dual Foot Switches are connected.
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ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
There are four parameters that let you assign the foot switches to a variety of functions. When a single
foot switch is connected, set the FtSw 1L parameter described below to ÒUnused.Ó
W a r n i n g : If you are using a single foot switch (ENSONIQ SW-2 or SW-6) in either of the
Foot Switch jacks, the FtSw 1L and/or FtSw 2L values on the system page should always
be set to ÒUnused.Ó The foot switch jacks are optimized for use with a stereo foot switch
(such as ENSONIQÕs SW-10 foot switch), and when a single foot switch is connected, it
operates as the right foot switch.
For more information about using mono and stereo foot switches with the ZR-76, see Chapter 13Ñ
Supplemental Information.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Assign a Function to a Foot Switch
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set up foot control?
3.
Press Yes if youÕd like to change the current foot switch settings. Press No if youÕd like to cancel the
procedure.
There are four foot switch parameters, each of which represents one of the four available foot switch
pedals:
¥
FtSw 1LÑthe left pedal of foot switch 1
¥
FtSw 1RÑthe right pedal of foot switch 1
¥
FtSw 2LÑthe left pedal of foot switch 2
¥
FtSw 2RÑthe right pedal of foot switch 2
Each foot switch pedal can be set to perform a specified function when pressed:
¥
UnusedÑpressing the pedal will have no effect.
¥
SustainÑholding the pedal will cause notes to continue sounding after the key is released, much
like the sustain pedal on a piano.
ENSONIQ ZR-76 Musician's Manual
47
Chapter 3ÑGlobal Settings
¥
¥
¥
¥
¥
¥
¥
SostenutoÑany keys that are held down when you press the pedal will sustain until you release
the pedal; keys pressed down after you press the pedal will not sustain. This is similar to the
sostenuto pedal on a piano.
SysCTRL1Ñpressing the pedal down will send a value of 127 to any aspect of a sound or effect
that is modulated by the controller designated as CTRL1; releasing the pedal will send a value of
0 to any aspect of a sound or effect that is modulated by the controller designated as CTRL1. (For
details on setting the CTRL1 parameter and descriptions of CTRL1 settings, see ÒSetting Up New
Real-Time ControllersÓ later in this chapter.)
SysCTRL2Ñpressing the pedal down will send a value of 127 to any aspect of a sound or effect
that is modulated by the controller designated as CTRL2; releasing the pedal will send a value of
0 to any aspect of a sound or effect that is modulated by the controller designated as CTRL2. (For
details on setting the CTRL2 parameter and descriptions of CTRL2 settings, see ÒSetting Up New
Real-Time ControllersÓ later in this chapter.)
SysCTRL3Ñpressing the pedal down will send a value of 127 to any aspect of a sound or effect
that is modulated by the controller designated as CTRL3; releasing the pedal will send a value of
0 to any aspect of a sound or effect that is modulated by the controller designated as CTRL3. (For
details on setting the CTRL3 parameter and descriptions of CTRL3 settings, see ÒSetting Up New
Real-Time ControllersÓ later in this chapter.)
SysCTRL4Ñpressing the pedal down will send a value of 127 to any aspect of a sound or effect
that is modulated by the controller designated as CTRL4; releasing the pedal will send a value of
0 to any aspect of a sound or effect that is modulated by the controller designated as CTRL4. (For
details on setting the CTRL4 parameter and descriptions of CTRL4 settings, see ÒSetting Up New
Real-Time ControllersÓ later in this chapter.)
up arrowÑpressing the pedal will have the same effect as pressing the up arrow button on the
front panel.
down arrowÑpressing the pedal will have the same effect as pressing the down arrow button on
the front panel.
T i p : You can utilize foot switches to select presets or sounds by assigning the two pedals
in an SW-10 stereo foot switch to Òup arrowÓ and Òdown arrow.Ó When youÕve selected the
preset bank in SoundFinder, each press of a pedal will select the next, or previous,
preset. If youÕd like to use this function for choosing sounds, select the desired
SoundFinder category, and the pedals will move you forward and back through the
sounds in the category youÕve chosen.
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
48
SplitÑpressing the pedal will have the same effect as pressing the Split button on the front
panel.
LayerÑpressing the pedal will have the same effect as pressing the Layer button on the front
panel.
TransposeÑpressing the pedal will have the same effect as pressing the Transpose button on the
front panel.
Recall IdeaÑpressing the pedal will have the same effect as pressing the Recall Idea button on
the front panel.
IPStartÑpressing the pedal will have the same effect as pressing the Idea Pad Start/Stop button
on the front panel.
DMFillVar1 through DMFillVar8Ñpressing the pedal will have the same effect as pressing the
same numbered Variations/Fills button on the front panel.
Fill/VarÑpressing the pedal will have the same effect as pressing the Fill Variation button on the
front panel.
DMStartÑpressing the pedal will have the same effect as pressing the Drum Machine Start/Stop
button on the front panel.
Play/StopÑpressing the pedal will have the same effect as pressing the 16 Track Recorder Stop
button if a song or sequence is playing; it will have the same effect as pressing the 16 Track
Recorder Play button if a song or sequence is not playing.
PlayTop/StopÑpressing the pedal will have the same effect as pressing the 16 Track Recorder
Play button on the front panel.
RecPlay/StopÑpressing the pedal will start recording on the currently selected track. If the 16
Track Recorder is already recording, pressing the pedal down will stop recording. This setting
can be used for punch-ins in the 16 Track Recorder (see Chapter 7)
RecordÑpressing the pedal will have the same effect as pressing the front panelÕs Record button.
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
¥
¥
¥
¥
¥
¥
¥
¥
¥
StopÑpressing the pedal will have the same effect as pressing the 16 Track Recorder Stop
button on the front panel.
RewindÑpressing the pedal will have the same effect as pressing the 16 Track Recorder Rewind
button on the front panel.
FastForwardÑpressing the pedal will have the same effect as pressing the 16 Track Recorder
Fast Forward button on the front panel.
MuteÑpressing the pedal will have the same effect as pressing the Mute button on the front
panel.
SoloÑpressing the pedal will have the same effect as pressing the Solo button on the front panel.
RegionFromÑpressing the pedal will have the same effect as pressing the Region From button on
the front panel.
RegionToÑpressing the pedal will have the same effect as pressing the Region To button on the
front panel.
PrevFavoriteÑpressing the pedal will select the previous favorite sound from the group of 18
favorites. When the first favorite is selected, tapping the pedal again will select the 18th favorite.
Next FavoriteÑpressing the pedal will select the next favorite sound from the group of 18
favorites. When the last favorite is selected, tapping the pedal again will select the first favorite.
T i p : You can program the Favorites buttons using foot switchesÑsee Chapter 4.
T i p : When a MIDI-OUT sound is selected in SoundFinder (including split or layer
sounds), or on a track in the 16 Track Recorder, MIDI messages produced by the foot
switchesÑsuch as sustain, sostenuto or any MIDI controllers assigned to SysCTRLsÑwill
be transmitted via MIDI by the ZR-76.
5.
Turn the Value knob or press the up/down arrow buttons to select the desired foot switch function.
W a r n i n g : If you are using a single foot switch (SW-2 or SW-6) in either of the Foot Switch
jacks, the FtSw 1-L and/or FtSw 2-L values on the system page should always be set to
ÒUnused.Ó The foot switch jacks are optimized for use with a stereo foot switch (such as
ENSONIQÕs SW-10 foot switch), and when a single foot switch is connected, it operates as
the right foot switch.
Using a CV Pedal as a Modulator
The ZR-76 also offers a CV¥Pedal jack, located on the rear panel of your unit:
This jack is for connecting an optional ENSONIQ Model CVP-1 Control Voltage Foot Pedal, which is
assignable as a modulator to various parameters within the ZR-76. The pedal gives you a handy
alternative modulation source when you want an additional modulation controllerÑas in situations where
both of your hands are busy playing the keyboard.
ENSONIQ ZR-76 Musician's Manual
49
Chapter 3ÑGlobal Settings
A CV pedal plugged into this jack can also act as a volume pedal, controlling the overall loudness of your
ZR-76. The System CVPedal parameter determines whether the CV pedal will act as a modulator, a
volume pedal, or as one of the special System Controllers (see below).
P e d a l / C V S p e c s : 3-conductor (Tip=control voltage input, Ring=510 ohm resistor to +5 Volts,
Sleeve=ground). 36 KOhm input impedance, DC coupled. Input voltage range=0 to 3 volts
DC. Scan rate=32mS (maximum recommended modulation input=15 Hz). For use with an
external control voltage, use a 2-conductor cable with the voltage on the tip and the
sleeve grounded.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Assign a Function to the CV Pedal
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set up foot control?
3.
4.
Press Yes if youÕd like to change the current foot switch settings. Press No if youÕd like to cancel the
procedure.
Turn the Parameter knob until the display shows:
Foot Controls:
CVPedal=Volume
#007
i
The current CV pedal assignment
You can set the CV pedal to send values to any aspect of a sound or effect that is modulated by a
50
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
MIDI controller. The CVPedal parameter can be set to:
¥
FootCtrl#004Ñto send values to any aspect of a sound or effect that is modulated by MIDI
Controller #4 (Foot pedal).
¥
Volume #007Ñto send values to any aspect of a sound or effect that is modulated by MIDI
Controller #7 (Volume).
¥
SysCTRL1Ñto send values to any aspect of a sound or effect that is modulated by CTRL1. (For
details on setting the CTRL1 parameter and descriptions of CTRL1 settings, see ÒSetting Up New
Real-Time ControllersÓ later in this chapter.)
¥
SysCTRL2Ñto send values to any aspect of a sound or effect that is modulated by CTRL2. (For
details on setting the CTRL2 parameter and descriptions of CTRL2 settings, see ÒSetting Up New
Real-Time ControllersÓ later in this chapter.)
¥
SysCTRL3Ñto send values to any aspect of a sound or effect that is modulated by CTRL3. (For
details on setting the CTRL3 parameter and descriptions of CTRL3 settings, see ÒSetting Up New
Real-Time ControllersÓ later in this chapter.)
¥
SysCTRL4Ñto send values to any aspect of a sound or effect that is modulated by CTRL4. (For
details on setting the CTRL4 parameter and descriptions of CTRL4 settings, see ÒSetting Up New
Real-Time ControllersÓ later in this chapter.)
T i p : When the CV pedal is set to one of the four SysCTRLs, and a MIDI-OUT sound is
selected in SoundFinder or the 16 Track Recorder, the CV pedal will regulate MIDI
transmission of the SysCTRLÕs selected MIDI controller.
E d i ti n g MI D I - R el a ted S etti n g s
SoundFinderÕs MIDI Channel
Whenever you play a sound in SoundFinder that belongs to any SoundFinder category other than MIDIOUT, the ZR-76 transmits the notes you play and the controllers you use via MIDI. The MIDI channel that
carries these messages is called the base MIDI channel. (Selecting a MIDI-OUT sound after pressing the
Select Sound, Split or Layer buttons allows you to transmit MIDI on other channels.)
The ZR-76 also allows you to play SoundFinder sounds from an external MIDI deviceÑsuch as a
keyboard controller or sequencerÑwhenever the Select Sound LED is lit, as long as a non-MIDI-OUT
sound was selected afer pressing the Select Sound button. SoundFinderÑincluding split and layer
soundsÑresponds to MIDI messages received on the ZRÕs base MIDI channel. MIDI Bank Select and
MIDI Program Change messages are also received on the base MIDI channel, affecting only the sound
chosen with the Select Sound button. If split and/or layer are on, sending a MIDI Bank Select or MIDI
Program Change message to your ZR-76 on the base MIDI channel will turn them off. (If a MIDI-OUT
sound is selected, incoming MIDI is sent to the 16 Track Recorder. You can still receive incoming MIDI
in SoundFinder when you use MIDI-OUT sounds for splits or layers, however; only the associated split
or layer will ignore incoming MIDI.)
You can select any MIDI channel from 1-16 as the base MIDI channel using the Base MIDI Channel
parameter.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Set the Base MIDI C hannel
1.
Press the System button.
ENSONIQ ZR-76 Musician's Manual
51
Chapter 3ÑGlobal Settings
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
3.
4.
Press Yes if youÕd like to change the current MIDI settings. Press No if youÕd like to cancel the
procedure.
Turn the Parameter knob until the display shows:
MIDI Settings:
Base MIDI Channel=01
i
The current base MIDI channel
5.
Turn the Value knob or press the up/down arrow buttons to set the Base MIDI Channel to the
channel on which youÕd like SoundFinder to receive MIDI.
Synchronizing the ZR-76 to MIDI
The ZR-76 generates a timing reference created by the tempo of the Drum Machine or 16 Track Recorder
(depending on whether youÕre in SoundFinder or the 16 Track Recorder, respectively). This timing
reference accessed by elements of ZR-76 sounds, and by the ZR effects:
¥
Many ZR-76 sounds use Low Frequency Oscillators (LFOs) and noise generators as a means of
creating vibrato and other rhythmic sonic changes. These LFOs and noise generators can be
synchronized to the Drum Machine and 16 Track Recorder.
¥
Some of the ZRÕs effects contain LFOs and delays that can be synchronized to the Drum Machine and
16 Track Recorder.
The Drum Machine and 16 Track Recorder can themselves be synchronized to MIDI clocks received from
some external source (such as a computer sequencer or drum machine). The 16 Track Recorder also
responds to received MIDI Song Position Pointer messages when it's synchronized to MIDI clocks.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Determine the ZRÕs Master Timing Source
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
3.
52
Press Yes if youÕd like to change the current system MIDI settings. Press No if youÕd like to cancel
the procedure.
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
4.
Turn the Parameter knob until the display shows:
MIDI Settings:
ClockSource=Internal
i
The current Clock Source value
5.
The ClockSource parameter can be set to:
¥
InternalÑto use either the ZRÕs Drum Machine or 16 Track Recorder as the master clock source
¥
MIDIÑto use external MIDI clocks as the timing source, and to enable the 16 Track Recorder's
response to MIDI Song Position Pointer messages
Turn the Value knob to set Tempo ClockSrc to the desired setting.
N o t e : Whenever ClockSource is set to MIDI, the tempo and sequence location displays in
the Drum Machine and 16 Track Recorder show that the ZR is synchronized to an external
MIDI device.
Synchronizing Other MIDI Devices to Your ZR-76
The ZR-76 is capable of transmitting MIDI clocks to other MIDI devices, so that you can use your ZR as
the master timing reference in your setup. When this feature is enabled, the ZR-76 will transmit MIDI
Song Position Pointer, Start, Stop and Continue messages when you press the appropriate button in the
16 Track Recorder.
You can turn this feature on or off using the Xmit MIDI Clocks parameter.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Control Whether MIDI Synchronization Data is Transmitted from the ZR
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
3.
4.
Press Yes if youÕd like to change the current MIDI settings. Press No if youÕd like to cancel the
procedure.
Turn the Parameter knob until the display shows:
MIDI Settings:
Xmit MIDI Clocks= On
i
The current Xmit MIDI Clocks value
ENSONIQ ZR-76 Musician's Manual
53
Chapter 3ÑGlobal Settings
5.
The Xmit MIDI Clocks parameter controls whether or not the ZR-76 will send out MIDI clocks, as well
as MIDI Song Position Pointer, Start, Stop and Continue messages. This parameter may be set to:
¥
OffÑthe ZR-76 will not send out MIDI clocks or MIDI Song Position Pointer, Start, Stop or
Continue messages.
¥
OnÑthe ZR-76 will send out MIDI clocks and MIDI Song Position Pointer, Start, Stop or Continue
messages.
Turn the Value knob or use the up/down arrow buttons to set the Xmit MIDI Clocks parameter to the
desired value.
Setting the Global Reception of MIDI Bank Selects and Program Changes
The ZR-76 allows you to enable or disable its reception of MIDI Bank Selects and Program Changes on a
system-wide basis. The global Bank&ProgChgRecv System parameter functions as a master switch that
can turn off the ZR-76Õs reception of Bank Selects and Program Changes regardless of the
ProgramChngeRecv and Bank Select Recv parameter settings in SoundFinder or the 16 Track Recorder.
When Bank&ProgChgRecv is set to On, the SoundFinder or track settings determine whether
SoundFinder or the 16 Track Recorder track will respond to or ignore Bank Select and Program Change
messages. When Bank&ProgChgRecv is set to Off, the ZR-76 will ignore MIDI Bank Select and Program
Changes completely.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Set Reception of Bank Selects and Program Changes
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
3.
4.
Press Yes if youÕd like to change the current system MIDI settings. Press No to cancel the procedure.
Turn the Parameter knob until the display shows:
MIDI Settings:
Bank&ProgChgRecv= On
i
The current Bank&ProgChgRecv value
5.
The Bank&ProgChgRecv parameter can be set to:
¥
OnÑMIDI Bank Selects and Program Changes will be responded to according to the settings of
the ProgramChngeRecv and Bank Select Recv SoundFinder and 16 Track Recorder track
parameters
¥
OffÑthe ZR-76 will ignore MIDI Bank Selects and Program Changes
Turn the Value knob to set Bank&ProgChgRecv to the desired value.
Responding to MIDI ÒPanicÓ Messages
Occasionally MIDI devices get confused. As a result, some MIDI products are able to send out ÒpanicÓ
messages to quickly bring MIDI chaos under control.
54
ENSONIQ ZR-76 Musician's Manual
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The ZR-76 responds to the following messages:
¥
¥
¥
Reset All Controllers (MIDI controller #121)
All Notes Off (MIDI controller #123)
All Sounds Off (MIDI controller #120)
Receiving Reset All Controllers MIDI Messages
The ResetControlRecv System parameter allows you to determine how the ZR-76 will respond to Reset All
Controllers MIDI messages. When itÕs set to On, and SoundFinder or a track in the 16 Track Recorder
receives a Reset All Controllers message on its MIDI channel, the ZR will return all of its real-time
controllers and any parameters that respond to MIDI controllers to their default values, clearing up any
hung values or unexpected settings. When ResetControlRecv is set to Off, SoundFinder and 16 Track
Recorder tracks will not respond to Reset All Controllers messages. For more information on the ZR-76Õs
response to Reset All Controllers messages, see ÒReset All Controllers (MIDI controller 121) Reception
BehaviorÓ in Chapter 13ÑSupplemental Information.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Set the Response to Reset All Controllers Messages
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
3.
4.
Press Yes if youÕd like to change the current system MIDI settings. Press No if youÕd like to cancel
the procedure.
Turn the Parameter knob until the display shows:
MIDI Settings:
ResetControlRecv= On
i
The current ResetControlRecv value
5.
The ResetControlRecv parameter can be set to:
¥
OffÑthe ZR-76 will ignore Reset All Controllers MIDI messages.
¥
OnÑwhen SoundFinder or any 16 Track Recorder track receives a Reset All Controllers message
on its MIDI channel all of its real-time controllers and parameters that respond to MIDI
controllers will be reset to their default values.
Turn the Value knob to set ResetControlRecv to the desired value.
Setting the Response to All Notes Off MIDI Messages
The ZR-76 can respond to All Notes Off and All Sounds Off MIDI control messages. When SoundFinder
or a 16 Track Recorder track receives either of these on its MIDI channel, any of its notes that are
currently sounding are silenced. The AllNotesOff Recv System parameter is a combined filter for both
messages. When itÕs set to On, the ZR-76 will respond to themÑwhen set to Off, it will ignore them.
ENSONIQ ZR-76 Musician's Manual
55
Chapter 3ÑGlobal Settings
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Set t h e Respon se t o MI D I A ll N ot es Of f Messages
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
3.
4.
Press Yes if youÕd like to change the current system MIDI settings. Press No if youÕd like to cancel
the procedure.
Turn the Parameter knob until the display shows:
MIDI Settings:
AllNotesOff Recv= On
i
The current AllNotesOff Recv value
5.
This AllNotesOff Recv parameter is a combined All Notes Off (MIDI control #123) and All Sounds Off
(MIDI control #120) reception filter. It can be set to:
¥
OffÑthe ZR-76 will ignore the All Notes Off and All Sounds Off MIDI messages.
¥
OnÑwhen SoundFinder or any 16 Track Recorder track receives an All Notes Off and/or All
Sounds Off MIDI message on its MIDI channel, all of its currently sounding notes will be
silenced.
Turn the Value knob to set AllNotesOff Recv to the desired value.
Using SysEx Device IDs
The ZR-76 can use MIDI System Exclusive (or ÒSysExÓ) messages to communicate with computersÑthe
Unisyn sound editing software uses this form of communication. SysEx data is a special kind of MIDI
data that doesnÕt require a specific MIDI channel. Every MIDI product has its own SysEx identityÑbut
what if youÕve got several ZR-76s connected at the same time? Each one of them can be assigned its own
SysEx Device ID number, from 000 to 127. In this way, each ZR-76 can identify the MIDI SysEx data that
itÕs meant to receive. Of course, itÕs vital that no two ZR-76s share the same SysEx Device ID number.
To Set the ZR-7 6Õs SysEx Device ID Number
1.
56
Press the System button.
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
3.
4.
Press Yes if youÕd like to change the current system MIDI settings. Press No if youÕd like to cancel
the procedure.
Turn the Parameter knob until the display shows:
MIDI Settings:
SysEx Device ID= 000
i
The current SysEx Device ID value
The SysEx Device ID parameter can be set to any number from 000 to 127.
Warn i n g: Make sure to take note of the SysEx Device ID number you choose. If you perform
a SysEx dump from the librarian (see Chapter 9), this ID is included in the data. When
you send the dump back to your ZR-76, you must have this parameter set to the same ID
number, or the data will not successfully load back in.
5.
Use the Value knob to select the SystEx Device ID number you want to use for this ZR-76.
Setting Up New Real-Time Controllers
The ZR-76 can generate, respond to and transmit the following real-time MIDI controllers and messages:
¥
¥
¥
¥
Data Entry Slider
Pitch Bend Wheel
Mod Wheel
Foot Pedal
¥
¥
¥
¥
Sustain/Sostenuto pedals
MIDI Volume messages
MIDI Pan messages
MIDI Expression messages
In addition, the ZR-76 allows you to define four additional real-time MIDI controllers: CTRL1, CTRL2,
CTRL3 and CTRL4. These can be assigned to any legitimate MIDI controller number, and used to
modulate the ZR-76Õs sounds or effects. See Chapter 8 to learn how to use one of the CTRLs as a realtime effect modulator.
T i p s : A CTRL can be assigned to the CV pedal and transmitted via MIDI when a MIDI-OUT
sound is selected. When incoming MIDI is received, the CTRLs can be used to provide ZR
response to any MIDI controller message.
SoundFinder and the 16 Track Recorder tracks offer filters that determine whether or not response to the
CTRLs will be enabled or disabled. See Chapter 4 or Chapter 7 for details.
When you change any system setting, ZR-76 operations will pause momentarily
to store your settings into FLASH memory.
To Set Up the Four Special Controllers
1.
Press the System button.
ENSONIQ ZR-76 Musician's Manual
57
Chapter 3ÑGlobal Settings
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
3.
4.
5.
Press Yes if youÕd like to change the current system MIDI settings. Press No if youÕd like to cancel
the procedure.
Turn the Parameter knob until the display shows the name of the system controller youÕd like to use:
¥
CTRL1
¥
CTRL2
¥
CTRL3
¥
CTRL4
After selecting one of the four special controllers, use the Value knob to locate the MIDI controller
number youÕd like to assign to the system controller youÕve selected.
N o t e : If more than one system controller is assigned to the same MIDI controller number,
only the lower-numbered system controller will respond to the MIDI controller.
When the ZR-76 is shipped from the factory:
¥
¥
¥
¥
CTRL1
CTRL2
CTRL3
CTRL4
is
is
is
is
assigned
assigned
assigned
assigned
to
to
to
to
Breath Controller (MIDI controller #002).
FXControl1 (MIDI controller #012).
PatchSelct (MIDI controller #070).
Timbre (MIDI controller #071).
E n ter i n g G M Mo d e
Using the ZR-76 with General MIDI
General MIDI (GM) is an agreed-upon set of sounds and protocols which aims to ensure that, no matter
what brand or model General MIDI instrument you use to play General MIDI sequences, the music is
guaranteed to sound as its arranger intended. For a more detailed description of General MIDI, see
ÒWhat Is General MIDI?Ó found in Chapter 13ÑSupplemental Information.
The ZR-76 can play General MIDI music in either of two ways:
¥
You can load General MIDI Standard MIDI Files from floppy disk into your ZR-76. Once loaded into
the 16 Track Recorder, you can play them back, edit them, and/or add your own new tracks.
¥
You can play GM files on an external deviceÑsuch as a computer or stand-alone sequencerÑand
use the ZRÕs complete set of GM sounds.
The ZR-76 GM mode reconfigures your ZR-76 for General MIDI music. Once in GM Mode, the 16 Track
Recorder will be prepared to play GM Standard MIDI Files loaded from floppy or to act as a 16-channel
General MIDI sound source.
To Use the ZR-76 for General MIDI Music
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Enter GM mode?
3.
58
If youÕd like to continue, press Yes. If not, press No.
ENSONIQ ZR-76 Musician's Manual
Chapter 3ÑGlobal Settings
You can now load a GM Standard MIDI File from floppy disk into any sequence location. To learn how
to load Standard MIDI Files, see Chapter 7.
If youÕre using an external sequencer to play back GM music, your ZR-76 will function perfectly as a
high-quality GM sound source. (Chapter 2 describes the MIDI connections youÕll need to make.)
ZR-76 General MIDI Details for the Curious
General MIDI is designed to be extremely easy to use, requiring no background technical knowledge of
its workings. However, for ZR-76 users who are interested, hereÕs what happens when you ÒEnter GM
mode.Ó
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
The ZR-76 moves into its song memory any song currently in the Song Editor.
The ZR-76 creates a new song, selects sequence A in bank 1 and selects track 1 in sequence A.
Tracks 1-16 are set to MIDI channels 1-16, respectively.
Each track in the 16 Track Recorder is set to select sounds from the ZR-76Õs bank of General MIDI
sounds.
Each trackÕs Bank&ProgChgRecv is set to On so that the ZR-76 can respond to General MIDI program
changes.
Bank Select Recv parameter for each track is disabled in the event that the GM sequence being
played contains Bank Select messages on the trackÑthis guarantees that program changes will only
select sounds from the ZRÕs GM sound bank. Track 10 is set to select sounds only from the ZRÕs GM
drum kit bank.
Each trackÕs PitchBendMode is set to Prog so that its GM sounds respond to MIDI Pitch Bend data in
accordance with the General MIDI rules.
The system AutoSelect FXBus parameter is set to Off to allow General MIDI Effect Change messages
to control the ZRÕs chorus and reverb.
The system Track ParamReset parameter is set to Off to prevent the various track parameters preset
for General MIDI from being inadvertently changed.
The system ResetControlRecv and AllNotesOff Recv parameters are set to On so that the ZR-76 can
respond to MIDI panic messages.
The system SysEx Recv parameters is set to On so that you can return the ZR-76 to its original
General MIDI settings any time you like, via a General MIDI On SysEx message.
N o t e : When youÕre done using the ZR-76 as a GM sound source, you may want to reset
the following system parameters, which are described elsewhere in this chapter:
AutoSelect FXBus, Track ParamReset, ResetControlRecv, AllNotesOff Recv and SysEx
Recv.
ENSONIQ ZR-76 Musician's Manual
59
Chapter 4ÑSoundFinder
C h apt er 4
S o u n dFi n der ™
S o u n d Ce n t r a l
At the heart of the ZR-76 are the hundreds of terrific sounds it contains. ENSONIQÕs SoundFinderª makes
it easy to find just the right one. SoundFinder also provides the means to customize these sounds in many
useful ways.
SoundFinderÕs Select Sound, Split, Layer and Transpose buttons contain LEDs that provide helpful provide
information at a glance:
¥
¥
¥
When the Select Sound LED is lit, youÕre in SoundFinder.
When the Split LED is lit, SoundFinderÕs split feature is enabled: the ZRÕs keyboard can play two
different sounds in two different areas of the keyboard. You can set where one area ends and the other
begins.
When the Layer LED is lit, SoundFinderÕs layer feature is enabled: two sounds of your selection will
play at once when you press a key on the keyboard. Layers are described in detail in ÒLayering ZR-76
SoundsÓ later in this chapter.
Note: SoundFinder can have a split and a layer at the same time. When this is the case, the
sound played in the lower part of the keyboard is heard by itself; the upper area of the
keyboard plays two sounds at once.
¥
When the Transpose LED is lit, SoundFinderÕs transpose feature is enabled: the pitch produced as you
play notes on the keyboard is shifted upward or downward by the number of semitone steps that you
determine. The ZRÕs transpose capabilities are described in detail in ÒTransposing the ZRÕs Keyboard in
SoundFinderÓ later in this chapter.
ENSONIQ ZR-76 Musician's Manual
61
Chapter 4ÑSoundFinder
C h o o s i n g So u n d s
The SoundFinder Favorites Buttons
The SoundFinder Favorites buttonsÑlocated beneath the ZR displayÑprovide one-button access to your
favorite sounds.
The Favorites buttons are programmed by ENSONIQ to select sounds corresponding to their labels:
Favorites button:
1 (Piano)
2 (E. Piano)
3 (Organ)
4 (Keys)
5 (Guitar)
6 (Bass)
selects:
PerfectPno
Suitcase EP
Fuller B3
ChatterClav
Dbl 6-String
Switch Pop1
Favorites button:
7 (Strings)
8 (Brass)
9 (Sax)
10 (Vocals)
11 (Synth Pad)
12 (Synth Lead)
selects:
Dyn Marcato
StereoBrass
BreathyTenr
Oooohhhs
Phase Sweep
Atomic Lead
The buttons are completely programmable, so you can assign your own favorite sounds to any or all of the
buttons, regardless of their labels. See below for details.
To Select Sounds Using the Favorites Buttons
1.
2.
Press any Favorite buttonÑthatÕs all there is to it! The sound programmed for that button is now
selected and can be played from the keyboard.
There are six additional ÒhiddenÓ favorites positions.
To access the additional six favorites positions, hold down an upper Favorites button while pressing
the button directly beneath it, or vice versa.
These six positions are programmed by ENSONIQ to select (these can also be re-programmed):
Favorites pair:
1 and 7
2 and 8
3 and 9
selects:
Nylon Pad
Vibraphone
Airy Flute
Favorites pair:
4 and 10
5 and 11
6 and 12
selects:
Live Kit 1
RainMan
Big AnaLead
You can program foot switches to select any of the Favorites positions when you want to keep your hands
on the keys. To do this, youÕll first need to program your foot switch(es) for this purpose.
To Set Up and Use Foot Switches for the Selection of Favorites
1.
62
Press the System button.
ENSONIQ ZR-76 Musician's Manual
Chapter 4ÑSoundFinder
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Set up foot control?
3.
4.
5.
6.
Press Yes, or press No if youÕd like to cancel the procedure.
There are four foot switch parameters, each of which represents one of the four foot switch pedals:
¥
FtSw 1LÑthe left pedal of foot switch 1 ¥
FtSw 2LÑthe left pedal of foot switch 2
¥
FtSw 1RÑthe right pedal of foot switch 1 ¥
FtSw 2RÑthe right pedal of foot switch 2
Turn the Parameter knob until the pedal youÕre programming is shown at the left of the display.
Each pedal can be programmed with one of two favorites functions:
¥
PrevFavoriteÑpressing the pedal will select the previous favorite sound from the group of 18
favorites. When the first favorite is selected, tapping the pedal again will select the 18th favorite.
¥
Next FavoriteÑpressing the pedal will select the next favorite sound from the group of 18 favorites.
When the last favorite is selected, tapping the pedal again will select the first favorite.
Turn the Value knob to choose the desired favorites function for the selected pedal.
If youÕve got a dual foot switch, repeat Steps 4 and 5 to set up your other pedal.
Ti p: You might find it handy to program a left foot pedal to select the next-lowest favorite,
and the right pedal to select the next-highest.
7.
When youÕve finished programming your foot switch(es), tap the appropriate pedals to select Favorites.
Programming Favorites Overview
The Favorites buttons can be programmed in any of three ways. You can select the method most
convenient for you. You can set a button (or pair) by:
¥
¥
¥
holding it down and selecting the desired sound in SoundFinder (as described in ÒTo Locate Sounds by
TypeÓ below). This method is most handy when youÕre setting up the Favorites buttons as a group.
holding down the SoundFinder Select Sound button with the desired sound displayed and pressing the
intended Favorites button, or pair of buttons. This method is useful when youÕve come across a
SoundFinder sound you really like and want to quickly assign it to a Favorites button.
holding down the SoundFinder Select Sound button with the desired sound displayed and pressing a
foot switched programmed to select favorites. This method will be popular with musicians who like to
use their feet.
Ti p: The sound programmed as the first favoriteÑassigned to Favorites Button 1Ñis
selected when you power up your ZR. This lets you set the ZRÕs wake-up sound.
Ti p: You can assign a MIDI-OUT sound (described later in this chapter) as a favoriteÑwhen
itÕs selected, its Bank Select and Program Changes values will be transmitted from the ZR.
To Program a Favorite Starting at the Favorites Button
1.
2.
3.
Press and hold down the Favorites button you want to program.
While holding down the button, turn the Sound/Rhythm Type knob to select the category of the sound
you want to assign to the button, and turn the Sound/Rhythm Name knob to select the sound itself.
Release the Favorites buttonÑitÕs now programmed to select the sound youÕve assigned to it.
To Program Favorites Starting at the Select Sound Button
1.
2.
3.
Select a sound in SoundFinder using either technique described in ÒHow to Find SoundsÓ below.
Press and hold down the Select Sound button.
Press the desired Favorites buttonÑitÕs now programmed to select your SoundFinder sound.
ENSONIQ ZR-76 Musician's Manual
63
Chapter 4ÑSoundFinder
Programmming the Favorites Buttons Using Foot Switches
1.
2.
3.
4.
Set up a foot pedal or two for the selection of favorites following the steps in ÒTo Set Up and Use Foot
Switches for the Selection of FavoritesÓ earlier in this section.
Select a sound in SoundFinder using either technique described in ÒHow to Find SoundsÓ below.
Press and hold down the Select Sound button.
Tap the foot pedal that selects the last or next Favorites position from the one currently selected.
Ti p: If you want to mentally keep track of which favorites position is currently selected
without having to press a Favorites button, you might find it handy to assign the sound
ÒSilenceÓ to the 18th favorites position. This would provide a recognizable landmark as you
step through your favorites.
Ti p: If one pedal is set to PrevFavorite and another to NextFavorite, pressing both together
will cause the ZR to jump to the first favorites position.
Making Favorites Permanent
Favorites assignments are backed up in FLASH memory. When you power up the ZR, theyÕre copied into
RAM, from which theyÕre selected when you press the Favorites buttons or select favorites using foot
switches. (ZR memory is described in Chapter 9). This scheme allows you to set up favorites for a particular
situation, and to quickly restore your permanent favorites by simply turning the ZR off and back on.
To make your favorites assignments permanent, you must save them to FLASH memory (you can also save
favorites to floppy diskÑsee Chapter 9 to learn how).
To Save Favorites Assignments to FLASH Memory
1.
Press the button.
If the System Write Protect parameter is set to Prompt, the display will show:
INT memory is write
protected! Override?
2.
3.
This display is offered as a double-check for you, to make sure you really want to save your sound. If
youÕd like to avoid this prompt in the future, see ÒProtecting the ZRÕs MemoryÓ in Chapter 3.
If youÕd like to cancel the operation, press the No button. If youÕd like to proceed, press the Yes button.
Turn the Value knob until the display shows:
Save SoundFinder?
Type=
Favorites
4.
Press the Yes button.
How to Find Sounds
The ZR-76 offers two methods of locating sounds:
¥
¥
You can locate sounds by sound type
You can immediately access any sound if you know its name
To Locate Sounds By Sound Type
1.
2.
64
Locate the SoundFinder section on the ZRÕs front panel.
Press the Select Sound button.
ENSONIQ ZR-76 Musician's Manual
Chapter 4ÑSoundFinder
3.
The Select Sound buttonÕs LED lights.
Turn the left-hand Sound/Rhythm Type knob on the ZRÕs front panel clockwise or counter-clockwise.
As you turn the Sound Type knob, youÕll see different sound categories appear in the lower left part of
the ZRÕs display.
Sound
VOCALS
FLS001:014
: A Ha Ha Ha
i
The currently selected sound type
4.
5.
Find a sound type category that interests you.
Turn the Sound/Rhythm Name knob clockwise or counter-clockwise to choose a sound of the selected
type.
Sound names appear on the lower right-hand portion of the display:
Sound
VOCALS
ROM005:025
:Oh Yeah Pad
i
The name of the currently selected sound
6.
7.
Play some music on the keyboard to hear the sound youÕve selected.
To select other sounds, use the same method: turn the Sound/Rhythm Type knob to locate the type of
sound you want to hear, and the Sound/Rhythm Name knob to pick an individual sound.
How SoundFinder Works
SoundFinder is a database of all the sounds in your ZR-76. The power of a database lies in its ability to let
you to view information in a manner of your choosing. SoundFinder keeps a list of all the sounds available
in your ZR-76, and shows them to you in logical, musically convenient categories called sound types.
SoundFinder sound types show you sounds by instrument familyÑvocals or bells, for exampleÑor by a
number of other useful criteria, including the location in the ZRÕs memory where they reside. ThereÕs a
special SoundFinder category that you can use when you want the ZR-76 to transmit MIDI data and Bank
ENSONIQ ZR-76 Musician's Manual
65
Chapter 4ÑSoundFinder
Select and Program Change messages for receipt by an external MIDI module (see ÒSoundFinder MIDIÓ
later in this chapter). SoundFinder also keeps track of presets, which are sound combinationsÑpresets are
used in the construction of split and layer sounds. The ALL-SND category is especially useful, since it
shows all of the ZR-76 sounds arranged in alphabetical order.
You can also search for a sound by name by typing its name on the ZRÕs keyboard, as described below.
YouÕll find a complete list of all the ZR-76 sounds in Chapter 13.
To Locate a ZR-76 Sound By Name
1.
2.
Locate the SoundFinder section on the ZRÕs front panel.
Press the Select Sound button, and hold it down.
Each white key on the ZRÕs keyboard from the C two octaves below Middle C to the B nearly three
octaves above has been assigned a number or letter, printed on the ZRÕs front panel just above the key.
The G# in each octave types a blank space.
Note: The keys outside of the range shown above are not used for the selection of sounds.
3.
While continuing to hold the Select Sound button down, use the keyboard to type the name of the
sound youÕre looking for.
By watching the ZRÕs display, youÕll see SoundFinder continually narrowing the search as you type
each letter. Sometimes just the first few letters is enough to identify a sound if no other sound shares
those letters.
Sound
ROM:004:013
ALL-SND :Real El.Pno
i
The name of each sound you find is shown here
If you can only recall the beginning of a soundÕs name, and SoundFinder locates more than one sound
matching what youÕve typed, it will display the alphabetically first sound. To access the other matches,
turn the Sound Name knob clockwise.
66
ENSONIQ ZR-76 Musician's Manual
Chapter 4ÑSoundFinder
Tr a n s p o s i n g th e ZR Õ s Ke yb o a r d In So u n d F i n d e r
Transposing the ZR-76 Keyboard In SoundFinder
The ZR-76 keyboard transpose function allows you to easily change the key in which your music is heard
without actually changing where you place your fingers on the ZRÕs keyboard. You can set the amount of
transposition by holding the Transpose button and pressing a key on the ZRÕs keyboardÑits semitone
distance above or below Middle C will determine the number of semitones by which your music will be
transposed. You can also determine the transposition amount by using the Value knob. In either case, the
ZRÕs display will provide visual confirmation of the keyboard transpose amount.
Note: The transpose function affects the behavior of the ZR-76 keyboard itselfÑthe sounds
you play are not internally altered. When you turn Transpose off, theyÕll return to their
programmed pitches.
The Transpose LED
The Transpose LED is lit whenever the ZR-76 keyboard is being transposed.
Note: If the Keyboard Transpose Amount is set to 0st (for Ò0 semitone stepsÓ), the
Transpose LED will not light, since no keyboard transposition occurs at that setting.
To Transpose the Keyboard By Pressing a Key
1.
Press and hold the Transpose button.
The display will show:
Keyboard Transpose:
Amount:
0st
i
The number of semitone steps by which the keyboard is currently transposed
2.
The keyboard pitch can be shifted by as many as 24 semitone steps downward (-24st) and 24 steps
upward (+24st). A value of 0st means that the keyboard is not transposed.
You can change this value by pressing a key on the keyboard while the Transpose button is held down.
Middle C will select 0st. Each key up or down from middle C will select a value one semitone higher or
lower than the original pitch.
While still holding the Transpose button, press a key on the keyboard to select the desired transpose
value.
To Transpose Your Music by Dialing In a Semitone Value
1.
Press the Transpose button. The display will show:
Keyboard Transpose:
Amount:
0st
i
The number of semitone steps by which the keyboard is currently transposed
ENSONIQ ZR-76 Musician's Manual
67
Chapter 4ÑSoundFinder
2.
The keyboard pitch can be shifted by as many as 24 semitone steps downward (-24st) and 24 steps
upward (+24st). A value of 0st means that the keyboard is not transposed.
You can change this value by turning the Value knob or pressing the up/down arrow buttons.
Turn the Value knob or press the up/down arrow buttons to select the desired transpose value.
To Turn the Transpose Function Off
1.
If transpose is currently on, the Transpose LED will be lit. If it is, press the Transpose button to turn
the function off.
You can repeatedly press the Transpose button to toggle keyboard transposition on and offÑyour
transposition amount setting will be retained until you change it or power your ZR-76 off.
U n d e r s t a n d i n g Z R - 7 6 So u n d s
The ZR-76 contain two types of sounds: standard sounds and drum kit/percussion kit sounds. Both types
of sound are constructed from high-quality digital sound waves resident in the permanent memory of the
ZR-76 or on ENSONIQ EXP Series Wave Expansion Boards. The explanations and procedures in this
chapter apply to both types of sounds, except as noted.
All ZR-76 sounds take advantage of the ZRÕs powerful 24-bit effects processor. To learn how the ZR-76
effects work, see Chapter 8.
ZR-76 Standard Sounds
Standard ZR-76 sounds employ up to 16 layers of sound waves, placed on top of each other. Each layer in
a standard sound has an assortment of editable parameters that allow you to shape the sonic
characteristics of its sound wave.
Ti p: You can construct special hybrid sounds that have more than 16 layers. See ÒSaving
Splits and LayersÓ later in this chapter.
ZR-76 Drum Kit and Percussion Kit Sounds
Drum kit and percussion kit sounds can have up to 64 different standard sounds assigned to individual
keys from the B two octaves below Middle C (B1) to the D three octaves above (D7). Note that these are not
just sound waves, but rather complete ZR sounds! Though these are most commonly drum and percussion
sounds, you can use any kind of sound youÕd like in a drum or percussion kit. Each key, or drum key, in a
drum or percussion kit has its own volume, pan, effect routing and tuning settings.
Note: When you assign a sound to a drum key, the drum key makes note of the location of
the sound in the ZRÕs memory. When you play the drum key, it looks to that location and
uses the sound it finds there. If you edit the drum keyÕs sound or replace it, the drum key
will play the edited version or the sound youÕve replaced it with. If youÕve assigned a sound
to a drum key, and then erased the soundÑor pointed a drum key to an expansion board
sound, and removed the expansion boardÑthe drum key will be unable to locate its sound
and will produce silence when played.
The arrangement of sounds up and down the keyboard in a drum or percussion kit is called a drum or
percussion map. The ZR-76 drum kit and percussion kit sounds programmed by ENSONIQ adhere to two
types of drum map keyboard layouts, so as to ensure that the sounds function correctly in two specific
contexts:
¥
¥
drum kit or percussion kit sounds that are used by the ZR-76 Drum Machine conform to an ENSONIQ
drum/percussion map optimized for that purpose
drum kit or percussion kit sounds that are used for General MIDI music conform to the General
MIDI/GS percussion key map
Note: You can program drum kit or percussion kit sounds using your own keyboard layout;
however, such sounds will produce unpredictable results when used by the ZRÕs Drum
Machine, or for General MIDI music.
68
ENSONIQ ZR-76 Musician's Manual
Chapter 4ÑSoundFinder
The drum kit and percussion kit sounds programmed by ENSONIQ are located in these SoundFinder
categories:
¥
¥
¥
DRUM-KITÑdrum kits that use the ENSONIQ drum map keyboard layout
PERC-KITÑpercussion kits that use the ENSONIQ drum map keyboard layout
DRMKITGMÑdrum kits that use the General MIDI/GS percussion map keyboard layout
The ENSONIQ Drum Map
The ZR-76 Drum Machine rhythms are sets of highly realistic patterns recorded by top-notch professional
drummers performing on MIDI drum pads. The ENSONIQ drum map was designed to be used with these
rhythms. The map provides a standardized set of rules that lay out which set of keys on the keyboard
should represent which portion of a real kit. The result is that any drum kit sound that adheres to the
ENSONIQ drum map can be expected to work at least reasonably well with any Drum Machine rhythm. Of
course, the rhythmsÑand the kits themselvesÑcover such a broad range of musical styles that a certain
degree of unpredictability is inevitable when mixing and matching rhythms to kits (though surprisingly
pleasing combinations abound).
In order to faithfully reproduce the subtle nuances of the original performances on which the rhythms are
based, the ENSONIQ drum map takes advantage of the 64-drum-key drum/percussion kit architecture by
offering numerous expressive shadings for each element of a drum or percussion kit. The drum map is
divided into eight zones, one for each drum kit element, or in the case of percussion kit sounds, each
percussion family. You can design your own drum or percussion kit for use with the Drum Machine by
following the drum or percussion map layout youÕll find in Chapter 13.
If youÕre using the Drum Machine and would like to modify the drum or percussion kit currently being
used by the rhythm youÕve got selected, you can edit the currently selected rhythmÕs kit key-by-key in
SoundFinder, or edit it zone by zone in the Drum Machine. Chapter 5 provides instructions for editing kits
zone-by-zone.
You can use the drum or percussion kit currently being used by the Drum Machine as a starting point in
the construction of a new kit which can be used in any way you like. Select the RthmEditKit using one of
the sound selection methods described at the beginning of this chapter. (The RthmEditKit is located in the
*CUSTOM SoundFinder category.) See ÒEditing ZR-76 Drum and Percussion KitsÓ later in this chapter for
an explanation of the special editing techniques used for ENSONIQÕs powerful drum and percussion kits,
or skip right to ÒEditing a Drum or Percussion Kit YouÕve SelectedÓ for step-by-step instructions.
The General MIDI/GS Drum Kit Maps
There are a number of General MIDI/GS percussion key maps named after particular types of drum or
percussion kits. Each map describes in detail what sound shall be mapped to which key in order to be in
compliance with the General MIDI/GS standards. Any drum or percussion kit using the General MIDI/GS
map will work correctly with General MIDI or GS-mapped sequences.
You can design your own drum or percussion kit for use with General MIDI by following the percussion
map layout youÕll find in Chapter 13.
If youÕre currently using a GM drum/percussion kit and would like to modify it for your purposes or make
a new drum/percussion kit sound based on it, select a kit from the DRMKITGM SoundFinder category
using one of the sound selection methods described at the beginning of this chapter. See ÒEditing ZR-76
Drum and Percussion KitsÓ later in this chapter for an explanation of the special editing techniques used
for ENSONIQÕs powerful drum and percussion kits, or skip right to ÒEditing a Drum or Percussion Kit
youÕve SelectedÓ for step-by-step instructions.
Which Map to Use?
As you customize a drum or percussion kit soundÑor create one based on a pre-existing kitÑconsider how
youÕll be using it: stick with an ENSONIQ map if your new kit will need to work with the Drum Machine.
Use the General MIDI/GS map if youÕll be using it for General MIDI purposes. If your plans for your new
drum kit or percussion sound donÕt include either of these usesÑperhaps youÕll simply be playing the
sound from the keyboard and recording it into the 16 Track RecorderÑfeel free to put any sound on any
drum key.
G e n e r a l So u n d - E d i t i n g Te c h n i q u e s
Every ZR-76 sound has a full suite of options that you can use to customize the sound for your purposes.
Each of these options is called a parameter. When you alter a parameterÕs setting, you are editing its value.
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Note: When you edit a SoundFinder parameter, the changes you make to the currently
selected sound become permanent only when you save the sound to the ZRÕs FLASH or
RAM memory. See ÒSaving ZR-76 SoundsÓ later in this chapter. After youÕve saved your
edited sound to the ZRÕs internal memory, youÕll probably want to store it on a floppy disk
(see Chapter 9 to learn how).
If youÕve got a computer, you can create your own sounds from scratch using the supplied Unisyn editing
software (Chapter 12 describes the Unisyn sound parameters).
To Edit a Sound
1.
2.
Use either of the sound-selection methods described at the beginning of this chapter to select the
sound youÕd like to edit.
Press the SoundFinder Edit button.
3.
Turn the Parameter knob clockwise or counter-clockwise to select the parameter youÕd like to edit.
The ZR-76 displays provide helpful information:
The name of the sound youÕre editing
m
Sound
Volume=
i
The currently selected parameter
70
Perc B3-PR
110
i
The parameterÕs current value
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Chapter 4ÑSoundFinder
4.
Turn the Value knob clockwise or counter-clockwise to change the parameterÕs setting.
5.
If youÕre editing a standard ZR-76 sound, you can now set the selected parameter to any value you
like. For a full description of the editing options available for the ZR-76 sounds, see ÒWorking with the
SoundFinder ParametersÓ later in this chapter.
If the sound youÕre editing is a drum kit sound, the following message may appear:
Read-only! Overwrite
SongEditKit to edit?
6.
If youÕd like to proceed, press the Yes button and set the selected parameterÕs value to any setting you
wish. If youÕre unclear about what the displayed question means, pause a moment and see ÒEditing
ZR-76 Drum Kit Sounds,Ó later in this chapter.
Note: SoundFinder can respond to incoming MIDI, and can generate outgoing MIDI data for
use in controlling external MIDI devices. These capabilities are described in ÒSoundFinder
MIDI,Ó later in this chapter. Many of the ZR-76 SoundFinder parameters may also be edited
via MIDIÑsee the parameter descriptions and procedures later in this chapter for details.
W o r k i n g wi t h th e So u n d F i n d e r Pa r a m e t e r s
What the SoundFinder Parameters Do
Each ZR-76 sound is programmed on a computer using the supplied Unisyn editing software. This
software allows the programming of the individual layers within each sound (see Chapter 12 for details).
The SoundFinder parameters let you quickly alter this programming in two ways. The parameters offer:
¥
overrides, which set all of the layers in the currently selected sound to the absolute value you set
¥
offsets, which raise or lower the programmed values by the amount you set
A SoundFinder parameter is an override when its typical use would be to set all of a soundÕs layers to the
same absolute value.
When an override parameter is set to ÒProg,Ó the originally programmed setting for each layer is retained. A
few parameters have system-wide counterparts whose settings can be applied to a sound or trackÑsetting
such a parameter to ÒSysÓ will cause it to use the system-wide setting.
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A SoundFinder parameter is an offset when it would typically be used to affect all of a soundÕs layers at
once while retaining their different settings in relation to one other. Offset parameters offer values that
have positive/negative aspects (denoted with a Ò+Ó or Ò-Ó). When an offset is set to Ò0,Ó the originally
programmed value for each layer is in effect.
Note: SoundFinder offsets adjust layer parameters only within the parametersÕ legitimate
rangesÑoffsets will not force them beyond those limits. If a SoundFinder offset parameter
appears to be having no effect, itÕs likely that the layer parameter has already reached its
maximum or minimum setting.
Editing Sounds on 16 Track Recorder Tracks
All of the edit parameters available to sounds in SoundFinder are also available to sounds on tracks in the
16 Track Recorder. Each track in the 16 Track Recorder provides these same parameters for any sound it
usesÑwhen you adjust any of them, your edits become part of the track. All of the parameter explanations
in this chapter, therefore, pertain to sounds in SoundFinder as well as to sounds on tracks in the 16 Track
Recorder.
Controlling a SoundÕs Loudness
The ZR-76 provide three parameters for controlling a soundÕs loudness:
¥
¥
¥
Volume determines the maximum loudness of the sound.
Mix (Expression) allows you to lower the soundÕs loudness or raise it up to the maximum set by
Volume. By using Volume and Mix (Expression) together, you can set an acceptable loudness ceiling
for a sound, and then adjust its level without worrying that it will ever become too loud. The Mix
(Expression) parameter can be adjusted with the Parameter and Value knobs, or through the use of
the Mix knob in the ZRÕs FX/Mixdown area (see Chapter 8 for details).
Vol/Mix Polarity allows you to invert the ZRÕs response to Volume and Mix (Expression) changes, so
that greater values for either parameter lower the ZRÕs loudness, and vice versa. This can be useful, for
instance, when youÕd like one sound to fade in as a result of Volume or Expression messages
generated by the optional ENSONIQ CVP-1 CV Pedal, while another fades out from the very same
messages.
When the following parameter is edited in a drum kit, all of the sounds in the
drum kit are affected simultaneously by the changes you make.
To Set a SoundÕs Maximum Volume
The Volume parameter allows you to override the loudness ceiling programmed into the currently selected
sound. A Volume setting of 127 will leave the soundÕs level set as it was programmed. Lower values will
reduce the soundÕs loudnessÑdown by 96dB at a value of 0.
1.
2.
3.
72
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒVolume=.Ó
Turn the Value knob from 0 to 127 to adjust the soundÕs loudness ceiling.
This parameter also responds to MIDI Controller #7 values received via MIDI. The ZRÕs display will
reflect volume changes made via MIDI just as if youÕd made them from the front panel.
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Chapter 4ÑSoundFinder
When the following parameter is edited in a drum kit, all of the sounds in the
drum kit are affected simultaneously by the changes you make.
To Adjust the Relative Loudness of a Sound
Mix (Expression) can raise or lower the currently selected soundÕs level, but only up to the maximum set by
Volume.
This allows you to set an acceptable loudness ceiling for a sound, and to adjust its level without worrying
that it will ever become too loud.
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒMix (Expression)=.Ó
The Mix (Expression) parameter allows you to adjust the level of the currently selected sound up to the
maximum set by the Volume parameter above. A setting of 0 will reduce the soundÕs loudness -96dB
below the level set with the Volume parameter.
Turn the Value knob from 0 to 127 to adjust the soundÕs Mix (Expression).
Note: You can quickly access the Mix (Expression) parameter by turning the FX/Mixdown
Mix knob. Whenever the Select Sound LED is lit, turning the Mix knob adjusts this
parameter for the sound selected in SoundFinder. When the Select Song LED is lit, the Mix
knob edits the currently selected trackÕs Mix (Expression) parameter.
This parameter also responds to Controller #11 values received via MIDI. In addition, you can edit Mix
(Expression) using an NRPN LSB value of 034. See ÒUsing RPNs and NRPNs to Edit SoundFinder
ParametersÓ at the end of this chapter. The ZRÕs display will reflect (Mix) Expression changes made via
MIDI just as if youÕd made them from the front panel.
When the following parameter is edited in a drum kit, all of the sounds in the
drum kit are affected simultaneously by the changes you make.
To Invert the Response of Volume and Mix (Expression)
The Vol/MixPolarity parameter reverses the manner in which a sound will respond to Volume and Mix
(Expression) settings or changes received via MIDI. When set to +Pos, the sound will respond normally:
Higher Volume and Mix (Expression) values will result in greater loudness. When itÕs set to -Neg, higher
Volume and Mix (Expression) values will lower the level of the sound.
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒVol/MixPolarity=.Ó
Turn the Value knob to set the soundÕs Volume/Mix polarity as you prefer.
Adjusting a SoundÕs Position In the Stereo Field
ZR-76 sounds are programmed to ÒappearÓ in specific places in the left/right stereo field. By adjusting the
pan setting, you can offset the stereo placement of the currently selected sound. A value of Center 00 will
leave the sound panned as it was programmed. Lower values will shift it to the left, and higher values will
move it to the right. A pan value of Left -64 shifts a sound hard left, while Right +63 shifts it hard right. If
components within the sound are panned differently, their relative positions will be maintained as the pan
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Chapter 4ÑSoundFinder
value shifts the sound in either direction.
If components within the sound are panned differently, their relative positions will be maintained as the
pan value shifts the sound in either direction.
When the following parameter is edited in a drum kit, all of the sounds in the
drum kit are affected simultaneously by the changes you make.
To Adjust a SoundÕs Stereo Panning
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒPan=.Ó
The Pan parameter can be set from -64 (hard left) to +63 (hard right).
Turn the Value knob to select a location within the stereo field for the sound.
Note: You can quickly access the Pan parameter by turning the FX/Mixdown Pan knob.
Whenever the Select Sound LED is lit, turning the Pan knob adjusts this parameter for the
sound selected in SoundFinder. When the Select Song LED is lit, the Pan knob edits the
currently selected trackÕs Pan parameter.
This parameter may also be edited via MIDI Controller #10 received via MIDI. The ZRÕs display will
reflect Pan changes made via MIDI just as if youÕd made them from the front panel.
Controlling a SoundÕs Pitch Bend
The pitch-bend wheel is the spring-loaded wheel located to the far left of the ZR-76 keyboard. ItÕs most
commonly used to bend the pitch of notes up or down by pushing the wheel forward (up) or pulling it back
(down).
The ZR-76 offer two parametersÑPitch Bend Up and Pitch Bend DownÑthat allow you to separately set
how you want each sound to respond to the pitch bend wheel when itÕs pushed in either direction, or when
Pitch Bend messages are received via MIDI.
Tip: Each sound has a filterÑthe Pitch Bend Recv parameterÑthat you can use to disable
or enable the soundÕs response to movements of the ZRÕs pitch bend wheel or to Pitch Bend
messages received via MIDI. This setting of this filter also determines whether or not the ZR
will transmit Pitch Bend messages while the sound is selected. See ÒSound controller
FiltersÓ later in this chapter.
The following parameter is not present when the sound being edited is a drum kit.
To Change a SoundÕs Response to Upward Pitch Bends
1.
2.
74
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒPitch Bend Up=.Ó
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Chapter 4ÑSoundFinder
4.
Pitch Bend Up can be set to:
¥
1-12dn or 1-12upÑto lower or raise the pitch of the sound by 1 to 12 equal-temper semitones
when the pitch bend wheel is pushed all the way forward, or when maximum Pitch Bend messages
are received via MIDI
¥
ProgÑto respond to upward pitch bend values according to the response programmed into the
sound
¥
SysÑto use the global system Pitch Bend Up value (see Chapter 3 for details)
¥
OffÑto ignore forward movement of the pitch bend wheel or Pitch Bend Up messages received via
MIDI.
Turn the Value knob to select the Pitch Bend Up value you prefer.
Note: When you select a new sound in SoundFinder, Pitch Bend Up will be reset to Prog.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an RPN LSB value of 000 and an NRPN LSB
value of 022. See ÒUsing RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter.
The ZRÕs display will reflect Pitch Bend Up changes made via MIDI just as if youÕd made them from the
front panel. The Pitch Bend Up parameter will have no effect if the Pitch Bend Recv parameter is set to
Off.
The following parameter is not present when the sound being edited is a drum kit.
To Change a SoundÕs Response to Downward Pitch Bends
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒPitch Bend Down=.Ó
Pitch Bend Down can be set to:
¥
1-12dn or 1-12upÑto lower or raise the pitch of the sound by 1 to 12 equal-temper semitones
when the pitch bend wheel is pulled all the way back, or when minimum Pitch Bend messages are
received via MIDI
¥
ProgÑto respond to backward pitch bend movements according to the response programmed into
the sound
¥
SysÑto use the global system Pitch Bend Down value (see Chapter 3 for details)
¥
OffÑto ignore backward movement of the pitch bend wheel or Pitch Bend Down messages received
via MIDI
Turn the Value knob to select the Pitch Bend Down value you prefer.
Note: When you select a new sound in SoundFinder, Pitch Bend Down will be reset to Prog.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an RPN LSB value of 000 and an NRPN LSB
value of 023. See ÒUsing RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter.
The ZRÕs display will reflect Pitch Bend Down changes made via MIDI just as if youÕd made them from
the front panel.
Retuning a Sound
On a global level, the overall tuning of the ZR-76 can be adjusted with the system Fine Tuning parameter
(see Chapter 3 for details). This parameter retunes all of the sounds in the ZR simultaneously. You can also
re-tune individual standard (non-drum/ percussion kit) sounds with the SoundFinder Octave Tuning,
Coarse Tuning and Fine Tuning parameters.
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The following parameter is not present when the sound being edited is a drum kit.
To Re-Tune a Sound By Octaves
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒOctave Shift=.Ó
Use the Value knob to retune the sound in octave steps, if desired.
A setting of 0oct means the sound will use its programmed octave tuning value. You can tune the
sound up or down by a maximum of four equal-temper octaves.
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 011. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will
reflect Octave Shift changes made via MIDI just as if youÕd made them from the front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Re-Tune a Sound By Semitones
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒSemitone Shift=.Ó
Use the Value knob to set the semitone tuning for the sound.
A setting of 0st means the sound will use its programmed semitone tuning value. You can tune the
sound upward by a maximum of 63 keyboard equal-temper semitones or downward by a maximum of
64.
This parameter may also be edited via MIDI. It responds to an RPN LSB value of 002. See ÒUsing RPNs
and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will reflect
Semitone Shift changes made via MIDI just as if youÕd made them from the front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Fine-Tune a Sound
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒFine Tuning=.Ó
Use the Value knob to set the fine tuning for the sound.
A setting of 0cents means the sound will use its programmed fine tuning value. You can lower or raise
the soundÕs fine tuning by -50 to +49 cents. 100 cents equals one semitone.
This parameter may also be edited via MIDI. It responds to an RPN LSB value of 001. See ÒUsing RPNs
and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will reflect
fine tuning changes made via MIDI just as if youÕd made them from the front panel.
Using Special Pitch Tables
Sounds can use special tunings, or pitch tablesÑand the ZR-76 provide a large assortment of them. With
the proper software, you can also design your own pitch table on a computer, and transmit it to your ZR76 via MIDI. "About RAM Pitch Tables" in Chapter 13 provides detailed information on creating your own
pitch tables. Chapter 3 contains details on setting a system-wide, or global, pitch table for the ZR-76 that
can be accessed by any sound.
The following parameter is not present when the sound being edited is a drum kit.
To Assign a Sound to a Special Pitch Table
1.
76
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
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Chapter 4ÑSoundFinder
Ti p: The ZR-76 allow you to assign the sound on each track in a sequence to its own pitch
tableÑyou can use up to 16 different pitch tables at a time!
2.
3.
Turn the Parameter knob until the display shows ÒPitchTbl=.Ó
PitchTbl can be set to:
¥
ProgÑto use the PitchTbl value programmed into the sound
¥
SysÑto use the global system PitchTbl (see Chapter 3 for details)
¥
One of the special pitch tables built into the ZRÕs memory
Chapter 13 provides a list of the ZR-76 ROM pitch tables.
Turn the Value knob to select the PitchTbl value you prefer.
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 021. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will
reflect PitchTbl changes made via MIDI just as if youÕd made them from the front panel.
Determining Whether a Sound Will Glide
It can be desirable for the notes in a sound to glide from one to the next as you play them. By setting the
SoundFinder Glide Mode parameter to On, the sound will be endowed with this gliding capability. Some of
the ZR-76 sounds are already programmed with components that glide between notesÑif youÕd like, you
can disable the glide built into such a sound by setting its Glide Mode parameter to Off. If youÕd like the
sound to operate as programmed, you can choose the Prog value for the parameter. Gliding can be turned
on or off by using the ZRÕs front-panel controls, or via MIDI.
The following parameter is not present when the sound being edited is a drum kit.
To Turn Glide Mode On or Off Using the ZRÕs Controls
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒGlide Mode=.Ó
You can set the Glide Mode to:
¥
ProgÑthe sound will use its own programmed glide mode setting
¥
OffÑthe sound will not glide from note to note
¥
OnÑthe sound will glide from note to note
Turn the Value knob to set the parameter to the value you desire.
Note: When you select a new sound in SoundFinder, glide mode will be reset to Prog if
youÕve changed it by using the ZRÕs front-panel controls. Selecting a new sound for a track
in the 16 Track Recorder will also reset this parameter if the system Track ParamReset
parameter is set to On (see Chapter 3).
Using MIDI to Determine Whether a Sound Will Glide
The ZR-76 support the use of MIDI Controller #65 as a switch for turning a soundÕs glideÑor portamentoÑ
on and off (with no Prog option; see above). Some MIDI control devices allow you to accomplish this with a
foot switch. Since the Glide Mode parameter in the ZR-76 has three optionsÑProg, On and OffÑand MIDI
Controller #65 supports only two settings (a simple On and Off switch), Glide Mode in the ZR is a bit more
complex than other SoundFinder parameters. The two-way MIDI Controller #65 is supported behind the
scenes, while the three-way ZR control is accessible through the Glide Mode parameter and display. The
two methods for turning glide mode on and off overlap in function, and therefore, a particular methodology
is required when using Controller #65 to switch glide on and off.
The following parameter is not present when the sound being edited is a drum kit.
To Turn Glide Mode On or Off Via MIDI
1.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
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2.
3.
4.
5.
Turn the Parameter knob until the display shows ÒGlide Mode=.Ó
Using the Value knob, set Glide Mode to Off.
If either the hidden two-way Controller #65 switch or the visible three-way parameter are set to On,
glide mode will remain On. By setting the visible three-way parameter to Off, you allow the sound to
respond to MIDI Controller #65 without any unintended interference from the visible parameter.
Send a MIDI Controller #65 value of 64 or higher to turn glide mode on.
At this point, glide mode will be enabled, though the display remains unchanged (it still shows ÒOffÓ).
Send a MIDI Controller #65 value of 63 or lower to turn glide mode off.
If youÕve enabled glide via MIDI, the ZR keyboardÕs Value knob will have no effect on the glide mode
setting until the two-way Controller #65 switch has been set to Off via MIDI, following the same logic
discussed above in step 4Ñneither switch can be on if youÕd like to turn glide mode to Off or Prog.
Note: When you select a new sound in SoundFinder, glide mode will be reset to Prog if
neither the visible three-way parameter or hidden two-way switch are set to On. Selecting a
new sound for a track in the 16 Track Recorder will also reset this parameter if the system
Track ParamReset parameter is set to On (see Chapter 3).
This parameter also responds to an NRPN LSB value of 031. See ÒUsing RPNs and NRPNs to Edit
SoundFinder ParametersÓ at the end of this chapter.
Setting a SoundÕs Glide Time
When a sound in a ZR-76 is set to glideÑas a result of its original programming or the Glide Mode
parameterÑyou can adjust the speed at which its notes will glide from one to the next. This is
accomplished by adjusting the glide time of the soundÑthe higher the setting, the longer the length of time
it takes to get from one note to another. A glide time of 0 means that the sound will glide at its
programmed speed. If the sound is gliding only as a result of the Glide Mode parameter, it probably has no
glide time programmed into it at all, and therefore wonÕt glide since it will have a glide time setting of 0.
Higher glide time values slow the soundÕs glide, and lower values cause it to speed up.
The following parameter is not present when the sound being edited is a drum kit.
To Set a SoundÕs Glide Time
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒGlide Time=.Ó
Turn the Value knob to set the glide time to the rate you prefer.
Note: When you select a new sound in SoundFinder, glide time will be reset to 0. Selecting
a new sound for a track in the 16 Track Recorder will also reset this parameter if system
Track ParamReset=On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to MIDI controller 5 values, or an NRPN LSB
value of 032. See ÒUsing RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter.
The ZRÕs display will reflect glide time changes made via MIDI just as if youÕd made them from the
front panel.
Delaying Sounds
The Delay Offset parameter can be used to increase the amount of time it will take for a sound to be heard
after it receives a key down (or MIDI Note On) message. If a sound has a delay time already programmed
into it, the delay offset will lengthen that delay by up to 2500 milliseconds (ms). If a sound has no
programmed delay time, the Delay Offset parameter can delay it up to 2500ms. If the delay offset is set to
0ms, no delay time will be added to the sound.
78
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Chapter 4ÑSoundFinder
The following parameter is not present when the sound being edited is a drum kit.
To Change a SoundÕs Delay Time
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒDelay Offset=.Ó
Turn the Value knob to select the delay offset value you prefer.
Note: When you select a new sound in SoundFinder, the delay offset will be reset to 0ms.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 024. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will
reflect delay offset changes made via MIDI just as if youÕd made them from the front panel.
Customizing Sound LFOs
LFOsÑlow frequency oscillatorsÑand noise generators are two important programming devices used in the
creation of ZR-76 sounds. TheyÕre both rhythm-oriented sound modulators. Some of the LFOs and noise
generators in ZR-76 sounds are programmed to be synchronized (or ÒsyncÕdÓ) to the currently selected
rhythm if youÕre in SoundFinder, or to the currently selected sequenceÕs tempo if youÕre in the 16 Track
Recorder (the Drum Machine and 16 Track Recorder can themselves by synchronized to MIDI clocks
received from an external source). By setting the SyncLFO&Noise SoundFinder parameter to Normal, you
can convert a soundÕs syncÕd LFOs and noise to the normal, unsynchronized variety. You can also use this
parameter to alter the relationship of a soundÕs syncÕd LFOs and noise to the relevant timing reference by
setting them to a division of the reference tempo, from 1/1 to 1/32, including triplets.
You can also set a soundÕs normal LFOs rates, depth and delay time with the Normal LFO Rate, LFO Depth
and LFO Delay Time SoundFinder parameters.
The following parameter is not present when the sound being edited is a drum kit.
To Un-Sync Synchronized LFOs and Noise
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒSyncLFO&Noise=.Ó
The SyncLFO&Noise parameter can be set to:
¥
ProgÑto leave the syncÕd LFOs and noise as theyÕre programmed into the sound
¥
NormalÑto convert the syncÕd LFOs and noise to unsyncÕd LFOs and noise
¥
1/1 to 1/32TÑto set the rhythmic relationship of the syncÕd LFOs and noise to the Drum
MachineÕs or the 16 Track RecorderÕs tempoÑa "T" following a number signifies a triplet value
Turn the Value knob to set the SyncLFO&Noise parameter to Normal.
Note: When you select a new sound in SoundFinder, SyncLFO&Noise will be reset to Prog.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 25. See ÒUsing RPNs
and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will reflect
SyncLFO&Noise changes made via MIDI just as if youÕd made them from the front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Change the Rate of a SoundÕs SyncÕd LFOs and Noise
1.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
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If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
2. Turn the Parameter knob until the display shows ÒSyncLFO&Noise=.Ó
The SyncLFO&Noise parameter can be set to:
¥
ProgÑto leave the syncÕd LFOs and noise as theyÕre programmed into the sound
¥
NormalÑto convert the syncÕd LFOs and noise to unsyncÕd LFOs and noise
¥
1/1 to 1/32TÑto set the rhythmic relationship of the syncÕd LFOs and noise to the Drum
MachineÕs or the 16 Track RecorderÕs tempoÑa "T" following a number signifies a triplet value
3. Turn the Value knob to set the SyncLFO&Noise parameter to the desired fractional value of the Drum
MachineÕs or the 16 Track RecorderÕs tempo.
Note: When you select a new sound, SyncLFO&Noise will be reset to Prog. Selecting a new
sound for a track in the 16 Track Recorder will also reset this parameter when the system
Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 25. See ÒUsing RPNs
and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will reflect
SyncLFO&Noise changes made via MIDI just as if youÕd made them from the front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Change a Sound's Normal (Unsynchronized) LFO Rates
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒNormal LFO Rates=.Ó
The Normal LFO Rates parameter can be set from -64 to +63. A value of 0 means the sound will use its
own programmed LFO rate. A value other than 0 will be added to or subtracted from the soundÕs
programmed rate.
Turn the Value knob to set the normal LFO rates offset to the desired amount.
Note: This parameter will only have an effect if the sound contains unsynchronized LFOs,
or if its SyncLFO&Noise parameter is set to Normal.
This parameter may also be edited via MIDI. It responds to MIDI Controller #75 or an NRPN LSB value
of 008. See ÒUsing RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The
ZRÕs display will reflect changes made via MIDI just as if youÕd made them from the front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Change a Sound's LFO Depth
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒLFO Depth=.Ó
The LFO Depth parameter can be set from -64 to +63. A value of 0 means the sound will use its own
programmed LFO depth. A value other than 0 will be added to or subtracted from the soundÕs
programmed depth.
Turn the Value knob to set the LFO depth offset to the desired amount.
Note: When you select a new sound in SoundFinder, LFO Depth will be reset to 0. Selecting
a new sound for a track in the 16 Track Recorder will also reset this parameter when the
system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 009. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will
reflect LFO depth changes made via MIDI just as if youÕd made them from the front panel.
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Chapter 4ÑSoundFinder
The following parameter is not present when the sound being edited is a drum kit.
To Change a Sound's LFO Delay
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒLFO Delay Time=.Ó
The LFO Delay Time parameter can be set from -64 to +63. A value of 0 means the sound will use its
own programmed LFO delay time. A value other than 0 will be added to or subtracted from the soundÕs
programmed LFO delay time.
Turn the Value knob to set the LFO delay time offset to the desired amount.
Note: When you select a new sound in SoundFinder, LFO Delay will be reset to 0. Selecting
a new sound for a track in the 16 Track Recorder will also reset this parameter when the
system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 010. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will
reflect LFO delay changes made via MIDI just as if youÕd made them from the front panel.
Controlling the Shape of Sounds
Most of the sounds in the ZR-76 use envelopes to shape the volume and frequency content of their
components. The ZR-76 provide a selection of SoundFinder parameters that allow you to adjust these
envelopes to suit your needs. These parameters subtract from or add to the programmed values of the
envelopes programmed into a sound. This preserves the relationship between all the various envelopes that
may exist in a sound while still giving you a great degree of control over the soundÕs volume and timbral
contours. The ZRÕs envelopes are described in detail in Chapter 12.
The SoundFinder parameters which refer only to volume, amplitude or shaping are:
¥
Amp Env Attack
¥
Amp Env Decay
¥
Amp Env Release
The parameters which affect only the filtering of the soundÕs frequency content are:
¥
Filter CutoffÑthis adjusts the soundÕs low-pass filter cutoff settings
¥
Filt Env Attack
¥
Filt Env Decay
¥
Filt Env Release
Many envelopes in the ZR-76 sounds respond to the amount of velocity with which keys on the keyboard
are struck, or to velocity values received via MIDI. The Amp&Filt Env Vel parameter allows you to subtract
from or add to the velocity sensitivity programmed into the amplitude and filter envelopes of a sound.
The following parameter is not present when the sound being edited is a drum kit.
To Adjust a SoundÕs Volume Envelope Attack Time
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒAmp Env Attack=.Ó
The Amp Env Attack parameter can be set from -64 to +63. A value of 0 will leave the soundÕs various
attack times at their programmed settings. A value other than 0 will be added to or subtracted from
the soundÕs programmed settings.
Turn the Value knob to set the Amp Env Attack offset to the desired amount.
Note: When you select a new sound in SoundFinder, Amp Env Attack will be reset to 0.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
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This parameter may also be edited via MIDI. It responds to MIDI Controller #73 or an NRPN LSB value
of 014. See ÒUsing RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The
ZRÕs display will reflect Amp Env Attack changes made via MIDI just as if youÕd made them from the
front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Adjust a SoundÕs Volume Envelope Decay Times
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒAmp Env Decay=.Ó
The Amp Env Decay parameter can be set from -64 to +63. A value of 0 will leave the soundÕs various
decay times at their programmed settings. A value other than 0 will be added to or subtracted from the
soundÕs programmed settings.
Turn the Value knob to set the Amp Env Decay offset to the desired amount.
Note: When you select a new sound in SoundFinder, Amp Env Decay will be reset to 0.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to MIDI controller 76 or an NRPN LSB value of
015. See ÒUsing RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The
ZRÕs display will reflect Amp Env Decay changes made via MIDI just as if youÕd made them from the
front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Adjust a SoundÕs Volume Envelope Release Time
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒAmp Env Release=.Ó
The Amp Env Release parameter can be set from -64 to +63. A value of 0 will leave the soundÕs various
release times at their programmed settings. A value other than 0 will be added to or subtracted from
the soundÕs programmed settings.
Turn the Value knob to set the Amp Env Release offset to the desired amount.
Note: When you select a new sound in SoundFinder, Amp Env Release will be reset to 0.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to MIDI Controller #72 or an NRPN LSB value
of 016. See ÒUsing RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The
ZRÕs display will reflect Amp Env Release changes made via MIDI just as if youÕd made them from the
front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Adjust a SoundÕs Filter Cutoff
1.
2.
3.
82
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒFilter Cutoff=.Ó
The Filter Cutoff parameter can be set from -64 to +63. A value of 0 will leave the soundÕs various filter
cutoffs at their programmed settings. A value other than 0 will be added to or subtracted from the
soundÕs programmed settings.
Turn the Value knob to set the filter cutoff offset to the desired amount.
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Chapter 4ÑSoundFinder
Note: When you select a new sound in SoundFinder, Filter Cutoff will be reset to 0.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to MIDI Controller #74 or an NRPN LSB value
of 012. See ÒUsing RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The
ZRÕs display will reflect filter cutoff changes made via MIDI as if youÕd made them from the front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Adjust a SoundÕs Filter Envelope Attack Time
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒFilt Env Attack=.Ó
The Filt Env Attack parameter can be set from -64 to +63. A value of 0 will leave the soundÕs various
filter attack times at their programmed settings. A value other than 0 will be added to or subtracted
from the soundÕs programmed settings.
Turn the Value knob to set the Filt Env Attack offset to the desired amount.
Note: When you select a new sound in SoundFinder, Filt Env Attack will be reset to 0.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 017. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will
reflect Filt Env Attack changes made via MIDI just as if youÕd made them from the front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Adjust a SoundÕs Filter Envelope Decay Times
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒFilt Env Decay=.Ó
The Filt Env Decay parameter can be set from -64 to +63. A value of 0 will leave the soundÕs various
filter decay times at their programmed settings. A value other than 0 will be added to or subtracted
from the soundÕs programmed settings.
Turn the Value knob to set the Filt Env Decay offset to the desired amount.
Note: When you select a new sound in SoundFinder, Filt Env Decay will be reset to 0.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 018. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will
reflect Filt Env Decay changes made via MIDI just as if youÕd made them from the front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Adjust a SoundÕs Filter Envelope Release Time
1.
2.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒFilt Env Release=.Ó
The Filt Env Release parameter can be set to -64 to +63. A value of 0 will leave the soundÕs various
filter release times at their programmed settings. A value other than 0 will be added to or subtracted
from the soundÕs programmed settings.
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Chapter 4ÑSoundFinder
3.
Turn the Value knob to set the Filt Env Release offset to the desired amount.
Note: When you select a new sound in SoundFinder, Filt Env Release will be reset to 0.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 019. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will
reflect Filt Env Release changes made via MIDI just as if youÕd made them from the front panel.
The following parameter is not present when the sound being edited is a drum kit.
To Adjust the Volume and Filter EnvelopesÕ Velocity Response
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒAmp&Filt Env Vel=.Ó
The Amp&Filt Env Vel parameter can be set to -64 to +63. A value of 0 will leave the envelopesÕ
sensitivity to keyboard or MIDI velocity at their programmed settings. A value other than 0 will be
added to or subtracted from their programmed settings.
Turn the Value knob to set the Amp&Filt Env Vel offset to the desired amount.
Note: When you select a new sound in SoundFinder, Amp&Filt Env Vel will be reset to 0.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 020. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will
reflect Amp&Filt Env Vel changes made via MIDI just as if youÕd made them from the front panel.
Changing a SoundÕs Key Range
Each sound in the ZR-76 can be set to respond only to notes played within a specified region of the ZR-76
keyboard or via MIDI. A soundÕs key range is defined by setting its lowest note with the Key Range Lo
SoundFinder parameter, and its highest with the Key Range Hi SoundFinder parameter.
Tip: You can silence notes on a 16 Track Recorder trackÑincluding the rhythm trackÑby
limiting the key range of the sound the track uses.
To Change a SoundÕs Keyboard Range
1.
2.
3.
4.
5.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒKey Range Lo=.Ó
The low end of a soundÕs key range can be any note you desire, from A0 to C8.
On the ZRÕs keyboard, press the key you would like to be the low end of the key range for the currently
selected sound. You can also turn the Value knob to change this parameter.
Middle C is C4 (some MIDI controller manufacturers refer to Middle C as C3Ñif you are using an
external controller or sequencer with the ZR-76, check the controllerÕs or sequencerÕs manual to see if
thatÕs the case).
Turn the Parameter knob until the display shows ÒKey Range Hi=.Ó
The high end of a soundÕs key range can be any note you desire, from A0 to C8.
On the ZRÕs keyboard, press the key you would like to be the high end of the key range for the
currently selected sound. You can also turn the Value knob to change this parameter.
If you want to reset the range, simply reselect these parameters and repeat the process.
Note: A soundÕs Key Range Lo value should not be set above its Key Range Hi setting, nor
should its Key Range Hi value be set below its Key Range Lo setting.
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These parameters may also be edited via MIDI. Key Range Lo responds to an NRPN LSB value of 026,
and Key Range Hi responds to an NRPN LSB value of 27. See ÒUsing RPNs and NRPNs to Edit
SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will reflect Key Range Lo and Hi
changes made via MIDI just as if youÕd made them from the front panel.
Setting Sound Velocity Ranges
Sounds can be programmed so that they are only heard at specified velocities played on the keyboard or
received via MIDI.
When the following parameter is edited in a drum kit, all of the sounds in the
drum kit are affected simultaneously by the changes you make.
To Set a SoundÕs Velocity Window
1.
2.
3.
4.
5.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒVelocityRange Lo=.Ó
The low boundary of a soundÕs velocity window can range from 0 to 127.
Turn the Value knob to set the VelocityRange Lo parameter to the desired value.
Turn the Parameter knob until the display shows ÒVelocityRange Hi=.Ó
The high boundary of a soundÕs velocity window can range from 0 to 127.
Turn the Value knob to set the VelocityRange Hi parameter to the desired value.
Note: A soundÕs VelocityRange Lo value should not be set above its VelocityRange Hi
setting, nor should its VelocityRange Hi value be set below its VelocityRange Lo setting.
These parameters may also be edited via MIDI. VelocityRange Lo responds to an NRPN LSB value of
028, and VelocityRange Hi responds to an NRPN LSB value of 29. See ÒUsing RPNs and NRPNs to Edit
SoundFinder ParametersÓ at the end of this chapter. The ZRÕs display will reflect VelocityRange Lo and
Hi changes made via MIDI just as if youÕd made them from the front panel.
Isolating Velocity-Dependent Components of Sounds
Many of the sounds in the ZR-76 are designed to respond musically to varying velocities played on the
keyboard or received via MIDI. ItÕs not uncommon for different components of sounds to be revealed only at
particular velocities. The ZR-76 provides a way to alter sounds so you can reliably produce these values
and, therefore, the sound components the values produce. This lets you easily extract favorite velocitydependent aspects of ZR-76 sounds. When the Velocity Mode parameter is set to any value other than
Normal, velocities that fall within the soundÕs velocity window (see ÒSetting Velocity RangesÓ above) are
automatically converted to the velocity set with the Velocity Mode parameter.
When the following parameter is edited in a drum kit, all of the sounds in the
drum kit are affected simultaneously by the changes you make.
To Extract Favorite Velocity-Dependent Sound Components
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒVelocity Mode=.Ó
The Velocity Mode parameter can be set to:
¥
NormalÑto allow the soundÕs velocity response to function normally.
¥
0 to 127Ñto convert any velocity value that falls within the soundÕs velocity window to the value
selected. (See ÒTo Set a SoundÕs Velocity WindowÓ above.)
Turn the Value knob to set the Velocity Mode parameter to the desired velocity value.
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 035. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter.
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Chapter 4ÑSoundFinder
Setting a SoundÕs Response to Keyboard Pressure
The ZR-76 keyboard produces channel pressureÑif a sound is programmed to respond to pressure,
pressing down any key on the keyboard affects all of the notes being heard. The ZR-76 also supports key
pressureÑreferred to in some other ENSONIQ products as ÒPolyKeyªÓ pressureÑwhen itÕs received via
MIDI. Key pressure affects just those notes that are being pressed down. The PressureMode parameter
allows you to determine if a sound will respond to both types of pressure, only to channel pressure, only to
key pressure, or will not respond to pressure at all.
When the following parameter is edited in a drum kit, all of the sounds in the
drum kit are affected simultaneously by the changes you make.
To Set a SoundÕs Pressure Response
1.
3.
4.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows ÒPressure Mode=.Ó
The Pressure Mode parameter can be set to:
¥
OffÑso that the sound will not respond to keyboard pressure. If pressure is assigned as an insert
effect modulation source, that modulation is also disabled.
¥
AutoÑso that the sound responds to both channel pressure generated by the ZRÕs keyboard and
channel and key pressure received via MIDI.
¥
ChannelÑso that the sound will only respond to channel pressure.
¥
KeyÑso that the sound will only respond to key pressure.
Turn the Value knob to set the PressureMode parameter to the desired value.
Note: When you select a new sound in SoundFinder, PressureMode will be reset to Auto.
Selecting a new sound for a track in the 16 Track Recorder will also reset this parameter if
the system Track ParamReset parameter is set to On (see Chapter 3).
This parameter may also be edited via MIDI. It responds to an NRPN LSB value of 030. See ÒUsing
RPNs and NRPNs to Edit SoundFinder ParametersÓ at the end of this chapter.
Sound Controller Filters
The ZR-76 provides controller filters that allow you to enable or disable a soundÕs response to a selection of
the ZRÕs controllers. These filters also turn on or off the soundÕs response to various controller messages
received via MIDI, and determine whether or not such messages will be transmitted when the sound is
played. All of the filters are on/off switches.
The controller filter parameters are:
¥
¥
¥
¥
¥
¥
¥
86
ProgramChnge RecvÑenables or disables response to Program Change messages received via MIDI
Bank Select RecvÑenables or disables response to Bank Select messages received via MIDI
Data Entry RecvÑenables or disables the sound's response to Data Entry messages received via MIDI
Pitch Bend RecvÑenables or disables the sound's response to changes in the position of the ZRÕs pitch
bend wheel, to Pitch Bend messages received via MIDI, and determines whether or not the sound will
transmit Pitch Bend data when the ZRÕs pitch bend wheel is moved
Mod Wheel(1)RecvÑenables or disables the sound's response to changes in the position of the ZRÕs
mod wheel, to Mod Wheel (Controller #1) messages received via MIDI, and whether or not the sound
will transmit Mod Wheel data when the ZRÕs mod wheel is moved
FootPedal(4)RecvÑenables or disables the sound's response to both foot pedal (Controller #4) messages
generated by a CV pedal installed in the ZRÕs CV Pedal jack and set to ModPedal#004 (see Chapter 3),
and to Controller #4 data received via MIDI; also determines whether or not Controller #4 data will be
transmitted if an installed CV pedal set to ModPedal#004 (see Chapter 3) is moved when a MIDI-OUT
sound is selected
Volume(7)RecvÑenables or disables the sound's response to both Volume (Controller #7) messages
generated by a CV pedal installed in the ZRÕs CV Pedal jack and set to Volume #007 (see Chapter 3),
and to Controller #7 data received via MIDI; also determines whether or not Controller #7 data will be
transmitted if an installed CV pedal set to Volume #007 (see Chapter 3) is moved when a MIDI-OUT
sound is selected
ENSONIQ ZR-76 Musician's Manual
Chapter 4ÑSoundFinder
¥
¥
¥
¥
¥
¥
¥
Pan(10)RecvÑenables or disables the sound's response to Pan (Controller #10) messages received via
MIDI; also determines whether or not turning the Pan knob will transmit Controller #10 data when a
MIDI-OUT sound is selected
Expressn(11)RecvÑenables or disables the sound's response to Expression (Controller #11) messages
received via MIDI; also determines whether or not turning the Mix knob will transmit Controller #11
data when a MIDI-OUT sound is selected
Sustain/SostRecvÑenables or disables the sound's response to sustain and sostenuto values
produced by a foot switch plugged into one of the ZRÕs foot switch jacks and set to Sustain or
Sostenuto (see Chapter 3), and to Sustain (Controller #64) and Sostenuto (#66) messages received via
MIDI; also determines whether or not pressing a foot switch assigned to Sustain or Sostenuto will
transmit Controller #64 or Controller #66 values, respectively, when a MIDI-OUT sound is selected
SysCTRL1 RecvÑenables or disables the sound's response to the controller selected for use by the first
system CTRL (see Chapter 3) when received via MIDI; also determines whether or not the controller will
be transmitted when a MIDI-OUT sound is selected and a CV pedal assigned to SysCTRL1 is moved
SysCTRL2 RecvÑenables or disables the sound's response to the controller selected for use by the
second system CTRL (see Chapter 3) when received via MIDI; also determines whether or not the
controller will be transmitted when a MIDI-OUT sound is selected and a CV pedal assigned to
SysCTRL2 is moved
SysCTRL3 RecvÑenables or disables the sound's response to the controller selected for use by the
third system CTRL (see Chapter 3) when received via MIDI; also determines whether or not the
controller will be transmitted when a MIDI-OUT sound is selected and a CV pedal assigned to
SysCTRL3 is moved
SysCTRL4 RecvÑenables or disables the sound's response to the controller selected for use by the
fourth system CTRL (see Chapter 3) when received via MIDI; also determines whether or not the
controller will be transmitted when a MIDI-OUT sound is selected and a CV pedal assigned to
SysCTRL4 is moved
Note: When a MIDI-OUT sound is selected as the primary sound in SoundFinder, incoming
MIDI data on the base MIDI channel will be ignored. When a MIDI-OUT sound is selected
on a track in the 16 Track Recorder, incoming MIDI data on the trackÕs MIDI channel will
be ignored.
When the following parameter is edited in a drum kit, all of the sounds in the
drum kit are affected simultaneously by the changes you make.
To Set the Sound Controller Filters
1.
2.
3.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the display shows the sound controller filter you want to set:
¥
ProgramChnge Recv
¥
Pan(10)Recv
¥
Bank Select Recv
¥
Expressn(11)Recv
¥
Data Entry Recv
¥
Sustain/SostRecv
¥
Pitch Bend Recv
¥
SysCTRL1 Recv
¥
Mod Wheel(1)Recv
¥
SysCTRL2 Recv
¥
FootPedal(4)Recv
¥
SysCTRL3 Recv
¥
Volume(7)Recv
¥
SysCTRL4 Recv
Any of these parameters can be set to:
¥
OnÑto enable response to and/or transmission of the selected controller.
¥
OffÑto disable response to and/or transmission of the selected controller.
Turn the Value knob to set the selected controller filter to the desired value.
Note: When these filter parameters are edited, wherever relevant, their controllers are reset
to their default values to prevent any unintentionally hung notes on the ZR-76, or in
external MIDI modules.
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Chapter 4ÑSoundFinder
E d i t i n g ZR - 7 6 Dr u m an d Pe r c u s s i o n Ki t s
Drum and percussion kits can have up to 64 different standard sounds assigned to individual keys from
the B two octaves below Middle C (B1) to the D three octaves above (D7). Drum and percussion kit sounds
have a number of parameters which affect the entire kit at once. These are detailed in ÒWorking with
SoundFinder ParametersÓ earlier in this chapter (the description for each parameter notes whether or not
itÕs applicable to drum and percussion kits). Drum and percussion kits also offer individual-key
parameters, which are accessed as described in this section. The parameters are detailed in ÒWorking with
Special Drum/Percussion Kit ParametersÓ below.
The SongEditKit
The powerful sounds-inside-of-another-sound nature of ZR-76 drum/percussion kits requires a special
location within the ZRÕs memory where they can be edited. There is one such location available in every
ZR-76 song so that you can always have just the drum kit sound you need in each song. This special area
is an edit buffer, which appears in the form of a unique drum/percussion kit called the SongEditKit.
ThereÕs always an active song in the ZR-76Ñeven if you havenÕt recorded or loaded any music, or created a
song playlistÑand thereÕs always a SongEditKit available. YouÕll find it in the *CUSTOM SoundFinder
category (and via MIDI at bank 010, program 000). Once selected, you can use the SongEditKit just as you
would any other sound, and you can edit any of its parameters.
Note: In the *CUSTOM SoundFinder category, youÕll also find the RthmEditKitÑsee below.
The SongEditKit behaves just like any other drum or percussion kit soundÑexcept that itÕs the only one
whose unique drum key parameters can be edited directly. Any other ZR-76 drum or percussion kit sound
must be moved into this special locationÑor, to put it another way, must become the SongEditKitÑbefore
its drum key parameters can be altered.
Drum/percussion kit sounds also possess many standard parameters that affect the entire kit, as opposed
to individual drum keys, and which may be edited without having to convert the sound into a SongEditKit.
These are the parameters described in ÒWorking with SoundFinder ParametersÓ earlier in this chapter.
When youÕve finished working on a SongEditKit, you can save the results as a normal drum or percussion
kit sound that you can use again however youÕd like. Though each song has a single editable
drum/percussion kitÑthe SongEditKitÑit can employ as many drum or percussion kit sounds as you
need. You can edit each of these kits by designating it as the SongEditKit for as long as you need to work
on it, and then save it as a new drum or percussion kit sound when youÕre done. This frees up the
SongEditKit to be re-used for the editing of other kits used in your song.
Using the RthmEditKit in SoundFinder
Each Drum Machine rhythm uses a drum kit thatÕs appropriate for the music it plays. When you select a
rhythm, its kit becomes available in SoundFinder as the RthmEditKit. The RthmEditKit can be found in
the *CUSTOM SoundFinder category (or via MIDI at bank 010, program 001). When you use the Drum
MachineÕs zone-by-zone editing capabilities to customize the kit, your edits will be reflected in the
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ENSONIQ ZR-76 Musician's Manual
Chapter 4ÑSoundFinder
RthmEditKit in SoundFinder. The only time the RthmEditKit in SoundFinder will differ from the kit played
by the currently selected rhythm is when you assign a new kit to the rhythm in the Drum Machine, and
then, without editing the new kit, go immediately to the RthmEditKit in SoundFinder. In that case, the
RthmEditKit will be the kit the rhythm originally used. When you return to the Drum Machine, the
RthmEditKit in SoundFinder will be updated.
Tip: You can augment a rhythm with additional drum or percussion notes by selecting the
RthmEditKit in SoundFinder, playing along with the rhythm, and sending the whole thing
from the Idea Pad to the 16 Track Recorder. The rhythm will go on the selected sequenceÕs
rhythm track and the additional notes you play will go on a track of your choosing. Once
your idea is in the 16 Track Recorder, you can also use the rhythm track to record even
more drum or percussion notes using the rhythmÕs kit.
The RthmEditKit can be used in the same way that youÕd use a normal drum kit sound: you can play it on
the keyboard or use it in the 16 Track Recorder. You can also edit the RhthmEditKit key-by-key in the
same manner as the SongEditKit, using standard SoundFinder drum kit editing techniques.
Note: When youÕve edited the RthmEditKit in SoundFinder, or if youÕre using it in a
sequence or for any other purpose, make sure to save it as a new drum kit sound before
returning to the Drum Machine. The moment you press any Drum Machine button, the kit
belonging to the currently selected rhythm will become the new RthmEditKit, wiping away
the RthmEditKit you were using and any edits youÕve made to the kit in SoundFinder.
If youÕve edited the RthmEditKit and saved it as a new kit, you can use it as you would any other sound.
You can also assign it to a rhythm in the Drum MachineÑincluding the rhythm it originally came fromÑ
using the technique described in ÒSelecting a New Drum Kit for a RhythmÓ in Chapter 5. ThereÕs a certain
element of unpredictability to building your own kit key-by-key for use with a Drum Machine rhythm,
since you may find it a bit difficult to correctly anticipate how a rhythm will use your newly created kitÑon
the other hand, sometimes itÕs fun to experiment.
Ti p: You can take advantage of the RthmEditKit to utilize the Drum MachineÕs zone-by-zone
editing capabilities for the editing of any drum kit sound. In the Drum Machine, assign the
kit youÕd like to edit to a rhythm, edit the kitÕs zones, go back to SoundFinder, and then
save your newly edited kit as a new drum kit sound. See Chapter 5 to learn how to assign
rhythm kits and edit kit zones.
Preparing to Edit Drum or Percussion Kits
There are three ways to edit a drum or percussion kit soundÕs drum key parameters. You can:
¥
¥
¥
Select a pre-existing drum or percussion kit sound and convert it into the SongEditKit so that you can
customize its special drum key parameters
Directly select the current songÕs SongEditKit and edit its drum key parameters
Directly select the current rhythmÕs RthmEditKit and edit its drum key parameters
To Edit a Drum or Percussion Kit Sound YouÕve Selected
1.
2.
If youÕre using SoundFinder, select the sound you want to edit and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select the track whose sound youÕd like to edit.
Turn the Parameter knob until the ZR shows ÒDrumKey=Ò on the bottom left of its display:
The name of the drum kit sound youÕre going to edit
m
Sound
DrumKey=
Street Kit
C4
i
What you see here may be different
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Chapter 4ÑSoundFinder
3.
4.
Press a key on the keyboard to select a drum key to edit. If you prefer, you may also select a drum key
by dialing in the desired key with the Value knob (Middle C is C4). Drum kits can go from the B two
octaves below Middle C (B1) to the D three octaves above it (D7).
Turn the Parameter knob until the ZR shows ÒSound=Ó on the bottom left of its display:
The drum key youÕre editing
m
Sound
Sound=
DrumKey=C4
Bongo
i
What you see here may be different
Note: If the sound assigned to a drum key has been erased from the ZRÕs memoryÑor if an
expansion-board sound has been assigned to a Drum Key and the board has been
removedÑthe sound displayed here will be **EMPTY**.
5.
Turn the Value knob to select a new sound for this key.
The display changes to:
Read-only! Overwrite
SongEditKit to edit?
The ZR-76 is offering to convert the drum/percussion kit sound youÕve selected into the SongEditKit
for the currently selected song.
6. If youÕd like to continue editing this drum or percussion kitÑand make it the current songÕs
SongEditKitÑpress Yes. If youÕd rather not continue, press No.
Once youÕve pressed Yes, you can edit the drum or percussion kit using the Parameter knob to select
parameters, and the Value knob to change their values. For a full description of the editing options
available for the ZR-76 sounds, see ÒWorking with the SoundFinder ParametersÓ later in this chapter.
To Edit the SongEditKit or RthmEditKit
1.
If youÕre using SoundFinder, use the Sound Name and Sound Type knobs to select the currently
selected songÕs SongEditKit, located in the *CUSTOM SoundFinder category (or accessible via MIDI at
bank 010, program 000), and press the SoundFinder Edit button.
If youÕre using the 16 Track Recorder, select any track, press the Enter button and use the Sound
Name and Sound Type knobs to select the SongEditKit or the RthmEditKit, both located in the
*CUSTOM SoundFinder category.
ÒkitÓ tells you that this a drum/percussion kit
m
Sound
kit010:000
*CUSTOM :SongEditKit
2.
90
Turn the Parameter knob to find the drum/percussion kit parameter you want to alter and use the
Value knob to change its setting. For a full description of the editing options available for the ZR-76
sounds, see ÒWorking with the SoundFinder ParametersÓ later in this chapter.
ENSONIQ ZR-76 Musician's Manual
Chapter 4ÑSoundFinder
W o r k i n g wi t h Sp e c i a l Dr u m / P e r c u s s i o n Ki t Pa r a m e t e r s
The powerful nature of ENSONIQ drum and percussion kits requires some special editing techniques,
described in ÒEditing ZR-76 Drum and Percussion Kits,Ó earlier in this chapter.
Selecting a Drum Key For Editing
You can edit ZR-76 drum and percussion kits one drum key at a time. To edit a drum or percussion kit
one key at a time, youÕll need to select each drum key you want to edit.
The following parameter is present only when the sound being edited is a drum or percussion kit.
To Select a Drum Key For Editing
1.
2.
3.
4.
Use either of the sound-selection methods described at the beginning of this chapter to select the drum
or percussion kit sound youÕd like to edit.
Use one of the two methods described in ÒPreparing to Edit Drum or Percussion KitsÓ earlier in this
chapter to begin editing the selected drum or percussion kit.
If youÕre working in SoundFinder, press the SoundFinder Edit button.
Turn the Parameter knob until the display shows:
The currently selected drum/percussion kit
m
Sound
DrumKey=
Street Kit
B1
i
What you see here may be different
5.
Press a key on the keyboard to select a drum key to edit. If you prefer, you may also select a drum key
by dialing in the desired key with the Value knob (Middle C is C4). Drum kits can go from the B two
octaves below Middle C (B1) to the D three octaves above it (D7).
Changing the Source of a Drum KeyÕs Sound
Each key in a drum or percussion kit can use a sound from any of these SoundFinder sound type
categories.
¥
¥
¥
¥
¥
EXPÑsounds from expansion boards, if there are any installed, except for drum/percussion kits
DRMÑsingle drum or percussion sounds in the ZRÕs ROM, RAM or FLASH memory
GMÑGeneral MIDI sounds
ROMÑall of the sounds in the ZRÕs ROM memory, except for drum/percussion kits
ALLÑthis category includes all of the above. The ALL sound type can be especially handy, since it lists
all of the sounds currently available in your ZR-76 alphabetically, except for drum/percussion kits
Note: The ZR-76 will only offer single, non-drum/percussion kit sounds for use by a drum
key. You canÕt use a kit within a kit!
The following parameter is present only when the sound being edited is a drum or percussion kit.
To Change the Sound Type Used By a Drum Key
1.
Select a Drum Key to edit (see ÒSelecting a Drum Key for EditingÓ above).
ENSONIQ ZR-76 Musician's Manual
91
Chapter 4ÑSoundFinder
2.
Turn the Parameter knob until the display shows:
This show the currently selected drum key
m
Sound
DrumKey=B1
Sound Type= DRM-SND
i
You may see a different SoundFinder category here
4.
Each Drum Key can be set to use a sound from the SoundFinder categories described above:
¥
EXP
¥
DRM
¥
GM
¥
ROM
¥
ALL
Turn the Value knob to select a new SoundFinder category from which you can select a new sound for
the selected Drum Key.
Ti p: If youÕd like to work on another Drum Key, select it on the keyboardÑthe upper righthand corner of the ZRÕs display will show the new Drum Key youÕve selected.
Changing a Drum KeyÕs Sound
You can select a new sound for a drum key from the SoundFinder category chosen with the sound type
parameter, described earlier.
Note: The ZR-76 will only offer standard, non-drum/percussion kit sounds for use by a
Drum key. You canÕt use a kit within a kit!
The following parameter is present only when the sound being edited is a drum or percussion kit.
To Change a Drum KeyÕs Sound
1.
2.
Select a drum key to edit (see ÒSelecting a Drum Key for EditingÓ above).
Turn the Parameter knob until the display shows:
This show the currently selected drum key
m
Sound
Sound=
DrumKey=B1
Bright Kick
i
You may see a different sound here
3.
Turn the Value knob to select a new sound for the currently selected drum key.
Ti p: If youÕd like to work on another drum key, select it on the keyboardÑthe upper righthand corner of the ZRÕs display will show the new drum key youÕve selected.
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Changing a Drum KeyÕs Volume
You can offset the programmed loudness of the sound each drum key uses in a drum or percussion kit,
measured in decibel increments.
The following parameter is present only when the sound being edited is a drum or percussion kit.
To Change a Drum KeyÕs Volume
1.
2.
Select a drum key to edit (see ÒSelecting a Drum Key for EditingÓ above).
Turn the Parameter knob until the display shows:
This show the currently selected drum key
m
Sound
DrumKey=B1
Key Volume=
+6dB
i
What you see here may be different
3.
Each drum keyÕs Volume may be set from -50 to +14 dB (decibels).
Turn the Value knob to change the volume of the currently selected drum key to the desired level.
Ti p: If youÕd like to work on another drum key, select it on the keyboardÑthe upper righthand corner of the ZRÕs display will show the new drum key youÕve selected.
Changing a Drum KeyÕs Panning
You can offset the programmed stereo panning of the sound each drum key uses in a drum or percussion
kit, from Left -64 to Right +63. If the drum key is using a stereo sound, both sides of the sound will shift
proportionally, retaining their stereo separation.
The following parameter is present only when the sound being edited is a drum or percussion kit.
To Change a Drum KeyÕs Panning
1.
2.
Select a drum key to edit (see ÒSelecting a Drum Key for EditingÓ above).
Turn the Parameter knob until the display shows:
This show the currently selected drum key
m
Sound
Key Pan=
DrumKey=B1
Center 00
i
What you see here may be different
3.
Each drum keyÕs stereo position may be set from Left -64 to Right +63.
Turn the Value knob to change the panning of the currently selected drum key to the desired position
in the stereo field.
Ti p: If youÕd like to work on another drum key, select it on the keyboardÑthe upper righthand corner of the ZRÕs display will show the new drum key youÕve selected.
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Chapter 4ÑSoundFinder
Changing a Drum KeyÕs Effect
Each drum key in a drum or percussion kit has its own effect bus assignment so that it can be sent to any
of the ZRÕs stereo effect busses:
¥
¥
Insert
Chorus
¥
¥
LightReverb
MediumReverb
¥
¥
WetReverb
Dry
The following parameter is present only when the sound being edited is a drum or percussion kit.
To Change a Drum KeyÕs Effect
1.
2.
Select a drum key to edit (see ÒSelecting a Drum Key for EditingÓ above).
Turn the Parameter knob until the display shows:
This show the currently selected drum key
m
Sound
FX Bus=
DrumKey=B1
LightReverb
i
What you see here may be different
3.
Each drum key can be sent to any of the ZRÕs effects busses: Insert, Chorus, LightReverb,
MediumReverb, WetReverb or Dry. For an explanation of the ZR-76 effects, see Chapter 8.
Turn the Value knob to select the desired effect bus for the currently selected drum key.
Ti p: If youÕd like to work on another drum key, select it on the keyboardÑthe upper righthand corner of the ZRÕs display will show the new drum key youÕve selected.
Changing a Drum KeyÕs Tuning
The pitch of each drum keyÕs sound can be adjusted through the use of the Tuning Shift parameter. This
parameter can shift the pitch of a drum keyÕs sound up or down by a semitoneÕs distance on the keyboard.
The amount of re-tuning youÕll be able to do depends on the tuning scheme programmed into each sound.
Some sounds only change by tiny amounts as you move up and down the keyboardÑthis is especially
useful for the sounds in the DRM SoundFinder category, where a little re-tuning goes a long way: Since
you can use any ZR-76 sound in a drum kitÑexcept for other drum/percussion kits, of courseÑthere will
be some variety in how individual sounds respond to tuning shift adjustments.
The following parameter is present only when the sound being edited is a drum or percussion kit.
To Change a Drum KeyÕs Tuning
1.
2.
Select a drum key to edit (see ÒSelecting a Drum Key for EditingÓ above).
Turn the Parameter knob until the display shows:
This show the currently selected drum key
m
Sound
DrumKey=B1
Tuning Shift=
0st
i
What you see here may be different
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ENSONIQ ZR-76 Musician's Manual
Chapter 4ÑSoundFinder
3.
Each drum key soundÕs pitch can be shifted by as many as 64 keyboard steps downward (-64st) or 63
steps upward (+63st).
Turn the Value knob to select the desired amount of Tuning Shift for the currently selected drum key.
Ti p: If youÕd like to work on another drum key, select it on the keyboardÑthe upper righthand corner of the ZRÕs display will show the new drum key youÕve selected.
S a v i n g Z R - 7 6 So u n d F i n d e r So u n d s
Why and Where Sounds Are Saved
This section details the methods for saving SoundFinder sounds to the ZRÕs internal memory.
After youÕve made changes to a ZR-76 sound in SoundFinder, youÕll want to save it back to the ZRÕs FLASH
or RAM memory. (Chapter 9 contains an explanation of these two types of memory). You can save a sound
to its original location, or to a spot you find more convenient. Sounds you save to the ZRÕs FLASH or RAM
memory will appear in the INT SoundFinder category and the category to which you assign the sound.
You can also save a single sound or a bank of sounds to a DOS-formatted HD or DD floppy disk. See
Chapter 9 to learn how.
Saving Sounds that Use Insert Effects
When you save a standard sound thatÕs assigned to the insert effect bus, the soundÕs insert effect will be
saved with the sound. When you save a drum or percussion kit sound, if any drum key is routed to the
Insert FX Bus, the Insert Effect will be saved with the Sound, with one exception: when the only drum keys
routed to the insert effect are using the sound ÒSilence,Ó the insert effect wonÕt be saved with the sound.
A sound bank can contain up to a total of 361 sound layers. If you try to save a sound to a bank in
which there are not enough free layers left, the ZR will display: ÒToo few free layers to save as a
sound!Ó You can use the librarian to delete sounds you donÕt need to free up layers, or you may gain
enough free layers by saving your new sound to a location containing an unwanted sound.
To Save a Sound to the ZRÕs FLASH or RAM Memory
1.
Press the SoundFinder Save button.
If the System Write Protect parameter is set to Prompt, the display will show:
INT memory is write
protected! Override?
2.
This display is offered as a double-check for you, to make sure you really want to save your sound. If
youÕd like to avoid this prompt in the future, see ÒProtecting the ZRÕs MemoryÓ in Chapter 3.
If youÕd like to cancel the operation, press the No button. If youÕd like to proceed, press the Yes button.
The display now asks you how youÕd like to save the sound:
Save SoundFinder?
Type=
Single Sound
Whenever youÕve been using SoundFinder and neither the Split or Layer LEDs is on, the setting shown
above is the one you want. (Splits and Layers are discussed later in this chapter.)
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Chapter 4ÑSoundFinder
3.
Press the Yes button.
The display now allows you to name your sound:
Save Single Sound?
New Name=WhottaNite
i
What you see here may be different
You can name your sound in one of two ways:
¥
You can spell the soundÕs name on the keyboardÑthe character associated with each key is
printed above the key on the ZRÕs front panel. The C# and D# keys in each octave move the cursor
forward and back on the display (the character selected for editing is underlined on the display).
The F# is always a lower case lock, the A# an upper case lock, while the G# types a blank space.
Note: The keys outside of the range shown are not used for the naming of sounds.
¥
You can also name your sound using the front panel controls. The up/down arrow buttons are
used to select the character position within the name. The up arrow moves the location to the
right, and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
Tip: The Value knob provides access to characters unavailable on the keyboard.
4.
When youÕve named your sound, press the Yes button.
The display shows:
The name youÕve just given your sound
m
Save TheNewName as:
Sound Type= BRASSECT
i
What you see here may be different
5.
6.
96
Use the Value knob to select a SoundFinder type for your sound. For a complete list of SoundFinder
types, see Chapter 13.
When youÕve selected a SoundFinder type, press the Yes button.
ENSONIQ ZR-76 Musician's Manual
Chapter 4ÑSoundFinder
The display shows the memory location to which your new sound will be saved.
Save into FLS001:000
FLASH
: Steel Pad
7.
The ZR-76 has two areas of ZR-76 memory to which you can save a sound:
¥
FLASHÑthe more permanent type of ZR memory, which remains intact until you erase it
¥
RAMÑa temporary memory that lasts only until you turn your ZR-76 off.
If youÕve created a RAM sound bank in your ZR, you can turn the Sound Type knob to select FLASH or
RAM. If you havenÕt created a RAM sound bank, FLASH is the only setting available. To learn about
FLASH and RAM, see Chapter 9.
Select the desired area of memory.
The display shows:
Save into FLS001:000
FLASH
: Steel Pad
i
The area of memory youÕve chosen
8.
9.
i
The sound residing in the currently selected location
When you save your new sound, it will replace the sound thatÕs currently displayed. You can use the
Value knob to select a new destination for your sound.
If youÕd like to, turn the Value knob to select a new location for your sound.
When youÕve selected a location for your sound, press the Yes button.
When you save a sound to FLASH memory, the ZR re-saves the contents of the FLASH sound and
preset banks to optimize its use of FLASH memory. This can take a few moments.
Warning: If youÕve saved a sound to the ZRÕs RAM sound bank, make sure to save it to
floppy before turning off your ZR-76Ñpowering down clears RAM memory. The Save LED in
the Disk/Global area will flash to remind you to save your RAM sound bank to floppy.
Chapter 9 describes how to save single sounds and sound banks to floppy.
Copying, Moving, Renaming and Re-Categorizing Sounds
You can copy a sound to a new location in memory by using the procedure described above in ÒTo Save a
Sound to the ZRÕs FLASH or RAM Memory.Ó The same procedure can be used to rename a sound, or assign
it a new SoundFinder category.
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S p l i t t i n g th e ZR - 7 6 Ke yb o a r d
Creating and Working with Keyboard Splits
The ZR-76Õs keyboard can be split into two areas, with each area using its own sound.
There can be one split at a time in SoundFinder. Its upper sound is selected by pressing the Select Sound
button and choosing a sound using one of the methods described at the beginning of this chapter. The
upper soundÕs effect is used by both sounds in the split. The split sound (the lower sound on the keyboard)
is selected by pressing the Split button to turn the split function on, and choosing a sound using the
Sound Type and Sound Name knobs.
Once youÕve created a split, you can edit the split sound using the full suite of SoundFinder parameters, or
change it to another sound altogether. The FX/Mixdown section allows you to set the effect routing for
your split sound, or alter its Mix (Expression) or Pan settings. You can also adjust the split keyÑthe
location that marks the beginning of the upper area on the keyboard. When youÕve perfected your split, you
can save it as an editable preset containing both of the sounds in the split. You can also save a split as a
single sound, though once saved in this form, the two areas of the keyboard can no longer be edited
separately. See ÒSaving Splits and LayersÓ later in this chapter to learn about saving splits.
Tip: You can select a sound from the MIDI-OUT category as your split sound to use the split
area of the keyboard as a controller for remote MIDI devices. See ÒSoundFinder MIDIÓ later
in this chapter to learn more about using MIDI with SoundFinder.
The Split LED
The LED in the Split button lets you know the current state of the SoundFinder split. If:
¥
¥
the LED isnÕt lit, the split function is turned off
the LED is lit, the split function is turned on.
To Create a Split
1.
2.
Press the Select Sound button and use one of the sound-selection methods described at the beginning
of this chapter to select the sound youÕd like to have in the upper area of the split. If this sound uses
an insert effect, the effect can be used by both sides of the split.
Press and hold the Split button.
The Split buttonÕs LED will light, and the display will show you the current split key Ñthe location that
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marks the beginning of the upper zone on the keyboard. Middle C is C4.
Keyboard Split:
Key=
C4
i
The current split key
3.
4.
Some MIDI manufacturers refer to Middle C as ÒC3ÓÑif youÕre using another controller or sequencer
with your ZR-76, check the controllerÕs or sequencerÕs manual to see if thatÕs the case.
You can select a different split key by pressing the desired key on the keyboard.
If youÕd like to, select a new split key on the keyboardÑthe display will change to show the selection.
Release the Split button.
The display will show you the currently selected split sound.
ÒSplitÓ tells you that youÕre working with the split sound
m
Split
ROM004:085
SYN-PAD :Late Breeze
i
The split soundÕs sound type
i
The name of the split sound
All of the keys on the keyboard below the split key will play this sound.
You can change the split sound by turning the Sound Type and Sound Name knobs. Any of the ZR-76
sounds can be selected as a split sound, including other single-sound splits or layers.
The ZR-76 can automatically select the effect bus for split sounds as you select them. See ÒEnabling or
Disabling Automatic Effect RoutingÓ in Chapter 3.
Note: You can create a split that uses a drum kit, but splits of this type can only be saved
as presets, not single sounds.
5.
6.
7.
Turn the Sound Type and Sound Name knobs to select the split sound youÕd like to use.
If youÕd like to edit any of the split soundÕs SoundFinder parameters, press the SoundFinder Edit
button, use the Parameter knob to select parameters and the Value knob to edit them.
If youÕd like to turn the split off, press the Split button. The Split LED goes out.
Ti p: The upper zone in a split can be a layer. This is accomplished by creating a layer and a
split at the same time (see ÒCreating and Working with Layers,Ó later in this chapter).
To Turn the Split Function Off
1.
2.
If the split sound is not displayed, press the Split button twice. The LED will go out.
If the split sound is displayed, press the Split button once. The LED will go out.
Saving Splits
To make a split permanent, it must be saved to the ZRÕs internal memory. Splits may be saved as a preset
or as a single sound. Each option has its advantages and disadvantages. See ÒSaving Splits and LayersÓ
later in this chapter to learn how to save a split.
Ti p: After youÕve saved your split to the ZRÕs internal memory, youÕll probably want to store
it on a floppy disk (see Chapter 9 to learn how).
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L a y e r i n g Z R - 7 6 So u n d s
Creating and Working with Layers
The ZR-76Õs keyboard can play two sounds at once, stacked on top of each other, so that pressing any key
plays them both.
There can be one layer at a time in SoundFinder. Its primary sound is selected by pressing the Select
Sound button and choosing a sound using one of the methods described at the beginning of this chapter.
This soundÕs effect can be used by both sounds in the layer. The layer sound is selected by pressing the
Layer button to turn the layer function on, and choosing a sound using the Sound Type and Sound Name
knobs.
Once youÕve created a layer, you can edit the layer sound using the full suite of SoundFinder parameters,
or change it to another sound altogether. The FX/Mixdown section allows you to set the effect routing for
your layer sound, or alter its Mix (Expression) or Pan settings. When youÕve perfected your layer, you can
save it as an editable preset containing both of its sounds. You can also save a layer as a single sound,
though once saved in this form, its two sounds can no longer be edited separately. See ÒSaving Splits and
LayersÓ later in this chapter to learn about saving splits.
Ti p: You can select a sound from the MIDI-OUT category as your layer sound to use it for
controlling remote MIDI devices. See ÒSoundFinder MIDIÓ later in this chapter to learn more
about using MIDI with SoundFinder.
The Layer LED
The LED in the Layer button lets you know the current state of the SoundFinder layer function. If:
¥
¥
the LED isnÕt lit, the layer function is turned off
the LED is lit, the layer function is turned on
To Create a Layer
1.
2.
Press the Select Sound button and use one of the sound-selection methods described at the beginning
of this chapter to select the sound that will be heard underneath the layer sound. This soundÕs insert
effect can be used by both of the sounds in the layer.
Press the Layer button.
The Layer buttonÕs LED will light.
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The display will show:
ÒLayerÓ tells you that youÕre working with the layer sound
m
Layer
ROM005:004
GUITAR-A:Dbl 6-Strng
i
3.
i
The layer soundÕs sound type
The name of the layer sound
Select a layer sound using the Sound Type and Sound Name knobs. Any of the ZR-76 sounds can be
selected as the layer sound, including single-sound splits or layers.
The ZR-76 can automatically select the effect bus for layer sounds as you select them. See ÒEnabling
or Disabling Automatic Effect RoutingÓ in Chapter 3.
Note: You can create a layer that uses a drum kit, but layers of this type can only be saved
as presets.
4.
5.
If youÕd like to edit any of the layer soundÕs SoundFinder parameters, press the SoundFinder Edit
button, use the Parameter knob to select parameters and the Value knob to edit them.
If youÕd like to turn the layer off, press the Layer button. The Layer LED goes out.
Ti p: You can create a layer and a split at the same time. The layer will appear above the
split key on the keyboard (see Creating and Working with Keyboard SplitsÓ earlier in this
chapter).
To Turn the Layer Function Off
1.
2.
If the layer sound is not displayed, press the Layer button twice. The LED will go out.
If the layer sound is displayed, press the Layer button once. The LED will go out.
Saving Layers
To make a layer permanent, it must be saved to the ZRÕs internal memory. Layers may be saved as a preset
or as a single sound. Each option has its advantages and disadvantages. See ÒSaving splits and LayersÓ
later in this chapter to learn how to save a layer.
Ti p: After youÕve saved your layer to the ZRÕs internal memory, youÕll probably want to store
it on a floppy disk (see Chapter 9 to learn how).
S a vi n g Sp l i t s an d La ye r s to th e ZR Õ s Me m o r y
Two Ways to Save Splits and Layers
Splits, layers, and combination split/layers can be saved to the ZRÕs internal memory as either:
¥
a preset
¥
a split/layer single sound
Each option has its advantages. YouÕll have to decide which approach works best for you.
Presets
What They Are
Presets are special ZR objects that can contain three separate and distinct components: the basic
SoundFinder sound, a split sound and/or a layer sound. TheyÕre most ideally suited to live performance.
The ZR-76 contains an area of FLASH memory that can hold a bank of up to 32 presets.
Your ZR-76 ships from the factory programmed with 32 presetsÑsee Chapter 13 for a list of these presets.
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Advantages
When you work with a preset, you can press the Select Sound, Split or Layer button to select new sounds
for any of the three components. You can press the SoundFinder Edit button to edit any of their
SoundFinder parameters. You can use the FX/Mixdown Routing button to access and change their effect
routings You can also re-do your split key selection if the preset contains a split. The preset may be reedited and re-saved as many times as you want.
If youÕd like to use a preset for controlling an external MIDI device, you can assign a MIDI-OUT sound to
any of its components.
Disadvantages
Presets cannot be used in the 16 Track Recorder. Though the Idea Pad records your playing when you use
a preset, when it sends the idea to the 16 Track Recorder, everything it captured will be played by the
basic SoundFinder sound.
Presets cannot be selected via MIDI. If SoundFinder receives a Bank Select and Program Change message,
it will select a sound, not a preset. If the Split or Layer LEDs are lit when such messages are received, the
ZR will turn themÑand the functions they representÑoff.
You can have a maximum of 32 presets in the ZRÕs memory at a time.
Presets are, in a sense, frameworks that point to and use single sounds in the ZRÕs FLASH or RAM
memory. If any of these sounds has been erased, or is otherwise unavailable, the preset will not sound as it
should.
When you save a preset to floppy, you have to make sure that any sounds it depends on have also been
saved, so that they can be re-loaded when the preset needs them.
Split/Layer Single Sounds
What They Are
A split/layer single sound is when the split and/or layer sounds are merged into the underlying
SoundFinder sound. Since any sound can have up to 16 layers, a split/layer single sound can wind up
with as many as 48.
Note: Sounds with more than 16 layers cannot be edited using the Unisyn editing software.
Split/layer single sounds are most useful for recording.
You can have as many split and/or layer single sounds as the FLASH and RAM sound banks will hold.
Advantages
Splits and/layers saved as split/layer single sounds can be used on a track in the 16 Track Recorder.
They can be selected via MIDI using Bank Select and Program Change messages.
Split/layer single sounds are self-contained. They donÕt rely on other sounds that may or may not be
currently available in FLASH or RAM memory.
Since theyÕre completely self-contained, saving them to floppy is always a one-step process.
Disadvantages
Once a split and/or layer has been saved as a split/layer single sound, itÕs split and layer elements are no
longer distinct, separate elementsÑthey can no longer be edited without affecting the entire sound, nor
can they be edited using the Unisyn sound editing software if they have over 16 layers. All of the elements
of your split and/or layer, from sound choice to all of the parameters, are permanently locked in place. The
only way to change any of a split/layer single soundÕs settings is to completely re-do it.
Split and layer elements cannot have their sound-wide parameter settingsÑthey share the settings of the
underlying sound.
Split and layer elements donÕt have their own effect routingsÑthey share the underlying soundÕs effect.
All of the components of a split and/or layer single sound are set to the same pitch tableÑequal
temperamentÑthough their common tuning may be altered with the SoundFinder PitchTbl parameter.
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To Save a Split and/or Layer as a Preset
1.
Press the SoundFinder Save button.
If the System Write Protect parameter is set to Prompt, the display will show:
INT memory is write
protected! Override?
2.
This display is offered as a double-check for you, to make sure you really want to save the current
SoundFinder split/layer configuration as a preset. If youÕd like to avoid this prompt in the future, see
ÒProtecting the ZRÕs MemoryÓ in Chapter 3.
If youÕd like to cancel the operation, press the No button. If youÕd like to proceed, press the Yes button.
The display now asks you how youÕd like to save the current SoundFinder configuration:
Save SoundFinder?
Type=
Single Sound
i
What you see here may be different
3.
4.
The ZR-76 allows you to save the SoundFinder configuration as a preset or a single sound.
Turn the Value knob to select ÒPreset.Ó
Press the Yes button. The display now allows you to name your preset:
Save Preset?
New Name=DefaultPset
i
What you see here may be different
You can name your preset in one of two ways:
¥
You can spell the presetÕs name on the keyboardÑthe character associated with each key is
printed above the key on the ZRÕs front panel. The C# and D# keys in each octave move the cursor
forward and back on the display (the character selected for editing is underlined on the display).
The F# is always a lower case lock, the A# an upper case lock, while the G# types a blank space.
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Note: The keys outside of the range shown above are not used for the naming of presets.
¥
You can also name your preset using the front panel controls. The up/down arrow buttons are
used to select the character position within the name. The up arrow moves the location to the
right, and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
Tip: The Value knob provides access to characters unavailable on the keyboard.
4.
When youÕve named your preset, press the Yes button.
The display shows:
Save into FLS001:000
PRESETS : Pad Preset
i
The preset residing in the currently selected location
5.
6.
This display allows you to choose a location for your preset. You can select any location in the preset
FLASH bank from 000 to 031 by turning the Value knob or pressing the up/down arrow buttons.
When you save your preset, it will replace the preset thatÕs currently displayed. If the selected location
is empty, youÕll see Ò**EMPTY**Ó in the bottom right-hand portion of the display.
If youÕd like, turn the Value knob to select a new location for your preset.
When youÕve selected a location for your preset, press the Yes button.
To most efficiently utilize its FLASH memory, the ZR re-shuffles its FLASH sound and preset memory
when you save a preset. This can take a SoundFinder few moments.
Ti p: After youÕve saved your split and/or layer as a preset, youÕll probably want to store the
preset on a floppy disk (see Chapter 9 to learn how). When you save your preset to floppy,
make sure that the sound banks containing the sounds the preset uses are also saved on a
floppy disk. When you re-load the preset into the ZRÕs memory, it will look for those
sounds. If theyÕre no longer in memory, youÕll be able to re-load them from floppy.
To Select a Preset
1.
Press the Select Sound button.
2.
Turn the Sound Type knob clockwise all the way, so that the display shows:
Select performance
presets?
3.
104
This display is asking you if you would like to select from a list of all the presets in your ZRÕs internal
memory.
Press Yes to continue and select a preset, or press No if youÕd like to cancel.
ENSONIQ ZR-76 Musician's Manual
Chapter 4ÑSoundFinder
If you press Yes, the display will show:
Select
FLS001:000
PRESETS : My Preset
i
The preset residing in the selected location
4.
This display allows you to select any preset in your ZRÕs FLASH or ROM memory by turning the Sound
Name knob. The Split and Layer LEDs will show whether the selected preset includes a Split, a Layer
or both.
Turn the Sound Name knob to select the desired preset.
Note: In addition to the presets you create, you can select any of the 33 useful presets
permanently stored in your ZRÕs ROM memory. TheyÕre listed in Chapter 13.
To Edit a Preset
1.
2.
If youÕd like to change a splitÕs split key, hold down the split button and play the desired split key on
the keyboard. Then let go of the key and button.
Press the Select Sound, Split or Layer button to select the portion of the preset youÕd like to work with.
The ZRÕs display will show you the preset component youÕve chosen.
ÒSplitÓ tells you that youÕre working with the split sound
m
Split
ROM005:004
DEMO-SND:ConcertGrnd
i
The split soundÕs sound type
3.
i
The name of the split sound
¥
ÒSoundÓ means that the basic SoundFinder sound is the selected preset component.
¥
ÒSplitÓ means that the split is the selected preset component.
¥
ÒLayerÓ means that the layer is the selected preset component.
To change the selected componentÕs sound, use the Sound Type and Sound Name knobs to select a
new sound. The ZR-76 can automatically select the effect bus for split and layer sounds as you select
them. See ÒEnabling or Disabling Automatic Effect RoutingÓ in Chapter 3.
To edit the componentÕs SoundFinder parameters, press the Edit button, select the desired parameter
with the Parameter knob, and adjust its setting with the value knob.
To change the componentÕs effect routing, press the Routing button, turn the Parameter knob to locate
the FX Bus parameter, and choose the desired setting with the Value knob
You can also turn the Mix and/or Pan knobs to adjust those settings for the selected component
A sound bank can contain up to a total of 361 sound layers. If you try to save a sound to a
bank in which there are not enough free layers left, the ZR will display: ÒToo few free layers
to save as a sound!Ó You can use the librarian to delete sounds you donÕt need to free up
some layers, or you may gain enough free layers by saving your new sound to a location that
contains a sound you wouldnÕt mind losing.
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To Save a Split and/or Layer as a Split/Layer Single Sound
1.
Press the SoundFinder Save button.
If the System Write Protect parameter is set to Prompt, the display will show:
INT memory is write
protected! Override?
2.
This display is offered as a double-check for you, to make sure you really want to save your split
and/or layer. If youÕd like to avoid this prompt in the future, see ÒProtecting the ZRÕs MemoryÓ in
Chapter 3.
If youÕd like to cancel the operation, press the No button. If youÕd like to proceed, press the Yes button.
The display now asks you how youÕd like to save the split and/or layer:
Save SoundFinder?
Type=
Single Sound
The ZR-76 allows you to save a split and/or layer as a single sound or a preset.
Note: If your split or layer uses a MIDI-OUT sound, the ÒSingle SoundÓ option will not be
available on this display.
3.
4.
Turn the Value knob to select ÒSingle Sound,Ó if necessary.
Press the Yes button. The display now allows you to name your split and/or layer single sound:
Save Single Sound?
New Name=NoNameSplit
i
What you see here may be different
You can name your new split/layer single sound in one of two ways:
¥
You can spell the soundÕs name on the keyboardÑthe character associated with each key is
printed above the key on the ZRÕs front panel. The C# and D# keys in each octave move the cursor
forward and back on the display (the character selected for editing is underlined on the display).
The F# is always a lower case lock, the A# an upper case lock, while the G# types a blank space.
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Note: The keys outside of the range shown above are not used for the naming of sounds.
¥
You can also name your sound using the front panel controls. The up/down arrow buttons are
used to select the character position within the name. The up arrow moves the location to the
right, and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
Tip: The Value knob provides access to characters unavailable on the keyboard.
5.
6.
Use the front panel controls or the keyboard to name your sound.
When youÕve named your split, press the Yes button.
The display shows:
The name youÕve just given your split
m
Save MyS/L-Sound as:
Sound Type=
LAYERS
i
What you see here may be different
5.
6.
Use the Value knob to select a SoundFinder type for your sound. For a complete list of SoundFinder
types, see Chapter 13.
When youÕve defined a SoundFinder type, press the Yes button.
The display shows the memory location to which your new sound will be saved.
Save into FLS001:000
FLASH
: Steel Pad
7.
The ZR-76 has two areas of ZR-76 memory to which you can save a sound:
¥
FLASHÑthe more permanent type of ZR memory, which remains intact until you erase it
¥
RAMÑa temporary memory that lasts only until you turn your ZR-76 off.
If youÕve created a RAM sound bank in your ZR, you can turn the Sound Type knob to select FLASH or
RAM. If you havenÕt created a RAM sound bank, FLASH is the only setting available. To learn about
FLASH and RAM, see Chapter 9.
Select the desired area of memory by turning the left knob.
The display shows:
Save into FLS001:070
FLASH
: **EMPTY**
i
If a sound is residing in the currently selected location, itÕs name appears here
8.
9.
When you save your single sound to a location that already contains a sound, it will replace the sound
thatÕs shown on the bottom line of the display. You can use the Value knob to select a new destination
for your sound.
If youÕd like to, turn the Value knob to select a new location for your sound.
When youÕve selected a location for your sound, press the Yes button.
When you save a sound to FLASH memory, the ZR re-saves the contents of the FLASH sound and
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preset banks to optimize its use of FLASH memory. This can take a few moments.
Warning: If youÕve saved a sound to the ZRÕs RAM sound bank, make sure to save it to
floppy before turning off your ZR-76Ñpowering down clears RAM memory. The Save LED in
the Disk/Global area will flash to remind you to save your RAM sound bank to floppy.
Chapter 9 describes how to save single sounds and sound banks to floppy.
M o vi n g a So u n d to th e 16 Tr a c k Re c o r d e r
Using SoundFinder Sounds for Recording
The sounds in SoundFinder are great for performance, exploration, or just plain fun. You can also send
them to the 16 Track Recorder, where they can be used in the recording of your music. When you send a
sound to the 16 Track Recorder, any edits youÕve made in SoundFinder will be faithfully reproduced in the
16 Track Recorder. If the sound uses an insert effect, you can send the effect along with the soundÑthe
track to which you send your sound will be come the sequenceÕs insert control track, and the soundÕs
effect will become the insert effect that the sequence uses.
Special Cases: Splits and/or Layers and Transposed Sounds
If youÕre working with a split and/or layer:
¥
youÕll need to save it as a split/layer single sound in order to move it over to the 16 Track Recorder.
(see ÒSaving Splits and LayersÓ earlier in this chapter.
If youÕve been playing a sound using the transpose function:
¥
the sound will be sent to the 16 Track Recorder in its un-transposed state. Once the sound is placed
on a 16 Track Recorder track, you can edit its Semitone Shift parameter to re-create the SoundFinder
transposition (the Semitone Shift parameter is described earlier in this chapter in ÒRetuning a Sound.Ó
To Move a Sound Into the 16 Track Recorder For Recording
1.
2.
Press the Select Sound button and use the Sound Type and Sound Name knobs to select the sound
you would like to send to the 16 Track Recorder.
Press the SoundFinder Send To Track button.
If the selected sound uses the global chorus or global reverb as its effect, the display will show:
Select Target Track>
4.
If the bottom line of the display is empty (as shown above), youÕre ready to select a track for your
sound. To do so, press the desired 16 Track Recorder track button. (To learn about recording in the
ZR-76, see Chapter 7.)
If the selected sound uses an insert effect, the display will show:
Select Target Track>
Send= Without Effect
i
What you see here may be different
If the bottom line of the display begins with ÒSend=,Ó you can use the Value knob to select whether or
not youÕd like the soundÕs insert effect to be installed along with the sound into the current 16 Track
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3.
4.
5.
Recorder sequence. You can set the Send parameter to:
¥
Without EffectÑso that the sound is sent to a track in the 16 Track Recorder without its effect,
and the track is routed to the soundÕs Alt. effect bus (the Alt. effect bus is explained in Chapter 8)
¥
With EffectÑso that the sound is sent to the 16 Track Recorder, the track to which itÕs sent
becomes the insert control track, and the soundÕs insert effect becomes the sequenceÕs insert effect
Turn the Value knob to select either value.
If youÕd like to send the sound somewhere other than the sequence thatÕs currently selected, press the
Bank and Sequence A-H buttons to select the desired sequence location (Chapter 7 describes using the
Bank and Sequence buttons).
Press the track button in the 16 Track Recorder to which youÕd like to send the sound.
Ti p: If you prefer, you can press the Yes button to send the sound to the lowest numbered
track that doesnÕt already have a sound on it. Pressing No cancels the procedure.
If youÕre sending the sound into a Standard MIDI File that hasnÕt yet had its tracks re-ordered to
correspond to their MIDI channels, the display will show:
Align MIDI channels
& add track params?
6.
Answering Yes to this question will organize the Standard MIDI FileÕs tracks into numerical order
according to their MIDI channels, and add a set of ZR parameters to the track to which youÕre sending
the sound. Chapter 7 describes working with Standard MIDI Files.
If youÕd like to proceed, press the Yes button. If youÕd like cancel the procedure, press No.
If youÕve selected a track to which a sound has already been assigned, the display will show:
Replace sound on
target track?
7.
If youÕd like to proceed, press the Yes button. If youÕd like cancel the procedure, press No.
S o u n d F i n d e r MI D I
The Out and Ins of MIDI in SoundFinder
SoundFinder can both transmit and respond to MIDI note and controller data, including Bank Select and
Program Change messages.
Tip: If youÕre unfamiliar with MIDI, see ÒWhat Is MIDIÓ in Chapter 13.
Transmitting MIDI from the ZR-76
SoundFinder always transmits MIDI note and controller data when you play the ZRÕs keyboard, in order to
make it simple to play external MIDI devices from your ZR-76.
The ZR-76 provides sound controller filters that let you enable or disable a soundÕs transmission of MIDI
controller data. See ÒSound Controller FiltersÓ earlier in this chapter.
In addition, SoundFinder offers a special category of MIDI-OUT sounds, which are particularly useful when
constructing presets to be used in performance.
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Chapter 4ÑSoundFinder
MIDI-OUT Sounds
MIDI-OUT sounds are designed for situations in which you want to transmit MIDI dataÑwithout playing
local ZR-76 sounds. MIDI-OUT sounds may be selected after pressing the Select Sound button, or as the
split and/or layer component of a preset. Whenever such a preset is selected, the Bank Select and Program
Changes values associated with each MIDI-OUT sound are transmitted, calling up the appropriate sound
in any external MIDI modules being controlled by your ZR-76.
Tip: A MIDI-OUT sound offers functionality similar to LOCAL-OFF in some other
synthesizers, allowing you to send MIDI from SoundFinder into an external sequencer as
the sequencer accesses the sounds on tracks in the ZRÕs 16 Track Recorder. See ÒUsing the
ZR as a Master Controller for External SequencingÓ in Chapter 7 to learn more.
Each MIDI-OUT sound allows you to choose:
¥
the MIDI channel on which data will be transmitted.
¥
the Bank Select value that will be transmitted when the sound is selected
¥
the Program Change value that will be transmitted when the sound is selected
When a MIDI-OUT sound is selected, turning the Mix knob causes Expression (Controller #11) data to be
transmitted on the MIDI-OUT soundÕs MIDI channel. Turning the Pan knob transmits Pan (Controller #10)
data.
Ti p: You can use MIDI-OUT sounds in conjunction with the foot switches or CV-pedal
connected to your ZR-76 to transmit any MIDI controller. Use the system ÒSet up foot
controls?Ó procedure to assign a foot switch or pedal to one of the ZRÕs four assignable
CTRLs, and then use the system ÒEdit MIDI settings?Ó procedure to assign the desired MIDI
controller number to the selected CTRL. These procedures are described in Chapter 3.
Ti p: You can assign a MIDI-OUT sound as a favorite (described at the beginning of this
chapter)Ñso that its pre-programmed Bank Select and Program Changes values will be
immediately transmitted from the ZR when the favorite is selected.
If your ZR-76 is connected to an external MIDI device while you set up your MIDI-OUT
sounds, MIDI Bank Select and Program Change messages will be transmitted as you change
their settings in the sound.
To Use the ZR-76 to Control a MIDI Device
1.
2.
Press the Select Sound, Split or Layer button.
Turn the Sound Type knob until the display shows:
Sound
Xmit bnk:prg
MIDI-OUT:§01 000:000
j
MIDI Channel
i
Bank Select
p
Program Change
A MIDI-OUT sound has three settings.
¥
MIDI transmission channel
¥
Bank Select value
¥
Program Change value
The up and down arrow buttons allow you to select any of these settings for editingÑthe one thatÕs
currently selected will flash. Once a setting has been selected, you can use the Value knob to change
its value.
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3.
Press the up/down arrow buttons to select the MIDI channel area of the display if it isnÕt already
flashing.
Sound
Xmit bnk:prg
MIDI-OUT:§01 000:000
i
The MIDI-OUT soundÕs MIDI transmission channel
4.
Turn the Value knob to select the MIDI channel on which the MIDI-OUT sound will transmit MIDI
data.
Note: Make sure your external MIDI device is configured to receive on the same MIDI
channel you select here.
5.
Use the up/down arrow buttons to select the MIDI Bank Select setting, so that it flashes.
Sound
Xmit bnk:prg
MIDI-OUT:§01 000:000
i
The MIDI Bank Select number that will be transmitted
6.
7.
Turn the Value knob to select the MIDI Bank Select value that the ZR-76 will transmit.
Use the up/down arrow buttons to select the MIDI Program Change setting, so that it flashes.
Sound
Xmit bnk:prg
MIDI-OUT:§01 000:000
i
The MIDI Program Change number that will be transmitted
8.
Turn the Value knob to select the MIDI Program Change value that the ZR-76 will transmit.
Ti p: You can also use the split and/or layer to control an external MIDI device, by selecting
MIDI-OUT as the sound for the split and/or layer.
Using the ZR as a Master Controller for External Sequencing
The MIDI-OUT sound has another important special talent: when itÕs selected as the basic SoundFinder
sound, all incoming MIDI is sent over to the 16 Track Recorder. This allows you to use your ZR-76 as both
a master controller and a multi-timbral sound source when sequencing on an external sequencer. MIDI
travels out of the ZR from SoundFinder, to a track in the external sequencer, and then back to a track or
tracks in the ZRÕs 16 Track Recorder. This is especially helpful when you start a sequence on your ZR-76
and move it, on floppy, to your computer sequencerÑyou can continue to record data into the sequencer
using the ZRÕs keyboard, and the sequencer can continue using the ZRÕs sounds via the 16 MIDI channels
on which the 16 Track Recorder can receive. This provides a function thatÕs similar to local-off in other
synths and samplers. (MIDI reception is described a little later in this chapter.)
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Receiving MIDI on the ZR-76
The ZR-76 can respond to received MIDI data in SoundFinder or the 16 Track Recorder in the following
ways:
¥
In SoundFinderÑwhen the Select Sound LED is litÑthe ZR-76 responds to a single MIDI channel (poly
mode). This channel is called the base MIDI channel, and you can set it to any MIDI channel (the
procedure for doing this is described below). If youÕve selected a preset, all of its components respond
to the base MIDI channel.
¥
In the 16 Track RecorderÑwhen the Select Song LED is litÑTracks 1-16 always receive MIDI data on
MIDI channels 1-16.
The ZR-76 provides sound controller filters that let you enable or disable a soundÕs response to MIDI
controller data and MIDI Bank Select and Program Change messages. See ÒSound Controller FiltersÓ earlier
in this chapter.
MIDI Bank Select and Program Change messages received on the base MIDI channel affect only the sound
chosen with the Select Sound button. If split and/or layer are on, any received a Bank Select or Program
Change message will turn them off.
In SoundFinder, when a MIDI-OUT sound is selected as the basicÑthat is, not the split or layerÑsound,
SoundFinder will not respond to incoming MIDI data at all. All incoming MIDI data will be routed to the 16
Track Recorder, an important featureÑsee ÒUsing the ZR as a Master Controller for External SequencingÓ
above.
If SoundFinderÕs basic sound is not a MIDI-OUT sound, but a split and/or layer uses one, that split
and/or layer will not respond to received MIDI data, though the rest of SoundFinder will.
To Set the MIDI Base Channel for SoundFinder MIDI Reception
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
3.
4.
Press the Yes button.
Turn the Parameter knob until the display shows:
MIDI Settings:
Base MIDI Channel=01
i
The currently selected base channel
3.
112
You can use the Value knob or the up/down arrow buttons to change the base MIDI channelÑthe
MIDI channel to which SoundFinder will respond.
Turn the Value knob, or use the up/down arrow buttons to set the base MIDI channel to the desired
value.
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Chapter 4ÑSoundFinder
U s i n g RP N s an d NR P N s to Ed i t Pa r a m e t e r s
MIDI allows for a special category of controllers called RPNs (for ÒRegistered Parameter NumbersÓ) and
NRPNs (for ÒNon-Registered Parameter NumbersÓ). Many sound parameters can be edited via RPNs and
NRPNs. If this is the case, the parameterÕs description found in this chapter will list the appropriate RPN or
NRPN. If a parameter is displayed while being edited via MIDI, the display will reflect the changes you
make.
RPN MIDI messages must adhere to a specific structure in order to be properly understood by receiving
devices such as the ZR-76. They must include the following components:
¥
A continuous controller status byte for the appropriate MIDI channelÑin SoundFinder this will be the
ZRÕs base channel (see Chapter 3); in the 16 Track Recorder, this will be the MIDI channel of the
selected track (see Chapter 7)
¥
MIDI controller 101Ñthe RPN MSBÑwith a value of 000
¥
MIDI controller 100Ñthe RPN LSBÑwith the RPN value listed in the description of the relevant
parameter
¥
MIDI controller 006ÑData EntryÑwith the value to which youÕd like to set the parameter. The values
displayed for each parameter correspond to one of 128 possible MIDI values (which run from 000 up to
127). You can count the parameter values displayed on the ZR-76, beginning from 000, to locate the
corresponding Data Entry value youÕll want to send to the ZR.
NRPN MIDI messages must also adhere to a specific structure in order to be properly understood by
receiving devices such as the ZR-76. They must include the following components:
¥
¥
¥
¥
A continuous controller status byte for the appropriate MIDI channelÑin SoundFinder this will be the
ZRÕs base channel (see Chapter 3); in the 16 Track Recorder, this will be the MIDI channel of the
selected track (see Chapter 7)
MIDI controller 099Ñthe NRPN MSBÑwith a value of 000
MIDI Controller 098Ñthe NRPN LSBÑwith the NRPN value listed in the description of the relevant
parameter
MIDI Controller 006ÑData EntryÑwith the value to which youÕd like to set the parameter. The values
displayed for each parameter correspond to one of 128 possible MIDI values (which run from 000 up to
127). You can count the parameter values displayed on the ZR-76, beginning from 000, to locate the
corresponding Data Entry value.
Ti p: For a complete listing of the RPNs and NRPNs to which the ZR-76 responds, see
ÒRegistered and Non-Registered Parameters (RPN/NRPN)Ó in Chapter 13.
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Chapter 5ÑThe Drum Machine
C h apt er 5
T h e Dr u m Ma c h i n e
One of the most enjoyable components of the ZR-76 is the Drum Machine. The Drum Machine offers a
number of uniquely musical features that make it an exceptionally useful tool in songwriting or
performing, or for having a lot of fun when youÕre in the mood to explore new musical ideas. Here are some
of the Drum MachineÕs terrific features:
¥
¥
¥
¥
¥
¥
New rhythm variations and fills are heard the moment you select themÑmost drum machines make
you wait for the current pattern to end before switching to something new. This means that the ZR-76
Drum Machine can create much more realistic-sounding accompaniments than other drum machines.
You can mix and match musical phrases contained in the many rhythms providedÑuse a bass drum
pattern from here, a hihat from there.
Each drum kit used by the Drum Machine can be edited to suit your needs, and you can make your
changes as the Drum Machine is playing.
Your Drum Machine music can be sent to the ZRÕs 16 Track Recorder, where it can be incorporated
into sequences and songs.
Even after youÕve sent your Drum Machine music to the 16 Track Recorder, you can continue to try
out new variations and fills as your song develops, and the 16 Track Recorder will record your
selections for you.
When youÕve sent a Drum Machine rhythm to the 16 Track Recorder, you can add new elements to the
rhythm by playing along on the keyboard and recording your performance.
In spite of its sophistication, the Drum Machine is easy to use. The Drum Machine area of your ZRÕs front
panel contains all of its controls.
Ti p: Whenever the red and green LEDs located on either side of the ZR display are flashing,
your ZR-76 is asking you a question which may be answered by pressing the No or Yes
buttons.
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Chapter 5ÑThe Drum Machine
P l a y i n g th e Dr u m Ma c h i n e
Playing the Drum Machine is as simple as hitting Start and Stop.
To Play the Drum Machine
1.
Press the Drum Machine Start/Stop button.
Its LED lights, and the Drum Machine starts playing.
To Turn Off the Drum Machine
1.
Press the Drum Machine Start/Stop button again.
The Drum Machine stops, and the Start/Stop buttonÕs LED turns off.
S e l e c t i n g Rh y t h m s
The ZR-76 Rhythms
Your ZR-76 is loaded with a selection of rhythms. Each ZR-76 rhythm is actually a collection of 16
musically-related drum or percussion patterns.
¥
There are eight looped patterns called variations which play continuously until you select another
variation or fill, a new rhythm, or press Start/Stop
¥
There are eight unlooped patterns called fills which play through once and return you to the lastselected variation
Each rhythm uses a stylistically appropriate drum kit. Many use kits that can be selected in SoundFinder
for non-Drum Machine use.
Ti p: You can choose a new kit for a rhythm, or alter its current kit. See ÒSelecting a New
Drum Kit for a RhythmÓ or ÒEditing the Sounds in a RhythmÕs Kit,Ó later in this chapter.
You can select rhythms in two ways:
¥
¥
If youÕd like to browse for a new rhythm, you can use the Rhythm Type knob to select a rhythm
category, and the Rhythm Name knob to select a individual rhythm from that category.
If you know the name of a rhythm, you can spell its name on the ZRÕs keyboard, and your ZR-76 will
find it for you.
Once youÕve selected a rhythm, you can press the Drum Machine Start/Stop button to hear it.
Note: When you select a new rhythm while another rhythm is playing, the rhythm thatÕs
currently playing will stop.
To Select a Rhythm by Category
1.
2.
116
Locate the Drum Machine section on the ZRÕs front panel.
Press the Select Rhythm button.
ENSONIQ ZR-76 Musician's Manual
Chapter 5ÑThe Drum Machine
3.
The Select Rhythm buttonÕs LED lights.
Turn the left-hand Sound/Rhythm Type knob on the ZRÕs front panel clockwise or counter-clockwise.
As you turn the Rhythm Type knob, youÕll see different rhythm categories appear in the lower left part
of the ZRÕs display.
Rhythm
DANCE
VAR1
™:137
:Euro Tech 1
i
The currently selected rhythm type
4.
5.
Find a rhythm type category that interests you.
Turn the Sound/Rhythm Name knob clockwise or counter-clockwise to choose a rhythm of the
selected type.
Rhythm names appear on the lower right-hand portion of the display:
Rhythm VAR1
™:138
SOUL-R&B:LoveBallad1
i
The name of the currently selected rhythm
6.
Press the Drum Machine Start/Stop button to hear the rhythm youÕve selected, and press it again to
stop the Drum Machine.
7.
To select other rhythms, use the same method: turn the Sound/Rhythm Name knob to locate the type
of rhythm you want to hear, and the Sound/Rhythm Name knob to pick an individual rhythm.
Ti p: Your ZR-76 remembers the last rhythm you selected in each RhythmFinder category,
and offers you that rhythm as a first choice whenever you return to the category.
RhythmFinder
RhythmFinder is a special database of all the rhythms in your ZR-76, sorted into helpful categories called
rhythm types. Most of the rhythm types are musical groupings that allow you to locate rhythms according
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Chapter 5ÑThe Drum Machine
to style. Rhythms can also be sorted on the basis of where in your ZRÕs memory they reside. To see which
rhythms live in permanent memory, select the ROM rhythm type. To learn which rhythms are in FLASHÑ
or RAM, if youÕve created a RAM rhythm bankÑdial up the INT rhythm type (FLASH and RAM rhythm
banks are discussed in Chapter 9). Especially useful is the conveniently alphabetized ALL category, which
shows all of the ZR-76 rhythms currently in memory.
Tip: Repeated presses of the Select Rhythm button toggle between the currently selected
rhythmÕs style-based RhythmFinder category and its location in the ZRÕs memory.
You can also search for a rhythm by name by typing the name on the ZRÕs keyboard, as described below.
YouÕll find a complete list of all the ZR-76 rhythms in Chapter 13.
Ti p: ThereÕs a special rhythm in the *UTILITY category called ClickTracks that can be used
as a simple, generic metronome for playing along with in SoundFinder.
To Locate a ZR-76 Rhythm By Name
1.
2.
Locate the Drum Machine section on the ZRÕs front panel.
Press the Select Rhythm button, and hold it down.
Each white key on the ZRÕs keyboard from the C two octaves below Middle C to the B nearly three
octaves above has been assigned a number or letter, printed on the ZR just above the key. The G# in
each octave types a blank space.
Note: The keys outside of the range shown above are not used for the selection of rhythms.
3.
While continuing to hold the Select Rhythm button down, use the keyboard to type the name of the
rhythm youÕre looking for.
By watching the ZRÕs display, youÕll see RhythmFinder continually narrowing the search as you type
each letter. Sometimes just the first few letters are enough to identify a rhythm if no other rhythm
shares those letters.
Rhythm
ALL
VAR1
:
™: 70
Philly
i
The name of each rhythm you find is shown here
If you can only recall the beginning of a rhythmÕs name, and RhythmFinder locates more than one
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rhythm matching what youÕve typed, it will display the alphabetically first rhythm. To access the other
matches, turn the Rhythm Name knob clockwise.
Note: When you select a new rhythm, the Drum Machine stops playing.
C h o o s i n g Va r i a t i o n s
Rhythm variations can be selected at any time, whether the Drum Machine is running or not. If the Drum
Machine is stopped, the variation will play when you press Start/Stop. If the Drum Machine is playing,
each variation will play as soon as itÕs selected. Variations play over and over until you pick a new one,
choose a fill, select a new rhythm, or press Start/Stop to turn the Drum Machine off.
To Select a Variation
1.
Locate the Variation Fill button.
2.
To select a variation, the Variation LED in the Variation Fill button must be lit.
If the Variation LEDÑthe yellow LEDÑis not lit, press it once.
The Variation LED will light.
3.
4.
When the Variation LED on the Variation Fill button is lit, each of the eight Variations/Fills buttons
can be used to select a different variation of the current rhythm.
Press one of the Variations/Fills buttons to select a variation.
If the Drum Machine is already playing, you will immediately hear the variation youÕve selected. It will
continue to play until you press the Start/Stop button, or until you select a fill, a new variation, or a
new rhythm.
If the Drum Machine is stopped, press the Start/Stop button to turn the Drum Machine on and hear
the variation youÕve selected.
Tip: Variations can be modified to play patterns from other variations, including those in
other rhythms, as long as they share the same time signature and length. See ÒArranging
Your Own Variations and FillsÓ below.
C h o o s i n g Fi l l s
Rhythm fills can be chosen at any time with the Drum Machine playing or stopped. If the Drum Machine is
stopped, the fill will play when you press Start/Stop. If the Drum Machine is playing, each fill will play as
itÕs selected.
Fills play through once and then return the Drum Machine to the last variation that was selected.
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To Select a Fill
1.
Locate the Variation Fill button.
2.
To select a fill, the Fill LED in the Variation Fill button must be lit.
If the Fill LEDÑthe red LEDÑis not lit, press it once.
The Fill LED will light.
3.
When the Fill LED on the Variation Fill button is lit, each of the eight Variations/Fills buttons can be
used to select one of the current rhythm's fills.
Press one of the Variations/Fills buttons to select a fill.
If the Drum Machine is already playing, you will immediately hear the fill you selected.
Note: When a fill is selected in the last beat of a measure, it will wait for the first beat of the
next measure to begin playing.
4.
The fill will play through once, and then the Drum Machine will return to the last variation that was
selected.
If the Drum Machine is stopped, press the Start/Stop button to turn the Drum Machine on and hear
the fill you selected. When the fill has played through, it will return the Drum Machine to the last
variation that was selected.
Tip: Fills can be modified to play patterns from other fills, including those in other rhythms,
as long as they share the same time signature and length. See ÒArranging Your Own
Variations and FillsÓ later in this chapter.
S e t t i n g th e Rh yt h m Te m p o
Each rhythm can be set to any tempo from 25 quarter notes per minute to 350 quarter notes per minute.
The ZR-76 provides two simple methods for altering the Drum MachineÕs tempo:
¥
¥
You can tap in time on the Drum Machine tempo button and the Drum Machine will follow your beat
You can dial in the desired tempo as a value for the Rhythm Tempo parameter
If youÕve changed a rhythmÕs tempo and want the change to become permanent, youÕll need to save the
rhythm to the ZRÕs memory. See ÒSaving RhythmsÓ for details. ItÕs a good idea to save your rhythm to
floppy as well (see Chapter 9 to learn how).
Tip: If the system Clock Source parameter is set to Internal (see Chapter 3 for information
on this parameter), the Drum Machine tempo provides a timing reference for synchronized
elements of SoundFinder soundsÑsuch as tempo-synchronized LFOs and noiseÑand for
synchronized LFOs and DDLs in the ZRÕs effects.
To Tap Out a Tempo for the Drum Machine to Follow
1.
2.
120
Press the Drum Machine Start/Stop button to play the currently selected rhythm.
Tap the Drum Machine Tempo button at whatever speed you'd like the current rhythm to play, with
each tap representing a quarter note.
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Chapter 5ÑThe Drum Machine
The Drum Machine will speed up or slow down to match your tapping speed, and the display will show:
The currently selected rhythm
m
Rhythm
Tempo=
Pop Ballad
™: 70
i
The rhythmÕs current tempo
The tempo value will change to show the new speed of the rhythm in quarter notes per minute.
To Enter a New Drum Machine Tempo Value
1.
Press the Drum Machine Tempo buttonÑyou can do this with the Drum Machine running or stopped.
The display will show:
The currently selected rhythm
m
Rhythm
Tempo=
Pop Ballad
™: 70
i
The rhythmÕs current tempo
2.
You can use the Value knob (right) or the up/down arrow buttons to set the Tempo parameter to any
value from 25 to 350 quarter notes per minute.
Use the Value knob or the up/down arrow buttons to set the Tempo parameter to the desired value.
G e n e r a l Dr u m Ma c h i n e Ed i t i n g Te c h n i q u e s
The Drum MachineÕs Edit button provides access to a number of options for customizing the currently
selected rhythm. These options allow you to:
¥
¥
¥
¥
¥
change the loudness of the rhythm
learn the time signature and length of the rhythm
select a new drum kit for the rhythm
edit the sounds in the rhythmÕs drum kit
alter the rhythmÕs variations and fills
Each of these procedures is discussed in detail below. This section describes in general the method by
which all of these tasks are accomplished. All rhythm edits may be made while the Drum Machine is
playing or when itÕs stopped.
To Edit the Currently Selected Drum Machine Rhythm
1.
Press the Drum Machine Edit button.
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The No and Yes LEDs will begin to flash, and the display will show:
Drum Machine Edit:
Assign rhythm kit?
2.
Turn the Parameter knob.
The display now shows:
Drum Machine Edit:
Set rhythm params?
or:
Drum Machine Edit:
Edit zone settings?
or:
Drum Machine Edit:
Arrange fills&vars?
The rhythm editing options are conveniently grouped into four areas, each of which may be accessed
by pressing the Yes button in response to the appropriate question.
When you answer ÒyesÓ to:
¥
ÒAssign rhythm kit?Ó you can select a new drum kit sound for the currently selected rhythm by
using the Sound Type knob to select a type of drum kit, and the Sound Name knob to select a
specific kit.
¥
ÒSet rhythm params?Ó you can change the loudness of the rhythm, or learn its time signature and
length by viewing two read-only displays
¥
ÒEdit zone settings?Ó you can change the sound settings in each of the zones within the rhythmÕs
drum kit
¥
ÒSet Fill/Var tracks?Ó you can change the rhythmÕs variations and fills
Each of these procedures is described in detail later in this chapter.
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3.
Press the Yes button in response to the appropriate question.
Note: If youÕve selected ÒEdit Zone Settings,Ó a message will appear asking you if youÕd like
to copy the kit to the RthmEditKit. Answer Yes if youÕd like to proceed (the RthmEditKit is
described in ÒThe RthmEditKitÓ later in this chapter).
4.
5.
Use the Parameter knob to select the setting youÕd like to alter.
Use the Value knob to change the selected parameterÕs value.
Ti p: You can quickly return to the top-level edit questions by pressing the Drum Machine
Edit button.
S e l e c t i n g a Ne w Dr u m Ki t fo r a Rh y t h m
Each rhythm uses one of the ZR-76 drum kit sounds, or a specially customized version of one them. The
kits in the SoundFinder DRUM-KIT category are designed for use with the Drum Machine, and you can
assign any of them to any rhythm. Since the drum kits cover a broad range of styles and sounds, there is a
fair degree of unpredictability when mixing and matching kits to rhythmsÑexperimentation can lead to
some surprising combinations. You can pick a new kit while a rhythm is playing, or when the Drum
Machine is stopped.
Note: If youÕve chosen a new drum kit for a rhythm, and would like to make that selection
permanent, youÕll need to save the rhythmÑalong with its new kitÑto the ZRÕs memory.
See ÒSaving RhythmsÓ later in this chapter for details. ItÕs a good idea to save your rhythm
to floppy as well (see Chapter 9 to learn how).
To Choose a Different Kit for the Currently Selected Rhythm
1.
Press the Drum Machine Edit button.
2.
Turn the Parameter knob until the display shows:
Drum Machine Edit:
Assign rhythm kit?
3.
4.
Press Yes to continue with the procedure, or No if you want to cancel the operation.
If you press Yes, you will be able to select a new drum kit with the Sound Type and Sound Name
knobs. The Sound Type knob (left) is used to select a type of drum kit, and the Sound Name knob
(right) is used to select a kit from within the current type. You can select any drum kit sound in the
DRUM-KIT or *CUSTOM SoundFinder categories.
Use the Sound Type and Sound Name knobs to select a new drum kit for the currently selected
rhythm.
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Ti p: If youÕve been trying out new kits for the selected rhythm, and havenÕt yet edited any of
them using the ÒEdit zone settings?Ó procedure, you can easily return to the rhythmÕs
original kit by selecting the RthmEditKit from the *CUSTOM SoundFinder category. This
can be especially handy if youÕve already customized that original kit and would like to
retrieve it, complete with your edits. See ÒThe RthmEditKitÓ later in this chapter to learn
more about this special kit.
C h a n g i n g a Rh y t h m Õ s Lo u d n e s s
Rhythm Mix (Expression)
When taking advantage of the great variety of sounds in the ZR-76, there may be times when youÕll want to
make a particular rhythm louder or softer in volume, relative to the sounds youÕre using. Each rhythm has
its own Mix (Expression) setting that can be adjusted to taste, allowing you to raise or lower the overall
loudness of the rhythm.
To Change the Loudness of the Currently Selected Rhythm
1.
Press the Drum Machine Edit button.
2.
Turn the Parameter knob until the display shows:
Drum Machine Edit:
Set rhythm params?
3.
Press Yes if youÕd like to continue the procedure, or No if youÕd like to cancel.
If you press Yes, the display will show:
Rhythm Parameters:
Mix (Expression)= 90
4.
The Mix (Expression) parameter controls the loudness of the currently selected rhythm. By turning the
Value knob or pressing the up/down arrow buttons, you can set this parameter anywhere from 0 to
127. All of the rhythms that come with your ZR-76 have this parameter initially set to 90.
Turn the Value knob or press the up/down arrow buttons to set the Mix (Expression) parameter to the
desired value.
L e a r n i n g a Rh y t h m Õ s Ti m e Si g n a t u r e an d Le n g t h
Time Signatures and Variation Loop Lengths
When arranging your own variations and fills, you can mix and match patterns between rhythms that use
the same time signature and whose variations loop after the same number of measures. The ZR-76
protects you from creating unworkable matches; however, it may still be useful at times to know the time
signature of a rhythm, as well as the length of its variation loops. The Drum Machine provides this
information in two read-only displays. Rhythm time signatures and variation loop lengths canÕt be
changed.
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Ti p: On all ZR-76 displays, editable parameters are followed by an Ò=Ò character. Read-only
parameters are followed by a colon (Ò:Ó).
To View the Time Signature or Length of a Selected Rhythm
1.
Press the Drum Machine Edit button.
2.
Turn the Parameter knob until the display shows:
Drum Machine Edit:
Set rhythm params?
3.
4.
Press Yes if youÕd like to continue the procedure, or No if youÕd like to cancel.
If youÕd like to see the time signature of the currently selected rhythm, turn the Parameter knob until
the display shows:
Rhythm Parameters:
Time Signature: 4/4
i
Time signature of the currently selected rhythm
5.
This display shows you the time signature of the currently selected rhythm. This value is read-only
and cannot be changed.
If youÕd like to see the loop length of the currently selected rhythm, turn the Parameter knob until the
display shows:
Rhythm Parameters:
Loop Length: 4 bars
i
Loop length of the currently selected rhythm
This display shows you the number of bars that makes up one repetition of the currently selected
rhythm. This value is read-only and cannot be changed.
E d i t i n g th e So u n d s Wi t h i n a Rh yt h m Õ s Ki t
Drum Kits and Zones
The ZR-76 drum and percussion kits are extremely powerful. While standard ZR-76 sounds can use as
many as 16 sound waves apiece, each drum or percussion kit uses one of those standard sounds for each
one of its 64 keys! (Drum and percussion kits run from the B two octaves below Middle C to the D three
octaves above.) If youÕd like, you can have a different sound on each key in a ZR-76 drum or percussion
kitÑ64 distinct standard sounds within a single drum or percussion kit sound. Drum and percussion kits
can be created and edited key-by-key in SoundFinder (see Chapter 4).
The drum kits created by ENSONIQÑand located in the DRUM-KIT SoundFinder categoryÑuse a special
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keyboard layout designed for use with the Drum Machine. One of the primary goals of the Drum Machine
was to provide ZR-76 owners with exceptionally realistic rhythms. For this reason, ENSONIQ
commissioned some of the music industryÕs top drummers to record the Drum MachineÕs rhythms using
velocity- and location-sensitive drum pads.
Drum kit sounds that could faithfully give voice to these digital performances would have to provide an
unusually diverse spectrum of articulations for each element of the kit. Every instrument or type of
instrument in drum kit was therefore allocated a region of the keyboard which would provide a different
version of that instrument (or type of instrument) on each key. These regions are called zonesÑevery drum
kit layout has eight of them.
The zones vary in size, according to the number of articulations needed for the instrument or instrument
type they represent. You can find a diagram of the ENSONIQ drum map in Chapter 13.
The Zone Names
Drum kit zones are always named after the components of a standard drum kit:
¥
KICK
¥
TOMS
¥
SNARE
¥
PERC1
¥
HATS
¥
PERC2
¥
CYMBL
¥
PERC3
The ZR-76 drum kits encompass such a huge variety of percussion sounds that the creation of meaningful
percussion zone names would be impossible.
Editing Drum Kit Zones
The ZR-76 provides a way for you to customize the kit used by the currently selected rhythm, zone-byzone. When you edit a zone, you edit all of the shadings of a single drum kit instrument (or instrument
type). This allows you to modify the instrument (or instrument type), and not have to worry about making
sure that all of its articulations will still work together, since theyÕll all be changed at the same time and in
the same way.
The RthmEditKit
The powerful sounds-inside-of-another-sound nature of ZR-76 drum and percussion kits require special
locations within the ZRÕs memory where they can be edited. To allow for the customization of the drum kits
used by rhythms, there is one such location available to the Drum Machine. This special area is an edit
buffer, which actually appears in the form of an editable drum kit called the RthmEditKit.
Some rhythms use kits that are available in the DRUM-KIT SoundFinder category. When a rhythm of this
sort is selected, the RthmEditKit is turned into a copy of the rhythmÕs kit. This provides a means of easily
returning to this original kit should you change your mind after trying out different kits for the rhythm, as
long as you havenÕt edited any of the newly selected kits. Other rhythms use modified versions of the kits
in the DRUM-KIT category. When one of these rhythms is selected, its kit is re-constructed using the
RthmEditKitÑand the rhythm plays the RthmEditKit itself.
The RthmEditKit is the only editable drum kit thatÕs available for use by the Drum Machine. When a
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rhythm uses a kit from the DRUM-KIT category, and you edit the kit using the Drum MachineÕs ÒEdit zone
setting?Ó procedure, the first step is to convert the RthmEditKit into a copy of the rhythmÕs kitÑif this
needs to be done, the ZRÕs display will tell you so. Once this has been taken care of, the rhythm plays the
RthmEditKit so that you can hear your zone edits as you make them. When a rhythm plays the
RthmEditKit to begin with, thereÕs no conversion necessary.
An additional benefit of the RthmEditKit is that you can edit a rhythmÕs kit, try out new kits for the
rhythm, and, as long as you havenÕt edited any of the newly selected rhythms, return to your edited kit by
selecting it from the *CUSTOM SoundFinder category using the ÒAssign rhythm kit?Ó procedure.
You can access the current rhythmÕs RthmEditKit in SoundFinderÑyouÕll find it in the *CUSTOM sound
category, or you can select it via MIDI with bank select 10 and program change 001. The RthmEditKit can
be played from the keyboard or MIDI in the same manner as any other SoundFinder sound.
Tip: You can augment a rhythm by selecting its RthmEditKit in SoundFinder, press the
Drum Machine Start/Stop button and playing alongÑthe Idea Pad will capture both the
rhythm and your performance. You can then send the idea to the 16 Track Recorder, where
your playing will be placed on the track you select, and the rhythm will be sent to the
rhythm track.
The currently selected rhythmÕs RthmEditKit can be borrowed for non-Drum Machine use, though youÕll
want to make sure to save it as a new drum or percussion kit soundÑotherwise, when you pick a new
rhythm in the Drum Machine, the new rhythmÕs RthmEditKit will replace the one youÕve been using
(saving sounds to the ZRÕs internal memory is described in Chapter 4). If youÕd like, you can also use the
RthmEditKit as the basis for your own Drum Machine kit by selecting it in SoundFinder, using standard
SoundFinder drum kit editing procedures to customize it key-by-key, saving the edited kit as a new drum
or percussion kit sound, and then assigning the new kit to a rhythm using the Drum MachineÕs ÒAssign
rhythm kit?Ó procedure. If you plan to try this, be carefulÑany kit resulting from key-by-key editing will
produce unpredictable results when used by a rhythm.
Selecting a Zone to Edit
When you edit the RthmEditKit from within the Drum Machine, you make changes to one zoneÑone drum
kit instrument or type of instrumentÑat a time. The Zone parameter allows you to select the element of the
kit youÕd like to edit. For an explanation of zones, see ÒDrum Kits and ZonesÓ above. If you like to make
any of your changes a permanent part of a rhythm, youÕll need to save the edited rhythm to the ZRÕs
memory (see ÒSaving RhythmsÓ later in this chapter). ItÕs a good idea to save your rhythm to floppy as well
(see Chapter 9).
Note: When you edit a zone, any changes you make will be heard in all of the currently
selected rhythmÕs variations and fills.
To Select a Zone for Editing
1.
Press the Drum Machine Edit button.
2.
Turn the Parameter knob until the display shows "Edit zone settings?"
Drum Machine Edit:
Edit zone settings?
3.
Press Yes if you'd like to continue the procedure, or No if you'd like to cancel.
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The display may show:
Zones not editable!
Copy to RthmEditKit?
4.
5.
This display appears whenever the selected rhythm is playing a drum kit thatÕs available in the
SoundFinder DRUM-KIT category. In order to edit such a kit, it must first be copied into the
RthmEditKit. (The RthmEditKit is explained in ÒThe RthmEditKitÓ earlier in this chapter.)
If this display does not appear, youÕll already be seeing the display shown in step 5. Skip to step 5.
If youÕd like to continue editing this drum kit, press Yes. If youÕd rather not continue, press No.
If you press YesÑor if the ÒZones not editableÓ display did not appearÑthe display will now show:
Select Zone to Edit
Zone= (active) KICK
i
You may see (muted) here
6.
7.
i
The currently selected zone
This display shows which zone is selected, and whether it is muted or active. (you can only edit a zone
when it is active). You can select any of the eight drum kit zones by turning the Value knob.
Turn the Value knob to select the zone you would like to edit.
If the word ÒmutedÓ appears on the bottom line of the display, press the up arrow button to set the
currently selected zone to active.
When the currently selected zone is active, you can edit it by using the Parameter knob to select
parameters, and the Value knob to change their values. A full description of the editing options
available for the ZR-76 drum kit zones can be found below.
Muting a Drum Machine Zone
Each zone in the current rhythmÕs kit can be silenced individually, and turned on again any time you like.
When a zone is audible, itÕs active. When itÕs silenced, itÕs muted.
Note: When you edit a zone, any changes you make will be heard in all of the currently
selected rhythmÕs variations and fills.
To Mute or Unmute a Zone
1.
Press the Drum Machine Edit button.
2.
Turn the Parameter knob until the display shows "Edit zone settings?"
Drum Machine Edit:
Edit zone settings?
3.
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Press Yes if you'd like to continue the procedure, or No if you'd like to cancel.
ENSONIQ ZR-76 Musician's Manual
Chapter 5ÑThe Drum Machine
The display may show:
Zones not editable!
Copy to RthmEditKit?
4.
5.
This display appears whenever the selected rhythm is playing a drum kit thatÕs available in the
SoundFinder DRUM-KIT category. In order to edit such a kit, it must first be copied into the
RthmEditKit. (The RthmEditKit is explained in ÒThe RthmEditKitÓ earlier in this chapter.)
If this display does not appear, youÕll already be seeing the display shown in step 5. Skip to step 5.
If youÕd like to continue editing this drum kit, press Yes. If youÕd rather not continue, press No.
If you press Yes, the display will show:
Select Zone to Edit
Zone= (active) KICK
i
i
You may see (muted) here
6.
7.
The currently selected zone
This display shows which of the drum kit's zones is selected, and whether it is currently muted or
active. You can select any of the eight zones by turning the Value knob.
Turn the Value knob to select the zone you would like to mute or unmute.
You can use the up/down arrow buttons to mute and unmute the currently selected zone. If the zone
is muted, pressing the up arrow button will make it active. If the zone is active, pressing the down
arrow button will mute it.
Use the up/down arrow buttons to mute or unmute the zone as desired.
Changing the Sound Used by a Drum Machine Zone
You can easily replace the sound (or sounds) used in any Drum Machine kit zone. The Zone Snd parameter
allows you to dial in another ZR-76 drum kitÑand the zone youÕre editing will play whatever the selected
kit plays for that zone.
Note: When you edit a zone, any changes you make will be heard in all of the currently
selected rhythmÕs variations and fills.
To Pick a New Sound for a Zone
1.
2.
Use the method described in "Selecting a Zone to Edit" to choose the zone whose sound you'd like to
change.
Turn the Parameter knob until the display shows "Zone Snd=."
The currently selected zone
m
The currently selected rhythm
m
KICK
Pop Soul 1
Zone Snd= R&B Kit 4
i
The kit from which the selected zone is getting its
sound
By turning the Value knob, you can select any of the drum kits in the DRUM-KIT category. The zone
you are editing will get its new sound from its counterpart in the drum kit you select.
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3.
Turn the Value knob or press the up/down arrow buttons to select the drum kit you would like to use
as the source for the zone's new sound.
Changing the Loudness of a Drum Machine Zone
You can alter the volume of each zone in the currently selected drum kit. The Drum Machine Volume
parameter allows you to raise or lower the overall loudness of each zone while retaining the volume
interrelationships among its individual drum keys.
Note: When you edit a zone, any changes you make will be heard in all of the currently
selected rhythmÕs variations and fills.
To Change a ZoneÕs Volume
1.
2.
Use the method described in "Selecting a Zone To Edit" to select the zone whose overall loudness you'd
like to change.
Turn the Parameter knob until the display shows "Zone Volume=."
The currently selected zone
m
The currently selected rhythm
m
KICK
Pop Soul 1
Zone Volume=
+001
i
The amount by which the zoneÕs programmed volume is being raised or lowered
3.
Using the Value knob or the up/down arrow buttons, you can set the Volume parameter anywhere
from -64 to +64. The value you select will be added to or subtracted from the volume setting of each
key in the zone, so that all keys will retain their loudness relative to each other.
Turn the Value knob or use the up/down arrow buttons to set the Volume parameter to the desired
value.
Note: If any sounds in the selected zone are already set to their maximum volume setting,
increasing the setting of the Zone Volume parameter will produce no audible effect.
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Changing the Stereo Placement of a Drum Machine Zone
The Zone Pan parameter allows you to change the stereo location of each zone. Editing this parameterÕs
value shifts the entire zone at once while retaining the stereo positions of its drum keys in relation to each
other.
Note: When you edit a zone, any changes you make will be heard in all of the currently
selected rhythmÕs variations and fills.
To Change a ZoneÕs Stereo Position
1.
2.
Use the method described in "Selecting a Zone To Edit" to select the zone whose stereo positioning
you'd like to change.
Turn the Parameter knob until the display shows "Zone Pan=."
The currently selected zone
m
The currently selected rhythm
m
KICK
Pop Soul 1
Zone Pan=
+001
i
The amount being added to or subtracted from the zoneÕs programmed pan setting
3.
Using the Value knob or the up/down arrow buttons, you can set the Pan parameter anywhere from 127 (hard left) to +127 (hard right). The value you select will be added to or subtracted from the
programmed pan value of each key in the zone, so that all keys will retain their stereo positioning
relative to each other.
Turn the Value knob or use the up/down arrow buttons to set the Pan parameter to the desired value.
Note: If any sounds in the selected zone are already set to their minimum or maximum pan
setting, decreasing or increasing, respectively, the setting of the Zone Pan parameter may
produce no audible effect.
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Assigning a Drum Machine Zone to an Effect
Each zone in a ZR-76 drum kit can be routed to the effect of your choice. This is accomplished by using
the FX Bus parameter to select the appropriate effect for each zone. (Effects are explained in Chapter 8.)
Note: When you edit a zone, any changes you make will be heard in all of the currently
selected rhythmÕs variations and fills.
To Assign a Zone to an Effect
1.
2.
Use the method described in "Selecting a Zone to Edit" to select the zone you'd like to assign to an
effect.
Turn the Parameter knob until the display shows "FX Bus=."
The currently selected zone
m
KICK
FX Bus=
The currently selected rhythm
m
Pop Soul 1
Prog
i
The current effect routing for the selected zone
Using the Value knob or the up/down arrow buttons, you can set the zoneÕs FX Bus to:
¥
ProgÑeach key in the zone will use its programmed FX Bus setting
¥
InsertÑeach key in the zone will use the current insert effect
¥
ChorusÑeach key in the zone will use the global chorus
¥
LightReverbÑeach key in the zone will be heard with a minimal amount of global reverb
¥
MediumReverbÑeach key in the zone will be heard with an averageamount of global reverb
¥
WetReverbÑeach key in the zone will each key in the zone will be heard with the maximum
amount of global reverb
¥
DryÑeach key in the zone will remain un-effected
Note: The current insert effect, chorus and reverb can be edited to taste. See Chapter 8 for
a full description of the ZR-76 effects.
3.
Turn the Value knob or use the up/down arrow buttons to set the FX Bus parameter to the desired
value.
Ti p: The zones in some of the rhythms programmed by ENSONIQÑand found in its ROM or
on the ZRD-100 floppyÑare assigned to the insert effect. You can identify these rhythms by
the word ÒInsertÓ in their names. As you play such a rhythm, try experimenting with
different insert effects (see Chapter 8 to learn how to select insert effects).
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Changing a ZoneÕs Tuning
The Tuning Shift parameter allows you to raise of lower the pitch of each zone in a Drum Machine kit.
Adjusting the Tuning Shift parameter allows you to re-tune the entire zone at onceÑand any tuning
differences between its keys will be maintained.
Note: When you edit a zone, any changes you make will be heard in all of the currently
selected rhythmÕs variations and fills.
To Tune a Zone
1.
2.
Use the method described in "Selecting a Zone to Edit" to select the zone whose pitch you'd like to
change.
Turn the Parameter knob until the display shows "Tuning Shift=."
The currently selected zone
m
The currently selected rhythm
m
KICK
Pop Soul 1
Tuning Shift=
+001
i
The amount being added to or subtracted from the zoneÕs programmed tuning
3.
Using the Value knob or the up/down arrow buttons, you can set the Tuning Shift parameter
anywhere from -127 to +127 semitones on the keyboard. The value you select will be added to or
subtracted from the programmed pitch value of each key in the zone, so that all keys will retain their
pitch relative to each other.
Turn the Value knob or use the up/down arrow buttons to set the Tuning Shift parameter to the
desired value.
Note: If any sounds in the selected zone are already set to their minimum or maximum
pitch setting, decreasing or increasing, respectively, the setting of the Tuning Shift
parameter may produce no audible effect.
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Chapter 5ÑThe Drum Machine
A r r a n g i n g Yo u r Ow n Va r i a t i o n s an d Fi l l s
The ZR-76 Drum Machine is a very flexible deviceÑit allows you to assemble your own variations and fills,
even while the Drum Machine is playing. Each zone in every variation and fill can use a musical phrase
played by its counterpart in other variations or fillsÑincluding those in other rhythms that have the same
time signature and whose variations loop after the same number of measures (this is referred to as a
rhythmÕs loop length).
Ti p: Your ZR-76 protects you from creating impossible mismatches by allowing you to select
only those musical phrases that will work with the rhythm youÕve selected. Even so, if youÕd
like to find out the time signature or loop length of a rhythm youÕre working with, see
ÒLearning a RhythmÕs Time Signature and Length,Ó earlier.
By mixing and matching drum and percussion lines in this manner, you can alter pre-existing variations
and fills to create brand-new ones. These new variations and fills can be used in the same way as the
variations and fills built into your ZR-76. If youÕd like to make your new variations and fills permanent,
you can save them as a new rhythm. See ÒSaving RhythmsÓ later in this chapter.
Ti p: If youÕve got a PC-compatible computer, you can create your own rhythms from scratch
using ENSONIQÕs free RhythmBuilder utility. You can download RhythmBuilder from
http://www.ensoniq.com/binary/rhythmbuilder.exe.
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To Customize a Variation
1.
Press the Drum Machine Edit button.
2.
Turn the Parameter knob until the display shows: "Arrange fills&vars?"
Drum Machine Edit:
Arrange fills&vars?
3.
Press Yes if you'd like to continue the procedure, or No if you'd like to cancel.
If you press Yes, the display will show:
The currently selected variation
m
VAR2
KICK
i
The selected zone
The current rhythm
m
Pop Soul 1
:V2:Pop Soul 1
i
i
The variation and rhythm supplying the zoneÕs musical phrase
The top line shows you the currently selected fill or variation and the currently selected rhythm.
Note: If Ò(m)Ó appears in the top line of the display, the displayed zone is muted in the
selected variation.
4.
5.
6.
If the display shows ÒFILLÓ followed by a number in the top left part of the display, press the Variation
Fill button once so that its Variation LED lights.
Select the variation youÕd like to edit by pressing the appropriate Variations/Fills button. The display
will show the variation youÕve selected in its upper left corner.
The bottom left-hand parameter shows the currently selected zoneÑthe zone whose musical phrase
youÕll be changing. You can select any of the eight zones by turning the Parameter knob.
Select the zone youÕd like to change by turning the left knob.
The currently selected zone is getting its drum or percussion phrase from a variation belonging to the
rhythm shown in the bottom right-hand corner of the display. You can use the right knob to select any
rhythm that has the same time signature and loop length as the rhythm youÕre working on. The zone
you are customizing can use the musical phrase played by its counterpart in any variation of the
rhythm you choose.
Tip: Occasionally, you may find that a particular rhythmÑthat is, one that has the correct
time signature and lengthÑis not available for selection. In such cases, the rhythm youÕre
looking for has nothing of its own to offer, since itÕs playing a musical phrase belonging to
some other rhythm. See ÒExamining a Rhythm to Learn the Source of Its Music,Ó later in
this chapter.
7.
8.
Turn the right knob to select the rhythm you want to use as the source for what the zone will play.
The currently selected zone is getting its drum or percussion phrase from the variation shown in the
center of the bottom line on the display. The ÒVÓ stands for Òvariation,Ó and the number tells you which
variation is being used from the rhythm displayed to its right.
You can use the up/down arrow buttons to choose one of the variations in the rhythm shown on the
right.
Press the up/down arrow buttons to select a variation. The zone you are customizing will play the
musical phrase used by its counterpart in the variation you select.
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Ti p: If youÕd like to silence the selected zone in the variation youÕre arranging, you can easily
do so by pressing the Enter/Yes buttonÑan ÒmÓ will appear in parentheses on the top line
of the display to show that the zone is muted. To turn the zone on, press Enter/Yes again.
9. Repeat steps 6 and above for each of the zones in the variations youÕd like to arrange.
10. If youÕre pleased with your work, save it to FLASH or RAM memory to make the musical phrases youÕve
selected a permanent component of your new rhythm. See ÒSaving Rhythms,Ó later in this chapter. ItÕs
also a good idea to store the rhythm on a floppy disk (see Chapter 9).
Note: If a zone in a variation is programmed to play a musical phrase from a FLASH or RAM
rhythm thatÕs no longer in memory, the zone will be silent, and will show Ò**EMPTY**Ó when
viewed on the Arrange fills&vars display.
To Customize a Fill
1.
2.
Press the Drum Machine Edit button.
Turn the Parameter knob until the display shows: "Arrange fills&vars?"
Drum Machine Edit:
Arrange fills&vars?
3.
Press Yes if you'd like to continue the procedure, or No if you'd like to cancel.
If you press Yes, the display will show:
The currently selected fill
The current rhythm
m
m
FILL3
Pop Soul 1
KICK :F3:Pop Soul 1
i
The selected zone
i
i
The fill and the rhythm supplying the zoneÕs musical phrase
The top line shows you the currently selected fill or variation and the currently selected rhythm.
Note: If Ò(m)Ó appears in the top line of the display, the displayed zone is muted in the
selected variation.
4.
5.
6.
If the display shows ÒVARÓ followed by a number in the top left part of the display, press the Variation
Fill button once so that its Fill LED lights.
Select the Fill youÕd like to edit by pressing the appropriate Variations/Fills button. The display will
show the fill youÕve selected in its upper left corner.
The bottom left-hand parameter shows the currently selected zoneÑthe zone whose musical phrase
youÕll be changing. You can select any of the eight zones by turning the Parameter knob.
Select the zone youÕd like to change by turning the left knob.
The currently selected zone is getting its drum or percussion phrase from a fill belonging to the rhythm
shown in the bottom right-hand corner of the display. You can use the right knob to select any rhythm
that has the same time signature and loop length as the rhythm youÕre working on. The zone you are
customizing can use the musical phrase played by its counterpart in any variation of the rhythm you
choose.
Tip: Occasionally, you may find that a particular rhythmÑthat is, one that has the correct
time signature and lengthÑis not available for selection. In such cases, the rhythm youÕre
looking for has nothing of its own to offer, since itÕs playing a musical phrase belonging to
some other rhythm. See ÒExamining a Rhythm to Learn the Source of Its Music,Ó later in
this chapter.
7.
136
Turn the right knob to select the rhythm you want to use as the source for what the zone will play.
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Chapter 5ÑThe Drum Machine
8.
The currently selected zone is getting its drum or percussion phrase from the fill shown in the center of
the bottom line on the display. The ÒFÓ stands for Òfill,Ó and the number tells you which fill is being
used from the rhythm displayed to its right.
You can use the up/down arrow buttons to choose one of the fills in the rhythm shown on the right.
Press the up/down arrow buttons to select a fill. The zone you are customizing will play the musical
phrase used by its counterpart in the fill you select.
Ti p: If youÕd like to silence the selected zone in the fill youÕre arranging, you can easily do so
by pressing the Enter/Yes buttonÑan ÒmÓ will appear in parentheses on the top line of the
display to show that the zone is muted. To turn the zone on, press Enter/Yes again.
9. Repeat steps 6 and above for each of the zones in the fills youÕd like to arrange.
10. If youÕre pleased with your work, save it to FLASH or RAM memory to make the musical phrases youÕve
selected a permanent component of your new rhythm. See ÒSaving Rhythms,Ó later in this chapter. ItÕs
also a good idea to store the rhythm on a floppy disk (see Chapter 9).
Note: If a zone in a fill is programmed to play a musical phrase from a FLASH or RAM
rhythm thatÕs no longer in memory, the zone will be silent, and will show Ò**EMPTY**Ó when
viewed on the Arrange fills&vars display.
Examining a Rhythm to Learn the Source of Its Music
Many of the rhythms in the ZR-76 are self-contained: the musical phrases that their variations and fills
play are actually part of the rhythm. However, itÕs not uncommon for a rhythmÕs variations and fills to use
patterns that actually belong to another rhythm. When arranging your own variations and fills, you may
want to grab a musical phrase from just such a rhythmÑif you do, youÕll need to know the source of the
rhythmÕs music.
To Learn the Source of a Selected RhythmÕs Music
1.
Press the Drum Machine Edit button.
2.
Turn the Parameter knob until the display shows: "Arrange fills&vars?"
Drum Machine Edit:
Arrange fills&vars?
3.
Press Yes if you'd like to continue the procedure, or No if you'd like to cancel.
If you press Yes, the display will show:
The currently selected variation or fill
m
VAR2
KICK
i
The selected zone
4.
The current rhythm
m
Pop Soul 1
:V2:Pop Soul 1
i
i
The variation or fill and rhythm supplying the zoneÕs musical phrase
The display shows ÒVARÓ or ÒFILLÓ followed by a number in the top left part of the display. This is the
currently selected fill or variation.
If youÕd like to inspect a variation, press the Variation Fill button until the Variation LED lights.
If youÕd like to inspect a fill, press the Variation Fill button until the Fill LED lights.
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Chapter 5ÑThe Drum Machine
5.
6.
Select the specific variation or fill youÕd like to examine by pressing the appropriate Variations/Fills
button. The display will show the variation youÕve selected in its upper left corner.
The bottom left-hand parameter shows the currently selected zone. You can select any of the eight
zones by turning the Parameter knob.
Select the zone youÕd like to examine by turning the left knob.
The remainder of the bottom line shows the name of the rhythmÑand the specific variation or fillÑ
from which the selected zone is deriving its music.
S a v i n g Y o u r Rh y t h m s
Rhythm Storage
Once youÕve edited a rhythm, or constructed a new one by creating your own sets of variations and fills,
youÕll want to save your work. Rhythms can be saved to the ZRÕs internal FLASH rhythm bank, or to a
RAM rhythm bank, if youÕve created one (see Chapter 9 to learn more about FLASH and RAM rhythm
banks).
Ti p: The ZR-76 provides a special memory-management tool called the librarian, described
in Chapter 9.
Individual rhythms, as well as entire FLASH and RAM rhythm banks, can also be stored on 3.5Ó HD or DD
floppy disks. See Chapter 9 to learn how.
Warning: ItÕs always a good idea to immediately save a new or edited rhythm to floppy as a
back-up. This provides a safeguard against accidental erasure or the removal from FLASH
or RAM of any other rhythms the new rhythm may be depending on for musical phrases.
To Save an Edited Rhythm to FLASH or RAM Memory
1.
Press the Drum Machine Save button.
If the System Write Protect parameter is set to Prompt, the display will show:
INT memory is write
protected! Override?
2.
This display is offered as a double-check for you, to make sure you really want to save your rhythm. If
youÕd like to avoid this prompt in the future, see ÒProtecting the ZRÕs MemoryÓ in Chapter 3.
If youÕd like to cancel the operation, press the No button. If youÕd like to proceed, press the Yes button.
The display now allows you to name your rhythm:
Save Rhythm?
New Name=My Rhythm
i
What you see here may be different
You can give your rhythm an 11-character name in one of two ways:
¥
You can spell the rhythm's name on the keyboardÑthe character associated with each key is
printed above the key on the ZRÕs front panel. The C# and D# keys in each octave move the cursor
forward and back on the display (the character currently selected for editing is underlined). The F#
is always a lower case lock, the A# an upper case lock, while the G# types a blank space.
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Note: The keys outside of the range shown above are not used for the naming of rhythms.
¥
You can also use the front panel controls. The up/down arrow buttons are used to select the
character position within the name. The up arrow moves the location to the right, and the down
arrow moves it to the left. The underlined character is selected and may be changed with the Value
knob.
Ti p: You can use the Value knob to access characters unavailable on the keyboard.
3.
4.
Use the front panel controls or the keyboard to name your rhythm.
When youÕve named your rhythm, press the Yes button.
The display shows:
The name youÕve just given your rhythm
m
Save My Rhythm
as:
Rhythm Type=SOUL-R&B
i
What you see here may be different
5.
6.
Use the Value knob to select a rhythm type for your rhythm, so that youÕll be able to easily locate it
later on using RhythmFinder. For a complete list of rhythm types, see Chapter 13.
When youÕve defined a rhythm type, press the Yes button.
The display shows a memory location to which your new rhythm can be saved.
Save into FLS001:000
FLASH
: 5/4 Groove
There are two areas of ZR-76 memory to which you can save a rhythm:
¥
FLASHÑthe more permanent type of memory, which remains intact until you erase it
¥
RAMÑa temporary area of memory thatÕs cleared when you turn your ZR-76 off.
Note: Due to the more permanent nature of FLASH memory, saving a rhythm to FLASH
may take a few extra moments.
7.
If youÕve created a RAM rhythm bank in your ZR, you can turn the Rhythm Type knob to select FLASH
or RAM. If you havenÕt created a RAM sound bank, FLASH is the only setting available. To learn about
FLASH and RAM, and creating a RAM rhythm bank, see Chapter 9.
Select the desired area of memory by turning the left knob.
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The display shows:
Save into FLS001:000
FLASH
: 5/4 Groove
i
The rhythm residing in the currently selected location
You can save your rhythm to an already-occupied location, replacing the rhythm thatÕs saved there, or
you can select an unused location by turning the Value knob until you see Ò**EMPTY**Ó in the lower
right-hand corner of the display.
Save into FLS001:020
FLASH
: **EMPTY**
8.
9.
If youÕd like to, turn the Value knob to select a new location for your rhythm.
When youÕve selected a location for your rhythm, press the Yes button.
The display momentarily confirms the successful completion of your command, and then selects the
newly-saved rhythm.
Warning: When a rhythm is saved to RAM, itÕs a good idea to save it to floppy as well. The
Save LED in the ZRÕs Disk/Global area will flash as a reminder to save your RAM rhythm
bank to floppy before powering down. When your ZR is turned off, it clears its RAM
memory, erasing anything youÕve stored there.
Copying or Renaming a Rhythm, or Changing Its Rhythm Type
If youÕd like to keep a spare copy of a FLASH or RAM rhythm as a backup while you edit the original, you
can use the procedure described in ÒTo Save an Edited Rhythm to FLASH or RAM Memory,Ó above, to
create a safety copy of the rhythm stored in its own memory location (ROM rhythms donÕt require a
backup, since theyÕre permanently stored in the ZRÕs memory). You can also use this procedure to copy
individual rhythms to new locations if you need to re-organize your FLASH or RAM rhythm banks.
You can rename a rhythm by making a copy of it and assigning a new name to the copy.
If youÕd like to re-categorize a rhythm, you can change its rhythm type by making a copy of the rhythm and
assigning a different rhythm type to the copy.
S e n d i n g a Rh yt h m to th e 16 Tr a c k Re c o r d e r
Recording with Drum Machine Rhythms
The ZR-76 Drum Machine rhythmsÑwhich are so useful in performance and provide so much fun when
youÕre jammingÑcan also be the foundation upon which your ZR-76 16-track recordings are built. The
ZRÕs 16 Track Recorder can play Drum Machine rhythms, allowing you to record tracks around them to
create fully realized arrangements for your compositions.
When a sequence in the 16 Track Recorder uses a Drum Machine rhythm, it utilizes track 10 of the
sequence as the rhythm track (to learn what a sequence is, see Chapter 7). As you can see on your ZRÕs
front panel, track 10 is actually labeled as ÒRhythmÓ for this reason.
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You can use the 16 Track Recorder rhythm track to record your selections of variations and fills
throughout a sequence, allowing you to ÒperformÓ the perfect drum part by pressing the Variations/Fills
buttons as you desire, and capturing that ÒperformanceÓ on the 16 Track RecorderÕs rhythm track. You can
also add additional drum or percussion phrases you play on the keyboard, using the sounds in the
rhythmÕs kit. Chapter 7 describes working with the 16 Track Recorder rhythm track in detail.
Rhythms can be sent over to the rhythm track in the 16 Track Recorder in one of two ways. They can be
sent:
¥
¥
as part of an idea captured in the Idea Pad (see Chapter 6 to learn how to send an idea to the 16 Track
Recorder)
directly from the Drum Machine into the current song or into a freshly-created song that uses the
rhythmÕs time signature and tempo
Note: When you edit a rhythm, or create a new one, it must be saved to the ZRÕs FLASH or
RAM memory before it can be used by the 16 Track Recorder. ThereÕs one exception to this
rule: the rhythmÕs current Mix (Expression) setting can be sent with the rhythm to the 16
Track Recorder without first saving the rhythm.
To Send a Drum Machine Rhythm to the 16 Track Recorder
1.
2.
Select the rhythm youÕd like to send to the rhythm track in the 16 Track Recorder using either rhythmselection method described at the beginning of this chapter.
Press the Drum Machine Send To Rhythm Track button.
The display shows:
Select Rhythm Track>
Send To=Current Song
i
What you see here may be different
3.
4.
You can set the Send To parameter to:
¥
Current SongÑso that the Drum Machine rhythm is sent to the Rhythm track in the currently
selected sequence
¥
New SongÑso that your ZR-76 stores the current song in memory, creates a new song, and sends
the selected rhythm to the rhythm track in sequence A in bank 1
Turn the Value knob to select Current Song or New Song.
If youÕd like to send the rhythm somewhere other than the sequence thatÕs currently selected, press
the bank and sequence A-H buttons to select the desired sequence location (Chapter 7 describes using
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Chapter 5ÑThe Drum Machine
5.
the Bank and Sequence A-H buttons).
Press the Rhythm button in the 16 Track Recorder to send the rhythm to the 16 Track RecorderÕs
rhythm track.
Tip: You can press the Yes button instead of the Rhythm button, if you prefer. Pressing No
cancels the procedure.
6.
If youÕve selected New Song, skip to step 9.
If youÕre sending a rhythm into a sequence containing a Standard MIDI File that hasnÕt yet been
converted into a ZR-76 sequence, the No/Yes LEDs will flash, and the display will show:
Align MIDI channels
& add track params?
6.
Answering Yes to this question will organize the Standard MIDI FileÕs tracks into numerical order
according to their MIDI channels, and add a set of ZR parameters to the track to which youÕre sending
the rhythm. Chapter 7 describes using Standard MIDI Files in the ZR-76.
Press the Yes button to convert the Standard MIDI File into a ZR sequence, or No to cancel the
operation.
If youÕre sending a rhythm into a sequence where track 10 is already in useÑfor normal tracks, or a
previous rhythm trackÑthe No/Yes LEDs will flash, and the display will show:
Replace contents of
rhythm track?
7.
Press the Yes button to send the rhythm to track 10, erasing anything currently on the track, or No to
cancel the operation.
If youÕre sending a rhythm into a sequence where any tracksÑor a prior rhythm trackÑhave already
been recorded, the No/Yes LEDs will flash, and the display will show:
Seq tempo/meter will
be used! Proceed?
8.
9.
Since tracks already exist in this sequence, it already has a time signature and tempo. If you choose to
continue with this operation, the rhythm youÕre sending to the 16 Track Recorder will be converted to
the sequenceÕs time signature and tempo.
Press the Yes button to complete the procedure, or No to cancel.
Press the 16 Track Recorder Play button to hear the rhythm. If the rhythm track is the first track in
the sequence, the rhythm will continue playing until the 16 Track Recorder Stop button is pressed.
Note: If you performed the Send To Rhythm Track procedure with a fill selected in the
Drum Machine, the fill will be heard when you press the 16 Track Recorder Play button.
After the fill has played through, the rhythm track will play the last-selected Drum Machine
variation for the current rhythm.
To learn about recording tracks in the 16 Track Recorder, and to learn more about using the rhythm
track, see Chapter 7.
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Chapter 5ÑThe Drum Machine
U s i n g MI D I to Pl a y th e Dr u m Ma c h i n e
Synchronizing the Drum Machine to MIDI Clocks
The ZR-76 Drum Machine can be synchronized to any external MIDI device that can transmit MIDI
clocksÑmost MIDI sequencers and drum machines have this capability.
To Control the Drum Machine from an External MIDI Device
1.
2.
3.
4.
Connect the MIDI output of the external device to the ZRÕs rear-panel MIDI In jack.
Set the external device to transmit MIDI clocks.
Select the desired Drum Machine rhythm any technique described at the beginning of this chapter.
Press the ZRÕs System button.
5.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
6.
7.
Press the Yes button.
Turn the Parameter knob until the display shows:
MIDI Settings:
ClockSource=Internal
i
What you see here may be different
8.
Turn the Value knob to set ClockSource to MIDI.
Note: When ClockSource is set to MIDI, the Drum Machine Start/Stop button is disabled,
and the current rhythmÕs tempo is displayed as ÒMIDI.Ó
9. Press the Select Rhythm button so that the ZR saves its new system setting.
10. Start your external sequencer or drum machineÑthe ZR-76 Drum Machine will follow along.
Note: To return to normal Drum Machine operation, the system ClockSource setting must
be reset to ÒInternal.Ó
MIDI Starting, Stopping and Continuing
The ZR-76 Drum Machine is designed so that rhythms always play from the beginning when the Drum
Machine Start/Stop button is pressed. As a result, when the Drum Machine is being controlled from an
external MIDI device, it starts and stops as expected; however, sending a MIDI continue message from the
external device restarts the selected rhythm, just as if the Drum MachineÕs own Start/Stop button had
been pressed. If youÕd like to control a rhythm via MIDI with full response to start, stop and continue
messages, you can send the rhythm to a rhythm track in the 16 Track Recorder, and synchronize the 16
Track Recorder to MIDI clocks. This provides the added advantage of allowing you to record different
variation and fill selections, as well as additional drum notes, on the rhythm track (Chapter 7 describes
working with the rhythm track).
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Chapter 6ÑThe Idea Pad
C h apt er 6
T h e Id e a Pa d
Th e In s p i r a t i o n Ca t c h e r
The Idea Pad is the answer to a songwriterÕs dream: a device that catches those fleeting flashes of musical
magic that all too often evaporate as suddenly as they appear. The Idea Pad Òlooks over your shoulderÓ as
you play the ZR-76, quietly recording everything you play, and capturing those musical surprises that
often become favorite songs.
Using the Idea Pad is simplicity itselfÑyou never even have to turn it on, since itÕs always listening to what
you play. When youÕve played something youÕd like to hear, simply press the Idea PadÕs Recall Idea button
to hear it played back. If you played something a few moments earlier that youÕd like to check out, you can
choose it from the Idea PadÕs menu, and then play it back.
Listening To The Last Thing You Played
The Idea Pad is designed for those Òwhat was that?Ó moments. When you want to hear what you just
played, the Recall Idea button can play it for you.
To Hear What You Just Played
1.
Press the Recall Idea button.
2.
To hear the idea again, press the Idea Pad Start/Stop button.
Note: You can set up your Idea Pad so that playback of ideas only occurs when you press
the Start/Stop button. See ÒEnabling and Disabling Automatic Playback of Ideas in the Idea
PadÓ later in this chapter for details.
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Chapter 6ÑThe Idea Pad
Listening to Other Ideas in the Idea Pad
The Idea Pad can hold many ideas. Pressing the Recall Idea button reveals a menu of the musical ideas
currently in the Idea Pad.
To Select and Listen to the Ideas In The Idea Pad
1.
Press the Recall Idea button to view the menu of ideas currently in the Idea Pad. The Recall Idea LED
lights.
Note: If the Auto-Start parameter is set to On, the most recently-recorded idea will play (see
ÒEnabling and Disabling Automatic Playback of Ideas in the Idea PadÓ later in this chapter).
The display will show:
Recall Your Ideas:
Idea=
3 of 9
i
The currently selected idea
2.
3.
4.
i
The number of ideas in the Idea Pad
Each idea is assigned a number as itÕs recorded. The higher the number of the idea, the more recent it
is.
You can use the up/down arrow buttons or the Value knob to select the idea youÕd like to hear. If the
Idea PadÕs Auto-Play parameter is set to On, selecting an idea with the up or down button will cause it
to automatically begin playing (see ÒEnabling and Disabling Automatic Playback of Ideas in the Idea
PadÓ below).
Use the Value knob or the up/down arrow buttons to select a idea.
Press the Start/Stop button to begin playback of the idea.
Press the Start/Stop button to end playback of the idea.
H o w th e Id e a Pa d Wo r k s
There are four Idea Pad buttons:
Technically, the Idea Pad is a MIDI recorderÑa sequencerÑthatÕs always recording, capturing your ideas
temporarily into its own area of the ZRÕs memory.
How the Idea Pad Works with SoundFinder
The Idea Pad records everything you play on the keyboard, making note of the sounds you use. When you
listen to your ideas played back, they sound exactly as they did when you first performed them.
While youÕre enjoying the sounds in SoundFinder, your ideas are recorded faithfully without a metronome
timing reference. When you send an idea to the 16 Track Recorder, you can use ENSONIQÕs exclusive delta
quantizing feature to lock your playing into a perfect tempo (delta quantizing is described in Chapter 7). To
learn how to send an idea to the 16 Track Recorder, see ÒSending Ideas to the 16 Track RecorderÓ later in
this chapter.
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Note: SoundFinder presets are designed primarily as performance tools and, as such, are
not sent over to the 16 Track Recorder from the Idea Pad. When an idea using a preset is
captured by the Idea Pad and sent over to the 16 Track Recorder, its note and controller
data are sent; however, only the presetÕs first soundÑthe sound that had been selected
after pressing the Select Sound buttonÑwill be heard on the resulting track. If youÕd like to
use a split and/or layer in the 16 Track Recorder, you can save it as a single sound,
capture your playing in the Idea Pad and send your idea over to the 16 Track Recorder (you
can also send the split/layer single sound directly from SoundFinder). See Chapter 4 to
learn about saving splits and layers as single sounds.
How the Idea Pad Works with the Drum Machine
When youÕre playing along with the Drum Machine, the Idea Pad keeps track of the rhythm youÕre using
and anything you play on the keyboard. It keeps track of when your idea occurred within the rhythm so
that as you play back your idea, everything falls correctly into place. You can select different variations and
fills for your rhythm, and the Idea Pad will record those selections as well, allowing you capture a Drum
Machine ÒperformanceÓ (Chapter 5 describes using the Drum Machine).
Note: If youÕve been editing the rhythm youÕre working with, but have not yet saved those
edits (see Chapter 5), the Idea Pad will play back the unedited version of the rhythm.
When you send your idea to the 16 Track Recorder for further development, the music youÕve played on the
keyboard goes to a track of your choosing, and the rhythmÑincluding your variation and fill selectionsÑ
goes to a special rhythm track in the selected sequence. Chapter 7 describes working with this rhythm
track in detail.
Tip: You can augment a rhythm with additional drum or percussion notes by selecting a
drum or percussion kit sound in SoundFinder, playing along with the rhythm, and sending
the whole thing from the Idea Pad to the 16 Track Recorder. The rhythm will go on the
selected sequenceÕs rhythm track and the additional notes you play will go on a track of
your choosing. If youÕd like to add notes using the same kit as the rhythm uses, select the
rhythm you want to use, and then select the RthmEditKit sound in SoundFinder as your
drum kit sound (youÕll find it in the *CUSTOM SoundFinder category). Once your idea is in
the 16 Track Recorder, you can also use the rhythm track to record even more drum or
percussion notes using the rhythmÕs kit.
How the Idea Pad Works with the 16 Track Recorder
You can play along with a sequence youÕve already createdÑor loaded from floppyÑby selecting a track in
the 16 Track Recorder and letting the Idea Pad capture new musical ideas as you work them out.
When the Idea Pad plays an idea recorded while playing along with the 16 Track Recorder, it conveniently
starts playing the idea immediately, even if it originally occurred somewhere in the middle of the sequence.
When you send the idea to a track in the 16 Track Recorder, itÕs placed into its original rhythmic context
within the selected sequence.
The Idea Pad as an Archive of 16 Track Recorder Performances
While recording tracks in the 16 Track Recorder, you may find yourself recording some tracks over and
over again as you refine your performance. As you record each take, the Idea Pad captures your playing.
The 16 Track Recorder Undo function allows you to undo the most recent takeÑand yet, you may find that
you wish to return to a performance that occurred several takes back. No problem: the Idea Pad is more
than likely to hold that earlier take and a host of others from which you can select your best work. The
number of previous performance held by the Idea Pad is determined by a few factors, discussed below in
ÒHow Big Is the Idea Pad?Ó
To retrieve any take from the Idea Pad, simply select it and send it to the desired track in the 16 Track
Recorder. See ÒSending Ideas to the 16 Track RecorderÓ later in this chapter to learn how this is done.
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Chapter 6ÑThe Idea Pad
How the Idea Pad Knows When A New Idea Has Begun
An idea is simply a piece of music youÕve played. The Idea Pad is smart: it can tell when youÕve begun a
new one. It accomplishes this by paying attention to what you do:
¥
¥
¥
¥
When you select a new sound, the Idea Pad knows the next music you play will be a new idea.
When youÕre playing the keyboard all by itself, pausing lets the Idea Pad know that the next music you
play will be a new idea. (The length of this pause can be adjustedÑsee ÒSetting the Pause Length
Between Separate IdeasÓ later in this chapter.)
When youÕre playing along with the Drum Machine and you select a new rhythm, the Idea Pad knows
that the next music you play will be a new idea.
When you select a new 16 Track Recorder sequence, or press the Play button in the 16 Track Recorder,
the Idea Pad knows that the next music you play on the keyboard will be a new idea.
How Big Is the Idea Pad?
Since the Idea Pad uses memory dynamically, the answer to this question varies. Filling up the Idea Pad is
not linked to any predictable length of time, but rather to the number of notes you play and the amount of
controller activity you generate (using controllers such as the ZRÕs pitch bend and mod wheels, and so on).
The nature of your music determines how many ideas the Idea Pad can hold, regardless of the Idea PadÕs
actual size. There are two possible Idea Pad sizes: 16k and 31k. Even the smaller size can hold dozens and
dozens of ideas. You can use the ZRÕs librarian to choose either size, as described in ÒRe-Sizing the Idea
PadÓ later in this chapter.
What Happens When The Idea Pad Is Filled Up
When the Idea Pad buffer is full, it keeps recording your new ideas, erasing the oldest ideas as it needs to
free up memory. ItÕs a good idea to stop every now and again to see what youÕve captured in the Idea Pad.
Before some new idea takes its place in the Idea Pad, youÕll want to extract the music youÕd like to keep by
sending it over to a sequence in the 16 Track Recorder and then saving the sequence to floppy disk.
Sending ideas to the 16 Track Recorder is described later in this chapter. Saving sequences to disk is
described in Chapter 9.
What Happens to an Idea's Effect In the 16 Track Recorder
When an idea in the Idea Pad is based on a sound using an insert effect, and you send the idea to a track
in the 16 Track Recorder, you can choose whether or not to send the insert effect along with the idea over
to the 16 Track Recorder.
¥
¥
¥
If you choose to send the idea to a track with its insert effect, the track to which you send it will be
routed to the Insert FX Bus.
If you choose to send the idea without its insert effect, the track to which you send the idea will be
routed to the Alt. FX bus of the sound upon which the idea is based (the Alt. FX bus is explained in
Chapter 8).
When you send an idea based on a sound that doesnÕt use an insert effect to a track, the track will be
set to the effect bus routing currently being used in SoundFinder.
Note: After youÕve sent the idea to a track in the 16 Track Recorder, you can manually
change the trackÕs effect bus as you please.
C u s t o m i z i n g th e Id e a Pa d
Enabling and Disabling Automatic Playback of Ideas in the Idea Pad
The Auto-Start parameter allows you to set the Idea Pad to automatically play your ideas as you select
them from the Recall Idea menu by pressing the Recall Idea or up and down arrow buttons. If you select an
idea with the Value knob, it wonÕt play until you press the Idea Pad Start/Stop button. When Auto-Start is
turned off, ideas will only play when you press the Idea Pad Start/Stop button.
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Chapter 6ÑThe Idea Pad
To Determine Whether or Not Ideas Will Play Automatically
1.
Press the Settings button.
2.
Turn the Parameter knob until the display shows ÒAuto-Start=.Ó
Idea Pad Settings:
Auto-Start=
On
i
What you see here may be different
3.
The Auto-Start parameter may be set to:
¥
OffÑideas will not automatically begin playing when they are selected with the up/down arrow
buttons or when the Recall Idea button is pressed
¥
OnÑideas will automatically begin playing when they are selected with the up/down arrow
buttons or when the Recall Idea button is pressed
Use the Value knob or the up/down arrow buttons to set the Auto-Start parameter.
Setting the Pause Length Between Separate Ideas
When the Drum Machine and 16 Track Recorder are not in use, the Idea Pad can ascertain when youÕve
started playing a new idea by the silence between musical phrases. The Idea Timeout parameter
determines the length of time that has to pass before the Idea Pad considers the last idea ended, and
prepares to capture the next one.
To Specify the Period of Silence That Signifies a New Idea
1.
Press the Settings button.
2.
Turn the Parameter knob until the display shows:
Idea Pad Settings:
Idea Timeout=
2.0s
i
What you see here may be different
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Chapter 6ÑThe Idea Pad
3.
The Idea Timeout parameter may be set from 1.0 seconds (1.0s) to 5.0 seconds (5.0s).
Use the Value knob or the up/down arrow buttons to set Idea Timeout parameter to the desired value.
Re-Sizing the Idea Pad
The Idea Pad uses the ZRÕs RAM memory, which it shares with the 16 Track Recorder and Song Editor,
and with any RAM sound or rhythm banks you may have created. Chapter 9 provides an in-depth
discussion of how the ZRÕs memory works. The Idea Pad can be set to two different sizes: 16k and 31k. The
Idea Pad was set to its smaller size when your ZR-76 was shipped from the factory.
Warning: When you re-size the Idea Pad, anything that it currently holds will be lost, as will
anything else in RAM, including sequences. Make sure that you send any ideas that you
donÕt want to lose over to a sequence in the 16 Track Recorder, and that you then save the
sequence to floppy disk for safekeeping before re-configuring the ZRÕs RAM. Sending ideas
to the 16 Track Recorder is discussed later in this chapter; saving a sequence to floppy is
described in Chapter 9.
To Change the Size of the Idea Pad
1.
Press the Librarian button in the Disk/Global section of the ZRÕs front panel.
The No and Yes LEDs will begin to flash, and the display will show:
Librarian Commands:
Set up RAM memory?
i
What you see on the bottom line may be different
2.
3.
Turn the Parameter knob until the display looks as shown above.
The red/green No/Yes flashers begin to flash.
Press Yes if youÕd like to continue, or No if youÕd like to cancel.
If you press Yes, the display will show:
The top line shows the four things for which RAM can be used
m
m
m
m
Song Idea Snds Rthm
215K 16K --- --i
The bottom line shows how the ZRÕs RAM is currently allocated
4.
150
On this display:
¥
ÒSongÓ refers to the 16 Track Recorder and Song Editor
¥
ÒIdeaÓ refers to the Idea Pad
¥
ÒSndsÓ refers to a RAM sound bank
¥
ÒRthmÓ refers to a RAM rhythm bank
When your ZR-76 is shipped from the factory, its RAM memory is allocated to the 16 Track
Recorder/Song Editor and the Idea Pad, as shown above. There is no RAM allocated for RAM sound or
rhythm banks.
Turn the Value knob to allocate the ZRÕs RAM as you desire.
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Chapter 6ÑThe Idea Pad
5.
YouÕll see the allocation of the ZRÕs RAM memory shift as you turn the Value knob. The Idea Pad will
always be either 16k or 31k in size; the difference between the various proportions youÕll encounter
relates to whether or not RAM is set aside for sounds or rhythms, and to the size of the ZRÕs 16 Track
Recorder/Song Editor memory.
When youÕve selected the desired setting, press the Yes button.
The display will show:
Erase all items in
RAM memory?
In order to reconfigure its RAM, the ZR must clear out anything currently stored there. Make sure that
thereÕs nothing in the Idea Pad you want to keep, and that youÕve saved any sequences, songs, RAM
sound or RAM rhythm banks to floppy before continuing with this procedure. Saving to floppy disk is
described in Chapter 9.
Tip: Whenever youÕve added anything to a RAM sound or rhythm bank, sequence or song
that has not yet been saved to floppy disk, the Save LED in the ZRÕs Disk/Global section
flashes. This tells you at a glance whether or not youÕve got any sounds, rhythms,
sequences or songs in RAM that havenÕt yet been stored on a floppy for safekeeping.
6.
Press the Yes button if youÕd like to complete the re-sizing of the Idea Pad, or press the No button to
cancel the operation.
U s i n g th e Id e a Pa d wi t h th e 16 Tr a c k Re c o r d e r
Moving Ideas from the Idea Pad to the 16 Track Recorder
An idea captured in the idea pad may spark the creation of a new song, or it may have a place in a
sequence or song that already exists in the 16 Track Recorder. In either event, the first step in the process
of developing your idea is to send it to the 16 Track Recorder for further work.
Using an Idea as the Basis of a New Song
Using an idea as the foundation of a new song is as simple as moving it from the Idea Pad to the 16 Track
Recorder. If your idea is based on a sound that uses an insert effect, the effect will travel along with your
idea to the 16 Track Recorder.
To Create a New Song From an Idea
1.
Press the Recall Idea button to view the menu of ideas currently in the Idea Pad.
Note: If the Auto-Start parameter is set to On, the most recently-recorded idea will play (see
ÒEnabling and Disabling Automatic Playback of Ideas in the Idea PadÓ earlier in this
chapter).
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2.
3.
You can use the up/down arrow buttons or the Parameter knob to select another idea to send to the
16 Track Recorder. If the Idea PadÕs Auto-Play parameter is set to On, selecting an idea with the up or
down button will cause it to automatically begin playing (see ÒEnabling and Disabling Automatic
Playback of Ideas in the Idea PadÓ earlier in this chapter).
If the Recall Idea button doesnÕt play the idea you want to send, use the up/down arrow buttons or the
Value knob to select the idea youÕd like to use.
Press the Idea Pad Send to Track button.
The Recall Idea, Yes and No LEDs begin to flash, and the display shows:
Select Target Track>
Send To=Current Song
i
What you see here may be different
4.
5.
6.
You can set the Send To parameter to:
¥
Current SongÑso that the idea is sent to a track in the currently selected sequence
¥
New SongÑso that your ZR-76 stores the current song in memory, creates a new song, sends your
idea to a track in sequence A in bank 1, designates the selected track as the sequenceÕs insert
control track, and the insert effect the idea uses becomes the sequence insert effect (the insert
control track and effects are explained in Chapter 8).
Turn the Value knob to select New Song.
If youÕd like to send the idea to a sequence other than sequence A in bank 1, press the Bank and
Sequence A-H buttons to select the desired sequence location (Chapter 7 describes using the Bank and
Sequence buttons).
Select the track to which youÕd like to send your idea by pressing its button in the 16 Track Recorder.
Tip: You can press the Yes button instead of the track button, if you prefer, to send your
idea to track 1. Pressing No cancels the procedure.
Note: If the idea uses a Drum Machine rhythm, the rhythm will be sent to the rhythm track
in the selected destination sequence.
7.
Press the 16 Track RecorderÕs Play button to hear your idea in the 16 Track Recorder.
To learn about using the 16 Track Recorder, see Chapter 7.
Moving A New Idea Into A Pre-Existing Song
The Idea Pad can be useful as a way to work out new ideas for a song or sequence already existing in the
16 Track Recorder. While the recorderÕs playing, you can improvise and capture ideas in the Idea Pad.
When youÕve got one you like, you can use the Send to Track button to incorporate your new idea into the
already-recorded arrangement.
Ti p: If your idea is based on a sound that uses an insert effect, the effect can be sent to the
16 Track Recorder along with the idea.
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To Incorporate an Idea Into a Pre-Existing Song
1.
Press the Recall Idea button to view the menu of ideas currently in the Idea Pad.
Note: If the Auto-Start parameter is set to On, the most recently-recorded idea will play (see
ÒEnabling and Disabling Automatic Playback of Ideas in the Idea PadÓ below).
2.
3.
You can use the up/down arrow buttons or the Value knob to select the idea youÕd like to use. If the
Idea PadÕs Auto-Play parameter is set to On, selecting an idea with the up or down button will cause it
to automatically begin playing (see ÒEnabling and Disabling Automatic Playback of Ideas in the Idea
PadÓ).
Use the up/down arrow buttons or the Value knob to select the idea youÕd like to use.
Press the Idea Pad Send to Track button.
The Recall Idea, Yes and No LEDs begin to flash, and the display shows:
Select Target Track>
Send To=Current Song
i
What you see here may be different
4.
5.
You can set the Send To parameter to:
¥
Current SongÑso that the idea is sent to a track in the currently selected sequence
¥
New SongÑso that your ZR-76 stores the current song in memory, creates a new song, and sends
the idea to a track in sequence A in bank 1
Turn the Value knob to select Current Song.
If youÕd like to send the idea to a sequence other than the one thatÕs currently selected, press the Bank
and Sequence A-H buttons to select the desired location (Chapter 7 describes using the Bank and
Sequence buttons).
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Chapter 6ÑThe Idea Pad
6.
Turn the Parameter knob clockwise so that the display shows:
Select Target Track>
Send= Without Effect
i
What you see here may be different
7.
8.
If the bottom line shown above does not appear on the display, the sound on which the idea is based
does not use an insert effect, and you can skip to step 8.
If the Send parameter is available, as above, you can set it to:
¥
Without EffectÑso that the idea is sent to the 16 Track Recorder, but the insert effect it uses is not
sent
¥
With EffectÑso that the idea is sent to a track in the currently selected sequence, the track is
designated as the sequenceÕs insert control track, and the insert effect the idea uses becomes the
sequence insert effect (the insert control track and effects are explained in Chapter 8).
Turn the Value knob clockwise to select the desired setting.
Select the track to which youÕd like to send your idea by pressing its button in the 16 Track Recorder.
Tip: You can press the Yes button instead of the track button, if you prefer, to send your
idea to the lowest-numbered empty track. Pressing No cancels the procedure.
Note: If your idea uses a Drum Machine rhythm, the rhythm will be sent to the rhythm
track in the selected destination sequence.
If youÕre sending the idea into a sequence containing a Standard MIDI File that hasnÕt yet had its
tracks re-ordered to correspond to their MIDI channels, the No/Yes LEDs will flash, and the display
will show:
Align MIDI channels
& add track params?
9.
Answering Yes to this question will organize the Standard MIDI FileÕs tracks into numerical order
according to their MIDI channels, and add a set of ZR parameters to the track to which youÕre sending
your ideaÑtheyÕll also be added to the sequenceÕs rhythm track if your idea uses a rhythm. Chapter 7
describes using Standard MIDI Files in the ZR-76.
Press the Yes button to proceed, or No to cancel the operation.
If youÕre sending an idea to a track thatÕs already being used, the No/Yes LEDs will flash, and the
display will show:
Replace contents of
target track?
10. Press the Yes button to replace the contents of the selected track with your idea, or No to cancel the
operation.
If your idea uses a rhythm, and the selected sequenceÕs rhythm track is already in useÑfor normal
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tracks, or a previous rhythm trackÑthe display will show:
Replace contents of
rhythm track?
11. Press the Yes button to send the ideaÕs rhythm to track 10, erasing anything currently on the track, or
No to cancel the operation.
If your idea uses a rhythm, and the both the track youÕve selected for your idea and the rhythm track
are already in use, the display will show:
Replace contents of
rhythm & target trk?
12. Press the Yes button to send the idea to the selected track, and the rhythm to track 10, erasing
anything currently on either track, or No to cancel the operation.
If youÕre sending an idea into a sequence where any tracksÑor a prior rhythm trackÑhave already
been recorded, the No/Yes LEDs will flash, and the display will show:
Seq tempo/meter will
be used! Proceed?
Since tracks already exist in this sequence, it already has a time signature and tempo. If you choose to
continue with this operation, the idea youÕre sending to the 16 Track Recorder will be converted to the
sequenceÕs time signature and tempo.
13. Press the Yes button to complete the procedure, or No to cancel.
14. Press the 16 Track RecorderÕs Play button to hear your idea in the 16 Track Recorder.
To learn about using the 16 Track Recorder, see Chapter 7.
E r a s i n g Id e a s fr o m th e Id e a Pa d
Removing a Single Idea from the Idea Pad
There may be times when youÕd like to erase an idea from the Idea Pad. The ÒErase this idea?Ó command
will delete a single idea youÕve selected from the Recall Idea menu.
To Erase A Single Idea From The Idea Pad
1.
2.
Press the Recall Idea button to view the menu of ideas currently in the Idea Pad.
You can use the up/down arrow buttons or the Value knob to select the idea youÕd like to erase. If the
Idea PadÕs Auto-Play parameter is set to On, selecting an idea with the up or down button will cause it
to automatically begin playing (see ÒEnabling and Disabling Automatic Playback of Ideas in the Idea
PadÓ above). Pressing Recall Idea also causes the most recently recorded idea to play.
Use the up/down arrow buttons or the Value knob to select the idea youÕd like to erase.
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Chapter 6ÑThe Idea Pad
3.
Press the Settings button.
4.
Turn the parameter knob until the display shows:
Erase this idea?
Idea :
# 0002
i
The number of the selected idea
5.
If there are no ideas in the Idea Pad to be erased, the display will tell you so.
Press Yes to erase the idea or No to return the Recall Idea menu.
Clearing the Idea Pad
Like any good scratch pad, the Idea Pad can be cleared. Use the Erase All Ideas command to erase all of
the music from the Idea Pad at once.
To Clear the Idea Pad
1.
Press the Settings button.
2.
Turn the Parameter knob until the display shows:
Erase all ideas?
(19 Ideas)
i
The number of ideas currently in the Idea Pad
3.
156
This display will only appear if thereÕs more than one idea currently in the Idea Pad.
Press Yes to erase all of the ideas, or No to return to the Recall Idea menu.
ENSONIQ ZR-76 Musician's Manual
Chapter 7ÑRecording
C h apt er 7
Reco r di n g
The ZR-76 provides a complete MIDI recording environment in which you can transform your ideas into
fully-realized songs. YouÕll find all of the tools you need in two areas of the ZRÕs front panel. The actual
recording of your music occurs primarily in the 16 Track Recorder.
As you record the sections of your new compositions, youÕll want to be able to control certain aspects of
them, be able to listen to them, and be able to edit them in various ways. Eventually, youÕll string the
sections together into complete songs structures. All of these operations occur in the Song Editor, shown
on the next page.
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Chapter 7ÑRecording
Ti p: All of the tracks in the 16 Track Recorder can be mixedÑand can be sent to the ZRÕs
effectsÑin the FX/Mixdown section (see Chapter 8).
Z R - 7 6 Re c o r d i n g C o n c e p t s
How the ZR-76 Records Your Music
The ZR-76 16 Track Recorder is a MIDI sequencer, recording the MIDI information generated by the keys
on the ZRÕs keyboard, by the various ZR controllers, and by the Drum Machine. When the sequencer plays
this data back, it sends it to the areas within your ZR-76 that produce its sounds and effects, and your
music is faithfully reproduced. If your ZR-76 is set up to transmit MIDI, the sequencer will send the
appropriate data out of the ZRÕs MIDI Out jack, as well.
Note: If youÕd like to learn more about MIDI, see ÒWhat Is MIDI?Ó in Chapter 13.
Each musical event the 16 Track Recorder records takes up space in the ZRÕs memory. Unlike conventional
recording media such as tape, when thereÕs no musical activityÑduring rests between notes, for example,
or when youÕre holding a long noteÑno data is required and no memory is used. For this reason, the 16
Track RecorderÕs capacity is gauged in terms of bytes, as opposed to recording time. The 16 Track Recorder
shares memory with the Idea Pad and, if youÕve allocated memory to them, the RAM sound bank and RAM
rhythm bank (Chapter 9 explains the workings of the ZRÕs memory). You can adjust the allocation of the
ZRÕs RAM memory, as described in Chapter 9.
Tracks
Each musical performance that you record is recorded on a track. A track stores the MIDI data
representing the notes that you played, and remembers the sound you used when you made the recording.
It also contains a collection of sound and effect settings that you can use to shape the trackÕs sound to
your taste. The 16 Track Recorder also offers a suite of tools for honing each track to perfection.
The 16 Track Recorder, as its name implies, allows you to record 16 tracks that can be played back at the
same time, synchronized with each other so that they sound as if they were all recorded at once. Heard
together in this way, your tracks can add up to a completely realized musical arrangement.
The ZR-76 16 Track Recorder records at a resolution of 384 ppq (for Òpulses per quarter noteÓ). With every
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quarter note subdivided into 384 segmentsÑcalled clocksÑthe 16 Track Recorder faithfully captures all of
your most subtle rhythmic nuances.
Tracks can be mutedÑsilenced. The can also be soloedÑevery track except for the selected track is
silenced to allow you to listen to that track isolated from the other instruments in the sequence. Muting
and soling tracks is described in Chapter 8.
Track Effects
Each track has its own effect routing setting, so that every instrument in your musical arrangement can be
assigned just the right effect. The ZR-76 effects are described in Chapter 8.
Everything pertaining to tracks can be found in the 16 Track Recorder.
Sequences
A set of up to 16 tracks of recorded MIDI data is called a sequence. A sequence generally contains the
music for one section of a composition, such as a verse, bridge or chorus. The ZR-76 can have up to 24
active sequences at a time. Every sequence has its own sequence button in the ZRÕs Song Editor so that it
can be easily accessed. The sequence locations are organized into three banks of eight sequences, with
each set of eight being labeled with letters, A through H.
Under each sequence button, you can see the name of a section of a song. These are provided as an easyto-remember device to help you organize your sequences. By putting your verse sequences in verse
locations, chorus sections in chorus locations, and so on, you can simple glance at the buttons to easily
recall which sequence is where. If you prefer not to take advantage of these handy labels, you donÕt have to
put a verse in a sequence location named ÒVerse 1,Ó for example. You can actually put any sequence
anywhere.
Selecting sequences is described later in this chapter.
The three banks of eight sequences are referred to as Bank 1, 2 and 3. To switch among them, press the
Bank button. The Bank LEDs tell you which bank is currently selectedÑitÕs the one thatÕs lit.
Note: The state of the Song Playlist LED tells you whether youÕre listening to or editing a
song or single sequence. When itÕs on, youÕre working with a song. When itÕs off, youÕre
working with a sequence.
Sequence Effects
Each ZR-76 sequence can have its own insert effect. The ZR-76 effects are described in Chapter 8.
Everything pertaining to sequences can be found in the Song Editor.
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Chapter 7ÑRecording
Song Playlists and Songs
In the ZR-76, a composition is constructed by making a list of its component sectionsÑeach one a
sequenceÑin the order that youÕd like to hear them. This list is called a song playlist. Once a song playlist
has been assembled, pressing the 16 Track RecorderÕs Play button causes the sequences in the list to play,
one after the other, in the order youÕve chosen. The Song Playlist button provides access to the playlist
creation process, and also selects the current songÕs playlist for playback or editing, if youÕve created one.
In the ZR-76, a song is the collection of materials that make up your composition, including:
¥
a song playlist, if youÕve created one (in musical terms, this is what you might think of as a song)
¥
three sequence banks containing sequences that can be used in your song playlist
¥
a global chorus and global reverb setup
The state of the Song Playlist LED tells you whether youÕre listening to or editing a song playlist or single
sequence. When itÕs on, youÕre working with a song playlist. When itÕs off, youÕre working with a sequence.
Ti p: Whenever you record new music, or edit anything in a song, the Disk/Global Save LED
flashes to remind you that your ZRÕs song memory contains data that hasnÕt yet been saved
to floppy. Since songs are created in RAM memory, itÕs important to save your songs to
floppy before powering off your ZR-76ÑRAM memory is erased when your ZR is turned off.
Song Playlist Effects
Each song playlist also has its own global chorus and global reverb setup that can be utilized by the
sequences it plays. (Each sequence within a song playlist has its own insert effect.) The ZR-76 effects are
described in Chapter 8.
Everything pertaining to songs can be found in the Song Editor.
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Understanding the Recording LEDs
Many of the buttons in the 16 Track Recorder and Song Editor contain LEDs that provide information at a
glance when youÕre recording in the ZR-76.
The Track LEDs
In the 16 Track Recorder, when a track contains dataÑthat is, youÕve recorded something on the trackÑits
LED lights solidly.
Whenever you work in the 16 Track Recorder, there is always a track selected for recording or editing. To
select a track, press its button. When a track is selected, its LED flashes.
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Chapter 7ÑRecording
The Sequence LEDs
In the Song Editor, when a sequence location contains recorded data, its LED solidly lights.
To select a sequence, press its button. The LED of the currently selected sequence flashes.
The Song Playlist LED
When the Song Playlist LED is on, the current song playlist is active, and pressing the 16 Track Recorder
Play, Rewind or Fast Forward buttons will play, rewind or fast-forward the song playlist. The Song Editor
Erase and Misc. buttons will offer song and song playlist editing options.
When the Song Playlist LED is off, all of the 16 Track Recorder and Song Editor buttons will pertain to
tracks and sequences.
I n t r o d u c i n g th e 16 Tr a c k Re c o r d e r
Since the ZR-76 provides such a flexible songwriting environment, you may be coming to the 16 Track
Recorder from one of several directions:
¥
You may have been playing soundsÑperhaps improvising along with the Drum MachineÑand youÕve
captured something you like in the Idea Pad. YouÕve sent that music over to the 16 Track Recorder and
would like to listen to it, and maybe add some new elements to its arrangement. Chapter 6 describes
sending an idea from the Idea Pad to the 16 Track Recorder.
¥
You may have loaded a pre-existing Standard MIDI File from floppy and would like to hear it, and
perhaps add some music of your own on top of it. (See ÒWorking with Standard MIDI Files [SMFs]Ó
later in this chapter.)
¥
You may have recorded some new music right into the 16 Track Recorder
¥
You havenÕt recorded anything on your ZR-76 yet, and want to learn how
This chapter will allow you to take control of the ZRÕs recording facilities. If one of the first three
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possibilities describes you, see the ÒTo Play Back Music in the 16 Track RecorderÓ section immediately
following this one. If youÕre starting with a completely clean slate, you may want to jump ahead to ÒStarting
from Scratch.Ó To most fully understand recording in the ZR-76, youÕll want to read ÒZR-76 Recording
ConceptsÓ at the start of this chapter, if you havenÕt already read it.
To Play Back Music in the 16 Track Recorder
1.
Press the Play button.
2.
Press Stop if youÕd like your idea to stop playing before it has played all the way through.
When the 16 Track Recorder gets to the end of your music, it will stop.
R e c o r d i n g Tr a c k s
The following section provides step-by-step methods for the important basic recording techniques. The ZR76 offers numerous advanced recording possibilities as well, and many options for setting up the sequence
youÕre using so that it suits the way you like to workÑthese are all described fully later on in this chapter.
For the purposes of this section, use your ZRÕs default settings as you get comfortable recording with your
ZR-76.
If you already have some tracks in your sequenceÑperhaps youÕve sent them over from the Idea Pad or
they belong to a Standard MIDI File youÕve loaded from diskÑyouÕll probably want to skip ahead to ÒTo
Record Another TrackÓ below.
To Create a New Sequence
1.
Press a sequence button whose LED is not lit. This will ensure that the sequence location you select is
empty, and you wonÕt be recording over music you donÕt mean to erase.
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Chapter 7ÑRecording
Selecting Tracks
Each track in the 16 Track Recorder is selected individually for recording and editing.
To Select a Track
1.
Press the desired trackÕs button.
Tip: Whenever youÕd like to return to a trackÕs main display, press its button.
Selecting Sounds for Tracks
The first step in recording a track is to pick a sound to record with. This choice doesnÕt need to be
permanentÑyou can change the trackÕs sound at any time you like, even after youÕve recorded your
performance (see ÒChanging the Sound on a Recorded TrackÓ below). The method below can be used for
sending a sound to any track in a sequence, at any stage in the recording process.
To Assign a Sound to a Track With or Without its Effect
1.
Press the Select Sound button.
2.
Use the Sound Type and Sound Name knobs to select the sound you would like to assign to a track.
You can also select a sound by holding down the Select Sound button and spelling the desired soundÕs
name on the ZRÕs keyboard.
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3.
Press the SoundFinder Send To Track button.
If the selected sound uses the global chorus or global reverb as its effect, or no effect at all, the display
will show:
Select Target Track>
If the bottom line of the display is empty, youÕre ready to select a destination track for your sound. You
can skip ahead to step 5.
If the selected sound uses an insert effect, the display will show:
Select Target Track>
Send= Without Effect
4.
5.
If the bottom line of the display begins with ÒSend=,Ó you can use the Value knob to select whether or
not youÕd like the soundÕs insert effect to be installed along with the sound into the current 16 Track
Recorder sequence. (For an explanation of the ZR-76 effects, see Chapter 8.)
If youÕd like to send the insert effect to the current 16 Track Recorder sequence along with the sound,
select ÒWith Effect.Ó
If youÕd like to send the sound without the insert effect, select ÒWithout Effect.Ó
To send the sound and any SoundFinder edits youÕve made to a trackÑwith or without its insert
effectÑpress the desired 16 Track Recorder track button. If you like, you can press the Yes button,
and the sound youÕve selected will automatically be sent to the lowest-numbered empty track in the
current sequence
Ti p: You can also begin recording a track without stopping to send a sound to the 16 Track
RecorderÑsimply begin to record (see ÒRecording Your First TrackÓ below to learn how).
This shortcut is especially helpful when the sound you want to work with doesnÕt use an
insert effect.
Recording Your First Track
Once youÕve selected a sequence location, youÕre ready to begin recording on one of its tracks.
Note: The following steps utilize a shortcut method for choosing a sound for a track in order
to get you recording as quickly as possible. You can also send a sound to a track as
described above in ÒTo Assign a Sound to a Track With or Without its Insert Effect.Ó The
shortcut method does not bring the soundÕs effect into the 16 Track Recorder from
SoundFinder.
To Record the First Track of a New Sequence
1.
Select a sound in SoundFinder that youÕd like to use for your recording.
You can use the Sound Type knob to select the kind of sound you want to use, and the Sound Name
knob to select the specific sound. You can also hold down SoundFinderÕs Select Sound button and
spell the name of the desired sound on the keyboard.
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2.
Press any track button.
3.
The LED in the track button youÕve pressed will begin to flash to show that itÕs selected for recording.
When you begin recording, youÕll immediately hear a four-beat countoff. At the first beat after the
countoff, the 16 Track Recorder will begin recordingÑthatÕs your cue to start playing some music on
the keyboard.
Press and hold the Record button.
4.
While still holding the Record button, press the Play button to begin recording.
5.
When youÕve finished recording, press the 16 Track Recorder Stop button.
To Play Back Your Recording
166
1.
Press the Play button.
2.
Press Stop if youÕd like your new recording to stop playing before it has played all the way through.
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Chapter 7ÑRecording
When the 16 Track Recorder gets to the end of your music, it will stop.
Re-Starting the Sequence Without Stopping It
You can re-press the Play button at any time to return to the top of a sequence without stopping playback.
To Return to the Beginning of a Sequence While itÕs Playing
1.
If the sequence is not playing, press the 16 Track Recorder Play button.
2.
At any point while the sequence is playing, press the Play button again.
The sequence will start playing again from its beginning.
Track Undo
The ZR-76 allows you to undo your last recording, or track copy, erase or quantize procedure. When you
undo a track, whatever was on the track prior to the last recording or procedure is restored. (Sound
selection and parameter edits are not restored using the Undo feature.) Undo retains your track until you
power down, record or perform a procedure on another track, erase a sequence or song, create a new song
or load a sequence, song, collection of songs, ALL-RAM file or a SESSION file from floppy.
Ti p: If you do multiple takes of a performance, theyÕll all be captured in the ZRÕs Idea Pad.
This gives you a catalog of takes to draw from. If you want to retrieve a take from the Idea
Pad, simply send it to the desired track in the 16 Track Recorder using the Idea PadÕs Sent
to Track button. See Chapter 6 to learn how.
To Undo a Recording or Track Editing Command
1.
Press the 16 Track Recorder Edit button.
The display will show:
Track Edit:
Undo Trk01 Bank1: A?
i
This will show the currently selected track, bank and sequence
This display shows you the last track on which you recorded. You can return the displayed track to its
previous state by pressing the Yes button.
Note: If you have not yet recorded anything, or performed any track copy, erase or quantize
procedures in the current song, the display will indicate that there is nothing to undo.
2.
If youÕd like to undo the last recording or procedure on the displayed track, press the Yes button. If
youÕd rather not continue, press No.
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Note: When youÕve taken advantage of the undo function, the undo itself becomes the last
performed track operation. You can undo this event just like any other, using the same
process. This is useful if youÕd like to compare two versions of a track, to hear the effect of
changes you made.
To Record Another Track
1.
2.
Press SoundFinderÕs Select Sound button and use the Sound Type and Sound Name knobs to select
the sound you would like to use on your new track. You can hold down the Select Sound button and
spell the name of the desired sound on the keyboard.
Press a 16 Track Recorder track button whose LED is not lit. This will ensure that the track you select
for recording is empty, and you wonÕt be recording over music youÕve already created.
Ti p: To find out if a track with a flashing LED already contains recorded data, select
another track temporarilyÑif the track youÕre interested in is empty, its LED will not light.
3.
When you begin recording, youÕll immediately hear a four-beat countoff. At the first beat after the
countoff, the 16 Track Recorder will begin recordingÑthatÕs your cue to start playing the keyboard.
Press and hold the Record button.
4.
While still holding the Record button, press the Play button to begin recording.
5.
When youÕve finished recording, press the 16 Track Recorder Stop button.
Overdubbing on a Track
The ZR-76 allows you to add music on top of music already recorded on a trackÑthis is called
overdubbing. This can be a handy tool when building up a percussion part, or filling out chords in a string
arrangement, for example. The overdubbing process utilizes one of the ZRÕs recording modes, which are
described in detail later in this chapter in ÒRecording Modes.Ó
To Overdub a Track
168
1.
2.
Select the track youÕd like to overdub by pressing its button.
Press the Song Editor Record Mode button repeatedly until the Add LED is lit.
3.
4.
Press and hold the Record button.
While still holding the Record button, press the Play button to begin recording. Everything you play
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5.
once recording starts will be added to whatÕs already on the track.
When youÕre finished recording, press the 16 Track Recorder Stop button.
Ti p: In using Add record mode, it is often useful to loop the sequence, or a section of the
sequence. This allows you to keep adding music continuously, without having to manually
play the sequence over and over. For details on looping and setting a region, see ÒUsing
RegionsÓ and ÒLooping SequencesÓ later in this chapter.
When youÕve finished overdubbing, itÕs a good idea to press the Record Mode button again until the
Replace LED is lit. Replace is the normal recording mode, wherein everything you record replaces what
was previously on the track, instead of being added to the earlier data.
Moving On
You can continue recording tracks in your sequence until there are no empty tracks left. (The ZR-76
provides methods for combining tracks to free up room for more music should the need ariseÑsee ÒThe
Copy Button: Replace, Append and MergeÓ later in this chapter.) The rest of this chapter contains
information on the many powerful features of the 16 Track Recorder and Song Editor.
Tr a c k To o l s an d Te c h n i q u e s
For a conceptual introduction to ZR-76 tracks, see ÒZR-76 Recording ConceptsÓ above.
Changing the Sound on a Track and Assigning a Sound to a New Track
You can change the sound on a track at any time. The music youÕve already recorded on the track will play
using the new sound. The following method can also be used to select a sound for a new track.
Ti p: Your ZR-76 can automatically select an appropriate effect for each sound as you select
it for use by a track. See ÒEnabling or Disabling Automatic Effect RoutingÓ in Chapter 3.
To Change the Sound on a Track
1.
Press a track button to select the track whose sound youÕd like to change.
The display will show:
The currently selected track
m
Trk01
Sound=
Your current location in the sequence
m
1.01
Perc B3-PR
i
The sound currently on the track
Note: Every recorded track will show a sound name on its bottom lineÑif Ò*UNDEFINED*Ó
is displayed, a sound has not yet been assigned to the track. If ÒEmptyÓ appears on the top
line of the display, the track has not yet been used for recording.
2.
Press the Enter button. The display will show:
Trk01
FLS001:000
ORGAN-E : Perc B3-PR
i
The currently selected sound type
i
The currently selected sound
This display is much like the display used to select sounds in SoundFinder. You can use the Sound
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Type knob (left) to select any of the SoundFinder sound categories. You can use the Sound Name knob
(right), or the up/down arrow buttons, to choose a sound from the currently selected sound type.
Note: The above display will initially show the sound type of the trackÕs current sound, if it
has one. This is so that you can easily try out sounds in the same family of instruments
just by turning the Value knobÑespecially handy if youÕre trying to find, for instance, the
perfect piano sound for your track.
3.
4.
Use the Sound Type and Sound Name knobs to select a new sound for the track.
When you have selected a new sound, press the Enter button to return to the track page. The display
will show the name of the new sound you selected.
Note: If you change a sound on a recorded track while the sequence is playing, the 16 Track
Recorder will stop when you press Enter.
Scooping Notes From a Track
The ZR-76 allows you to easily remove, or scoop, individual notes out of tracks youÕve recorded. This can
be done while the 16 Track Recorder is playing or when itÕs stopped. In both cases, you can identify the
note you want to remove by playing it on the keyboard.
The ZR-76 can undo the following track procedure. See "Track Undo" earlier in
this chapter for details.
To Scoop Out Notes from a Track as it Plays
1.
2.
Select the track you would like to scoop notes from by pressing its button.
Press the Song Editor Record Mode button repeatedly, until the Add LED is lit.
3.
Press and hold the Record button.
4.
While still holding the Record button, press Play, and then immediately release both buttons. The
sequence will begin recording in Add mode (to learn how to use Add mode, see ÒOverdubbing on a
TrackÓ earlier in this chapter).
5.
6.
As the sequence plays, press and hold the Record button.
While still holding the Record button, press the key on the keyboard that plays the note you would like
to scoop out. For as long as you hold the key down, any occurrences of that note will be erased.
You can continue to hold the Record button and press single keys on the keyboard to erase them as
they occur on the track.
When you are finished scooping notes from the track, press the 16 Track Recorder Stop button.
7.
8.
Note: When you are scooping notes using Add record mode, it is often useful to loop the
sequence, or a region of the sequence. This allows you to erase several notes without having
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to play the sequence over and over. For details on looping and setting a region, see ÒLooping
SequencesÓ and ÒUsing RegionsÓ below.
To Scoop Out Notes from a Track thatÕs Not Playing
1.
2.
Select the track you would like to scoop notes from by pressing its button.
Press and hold the Record button.
3.
While still holding the Record button, press the key on the keyboard that plays the note you would like
to scoop.
The Yes/No LEDs will flash, and the display will show:
The note you selected on the keyboard
m
Erase all (F#4)
notes on this track?
4.
This display is asking if you are sure you want to scoop out the note you selected. You can change the
note to be erased by turning the Value knob, or pressing the up/down arrow buttons.
Press the Yes button to continue the procedure and erase all occurrences of the displayed note from
the trackÑif youÕd rather not continue, you can press No.
Press the Yes button if you want to continue, or press No if you want to cancel the procedure.
Editing Track Sounds
The 16 Track Recorder provides an assortment of parameters for customizing sounds assigned to tracks.
These parameters are identical to those offered in SoundFinder. For a description of each parameter, see
Chapter 4. When you edit the sound on a track, all changes you make are part of the track, not the sound
itself. YouÕll find that if you select the sound for another track, or choose it in SoundFinder, it will still be
in its original, unedited form. To permanently alter a sound, you must edit it in SoundFinder and save it.
The FX/Mixdown section provides quick access to three of the most frequently used track parameters:
¥
¥
¥
the trackÕs Mix (Expression) setting can be changed by turning the Mix knob while the track is selected
the trackÕs Pan setting can be changed by turning the Pan knob while the track is selected
when the track is selected, the trackÕs effect routing is accessed by pressing the Routing button and
turning the Parameter knob until the FX Bus parameter is displayed; while itÕs being displayed, it can
be edited with the Value knob
Chapter 8 describes the workings of the FX/Mixdown strip in detail.
To Edit the Sound on a Track
1.
Press a track button to select the track whose sound you would like to editÑthe display will show:
The currently selected track
m
Trk01
Sound=
Your current bar/beat location in the sequence
m
1.01
Perc B3-PR
i
The sound currently on the track
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Note: If the track youÕve selected does not already have a sound on it, youÕll see
Ò*UNDEFINED*Ó on the bottom line of the display. To assign a sound to this track, see
ÒSelecting Sounds for Tracks.Ó
2.
3.
4.
When this display is showing, you can turn the Parameter knob to select the parameter youÕd like to
edit, and the Value knob to change the setting of the currently selected parameter.
Use the Parameter knob to select the desired parameter.
Use the Value knob to change the selected parameterÕs setting.
If youÕre editing a standard ZR-76 sound, you can now set the selected parameter to any value you
like. For a full description of the editing options available for the ZR-76 sounds, see ÒWorking With The
SoundFinder ParametersÓ in Chapter 4.
If the sound youÕre editing is a drum kit sound on any track other than the rhythm trackÑsince kits
on the rhythm track are only edited in the Drum MachineÑthe following message will appear:
Read-only! Overwrite
SongEditKit to edit?
5.
If youÕd like to proceed, press the Yes button and set the selected parameterÕs value to any setting you
wish. If youÕre unclear about what the displayed question means, see ÒEditing ZR-76 Drum Kit
SoundsÓ in Chapter 4.
Tip: When you select a new sound for a track, any edited parameters will be reset to their
default value for the new sound. You can disable this feature by setting the System
parameter Track ParamReset to Off (see Chapter 3).
The Fast Forward Button
The 16 Track Recorder Fast Forward button has a few special talents. It can:
¥
¥
move through the sequence a measure at a time while the sequence is stopped
move to the next beat while the 16 Track Recorder is playingÑyou can hear your music playing at high
speed as the fast-forward function occurs
Tip: Both functions will speed up if the Fast Forward button is held down.
¥
work in conjunction with the Record button to quickly erase music from a specified point in the track
all the way to the end
To Fast Forward a Measure at a Time
1.
172
If the sequence youÕd like to fast forward is playing, press the 16 Track Recorder Stop button.
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The sequence counter will be in the top right corner of the display.
The selected sequenceÕs name
m
The current bar/beat location in the sequence
m
Big Fun
1.01
Time Signature: 4/4
2.
Press and hold the Fast Forward button to move to the beginning of the next measure in the sequence.
The counter will move forward measure by measure for as long as you hold the button down. If Region
To is off, you can fast forward until the end of the sequence; if Region To is on, you can fast forward
until your reach the Region To location.
To Fast Forward One Beat at a Time
1.
If the sequence youÕd like to fast forward is stopped, press the 16 Track Recorder Play button.
The sequence will begin playing.
The sequence counter will be in the top right corner of the display.
The selected sequenceÕs name
m
The current bar/beat location in the sequence
m
Big Fun
1.01
Time Signature: 4/4
2.
3.
Press the Fast Forward button once to move to the next beat of the sequence.
The sequence will jump ahead and play the next beat, and the counter will show where you are.
If youÕd like to fast forward several beats ahead, you can press and hold the Fast Forward button. The
sequence will jump ahead beat by beat for as long as you hold the button down. If Region To is off, you
can fast forward all the way to the end of the sequence; if Region To is on, you can fast forward up to
the Region To location. The fast forward speed will accelerate as you hold down the button.
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The ZR-76 can undo the following track command. See "Track Undo" earlier in
this chapter for details.
The Fast Forward/Record Shortcut for Erasing a Track
1.
If a sequence is playing, press the 16 Track Recorder Stop button.
2.
Select the track you would like to erase by pressing its button.
The display will show:
The currently selected track
Your current bar/beat location in the sequence
m
m
Trk01
Sound=
1.01
Perc B3-PR
i
The sound youÕve chosen for the track
Note: If thereÕs nothing recorded on the track you selected, youÕll see ÒEmptyÓ in the top line
of the display. If you havenÕt assigned a sound to the track, youÕll see *UNDEFINED* on the
bottom line of the display.
4.
The 16 Track Recorder counter appears in the upper right-hand part of the display, and shows you
where you are in the sequence.
Use the Rewind or Fast Forward buttonÑor the Locate functionÑto set the counter to the point in the
sequence where you would like to start erasing. You can return to the beginning of the sequence to
clean off the entire track, if you like. All of your notes and controller data will be erased from the point
you select to the end of the track.
Press and hold the Record button.
5.
While holding the Record button, press the Fast Forward button.
3.
The display will show:
Erase to the end
of this track?
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6.
This display is asking you if youÕre sure youÕd like to erase all note and controller data in the track
from the location youÕve selected. Pressing Yes will continue the procedure and pressing No will cancel.
If youÕd like to erase all of the music from the current counter location to the end of the track, press
Yes. If youÕd rather not continue, press No.
The Rewind Button
The 16 Track Recorder Rewind button has several special talents. It can:
¥
¥
¥
¥
move to the beginning of the sequence when the 16 Track Recorder is stopped
move to the beginning of the current measure while the 16 Track Recorder is playing
jump to the region From location if From is turned onÑsee ÒUsing RegionsÓ below
when held down, Rewind will move to the beginning of each measure in the current sequence if the 16
Track Recorder is stopped
To Rewind to the Beginning of the Current Sequence
1.
If the sequence you would like to rewind is playing, press the 16 Track Recorder Stop button.
The sequence counter will be in the top right corner of the display.
The selected sequenceÕs name
m
The current bar/beat location in the sequence
m
Big Fun
1.01
Time Signature: 4/4
2.
3.
Make sure the Region From LED is off.
If the From LED is on and the From page is showing, press the From button once to turn it off.
If the From LED is on and the From page is not showing, press the From button twice to turn it off.
Press the Rewind button once to move to the beginning of the current sequence.
The counter will update to show where you are.
To Rewind One Measure at a Time While the Sequence Plays
1.
If the sequence youÕd like to rewind is stopped, press the 16 Track Recorder Play button. The sequence
will begin playing.
The sequence counter will be in the top right corner of the display.
The selected sequenceÕs name
m
The current bar/beat location in the sequence
m
Big Fun
1.01
Time Signature: 4/4
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2.
To rewind to the beginning of the current measure, tap the Rewind button once.
3.
The sequence will play from the beginning of the current measure, and the counter will update to show
where you are.
If youÕd like to move back several measures, press and hold the Rewind button. The counter will move
back measure by measure for as long as you hold the button down. If Region From is off, you can
rewind all the way to the beginning of the sequence; if Region From is on, you can rewind to the Region
From location. The rewind speed will accelerate as you hold down the button.
Ti p: You can disable the rewinding sound if you like. See ÒThe 16 Track Recorder Rewind
SoundÓ in Chapter 3.
To Rewind One Measure at a Time with the Sequence Stopped
1.
If the sequence youÕd like to rewind is playing, press the 16 Track Recorder Stop button.
The sequence counter will be in the top right corner of the display.
The selected sequenceÕs name
m
The current bar/beat location in the sequence
m
Big Fun
1.01
Time Signature: 4/4
2.
To rewind one measure at a time, press and hold the Rewind button.
The counter will move to the beginning of the current measure, and then back one measure at a time.
If Region From is off, you can rewind all the way to the top of the sequence; if Region From is on, you
can rewind to the Region From location. The rewind speed will accelerate as you hold down the button.
Jumping to Any Location in a Sequence
There may be times when youÕll want to start playback of your sequence from somewhere in the middle.
The ZR-76 provides an easy-to-use locate function for this purpose.
To Locate to Any Point in a Sequence
1.
2.
If the sequence is playing, press and release the 16 Track Recorder Stop button.
Press and hold down the 16 Track Recorder Stop button. The display will show:
The current bar/beat location in the sequence
m
Locate:
Go To=
1.01
1.02.001
j
Playback will begin at this bar
176
i
beat
p
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3.
4.
5.
This display will show for as long as you hold the Stop button down. When you release the button, the
counter will jump to the location indicated by the Go To value. You can:
¥
turn the Parameter knob clockwise to move to the beginning of the next measure, and counterclockwise to move to the beginning of the current measure (or to the beginning of the previous
measure if the beat value is 01 and the clock value is 001).
¥
press the up arrow button to move to the beginning of the next beat, and the down arrow button to
move to the beginning of the current beat (or to the beginning of the previous beat if the clock
value is 001).
¥
turn the Value knob clockwise to move to the next clock value, and counter-clockwise to move to
the previous clock value.
Use the knobs and the up/down arrow buttons to set the Go To value to the desired location.
When you release the Stop button, the counter will jump to the location indicated by the Go To value.
Release the Stop button to move to the location you selected as the Go To value.
Press the Play button to play the sequence from the point youÕve selected.
Ti p: When youÕre re-recording a region that begins somewhere in the middle of a sequence,
you can use this feature to create a pre-roll by jumping to a location before the region
begins. This allows you to play along with your music before recording begins. To learn how
to set regions, see ÒUsing RegionsÓ later in this chapter.
Ti p: You can also use the Region From and To buttons to jump to pre-determined locations
within a sequence. See "Using Regions" later in this chapter.
Punching In on a Track
The ZR-76 provides two ways to start recording in the middle of a track as it plays, allowing you to correct
portions of your performance without re-recording the entire track. This process is called punching in. The
16 Track Recorder allows you to punch in by:
¥
¥
Using the 16 Track Recorder controls.
Using a foot switch.
The ZR-76 can undo the following track command. See ÒUndoÓ earlier in this
chapter for details.
To Punch In Using the 16 Track Recorder Buttons
1.
2.
3.
4.
5.
6.
Select the track youÕd like to fix.
Use the Rewind or Fast Forward buttonsÑor the ÒGo ToÓ feature described in ÒJumping to Any
Location in a Sequence,Ó aboveÑto move to a place in the sequence prior to when youÕd like to start
recording.
Press the 16 Track Recorder Play button.
Before the point where youÕd like to start recording, press and hold the 16 Track Recorder Record
button.
While continuing to hold the Record button, press the 16 Track Recorder Play button at the point
where youÕd like to start recording.
The sequencer starts recording immediately, and whatever you play is recorded.
To punch out, press the Stop button.
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The ZR-76 can undo the following track command. See ÒUndoÓ earlier in this
chapter for details.
To Punch In Using a Foot Switch
1.
2.
3.
4.
5.
6.
7.
Connect a foot switch to one of the foot switch jacks on your ZRÕs rear panel (see ÒUsing Foot SwitchesÓ
in Chapter 3 for details).
Using the system ÒSet up foot control?Ó procedure, set the foot switch to RecPlay/Stop (see ÒTo Assign
a Function to a Foot SwitchÓ in Chapter 3 to learn how).
Select the track youÕd like to fix.
Use the Rewind or Fast Forward buttonsÑor the ÒGo ToÓ feature described in ÒJumping to Any
Location in a Sequence,Ó aboveÑto move to a place in the sequence prior to when youÕd like to start
recording.
Press the 16 Track Recorder Play button.
At the point where youÕd like to start recording, press down the pedal youÕve set up for the task.
The sequencer starts recording immediately, and whatever you play is recorded.
To punch out, press the foot switch again, or press the Stop button.
Step Recording in the 16 Track Recorder
Step Recording Concepts
The Step recording mode allows you to easily record notes on a track by entering them, via the keyboard,
at your own pace, regardless of your sequenceÕs eventual tempo.
When you step record a track, the track is divided up into divisions of a beat, called Òsteps.Ó With the
sequence at rest, you enter notes and sustain/sostenuto pedal presses at their desired locations.
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You proceed to advance step by step through the track, placing the desired notes, chords or
sustain/sostenuto pedal presses at the appropriate steps.
Notes are recorded at the velocity with which theyÕre played on the keyboard. By paying attention to the
velocities at which you play your notes, you can help simulate a natural sound.
Chords can be recorded by playing all of the notes in the chord simultaneously or one at a time.
During playback, a step-recorded track plays at the sequenceÕs normal tempo, causing all the notes and
pedal presses youÕve entered to sound as if they were performed normally. Step recording is ideal for
impossible-to-play passages, or for times when a not-quite-human-sounding performance is desired.
The ZR-76 provides a number of options for customizing the step-recording experience to suit your way of
working. These options are accessed during the step-recording process itself.
To Record a Track Using the Step Recording Feature
1.
2.
Select the track youÕd like to record.
Press the Record Mode button in the ZRÕs Song Editor section repeatedly until the Step LED is lit.
3.
Hold down the 16 Track Recorder Record button.
4.
While continuing to hold down the Record button, press the Play button.
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5.
Let go of both buttons.
At this point, the 16 Track Recorder is in step-record mode, ready to record notes played on the
keyboard. However, itÕs best to set up all of the step-record options before actually playing any notes
on the keyboard or pressing the sustain or sostenuto pedal. For this tutorial, donÕt play your keyboard
until instructed to do so! (If you already have, press the Stop button, the 16 Track Recorder Edit
button, Yes, and then return to Step 3.)
The display shows:
The track being recorded
m
Trk01
Time=
The size of the steps to be used
m
Step:
1/4
1.01.001
i i
i
The trackÕs current bar, beat and clock
6.
The Time display shows the location in the track at which any notes played on the keyboard will be
entered. As recording progress, the Time value will increase as you make your way through the track,
as we shall see.
Turn the Parameter knob until the display shows:
Trk01
Step:
Step Size=
1/4
1/4
i
The size of each step at which notes and pedal presses can be entered
7.
When this display is shown, you can set the step size for your recording. You can select any of the
following note values:
1/1
1/8T
1/1T (ÒTÓ signifies a triplet)
1/16D
1/2D (ÒDÓ signifies a dotted note)
1/16
1/2
1/16T
1/2T
1/32D
1/4D
1/32
1/4
1/32T
1/4T
1/64D
1/8D
1/64
1/8 1/64T
Turn the Value knob to select the desired step size.
Ti p: The Step Size settingÑas well as all of the settings belowÑcan be changed as you make
your way through the track. This allows you to vary the nature of the notes you enter so
that youÕre not locked in to using only one type of note for your entire track.
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8.
Turn the Parameter knob until the display shows:
Trk01
Step:
Gate Time=
1/4
Step
i
The length of each note entered during step recording
Ti p: If youÕd find it more convenient to press a button than turn the Parameter knob, you
can press the No button to move forward through the Step Record parameter pages.
When this display is shown, you can set the length of each note entered from the keyboard. You can
select:
1/1
1/8T
1/1T (ÒTÓ signifies a triplet)
1/16D
1/2D (ÒDÓ signifies a dotted note)
1/16
1/2
1/16T
1/2T
1/32D
1/4D
1/32
1/4
1/32T
1/4T
1/64D
1/8D
1/64
1/8 1/64T
StepÑWith this setting, the duration of each note you enter will equal the current step size.
Note: The Gate Percentage parameter, described below, allows you to fine-tune the noteÕs
length in relation to the selected Gate Time value.
HeldÑWith this setting, each noteÕs length will be set by holding down the desired key or
keys, advancing the trackÕs Time value, and releasing the key at its desired ending
time. (The Gate Percentage setting has no effect when Gate Time=Held.)
9. Turn the Value knob to select the Gate Time value.
10. Turn the Parameter knob until the display shows:
Trk01
Step:
1/4
Gate Percentage= 80%
i
This shows for what percentage of the selected Gate Time each note will last
If youÕve set Gate Time to Held (see Steps 8 and 9), skip to Step 12 (the setting of the Gate Percentage
parameter will have no effect).
When this display is shown, you can shorten the length of each note by reducing the selected Gate
Time value by percentage.
Ti p: A Gate Percentage setting of 80% provides an approximation of the way notes would
sound had they been played into the 16 Track Recorder in a standard, non-step recording
mode. Higher settings will make notes sound more legato, while lower settings will cause
the notes to be more stacatto.
11. Turn the Value knob to fine-tune the duration of each note.
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12. Turn the Parameter knob until the display shows:
Trk01
Step:
Auto-Step=
1/4
Off
i
This shows whether the 16 Track Recorder will advance automatically when notes are played
The Auto-Step function allows you to set the 16 Track Recorder so that it will automatically move
forward in time, step-by-step, after each note or chord is played.
13. Set Auto-Step to the desired value.
Ti p: The 16 Track Recorder will interpret notes played close togetherÑwithin 100
milliseconds of each otherÑto be a chord. When Auto-Step is on, notes played further apart
will be interpreted as belonging to separate steps, and will cause the track to advance. If
youÕd like to play the notes in a chord one-by-one, set Auto-Step to Off. This will allow you
to play as many notes as you like before advancing the track manuallyÑall of the notes will
be recorded at the same step, and will play back simultaneously as a chord.
Having now set all of the step-record options as youÕd like them, youÕre now ready to record.
14. Turn the Parameter knob counterclockwise until the Time display is once again visible.
Trk01
Time=
Step:
1/4
1.01.001
The Time field on the lower line shows where you are in the track.
15. If youÕd like to record a note or chord at the displayed time location, play it on the keyboard. If AutoStep is off, you can play multiple notes that will be recorded onto the track at the displayed time
location, and which will be heard as a chord when played back. (If Auto-Step is on, you can record a
chord by playing all the notes at once.)
If youÕve set Auto-Step to On, the 16 Track Recorder will advance to the next step, as shown on the
display.
Sustain and sostenuto pedal presses are recorded by holding down the appropriate pedal at the step at
which youÕd like the pedal press to begin, and keeping the pedal depressed until you reach the step at
which youÕd like the pedal press to end.
If youÕd like to place your first note(s) further into the track, skip to Step 17.
16. If Auto-Step is off, press the Enter button to advance the track to the next stepÑthe display will reflect
the movement. If youÕd like to advance to the next beatÑas opposed to the next stepÑpress the Play
button. You can press the Fast Forward button to advance the track to the next measure.
Regardless of the Auto-Step setting, you can always move forward through a track by pressing the
Enter, Play or Fast Forward buttons.
Note: Just as in life, you cannot move backward in time (as far as we know so far).
17. If youÕd like the music to begin somewhere past the first step in your track, press the Enter button
repeatedly to reach the desired step.
Note: Advancing through the steps in a track during step recording erases the data located
at those steps.
18. Repeat Steps 14-16 until youÕve finished entering all of the notes, chords and/or sustain/sostenuto
pedal presses youÕd like to record on the track.
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19. Press the Stop button.
Your track has now been step-recorded.
20. Press Play to hear the new recording.
The Copy Button: Replace, Append and Merge
The 16 Track Recorder provides three ways to copy tracks within sequences.
You can attach the beginning of one track to the end of another using the Append copy method:
When using the Replace and Merge copy methods, you can copy a complete track or a specific element of a
track, such as:
¥
track parameters onlyÑthis includes the sound chosen for the track, as well as any edits made to the
sound
¥
track data onlyÑthis includes the note data as well as the controller data generated by devices such as
the pitch bend or mod wheels
¥
within regionÑyou can select a time period within the track.
When youÕve selected what part of a track you want to copy, you can then decide how you want to paste
the data youÕve chosen into the destination track youÕll select:
¥
You can paste it so that it replaces any data already present on the destination track.
¥
You can merge the data with any data already present on the destination track.
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The ZR-76 can undo the following track command. See "Track Undo" earlier in
this chapter for details.
To Use the Track Copy Functions: Append, Replace and Merge
1.
Select the track youÕd like to work with.
The display will show:
The currently selected track
Your current location in the sequence
m
m
Trk01
Sound=
1.01
Perc B3-PR
i
The sound youÕve chosen for the track
Note: If thereÕs nothing recorded on the track you selected, youÕll see ÒEmptyÓ in the top line
of the display.
2.
Press the 16 Track Recorder Copy button.
The display will show:
The currently selected track
m
Copy track 1?
Scope= Entire Track
i
The element of the track to be copied
You can turn the Value knob or press the up/down arrow buttons to set the Scope parameter to the
desired setting. The Scope parameter controls what element of the track youÕre copying, and may be
set to:
¥
Within RegionÑto copy the note and controller data found within the currently selected region.
This setting is only available if Region From or To is on (for more information on regions, see
ÒUsing RegionsÓ later in this chapter).
¥
Trk Data OnlyÑto copy the notes and controller data from the whole track
¥
TrkParams OnlyÑto copy the trackÕs sound and any edits youÕve made to the sound
Note: You can append only entire tracksÑif you plan to use this feature, donÕt select Within
Region, Trak Data Only or TrkParams Only. Also, track parameters from one track canÕt be
merged with another trackÑif you plan to use the merge feature, avoid TrkParams Only.
¥
3.
184
Entire TrackÑto copy the sound and sound edits, as well as the notes and controller data from the
whole track
Turn the Value knob, or press the up/down arrow buttons to set the Scope parameter to the desired
choice.
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4.
Turn the Parameter knob so the display shows:
The currently selected track
m
Copy track 1?
Paste=
Replace
i
This shows the process to be performed upon the copied data
Note: This parameter will not appear if the Scope parameter is set to ÒTrkParams Only.Ó
The Paste parameter allows you to control how the note data you are copying will interact with data
found at the track location youÕll choose as your destination for this process. You can turn the Value
knob, or press the up/down arrow buttons to set the Paste parameter to:
¥
AppendÑto paste the currently selected track to the end of the destination track
¥
ReplaceÑto replace any existing data on the destination track with the data you are copying. Use
this option when youÕre copying an entire track to a new location. If thereÕs anything recorded on
the destination track, it will be replaced by the track data youÕre copying.
¥
MergeÑto combine the data you are copying with the data on the destination track
Note: If youÕve set Scope to TrkParams Only, the Append and Merge options will not be
visible. If youÕve selected Within Region or Trk Data Only, Append will not be available.
5.
6.
Turn the Value knob or use the up/down arrow buttons to set the Paste parameter to the desired
value.
Turn the Parameter knob.
If the Paste parameter is set to ÒAppendÓ or ÒReplace,Ó the display will show:
The currently selected track
m
Copy track 1?
Dest Seq=
Bank1: A
i
This shows the target sequence location for the selected process
Note: If Paste=Merge, this display will not appear. Tracks can be merged only with other
tracks in their sequence.
7.
The Destination parameter lets you select the sequence into which your track will be copied.
Select the destination sequence location by pressing its Bank and Sequence buttons (see ÒSelecting a
SequenceÓ later in this chapter). If you prefer, use the Value knob or the up/down arrow buttons to
select the sequence to which youÕd like to send the selected data.
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8.
Turn the Parameter knob until the display shows:
The currently selected track
m
Copy track 1?
Destination Track= 2
i
This shows the target track for the selected process
The Destination Track parameter sets which track within the selected sequence will receive the data.
Select the destination track by pressing its button in the 16 Track Recorder. If you prefer, use the
Value knob or the up/down arrow buttons to set the Destination parameter to any of the selected
sequenceÕs 16 tracks.
10. If Paste is set to Replace or Merge, skip to Step 12.
If Paste is set to Append, turn the parameter knob until the display shows:
9.
The currently selected track
m
Copy track 1?
Dest Time= 1.01.001
i
This shows the location in the selected track to which the data will be applied
The ZR-76 can position your data anywhere in the destination track.
11. Use the Parameter knob to select the measure, beat or clock setting and turn the Value knob to change
the Dest Time parameter to the desired value.
12. Press Yes to execute the selected process, or No if youÕd like to cancel.
Erasing a Track
The 16 Track Recorder allows you to delete an entire track, including any music it contains, as well as its
sound assignment and track settings.
The ZR-76 can undo the following track command. See "Track Undo" earlier in
this chapter for details.
To Erase an Entire Track
1.
Select the track that you would like to erase.
The display will show:
The currently selected track
m
Trk01
Sound=
Your current location in the sequence
m
1.01
Perc B3-PR
i
The sound youÕve chosen for the track
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Note: If thereÕs nothing recorded on the track you selected, youÕll see ÒEmptyÓ in the top line
of the display.
2.
Press the 16 Track Recorder Erase button.
The display will show:
The currently selected track
m
Erase track 1?
Scope= Entire Track
i
This shows what portion of the track will be erased
3.
4.
The Scope parameter controls what aspects of the track are erased. You can turn the Value knob or
use the up/down arrow buttons to set the Scope parameter to:
¥
Within RegionÑto erase a specific kind of data from the portion of the track defined by the region
settings. This setting is only available if Region From or To is on (for more information on regions,
see ÒUsing RegionsÓ)
¥
Trk Data OnlyÑto erase a specific kind of data from the whole track
¥
Entire TrackÑto remove the trackÕs sound and track parameter settings and erase all note and
controller data from the whole track
Turn the Value knob, or use the up/down arrow buttons to set the Scope parameter to Entire Track.
Press Yes to erase the entire track, or No if youÕd like to cancel the procedure.
The ZR-76 can undo the following track command. See "Track Undo" earlier in
this chapter for details.
Erasing Specific Elements of a Track
The 16 Track Recorder allows you to select, with considerable specificity, the elements of a track that youÕd
like to erase.
To Erase a Pitch Range from a Track
1.
Select the track that you would like to erase.
The display will show:
The currently selected track
Your current location in the sequence
m
m
Trk01
Sound=
1.01
Perc B3-PR
i
The sound youÕve chosen for the track
Note: If thereÕs nothing recorded on the track you selected, youÕll see ÒEmptyÓ in the top line
of the display.
2.
Press the 16 Track Recorder Erase button.
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The display will show:
The currently selected track
m
Erase track 1?
Scope= Entire Track
i
This shows what portion of the track will be erased
3.
4.
The Scope parameter determines what aspects of the track will be erased. You can turn the Value knob
or use the up/down arrow buttons to set the Scope parameter to:
¥
Within RegionÑto erase a selectable type data from a portion of the track as defined by the region
settings. This setting is only available if Region From or To is on (for more information on regions,
see ÒUsing RegionsÓ later in this chapter).
¥
Trk Data OnlyÑto remove a selectable type of data from the entire track
¥
Entire TrackÑto erase the track altogether, including all of its note and controller data, as well as
its sound assignment and settings
Turn the Value knob, or use the up/down arrow buttons to set the Scope parameter to either Trk Data
Only or Within Region.
If youÕd like to continue the procedure, press Yes. If youÕd rather not continue, press No.
If you press Yes, the display will show:
Erase track 1?
Event=
All Types
i
This shows what type of data will be erased from the track
5.
6.
The Event parameter allows you to select the type of data be erased from the portion of the track you
selected with the Scope parameterÑeither a region within the track or the whole track. You can turn
the Value knob or use the up/down arrow buttons to set the Event parameter to:
¥
All TypesÑto erase all notes and controllers
¥
Pitch BendÑto erase pitch bend events
¥
PressureÑto erase channel and key pressure events
¥
Bank&ProgramÑto erase bank and program changes
¥
ControllerÑto erase events of a particular controller number that you select
¥
Note RangeÑto erase notes that fall within an area of the keyboard that you specify
Turn the Value knob or use the up/down arrow buttons to set the Scope parameter to Note Range.
Press the Yes button. The display shows:
Erase track 1?
Low Key=
A0
i
The lowest note to be erased
The Low Key parameter represents the bottom of the note rangeÑany note that falls between the Low
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7.
8.
Key value and the High Key value will be erased. The Low Key parameter can be set to any value below
the High Key from A0 to C8. C4 is middle C on the ZRÕs keyboard.
Set the Low Key value by pressing the desired key on the keyboardÑthe key you select will become the
Low Key value. If you prefer, you can turn the Value knob or press the up/down arrow buttons to set
the Low Key value.
Press the Yes button. The display shows:
Erase track 1?
High Key=
C8
i
The highest note to be erased
The High Key parameter represents the top of the note rangeÑany note that falls between the Low Key
value and the High Key value will be erased. The High Key parameter can be set to any value above the
Low Key from A0 to C8.
9. Press the desired key on the keyboard, turn the Value knob or press the up/down arrow buttons to set
the High Key parameter to the desired value.
10. Press Yes to erase the notes within the note range you selected, or press No to cancel.
The ZR-76 can undo the following track command. See "Track Undo" earlier in
this chapter for details.
To Erase a Specific Numbered Controller
1.
Select the track that you would like to eraseÑthe display will show:
The currently selected track
Your current location in the sequence
m
m
Trk01
Sound=
1.01
Perc B3-PR
i
The sound youÕve chosen for the track
Note: If thereÕs nothing recorded on the track you selected, youÕll see ÒEmptyÓ in the top line
of the display.
2.
Press the 16 Track Recorder Erase button.
The display will show:
The currently selected track
m
Erase track 1?
Scope= Entire Track
i
This shows what portion of the track will be erased
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3.
4.
The Scope parameter controls what aspects of the track are erased. You can turn the Value knob or
use the up/down arrow buttons to set the Scope parameter to:
¥
Within RegionÑto erase a selectable type data from a portion of the track as defined by the region
settings. This setting is only available if Region From or To is on (for more information on regions,
see ÒUsing RegionsÓ later in this chapter).
¥
Trk Data OnlyÑto remove a selectable type of data from the entire track
¥
Entire TrackÑto erase the track altogether, including all of its note and controller data, as well as
its sound assignment and settings
Turn the Value knob or use the up/down arrow buttons to set the Scope parameter to either Trk Data
Only or Within Region.
If youÕd like to continue the procedure, press Yes. If youÕd rather not continue, press No.
If you press Yes, the display will show:
Erase track 1?
Event=
All Types
i
This shows what type of data will be erased from the track
5.
6.
The Event parameter allows you to select what kind of data will be erased from the portion of the track
selected with the Scope parameter. You can turn the Value knob or use the up/down arrow buttons to
set the Event parameter to:
¥
All TypesÑto erase all notes and controllers
¥
Pitch BendÑto erase pitch bend events
¥
PressureÑto erase channel and key pressure events
¥
Bank&ProgramÑto erase bank and program changes
¥
ControllerÑto erase events of a particular controller number that you select
¥
Note RangeÑto erase notes that fall within an area of the keyboard that you specify
Turn the Value knob or use the up/down arrow buttons to set the Scope parameter to Controller.
Press the Yes button. The display shows:
Erase track 1?
Cntrl=BankSelect#000
i
This shows the kind of controller data to be erased
7.
8.
The Cntrl parameter can be set anywhere from MIDI controller #000 to MIDI controller #120, using the
Value knob or the up/down arrow buttons.
Turn the Value knob or press the up/down arrow buttons to set the Cntrl parameter to the desired
value.
Press Yes to complete the procedure, erasing events of the controller number you specified, or press No
to cancel the procedure.
The ZR-76 can undo the following track command. See "Track Undo" earlier in
this chapter for details.
To Erase Various Types of Data From a Track
1.
190
Select the track that you would like to erase.
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The display will show:
The currently selected track
Your current location in the sequence
m
m
Trk01
Sound=
1.01
Perc B3-PR
i
The sound youÕve chosen for the track
Note: If thereÕs nothing recorded on the track you selected, youÕll see ÒEmptyÓ in the top line
of the display.
2.
Press the 16 Track Recorder Erase button.
The display will show:
The currently selected track
m
Erase track 1?
Scope= Entire Track
i
This shows what portion of the track will be erased
3.
4.
The Scope parameter controls what aspects of the track are erased. You can turn the Value knob or
use the up/down arrow buttons to set the Scope parameter to:
¥
Within RegionÑto erase a selectable type data from a portion of the track as defined by the region
settings. This setting is only available if Region From or To is on (for more information on regions,
see ÒUsing RegionsÓ later in this chapter).
¥
Trk Data OnlyÑto remove a selectable type of data from the entire track
¥
Entire TrackÑto erase the track altogether, including all of its note and controller data, as well as
its sound assignment and settings
Turn the Value knob, or use the up/down arrow buttons to set the Scope parameter to either Trk Data
Only or Within Region.
If youÕd like to continue the procedure, press Yes. If youÕd rather not continue, press No.
If you press Yes, the display will show:
Erase track 1?
Event=
All Types
i
This shows what type of data will be erased from the track
The Event parameter allows you to select what kind of data will be erased from the portion of the track
selected with the Scope parameter. You can turn the Value knob or use the up/down arrow buttons to
set the Event parameter to:
¥
All TypesÑto erase all notes and controllers
¥
Pitch BendÑto erase pitch bend events
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5.
6.
¥
PressureÑto erase channel and key pressure events
¥
Bank&ProgramÑto erase bank and program changes
¥
ControllerÑto erase events of a particular controller number that you select
¥
Note RangeÑto erase notes that fall within an area of the keyboard that you specify
Turn the Value knob or use the up/down arrow buttons to set the Event parameter to the desired
value (if youÕd like to erase a range of notes or controllers from the track, see the previous how-toÕs).
Press Yes to erase events of the type you selected, or press No to cancel the procedure.
Quantizing Tracks Conceptual Overview
The ZR-76 provides powerful tools for refining the timing of any recorded track through quantizing. This
section explains quantization in the ZR-76. The ÒQuantizing TracksÓ section immediately following this one
offers step-by-step instructions for using the ZR-76 quantization tools.
When you quantize the notes youÕve recorded on a track, you shift them in time to correspond with
specified rhythmic divisions of the sequenceÕs tempo.
This illustration represents an extremely simple example of quantization. Your ZR-76 contains a full
complement of advanced quantizing tools that work together in useful ways. These are described below.
Templates
Since the many ZR-76 quantize options all work together, you may find that youÕre using certain
combinations and settings frequently. You can save any of these quantization setups as a template. Once
youÕve created a template, selecting it automatically puts all of your quantize settings in place for you. Your
ZR provides four of these user-definable templates that can be stored in its FLASH memory so that theyÕre
there whenever you need themÑyou can also use them as starting points for new setups. Your ZR-76 also
has a selection of templates pre-programmed for your use.
Note: When a template has been changed and has not yet been saved as a user template,
itÕs name will be displayed as Ò**EDITED**.Ó
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Quantize To
The Quantize To parameter determinesa division of the current sequenceÕs tempo. This forms the basic
metric grid to which the notes on the selected track will be aligned.
The Quantize To parameter can be set to the following divisions of the sequenceÕs tempo:
¥
¥
¥
¥
¥
¥
¥
1/1Ñwhole notes
1/2Ñhalf notes
1/4Ñquarter notes
1/8Ñeight notes
1/16Ñsixteenth notes
1/32Ñthirty-second notes
1/64Ñsixty-fourth notes
¥
¥
¥
¥
¥
¥
¥
1/1TÑwhole-note triplets
1/2TÑhalf-note triplets
1/4TÑquarter-note triplets
1/8TÑeight-note triplets
1/16TÑsixteenth-note triplets
1/32TÑthirty-second-note triplets
1/64TÑsixty-fourth-note triplets
Note: The quantize parameters work together, affecting the manner in which each
parameter ultimately behaves.
Quantize Methods
The ZR-76 offers two distinctly different methods of quantization:
¥
NormalÑtraditional quantization
¥
DeltaÑan exclusive ENSONIQ method for quantizing tracks recorded without a rhythmic reference
Normal, traditional quantization is the process of moving the beginning of each note on a track to the
nearest occurrence of the metric value selected with the Quantize To parameter. This method works best
when the music youÕve recorded is only somewhat out of timeÑif itÕs completely off, you may have trouble
fixing it with normal quantization. The ZR-76 offers a suite of sophisticated quantizing parameters that
allow you to perform normal quantization in ways both powerful and subtle. Each time you quantize a
track, this full palette of quantization tools works together in the service of your music. As you set each
parameter, you refine exactly what will occur when you finally execute the quantization command.
¥
Strength
¥
Swing
¥
Random
¥
Shift
¥
quantize key range
¥
quantize window
¥
QuantizeNoteOffs
¥
Move Note Offs
Each of these parameters is explained below. The normal quantize parameters work together, affecting the
manner in which each parameter ultimately behaves.
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The ZR-76 offers a powerful new quantizing option called Òdelta quantize.Ó This revolutionary feature allows
you to quantize music youÕve recorded ÒwildÓÑthat is, without using the Drum Machine or 16 Track
Recorder click as a timing reference. ItÕs also handy if youÕve drifted out of time when adding a track to a
sequenceÑwhat you played makes rhythmic sense on its own, but doesnÕt fit the timing in already
recorded tracks.
When you use delta quantization, your ZR-76 starts from the beginning of the track and examines the
spaceÑor deltaÑbetween the beginning of the sequence and the first note. The ZR re-sizes the delta up or
down to the nearest multiple of the value chosen with the Quantize To parameter, and shifts all of the later
notes in the track so that they still hold their position relative to the first note. This process is then
repeated for the delta between the first note and the second note, and so on, until all of the notes in the
track are correctly quantized. This method ingeniously corrects any timing mistakes even as it protects
and preserves the internal rhythmic integrity of what youÕve recorded.
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When you select the delta method of quantization, the following parameters are unavailableÑthough you
can always use them after performing the delta quantize.
The following parameter is available only during normal quantization.
Strength
The Strength parameter determines to what degree the notes in the track will be aligned to the Quantize To
value. This parameter allows you to correct the timing of the music on a track to the extent that you desire,
without necessarily making it absolutelyÑsome might say ÒunnaturallyÓÑperfect. Sometimes, a little
quantizing help is all that a performance needs. The Strength parameter is expressed in percentages. A
value of 100% will line up the beginning of the notes in the track exactly to the division of the beat chosen
with the Quantize To value. A Strength setting of 0% will leave the notes unaffected.
The following parameter is available only during normal quantization.
Swing
The ZR-76 allows you to add a ÒswingÓ feel to your quantized tracks. Every other occurrence of the type of
note set by the Quantize To parameter is altered to sit slightly behind the beat. When the notes in your
track are aligned to the resulting combination of even and slightly lagging notes, a swing feel is achieved.
The Swing parameter can be set from 50%Ñfor no swingÑwhere each of the Quantize To notes occurs
precisely halfway between the note before it and the note after, to 74%, where every other note is pushed
nearly halfway towards the following note.
The following parameter is available only during normal quantization.
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Random
The Random parameter allows you to add aesthetically pleasing timing irregularities to a track as you
quantize it. This can help simulate the small rhythmic fluctuations likely to be present in a naturally
occurring performance. The irregularities provided by the ZRÕs randomizing function are intelligently
created. They donÕt jump erratically ahead of or behind the beat note by noteÑinstead, randomized notes
occur in slightly rushed or lagging groups, as would be the case with a real musician playing around a
rigid tempo. The Random parameter can be set from 0%Ñfor no randomizationÑto 50%, where
randomized notes may be as much as half of the Quantize To value ahead of or behind the beat.
The following parameter is available only during normal quantization.
Shift
The Shift parameter allows you to move all of the music on a track ahead or back in time by as much as
the Quantize To value. A Shift setting of 0% will not shift the music. A setting of -100% will move it earlier
in time by the amount set with the Quantize To parameter; +100% will move it later by the same amount.
The following parameter is available only during normal quantization.
Low Key/High Key
The Low Key and High Key parameters allow you to select a note range to be quantized. All notes outside of
this range will be left unaltered when you execute the quantize command. The Low Key parameter
determines the lowest note that will be quantized, and the high Key parameter determines the highest.
The following parameter is available only during normal quantization.
Window Minimum and Window Maximum
The Window Minimum and Window Maximum parameters let you to set by how much notes must deviate
from the Quantize To value before theyÕre subjected to quantization. This allows you to correct only the
objectionable notes in a track without affecting the others. The parameters are expressed as percentages of
deviation from the Quantize To value, and may be set from 0%Ñno deviationÑto 50%, or halfway to the
next occurrence of the value selected with the Quantize To parameter. The window created applies to notes
that fall both ahead of and behind each occurrence of the value set with the Quantize To parameter.
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The following parameter is available only during normal quantization.
QuantizeNoteOffs
Quantizing typically affects the beginning of each noteÑthe note-on. In the ZR-76, you can also quantize
the ends of notes to the value set with the Quantize To parameter. This has the effect of changing the
durations of the notes on the track to the length set with the Quantize To parameter. The QuantizeNoteOffs
parameter may be switched on or off.
Move Note Offs
When you quantize the notes on a track, the beginning of each note is lined up to the Quantize To value. If
the Move Note Offs parameter is set to On, the entire note will be moved according to the various
quantizing parametersÑand will remain the same length. If this parameter is switched off, only the
beginning of the notes will be moved. The ends of the notes will be unchanged, and, therefore, the length of
quantized notes will likely change as only their beginnings are moved to new positions.
Quantizing Tracks in the 16 Track Recorder
The ZR-76 provides sophisticated tools for correcting the timing of your music. ÒQuantizing Tracks
Conceptual OverviewÓ above explains the ZR-76 quantization tools. This section provides step-by-step
instructions for using them.
The ZR-76 can undo the following track command. See "Track Undo" earlier in
this chapter for details.
Using a Quantization Template
The ZR-76 offers a large selection of frequently-used quantization setups as templates. you can also make
your own templates. ÒQuantizing Tracks Conceptual OverviewÓ explains ZR-76 templates.
Tip: If the Region From or To LED is lit, only notes within the selected region will be
quantized (for more information on regions, see ÒUsing RegionsÓ later in this chapter). If you
want to quantize the entire track, make sure that the Region From and Region To LEDs are
off.
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To Quantize Using a Template
1.
2.
Select the track youÕd like to quantize.
Press the Quantize button.
The display will show:
The track being quantized
m
Quantize track 1?
Template=Strict 1/16
i
The name of the currently selected quantization template
If Region From or To is on, the display will show:
Quantize region?
Template=Strict 1/16
i
The name of the currently selected quantization template
(For more information on regions, see ÒUsing RegionsÓ later in this chapter.)
You can turn the Value knob to select any of the available quantize templates, including the four userdefined templates.
¥
**EDITED**Ñsets all quantize parameters to the most recently used values. Use this template
when you want to repeat the last kind of quantizing you did. When you first turn on your ZR-76,
the values in the **EDITED** template are the same as the values used in the Strict 1/16
template.
¥
USER TEMP 1, 2 3 and 4Ñfour user-definable templates for storing your favorite quantize settings
(to learn about creating your own template, see ÒMaking your Own Quantization TemplateÓ later in
this chapter).
¥
Strict 1/4Ñthis template aligns each note precisely with the nearest quarter note.
¥
Strict 1/8Ñthis template aligns each note precisely with the nearest eighth note.
¥
Strict 1/16Ñthis template aligns each note precisely with the nearest 16th note.
¥
Strict 1/8TÑthis template aligns each note precisely with the nearest triplet eighth note.
¥
Tighten 1-Tighten 4Ñthese templates move each note to the nearest eighth note, with varying
degrees of precision. The higher the number of the template in this group, the more closely each
note will be aligned to the nearest eighth note. You can use these templates if you want to make
your track a little more rhythmically accurate without making it Òtoo perfect.Ó
¥
Tighten 5-Tighten 8Ñthese templates move each note to the nearest sixteenth note, with varying
degrees of precision. The higher the number of the template in this group, the more closely each
note will be aligned to the nearest sixteenth note. You can use these templates if you want to make
your track a little more rhythmically accurate without making it Òtoo perfect.Ó
¥
Randomize 1-Randomize 2Ñthese templates move each note to the nearest eighth note, but use a
small amount of random variation in how the notes are placed. The higher the number of the
template in this group, the greater the degree of randomness. Use these templates to add a
ÒhumanÓ feel to a track that may be too rhythmically accurate.
¥
Randomize 3-Randomize 4Ñthese templates move notes to the nearest sixteenth note, but use a
small amount of random variation in how the notes are placed. The higher the number of the
template in this group, the greater the degree of randomness. Use these templates to add a
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3.
4.
ÒhumanÓ feel to a track that may be too rhythmically accurate.
¥
Note Offs 1Ñthis template aligns each note off precisely with the nearest eighth note.
¥
Note Offs 2Ñthis template aligns each note off precisely with the nearest sixteenth note.
¥
Swing 1-Swing 3Ñthese templates add varying amounts of sixteenth note swing feel to a track. The
higher the number of the template in this group, the greater the degree of swing.
¥
Humanize 1Ñthis template moves notes to the nearest sixteenth note, using a small amount of
random variation in how each note is placed, and adding a small amount of swing feel. Use this
template to add a ÒhumanÓ feel to a track that may be too rhythmically accurate.
¥
Delta 1/8Ñthis template uses the ZRÕs delta quantizing feature, and adjusts the time between
notes to the nearest multiple of eighth notes.
Turn the Value knob to select the template youÕd like to use.
Press the Yes button if youÕd like to quantize the track, or the selected region, using the selected
quantize template. Press the No button if youÕd like to cancel.
The ZR-76 can undo the following track command. See "Track Undo" earlier in
this chapter for details.
Using a Quantization Template as a Starting Point
The ZR-76 offers a large selection of frequently-used quantization setups as templates. Whenever you
quantize a track, you start with one of these templates. ÒQuantizing Tracks Conceptual OverviewÓ explains
ZR-76 templates.
Tip: If the Region From or To LED is lit, only notes within the selected region will be
quantized (for more information on regions, see ÒUsing RegionsÓ later in this chapter). If you
want to quantize the entire track, make sure that the Region From and Region To LEDs are
off.
To Use a Template as a Starting Point
1.
2.
Select the track youÕd like to quantize.
Press the Quantize button.
The display will show:
The track being quantized
m
Quantize track 1?
Template=Strict 1/16
i
The name of the currently selected quantization template
If Region From or To is on, the display will show:
Quantize region?
Template=Strict 1/16
i
The name of the currently selected quantization template
(For more information on regions, see ÒUsing RegionsÓ later in this chapter.)
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3.
4.
5.
You can turn the Value knob to select any of the available quantize templates, including the four userdefined templates.
Turn the Value knob to select the template youÕd like to use (see ÒTo Quantize Using a TemplateÓ above
for descriptions of the available templates).
You can now fine-tune the template you selected by changing the values of the quantize parameters.
Use the Parameter knob and the Value knob to change any of the quantize parameter values.
When youÕve adjusted the quantize settings to your liking, press the Yes button to quantize the track
using the current settings. Press the No button if youÕd like to cancel.
Ti p: When you alter a templateÕs settings, your changes are stored in the **EDITED**
template. You can use the **EDITED** template for applying your quantize settings to any
of the tracks in your sequences. Your settings will be retained until you alter them or power
down your ZR-76. You can save these quantize settings as one of the USER quantize
templates. See ÒMaking Your Own Quantize TemplateÓ later in this chapter.
The ZR-76 can undo the following track command. See ÒUndoÓ earlier in this
chapter for details.
Using Normal Quantization
The ZR-76 provides powerful tools for performing track quantization. ÒQuantizing Tracks Conceptual
OverviewÓ explains ZR-76 quantization.
Tip: If the Region From or To LED is lit, only notes within the selected region will be
quantized (for more information on regions, see ÒUsing RegionsÓ later in this chapter). If you
want to quantize the entire track, make sure that the Region From and Region To LEDs are
off.
To Quantize a Track Using Normal Quantization
1.
2.
Select the track you would like to quantize.
Press the Quantize button.
The display will show:
The track being quantized
m
Quantize track 1?
Template=Strict 1/16
i
The name of the currently selected quantization template
If Region From or To is on, the display will show:
Quantize region?
Template=Strict 1/16
i
The name of the currently selected quantization template
3.
200
(For more information on regions, see ÒUsing RegionsÓ later in this chapter.)
Turn the Parameter knob until the display shows ÒQuantize To=Ó:
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The current quantization template
m
Quantize:Strict 1/16
Quantize To=
1/4
i
The currently selected division of the sequenceÕs tempo
4.
5.
Each note you quantize will move to the nearest occurrence of the metric division you select here.
The Quantize To parameter can be set anywhere from 1/1 (whole notes) to 1/64T (64th note triplets).
The ÒTÓ after the number indicates a triplet value.
Turn the Value knob to set the Quantize To parameter as desired.
Turn the Parameter knob until the display shows ÒMethod=Ó:
The current quantization template
m
Quantize: **EDITED**
Method=
Normal
i
The currently selected quantization method
6.
7.
In addition to its selection of conventional quantizing tools, the ZR-76 also offers ENSONIQÕs unique
delta quantization. (See the how-to following this one to learn how to use delta quantization.)
The Method parameter allows you to decide if youÕd like to use the ZRÕs delta quantizing feature.
Turn the Value knob to set the Method parameter to Normal.
Turn the Parameter knob until the display shows ÒStrength=Ó:
The current quantization template
m
Quantize: **EDITED**
Strength=
100%
i
The current setting for this parameter
8.
The Strength parameter determines how strictly each note will be quantized. The value is a percentage
of the distance each note has to move to its new quantized position.
The Strength parameter may be set anywhere from 0% to 100%. A setting of 100% means each note
will be moved all the way to its new position; a setting of 50% means each note will be moved halfway
to its new position. A setting of 0% means each note will not be moved at all.
Turn the Value knob to set the Strength parameter to the desired value.
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9.
Turn the Parameter knob until the display shows ÒSwing=Ó:
The current quantization template
m
Quantize: **EDITED**
Swing=
50%
i
The current setting for this parameter
The Swing parameter lets you add swing to a musical phrase by delaying every other occurrence of the
metric division set with the Quantize To value. A setting of 50% provides no swing at all. Higher
settings will increase the amount of swing.
10. Turn the Value knob to set the Swing parameter to the desired value.
11. Turn the Parameter knob until the display shows ÒRandom=Ó:
The current quantization template
m
Quantize: **EDITED**
Random=
0%
i
The current setting for this parameter
The Random parameter allows you to add some random variation in the way notes are placed when
they are quantized.
The Random parameter can be set anywhere from 0% to 50%, and determines the size of the range
over which the placement of quantized notes can vary. This range extends both before and after each
Quantize To metric division. A setting of 50% means the size of this range will be half of the Quantize
To value, ahead and behind the noteÕs new position. A setting of 0% means quantized notes will be
placed without any random variation.
12. Turn the Value knob to set the Random parameter to the desired value.
13. Turn the Parameter knob until the display shows ÒShift=Ó:
The current quantization template
m
Quantize: **EDITED**
Shift=
0%
i
The current setting for this parameter
The Shift parameter allows you to move all notes by the same amount forward or backward in relation
to their new quantizedÑor current unquantizedÑpositions.
The Shift parameter can be set anywhere from -100% to +100% and determines how far notes will be
moved. A setting of -100% means that notes will be moved earlier in time by an amount equal to the
Quantize To value. A setting of +100% means that notes will be moved later in time by an amount
equal to the Quantize To value. A setting of 0% means that notes will not be shifted.
Note: The setting of the Shift parameter affects all the notes on the track (or in the
currently selected region), regardless of the setting of the Low Key and High Key
parameters.
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14. Turn the Value knob to set the Shift parameter to the desired value.
15. Turn the Parameter knob until the display shows ÒLow Key=Ó:
The current quantization template
m
Quantize: **EDITED**
Low Key=
A0
i
The lowest key that will be quantized
The Low Key parameterÑalong with the High Key parameterÑallows you to set a range of notes on the
keyboard to be quantized. Notes that are above the Low Key value and below the High Key value will be
quantized according to your settings; notes that do not fall within this range will be unaffected. The
Low Key parameter can be set anywhere below the High Key value from A0 to C8.
16. Press the key on the keyboard thatÕs the lowest key you want to quantize. If you prefer, you can turn
the Value knob to set the Low Key parameter to the desired value instead.
17. Turn the Parameter knob until the display shows ÒHigh Key=Ó:
The current quantization template
m
Quantize: **EDITED**
High Key=
C8
i
The highest key that will be quantized
The High Key parameterÑalong with the Low Key parameterÑallows you to set a range of notes on the
keyboard to be quantized. Notes that are above the Low Key value and below the High Key value will be
quantized according to your settings; notes that do not fall within this range will be unaffected. The
High Key parameter can be set anywhere above the Low Key value from A0 to C8.
18. Press the key on the keyboard thatÕs the highest key you want to quantize. If you prefer, you can turn
the Value knob to set the High Key parameter to the desired value instead.
19. Turn the Parameter knob until the display shows ÒWindow Minimum=Ó:
The current quantization template
m
Quantize: **EDITED**
Window Minimum=
0%
i
The current setting for this parameter
The Window Minimum parameterÑalong with the Window Maximum parameterÑallows you to specify
how near to an occurrence of the Quantize To value a note has to be for it to be quantized. Notes that
fall after the Window Minimum and before the Window Maximum will be quantized according to your
settings; notes that fall outside of this range will be unaffected.
The Window Minimum value is a percentage of the distance between occurrences of the metric division
set with the Quantize To parameter.
20. Turn the Value knob to set the Window Minimum parameter to the desired value.
21. Turn the Parameter knob until the display shows ÒWindow Maximum=Ó:
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The current quantization template
m
Quantize: **EDITED**
Window Maximum= 50%
i
The current setting for this parameter
The Window Maximum parameterÑalong with the Window Minimum parameterÑallows you to specify
how near to an occurrence of the Quantize To value a note has to be for it to be quantized. Notes that
fall after the Window Minimum and before the Window Maximum will be quantized according to your
settings; notes that fall outside of this range will be unaffected.
The Window Maximum value is a percentage of the distance between occurrences of the metric division
set with the Quantize To parameter.
22. Turn the Value knob to set the Window Maximum parameter to the desired value.
23. Turn the Parameter knob until the display shows ÒQuantizeNoteOffs=Ó:
The current quantization template
m
Quantize: **EDITED**
QuantizeNoteOffs=Off
i
The current setting for this parameter
The QuantizeNoteOffs parameter allows you to control whether note offs will be moved according to
your quantize settings. You can set it to:
¥
OffÑnote offs will not be affected by the current quantize settings.
¥
OnÑnote offs will be affected by the current quantize settings.
24. Turn the value knob to set the QuantizeNoteOffs parameter to the desired value.
25. Turn the Parameter knob until the display shows ÒMove Note Offs=Ó:
The current quantization template
m
Quantize: **EDITED**
Move Note Offs=
On
i
The current setting for this parameter
The Move Note Offs parameter determines whether the note off of each quantized note will be moved,
such that each noteÕs duration is maintained. You can set it to:
¥
OffÑnote offs of quantized notes will not be moved.
¥
OnÑnote offs of quantized notes will be moved and quantized notes will retain their current
durations
26. Turn the Value knob to set the Move Note Offs parameter to the desired value.
27. When all the quantize parameters are set as youÕd like them, press Yes to continue the procedure and
quantize the track, or No if youÕd like to cancel.
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The ZR-76 can undo the following track command. See "Track Undo" earlier in
this chapter for details.
Using Delta Quantization
The ZR-76 provides an exciting new form of quantization called delta quantization. ÒQuantizing Tracks
Conceptual OverviewÓ explains what it can do for your recordings.
To Quantize a Track Using Delta Quantizing
1.
2.
Select the track you would like to quantize.
Press the Quantize button.
The display shows:
The track being quantized
m
Quantize track 1?
Template=Strict 1/16
i
The name of the currently selected quantization template
If Region From or To is on, the display will show:
Quantize region?
Template=Strict 1/16
i
The name of the currently selected quantization template
3.
(For more information on regions, see ÒUsing RegionsÓ later in this chapter.)
Turn the Parameter knob until the display shows ÒQuantize To=Ó:
The current quantization template
m
Quantize:Strict 1/16
Quantize To=
1/16
i
The currently selected division of the sequenceÕs tempo
4.
5.
The time between the notes on the track you quantize will be adjusted to the nearest multiple of the
value you select here. For best results, you should try to pick the metric value that in the current
sequence tempo most closely matches the smallest metric division on the track youÕre quantizing.
The Quantize To parameter can be set anywhere from 1/1 (whole notes) to 1/64T (64th note triplets).
The ÒTÓ after the number indicates a triplet value.
Turn the Value knob to set the Quantize To parameter as desired.
Turn the Parameter knob until the display shows ÒMethod=Ó:
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The current quantization template
m
Quantize: **EDITED**
Method=
Normal
i
The currently selected division of the sequenceÕs tempo
6.
Turn the Value knob to set the Method parameter to ÒDelta.Ó
Note: When using the Delta 1/8 template, all of the other quantize parameters will be
unavailable. This is to prevent other quantize settings from affecting the delta quantizing
process, in order to help ensure that your music is most likely to be interpreted correctly.
7.
8.
9.
Press the Yes button if youÕd like to continue and quantize the selected track, or press No if youÕd like
to cancel.
Once youÕve quantized with delta quantizing, you should listen to the track to see if your playing was
interpreted correctly.
In some cases, it may be necessary to repeat the above process using a different Quantize To value
that more closely matches the notes you played. If so, you should use the Undo function to return the
track to its previous unquantized state.
If you would like to quantize the track again with a different Quantize To value, press the 16 Track
Recorder Edit button.
The display will show:
Track Edit:
Undo Trk01 Bank1: A?
i
The bottom line of the display shows the track you just quantized
10. Press Yes if youÕd like to revert to the trackÕs previous unquantized state, or press No if youÕd like to
cancel.
11. Repeat this how-to using a different Quantize To value until the track sounds the way you want it.
Ti p: If youÕre using delta quantizing on a track that came from the Idea Pad, you can adjust
the sequence tempo to approximate the average tempo of the idea, and re-send the idea to
this sequence. This can make it easier to find a Quantize To value that works with whatÕs
recorded on the track youÕre trying to quantize.
Making Your Own Quantization Template
The ZR-76 allows you to save quantization setups that you expect to use over and over again as templates.
Your templates are stored in the ZRÕs FLASH memory, and are therefore retained even when your ZR-76 is
turned off. ÒQuantizing Tracks Conceptual OverviewÓ explains quantization templates.
To Save Your Settings as a Template
1.
206
Press the Quantize button.
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Chapter 7ÑRecording
The display will show:
The currently selected track
m
Quantize Track 1?
Template=Strict 1/16
i
The name of the currently selected quantization template
2.
This shows the quantize template thatÕs currently in place. If you see the **EDITED** on the display,
your ZR-76 is telling you that youÕve changed some of the quantization settings. If not, the currently
installed template is either one of your user templates that youÕve already saved into memory, or itÕs
one of the templates supplied by ENSONIQ.
Turn the Parameter knob until the display shows:
Save Quantize as?
Template=USER TEMP 1
3.
4.
You can save the current quantize settings as USER TEMP 1, USER TEMP 2, USER TEMP 3 or USER
TEMP 4.
Turn the Value knob to select the name for your quantize template.
When youÕve selected a name, press the Yes button to continue the procedure and save the current
quantize settings as a template. If youÕd like to cancel, press the No button.
W o r k i n g wi t h th e Rh yt h m Tr a c k
The 16 Track Recorder Rhythm Track
In addition to being a great tool for capturing music you play on the keyboard, the 16 Track Recorder can
also play Drum Machine rhythms. This means that you can incorporate rhythms from the Drum Machine
into your own music, using them to create realistic sounding drum parts that work perfectly with your
compositions.
When the 16 Track Recorder plays a Drum Machine rhythm, it uses track 10 as the rhythm track. As you
can see on your ZRÕs front panel, track 10 is labeled ÒRhythm.Ó
When you use the rhythm track to play a Drum Machine rhythm, the rhythm actually becomes part of the
sequence. You can loop it, define a region, fast forward, rewind, mute it, solo it, and control its loudness
and panning. The rhythm track will always stay in time with the other music in the 16 Track Recorder.
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You can also use track 10 just as you would any other track in the 16 Track RecorderÑto record music
you play on the keyboard. But when you use it to play Drum Machine rhythms, you unlock the unique
features that make it a powerful tool for adding drums to your music.
Rhythm Track: Two Tracks in One
You can use the rhythm track in two ways:
¥
¥
to record the variations and fills you select throughout a sequence
to record notes you play on the keyboard using the rhythmÕs drum kit sound
Recording Variation and Fill selections
The rhythm track will record which variations and fills you select throughout a sequence, allowing you to
create a drum part simply by pressing the Drum MachineÕs Variations/Fills buttons as you record. The
rhythm track captures the selections you make, and plays them back when you play the sequence. You
can put all the power and flexibility of the Drum Machine on a single track in your sequence.
Adding to the Rhythm
The rhythm track will also record what you play on the keyboard, using the rhythmÕs drum kit sound. This
allows you to add your own drum or percussion playing to the rhythm, or even to replace a section of the
rhythm with something you play on the keyboard. You can quantize notes on the rhythm track just as you
would quantize notes on any non-rhythm track.
The Rhythm Track Display and LEDs
Because you can use the rhythm track in two ways, its button has two LEDs, yellow on the left and red on
the right.
¥
¥
The yellow LED works in the same manner as the all of the other track button LEDsÑwhen the
rhythm track has notes recorded on it, its yellow LED lights solidly. When the rhythm track is selected,
its yellow LED flashes.
The red LED shows you if there is a rhythm on the rhythm track. If there is, the red LED lights solidly.
If thereÕs no Drum Machine rhythm on the track, the red LED is not lit.
When you select the rhythm track, the display shows you what, if anything, is on it.
Indicates no notes have been recorded
m
Your current location in the sequence
m
Trk10 Empty
1.01
Rhythm=
Pop Soul 1
i
The name of the rhythm trackÕs rhythm
If the rhythm track is using a rhythm, the rhythmÕs name will appear on the bottom line of the display. If
you havenÕt recorded any notes on the rhythm track, the display will show ÒEmptyÓ on the top line.
Putting a Rhythm on the Rhythm Track
There are two ways to put a rhythm on the 16 Track RecorderÕs rhythm track. You can send a Drum Machine
rhythm to the rhythm track:
¥
¥
208
as part of an idea captured in the Idea Pad (see Chapter 6 to learn how to send an idea to the 16 Track
Recorder)
directly from the Drum Machine into the current song or into a freshly-created song that uses the
ENSONIQ ZR-76 Musician's Manual
Chapter 7ÑRecording
rhythmÕs time signature and tempo (see Chapter 5 to learn how to send a rhythm from the Drum
Machine)
Changing the Rhythm TrackÕs Rhythm
Once youÕve put a rhythm on the rhythm track, you may decide youÕd like to change its kit sound, edit its
variations and fills, or even assign it an entirely different rhythm. You can send a new rhythm to the
rhythm track at any time, and it will replace the rhythm currently there.
If you need to make changes to the rhythm or to the kit the rhythm uses, you should do so in the Drum
MachineÑthat way, you can take advantage its full range of advanced editing capabilities. Once youÕve
edited the rhythm to your liking in the Drum Machine, simply save it as a new rhythm, and send it to the
rhythm track.
You can make any number of changes to the rhythm trackÕs rhythm this way, including:
¥
¥
¥
All
selecting a new drum or percussion kit for the rhythm to use
editing the drum or percussion kit zone by zone
editing the rhythmÕs variations and fills
of these editing procedures are described in detail in Chapter 5.
Note: When you send a new rhythm to the rhythm track, it will erase the entire track,
including any drum notes you may have recorded. Before you re-send a rhythm to the
rhythm track, make sure it doesnÕt contain anything that you want to keep.
Editing Rhythm Track Settings
The ZR-76 provides sound editing parameters that can be used to adjust the rhythm track to your liking.
These parameters affect the entire rhythm trackÑboth the rhythm and any notes you may have recorded.
TheyÕre the same parameters offered on non-rhythm tracks that use a drum kit sound. (Editing track
parameters is described in ÒEditing Track SettingsÓ earlier in this chapter.)
The FX/Mixdown Mix and Pan knobs can also be used in conjunction with the rhythm trackÑthe Mix
knob raises or lowers the loudness of the rhythm, and the Pan knob shifts the stereo positioning of the
entire kit. (To learn about using the Mix and Pan knobs with a track, see ÒMixing with the 16 Track
Recorder Mixdown StripÓ in Chapter 8.)
There are also some parameters on the rhythm track that affect individual drum keys within the drum kit
sound itselfÑthese are the drum key parameters. Since editing these settings could create some
unpredictable results, they are read-only and canÕt be changed from the rhythm track. (If youÕd like to edit
the drum kit sound thatÕs on the rhythm track, see ÒChanging the Rhythm TrackÕs Rhythm,Ó found earlier
in this chapter.)
Playing a Drum Machine Rhythm in the 16 Track Recorder
Once youÕve put a rhythm on the rhythm track, the rhythm becomes part of the sequenceÑpressing Play
will play the rhythm, as well as any other tracks in the sequence.
When the rhythm track is selected, pressing the Variations/Fills buttons will select variations and fills as
the sequence plays. This allows you to try out different variations and fills, and hear how they might sound
in context with the rest of your music. (If youÕd like, you can make these selections permanentÑsee
ÒRecording Variation and Fill SelectionsÓ later in this chapter.)
Note: If the rhythm track is the only track in the sequence with music on it, the sequence
and rhythm will keep playing until you press the 16 Track Recorder Stop button. If any
tracks in the sequence other than the rhythm track have music on them, the rhythm will
be heard until those tracks finish playing.
To Play a Rhythm
1.
If you havenÕt already done so, use either of the methods mentioned in ÒPutting a Rhythm on the
Rhythm TrackÓ earlier in this chapter to assign a rhythm to the rhythm track of a sequence.
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2.
Press the 16 Track Recorder Play button.
3.
4.
The sequence and its rhythm will begin playing.
If the rhythm track is not already selected, press the 16 Track Recorder Rhythm button to select it.
Use the Drum MachineÕs Variations/Fills buttons to select different variations and fills as you desire.
When you select a new variation or fill, the rhythm will begin playing it immediately. (To learn how to
select variations and fills, see Chapter 5.)
Note: Variations and fills can only be selected for the rhythm track when itÕs selected.
Pressing one of the Variation/Fills buttons when another track is selected will bring you
out of the 16 Track Recorder and over to the Drum Machine.
5.
When you want to stop the sequence, press the 16 Track Recorder Stop button.
Note: If the rhythm youÕve selected for a rhythm track has been removed from the ZRÕs
memory, the rhythm track will play one of the ZRÕs ROM rhythms instead.
Recording Variation and Fill Selections
The rhythm track can record your selections of variations and fills. This makes it easy to create a drum
part that works with music youÕve already recorded, or to lay down a rhythmic foundation around which
you can record additional tracks. By recording which Drum Machine Variations/Fills buttons you press,
and when, the rhythm track records what you play, and makes it part of the sequence. You can record
variation and fill selections in either Replace or Add record mode (recording modes are discussed in
ÒRecording ModesÓ later in this chapter).
Note: Variation and fill selections cannot be quantized.
To Record Variation and Fill Selections
1.
Select the recording mode youÕd like to use. (See ÒOverdubbing on a TrackÓ earlier in this chapter.)
Ti p: When you record on the rhythm track in Replace mode, you will erase previously
recorded variation and fill selections along with any notes you may have recorded on the
rhythm track. If youÕre recording in Replace mode, make sure the rhythm track doesnÕt
contain anything you want to keep. If it does, you may want to record variation and fill
selections using Add mode.
210
2.
If the rhythm track is not already selected, select it by pressing the 16 Track Recorder Rhythm button.
3.
Press and hold the Record button.
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4.
While still holding the Record button, press the Play button to begin recording.
5.
After the countoffÑif youÕve enabled the countoff featureÑthe sequence and the rhythm will begin
playing. You can use the Drum Machine Variations/Fills button to select different variations and fills.
Whenever you select a new variation or fill, the rhythm track will start playing it immediately.
Use the Variations/Fills buttons and the Fill Variation button to select variations and fills as you
desire.
When youÕve finished recording, press the 16 Track Recorder Stop button.
Press play to hear your Drum Machine Òperformance.Ó
6.
7.
Ti p: If you make a mistake while recording variation and fill selections, or if youÕre simply
not happy with what you recorded, you can undo the recording using the 16 Track
Recorder Edit button. The Undo function is discussed in ÒTrack UndoÓ earlier in this
chapter.
Recording Your Own Drum or Percussion Notes
The rhythm track will also record notes you play on the keyboard, using the rhythmÕs drum kit sound.
This allows you to add extra drum or percussion phrases to the rhythm, or to replace a section of the
rhythm with something you play on the keyboardÑperfect if youÕd like to mix and match the ZRÕs rhythms
with rhythmic material you create. Once youÕve recorded notes on the rhythm track, their timing can be
corrected in the same manner as on any other non-rhythm track, using the quantizing methods described
earlier in this chapter. You can record notes in either Replace or Add record mode (record modes are
discussed in ÒRecording ModesÓ later in this chapter).
To Record Notes on the Rhythm Track
1.
Select the recording mode youÕd like to use. (See ÒOverdubbing on a TrackÓ earlier in this chapter.)
Note: When you record on the rhythm track in Replace mode, you will erase previously
recorded variation and fill selections along with any notes you may have recorded on the
rhythm track. If youÕre recording in Replace mode, make sure the rhythm track doesnÕt
contain anything you want to keep. If it does, you may want to record notes using Add
mode.
2.
If the rhythm track is not already selected, select it by pressing the 16 Track Recorder Rhythm button.
3.
Press and hold the Record button.
4.
While still holding the Record button, press the Play button to begin recording.
After theÑif youÕve enabled the countoff featureÑthe sequence and the rhythm will begin playing.
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4.
5.
6.
Use the keyboard to play along with the rhythm.
When youÕve finished recording, press the 16 Track Recorder Stop button.
Press Play to hear the drum or percussion notes youÕve added to the rhythm track.
Ti p: If you make a mistake while recording, or if youÕre simply not happy with what you
recorded, you can undo the recording using the 16 Track Recorder Edit button. The Edit
button is discussed in ÒTrack UndoÓ earlier in this chapter.
Stopping the Rhythm During a Sequence
You may decide youÕd like the rhythm to stop at a certain point in the sequence while the other tracks keep
playing. Perhaps you want a measure of silence in the sequence, or maybe your composition has a softer
section where you donÕt want the rhythm to playÑit could be that youÕd like to replace a portion of the
rhythm with your own playing. You can press the Drum Machine Stop button while recording, and the
rhythm track will record the button-press (it wonÕt record a Drum Machine Start button press after the
Stop, since there would be no way of locking the sequence and rhythm timing together). When the
sequence plays back, the rhythm will stop playing at that point.
To Stop the Rhythm During a Sequence
1.
Select the recording mode youÕd like to use. (See ÒOverdubbing on a TrackÓ earlier in this chapter.)
Note: When you record on the rhythm track in Replace mode, you will erase previously
recorded variation and fill selections along with any notes you may have recorded on the
rhythm track. If youÕre recording in Replace mode, make sure the rhythm track doesnÕt
contain anything you want to keep. If it does, you may want to record using Add mode.
2.
If the rhythm track is not already selected, select it by pressing the 16 Track Recorder Rhythm button.
3.
Press and hold the Record button.
4.
While still holding the Record button, press the Play button to begin recording.
5.
After the countoffÑif youÕve enabled the countoff featureÑthe sequence and the rhythm will begin
playing.
At the point in the sequence where youÕd like the rhythm to stop playing, press the Drum Machine
Start/Stop button.
The rhythm will stop, and the sequence will keep playing.
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6.
When youÕve finished recording, press the 16 Track Recorder Stop button.
To Replace Part of the Rhythm with New Rhythmic Material
1.
2.
3.
Use the procedure described in ÒTo Stop the Rhythm During a SequenceÓ above to stop the rhythm at
the point youÕd like your playing to take over.
Move to the point in the sequence at which youÕd like to start recording new rhythmic material, using
either the Rewind and/or Fast Forward buttons, or the Locate function. (These methods are described
earlier in this chapter.)
Use the methods described in ÒRecording Your Own Drum or Percussion NotesÓ to record new
rhythmic material onto the rhythm track.
Copying the Rhythm Track
Once youÕve created the perfect rhythm track, you can use it in other sequences. The 16 Track Recorder
Copy command allows you to move the whole rhythm trackÑincluding variation and fill selections, notes
youÕve recorded, and mix and pan informationÑto the rhythm track of another sequence. You can then
leave it just as it is, or use it as a starting point to create a new rhythm track.
The ZR-76 can undo the following track command. See ÒUndoÓ earlier in this
chapter for details.
To Copy the Entire Rhythm Track to Another Sequence
1.
Press the 16 Track Recorder Rhythm button to select the rhythm track for copying.
2.
Press the 16 Track Recorder Copy button.
The display will show:
The currently selected track
m
Copy track 10?
Scope= Entire Track
i
The element of the track to be copied
This display confirms that youÕre copying the whole rhythm track.
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4.
Turn the Parameter knob so the display shows ÒPaste=Ó:
The currently selected track
m
Copy track 10?
Paste=
Replace
i
This shows what the rhythm will do to any data on the track to which itÕs being copied
5.
This display confirms that the rhythm track you are copying will replace whatever may be on the
destination track.
Turn the Parameter knob so the display shows:
The currently selected track
m
Copy track 10?
Dest Seq=
Bank1: B
i
This shows the target sequence location for the rhythm track
6.
7.
The Destination parameter determines the sequence to which the rhythm track will be copied. You can
copy the rhythm track to any sequence.
Press the Bank and A-H Sequence buttons to selected the destination sequence. If you prefer, use the
Value knob or the up/down arrow buttons to select the sequence to which youÕd like to send the
rhythm track.
Turn the Parameter knob until the display shows:
The currently selected track
m
Copy Track 10?
Destination Track=10
i
This shows the target track for the copied rhythm track
8.
This display confirms that you are copying the rhythm track to the rhythm track of the destination
sequence.
Press Yes to copy the rhythm track to the new location, or No if you'd like to cancel.
Transmitting the Rhythm Track Into an External Sequencer
The 16 Track Recorder can transmit a rhythm trackÑa rhythm and any notes youÕve addedÑvia MIDI to
an external sequencer. This allows you to play and edit the rhythm as a normal MIDI track in the external
sequencer. To accomplish this, create and perfect the rhythm track to your liking. When youÕve finished,
send a MIDI-OUT sound to the rhythm track from SoundFinder (see Chapter 4). When you play the 16
Track Recorder, all of the rhythmÕs track music will be transmitted as MIDI data on the channel selected in
the MIDI-OUT sound.
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Erasing the Rhythm Track
The ZR-76 allows you to erase part or all of the rhythm track. You can completely erase the rhythm track,
so that it no longer has a rhythm, or you can erase just the variation and fill selections along with any
notes you may have recorded, and leave the rhythm there.
Ti p: If youÕd like to erase just the notes you have recorded on the rhythm track and leave
the variation and fill selections intact, you can use the Scoop feature described in
ÒScooping Notes from a TrackÓ earlier in this chapter.
The ZR-76 can undo the following track command. See ÒUndoÓ earlier in this
chapter for details.
To Erase Some or All of the Rhythm Track
1.
Press the 16 Track Recorder Rhythm button to select the rhythm track for erasure.
The display will show:
The currently selected track
Your current location in the sequence
m
m
Trk10
Rhythm=
1.01
Pop Soul 1
i
The rhythm assigned to the rhythm track
Note: If thereÕs nothing recorded on the track you selected, you'll see "Empty" in the top line
of the display. If you havenÕt assigned a rhythm to the track, youÕll see *UNDEFINED* on
the bottom line of the display.
2.
Press the 16 Track Recorder Erase button.
The display will show:
The currently selected track
m
Erase track 10?
Scope= Entire Track
i
This shows what portion of the track will be erased
The Scope parameter controls what aspects of the track are erased. When youÕre erasing a rhythm
track, you can turn the Value knob or use the up/down arrow buttons to set the Scope parameter to:
¥
Trk Data OnlyÑto erase variation and fill selections, and any notes you may have recorded, leaving
the rhythm on the rhythm track
¥
Entire TrackÑto erase variation and fill selections, along with any notes you may have recorded,
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3.
4.
and remove the rhythm from the rhythm track
Turn the Value knob, or use the up/down arrow buttons to set Scope to the desired setting.
Press Yes to erase the elements of the track youÕve chosen, or No if you'd like to cancel the procedure.
Tip: The shortcut for erasing a track using the Fast Forward and Record buttons can be
used to remove variation and fill selections and notes from a specified point in the track to
its end. See ÒThe Fast Forward/Record Shortcut for Erasing a TrackÓ earlier in this chapter.
S e q u e n c e To o l s an d Te c h n i q u e s
For a introduction to ZR-76 sequences, see ÒZR-76 Recording ConceptsÓ above.
Selecting a Sequence
Each song in your ZR-76 can contain up to 24 sequences. The sequences are grouped into three sets of
eight sequences each. Each of these sets is called a bank. The sequence locations in each bank are lettered
from ÒAÓ to ÒH.Ó When a sequence already contains music, its LED will light whenever the bank it belongs
to is selected. When you select a sequence, its LED flashes.
To Select a Sequence
1.
Press a Sequence button.
Tip: Whenever youÕd like to return to the main sequence display, press the sequenceÕs
button.
To Select a Bank
1.
Press the Bank (A-H) button repeatedly until the LED for the bank number you desire is lit.
Recording Modes
The 16 Track Recorder can record using several different recording modes. Each recording mode offers a
different way of recording, or records one type of data or another. You can select a record mode by using
the Song EditorÕs Record Mode button.
You can select one of the following record modes:
¥
¥
216
ReplaceÑAs you record, the music you play will take the place of anything thatÕs currently on the
track. This is the default recording mode, and is most useful when youÕre recording something for the
first time, or when you want to record over an entire track or a section of a track.
AddÑMusic you record will be merged with whatever is currently on the track. This mode is great for
creating complicated tracks without having to play everything at onceÑyou can use it to create a whole
percussion section one instrument at a time, or to add notes to a string section that needs filling out.
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Chapter 7ÑRecording
¥
StepÑStep mode, allows you to record the notes of a track one-by-one or a chord at a time, at your
own pace. During playback, notes play at the sequenceÕs normal tempo. Step recording is described
earlier in this chapter.
¥
Track MixÑTrack Mix allows you to record real-time Mix and Pan changes into a track. With the Track
Mix mode, you can automate the mixing of each track in your sequence. The procedure for using Track
Mix mode can be found in Chapter 8, in ÒMixing with the 16 Track Recorder Mixdown Strip.Ó
¥
Final MixÑFinal Mix allows you to record real-time volume changes for multiple tracks. This can be
useful when creating sequence fadeouts. The procedure for mixing multiple tracks can be found in
Chapter 8, in the section ÒMixing with the 16 Track Recorder Mixdown Strip.Ó Final Mix can also be
used for the recording of sequence tempo changes, described later in this chapter in "Recording
Automated Sequence Tempo Changes."
You can easily tell which recording mode youÕre usingÑthe LED for the selected mode will be lit.
To Select a Recording Mode
1.
Press the Record Mode button repeatedly until the mode you want is selected. The currently selected
Record Mode will not change until you press the Record Mode button, or create a new song. When you
create a new song, Replace mode is automatically selected.
Tip: Earlier in this chapter, ÒOverdubbing on a TrackÓ describes Add modeÕs primary use.
Sequence Parameters and Values
Each sequence offers various options that allow you to create a setup suitable for the music youÕll be
recording. Each of these setup options is called a parameter. When you alter a parameterÕs setting, you are
editing its value.
To Edit a Parameter
1.
2.
Press the button associated with the parameter youÕd like to edit (a full description of each of the
recording parameters is available later in this chapter).
Use the Parameter knob to select the parameter youÕd like to edit.
3.
Turn the Value knob to change the parameterÕs setting to the desired value.
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Setting the Sequence Tempo
The ZR-76 provides two methods for setting the tempo of the currently selected sequence. You can:
¥
¥
Set the tempo manually using the Tempo parameter
Perform the tempo that you want the sequence to use by tapping on the Song Editor Tempo button
Note: If you attempt to set a sequenceÕs tempo when the Song Playlist LED is lit, the words
ÒCurrent TempoÓ will be followed by a colon, indicating that the tempo value is read-only
and cannot be changed. This is also the case when the system ClockSource parameter is
set to MIDI (the current tempo value will be ÒMIDIÓ). If you want to change the tempo of a
sequence, make sure the Song Playlist LED is off and the system ClockSource parameter is
set to Internal. (For details on the song playlist, see ÒCreating a Song PlaylistÓ later in this
chapter. For details on the system ClockSource parameter, see Chapter 3.)
To Manually Set the Tempo of the Current Sequence
1.
Press the Song Editor Tempo button.
The display will show:
The name of the currently selected sequence
m
Your current location in the sequence
m
BigFun
1.01
Current Tempo= ™:120
i
The current tempo
2.
You can use the Value knob and the up/down arrow buttons set the Tempo value to the desired
number of quarter notes per minute.
Turn the Value knob or use the up/down arrow buttons to set the Tempo to the desired value.
To Tap Out a Sequence Playback Tempo
1.
Tap the Song Editor Tempo button at whatever speed youÕd like the current sequence to use, with each
tap representing a quarter note.
The display will show:
The name of the currently selected sequence
m
Your current location in the sequence
m
BigFun
1.01
Current Tempo= ™:120
i
The current tempo
The Tempo value will change as you tap, to show the new speed of the sequence in quarter notes per
minute.
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The ZR-76 Metronome Click
The ZR-76 provides a metronomeÑalso called the clickÑas a rhythmic reference when youÕre recording or
listening back to tracks. The metronome can be set to any division of the current time signature. You can
also determine the sound it uses, its loudness and stereo placementÑit can even be run through the ZR76 effects.
To Set What Sound the Metronome Click Will Use
1.
Press the Click/Countoff button.
2.
Turn the Parameter knob until the display shows:
Click/Countoff
Click Sound=
Click
i
This tells you what sound the metronome will use
3.
The Click Sound parameter may be set to:
¥
ClickÐÑto use a standard click sound
¥
VocalÑto use spoken numbers (one, two, three, four)
¥
VoClkÑto use spoken numbers (one, two, three, four) and the standard click sound
¥
StickÑto use the sound of drumsticks being hit together
Turn the Value knob or use the up/down arrow buttons to set the Click Sound parameter to the
desired value.
Note: If the time signature of a sequence has more than four beats and youÕve set the click
to use the spoken numbers, the ZR-76 will use spoken numbers for the first four beats,
and fill in the rest with clicks.
To Set the Metronome Volume
1.
Press the Click/Countoff button.
2.
Turn the Parameter knob until the display shows:
Click/Countoff
Volume=
100
i
This tells you the currently volume of the metronome
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3.
The Click Volume parameter may be set anywhere from 0 to 127.
Turn the Value knob or use the up/down arrow buttons to set the Click Volume parameter to the
desired value.
To Set the Stereo Position of the Metronome
Press the Click/Countoff button.
2.
Turn the Parameter knob until the display shows:
Click/Countoff
Pan=
Center 00
i
This shows the stereo position of the metronomeÕs sound
3.
The Click Pan parameter may be set anywhere from -64 (hard left) to +63 (hard right).
Turn the Value knob or use the up/down arrow buttons to set the Click Pan parameter to the desired
value.
To Send the Metronome Through an Effect
1.
Press the Click/Countoff button.
2.
Turn the Parameter knob until the display shows:
Click/Countoff
FX Bus=
Dry
i
This shows which effect, if any, will be applied to the metronomeÕs sound
3.
220
The Click FX Bus parameter may be set to:
¥
InsertÑto hear the click through the insert effect of the sequence youÕre working with
¥
ChorusÑto hear the click through the Global Chorus bus
¥
LightReverbÑto hear the click through the LightReverb bus
¥
MediumReverbÑto hear the click through the MediumReverb bus
¥
WetReverbÑto hear the click through the WetReverb bus
¥
DryÑto hear the click through the Dry bus
Turn the Value knob or use the up/down arrow buttons to set the Click FX Bus parameter to the
desired value.
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Chapter 7ÑRecording
To Determine the Beat of the Metronome
1.
Press the Click/Countoff button.
2.
Turn the Parameter knob until the display shows:
Click/Countoff
Click Timing=
1/4
i
This shows the current meter of the metronome
3.
The Click Timing parameter may be set anywhere from 1/2 (a click on every half note) to 1/32T (a click
on every 32nd note triplet). The ÒTÓ indicates triplet notes of the displayed numeric value.
Turn the Value knob or use the up/down arrow buttons to set the Click Timing parameter to the
desired value.
Countoff
The ZR-76 offers a number of options for the rhythmic reference that comes before the first beat of any
track you record. Several sounds are available for this task, and you can set the countoff to be from 1 to 16
measures in length. The countoff counts according to the setting of the Click Timing parameter, discussed
above, so that it always agrees rhythmically with the metronome.
To Set When the Countoff Will Be Heard
1.
Press the Click/Countoff button.
2.
Turn the knob until the display shows ÒCountoffÓ in the lower left area of the display:
Click/Countoff
Countoff=Record Only
i
This tells you the circumstance in which the countoff will be heard
3.
The Countoff parameter may be set to:
¥
OffÑto never play the countoff
¥
Record OnlyÑto play the countoff only when you record a sequence
¥
Play OnlyÑto play the countoff only when you play a sequence
¥
Record/PlayÑto play the countoff when you record or play a sequence
Use the Value knob or the up/down arrow buttons to set the Countoff= parameter to the desired value.
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To Set What Sound the Countoff Will Use
1.
Press the Click/Countoff button.
2.
Turn the knob until the display shows ÒCountoff SoundÓ in the lower left area of the display:
Click/Countoff
Countoff Sound=Vocal
i
This tells you what sound the countoff will use
3.
The Countoff Sound may be set to:
¥
QuietÑto cause the countoff to be seen on the display, but not heard
¥
ClickÑto use a standard click sound
¥
VocalÑto use spoken numbers (one, two, three, four)
¥
VoClkÑto use spoken numbers (one, two, three, four) and the standard click sound
¥
StickÑto use the sound of drumsticks being hit together
Turn the Value knob or use the up/down arrow buttons to set the Countoff Sound parameter to the
desired value.
Note: If the time signature of the sequence has more than four beats and youÕve set the
countoff to use spoken numbers, the ZR-76 will use spoken numbers for the first four
beats, and fill in the rest with clicks.
To Set the Length of the Countoff
1.
Press the Click/Countoff button.
2.
Turn the Parameter knob until the display shows ÒCountoff Bars=Ó:
Click/Countoff
Countoff Bars=
1
i
This tells you how many bars the countoff will last before the first beat of the sequence
3.
222
The Countoff Bars parameter may be set anywhere from a 1-bar countoff to a 16-bar countoff.
Turn the Value knob or use the up/down arrow buttons to set the Countoff Bars parameter to the
desired value.
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Chapter 7ÑRecording
Setting a SequenceÕs Time Signature
Each sequence has its own time signature that can be edited whenever the 16 Track Recorder is stopped.
When you select a new sequence, its default time signature is 4/4. You can change its time signature
before you start recording. You can edit a sequenceÕs time signature even after youÕve already recorded on
its tracksÑthis wonÕt change the way the music sounds, only the way itÕs rhythmically interpreted by the
16 Track RecorderÕs counter.
Note: For your convenience, when you edit a sequenceÕs time signature, the Click Timing
parameter (discussed earlier in this chapter) is automatically set to match the time
signatureÕs denominator (the number on the right). For instance, if you set the time
signature to 6/8, the click and countoff will automatically be set to sound every eighth
noteÑthis means that the sequenceÕs click and countoff will always be rhythmically
appropriate for the music youÕre recording.
To View a SequenceÕs Time Signature
1.
Press the A-H Sequence button of the sequence whose time signature youÕd like to view.
The display will show:
The name of the sequence
m
The current location in the sequence
My Sequence
1.01
Time Signature= 4/4
i
The sequenceÕs current time signature
YouÕll see the sequenceÕs time signature in the bottom right-hand corner of the display.
Note: If the sequence youÕre working with is a Standard MIDI File that uses several different
time signatures, the bottom line of the display will read ÒTime Signature: 4/4.Ó The colon
indicates that this time signature is read-only and canÕt be changed.
To Set the Time Signature of a New Sequence
1.
Select a new sequence by pressing one of the A-H Sequence buttons (the LEDs of sequences that are
empty are not lit).
The display will show:
1.01
Time Signature= 4/4
i
The sequenceÕs default time signature
2.
3.
4.
This display shows you the sequenceÕs current time signature. You can select the part of the time
signature youÕd like to change by turning the Parameter knob, and you can change the currently
selected number by turning the Value knob. The number thatÕs flashing is the one thatÕs currently
selected.
The numerator (the number on the left), which controls how many beats are in each measure, can be
set anywhere from 1 to 99. The denominator (the number on the right), which controls which metric
value is equal to one beat, can be set anywhere from 1 (whole notes) to 64 (64th notes).
Turn the Parameter knob until the number youÕd like to change is flashing.
Turn the Value knob to set the selected number to the value you desire.
Repeat steps 2 and 3 until the time signature is what you want it to be.
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Once youÕve set a time signature for the new sequence, you can begin recordingÑthe click and
countoff will play appropriately for the time signature youÕve chosen. If youÕd like to cancel the time
signature setting, select another sequence.
Note: For your convenience, when you edit a sequenceÕs time signature, the Click Timing
parameter (discussed earlier in this chapter) is automatically set to match the time
signatureÕs bottom number. For instance, if you set the time signature to 6/8, the click and
countoff will automatically be set to sound every eighth noteÑthis means that the
sequenceÕs click and countoff will always be rhythmically appropriate for the music youÕre
recording.
5.
Begin recording if youÕd like to keep the time signature youÕve chosen, or select another sequence if
youÕd like to cancel the changes youÕve made.
To Change the Time Signature of a Sequence
1.
Select the sequence whose time signature youÕd like to change by pressing one of the A-H Sequence
buttons. Make sure you select a sequence whose LED is lit to ensure that it contains music. (If youÕd
like to set the time signature of a new sequence, see ÒTo Set the Time Signature of a New SequenceÓ
above.)
The display will show:
The name of the sequence
m
My Sequence
1.01
Time Signature= 4/4
i
The sequenceÕs current time signature
This display shows you the sequenceÕs current time signature.
Note: If the sequence youÕre working with is a Standard MIDI File that uses several different
time signatures, the bottom line of the display will read ÒTime Signature: 4/4.Ó The colon
indicates that this time signature is read-only and canÕt be changed.
2.
3.
4.
5.
6.
7.
224
If the sequence is currently playing, press the 16 Track Recorder Stop button to stop it.
Press the Enter button make the time signature editable.
One of the numbers in the time signature will begin to flash to show that itÕs selected for editing.
You can select the part of the time signature youÕd like to change by turning the Parameter knob, and
you can change the currently selected number by turning the Value knob. The number thatÕs flashing
is the one thatÕs currently selected.
The numerator (the number on the left), which controls how many beats are in each measure, can be
set anywhere from 1 to 99. The denominator (the number on the right), which controls which metric
value is equal to one beat, can be set anywhere from 1 (whole notes) to 64 (64th notes).
Turn the Parameter knob until the number youÕd like to change is flashing.
Turn the Value knob to set the selected number to the value you desire.
Repeat steps 2 and 3 until the time signature is what you want it to be.
Once youÕve set the time signature to your liking, pressing any track button will apply it to the
sequence. When you play or record, the click, countoff and sequence counter will all reflect the
changes youÕve made.
Press any track button to apply the new time signature to the sequence.
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Chapter 7ÑRecording
Using Regions
The ZR-76 allows you to select a specific section within a sequenceÑcalled a region. When you set a region
within a sequence, it will:
¥
¥
¥
¥
be what you hear when you play the sequence
be selected as an area that can be affected by the track and sequence editing commands
play over and over again when you loop the sequence
set up two locator points for quick playback
Note: Song playlists donÕt use regions. To change region settings, the Song Playlist LED
must be off.
Setting a region involves setting the regionÕs start pointÑthe From settingÑ and/or its end pointÑthe To
setting. You donÕt have to use both the From and To settings: you can set a region to be in the middle of a
sequence, to start at its From setting and continue until the end of the sequence or to start at the top of
the sequence and continue until the To setting.
Tip: You can use region From function to start your song with a pickupÑa few notes that
precede the first beat of the first real measure of the song. Record an extra measure
including the pickup prior to the start of the first measure of the songÕs first sequence. On
playback, set region From for the sequence to start at the pickup.
The region settings are very precise. When setting the From or To, you select the desired measure, beat
and clock (each beat is divided into 384 clocks).
There are two ways to determine From and To:
¥
¥
You can set them by entering numerical values
You can set the From and To to the nearest beat while your sequence is stopped or as it plays by
double-clicking on the From or To button.
Note: Each sequence remembers its From and To region settings. You can tell if the
sequence has an active regionÑif it does, the From and/or To LEDs will be lit. When a
sequence that uses regions is part of a song playlist, youÕll see the Region From and/or To
LEDs light during the song steps in which the sequence appears.
To Set Region From by Entering Numerical Values
1.
If the From page is not showing, press the From button.
The display will show:
The current sequence location
m
Region:
From=
1.01
1.01.001
j
The region begins at this bar
i
beat
p
and clock
Both knobs and the up/down arrow buttons are used to set the beginning of the region from setting:
¥
Turn the Parameter knob clockwise to move to the beginning of the next measure, and counterclockwise to move to the beginning of the current measure (or to the beginning of the previous
measure if the beat value is 01 and the clock value is 001).
¥
Press the up arrow button to move to the beginning of the next beat, and the down arrow button to
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2.
3.
move to the beginning of the current beat (or to the beginning of the previous beat if the clock
value is 001).
¥
Turn the Value knob clockwise to move to the next clock value, and counter-clockwise to move to
the previous clock value.
Use the knobs and the up/down arrow buttons to set the From value as desired.
Press the Region From button to turn its LEDÑand the From functionÑon.
Note: If the From value is set later than the To value by making a change to its measure
value or beat valueÑthe To value will jump 1 measure past the From value, minus one
clock.
To Set Region To by Entering Numerical Values
1.
If the Region To page is not showing, press the To button.
The display will show:
The current sequence location
m
Region:
To=
1.01
4.04.384
j
The region begins at this bar
i
beat
p
and clock
Note: If you have just recorded the first track of a new sequence, or if youÕve just sent an
idea to a new sequence from the Idea Pad, the To value will automatically be set to the end
of the last measure of the track.
2.
3.
You can use both knobs and the up/down arrow buttons to set the end of the Region:
¥
Turn the Parameter knob counter-clockwise to move to the end of the previous measure, and
clockwise to move to the end of the next measure, (or to the end of the current measure if youÕre
not already there).
¥
Press the up arrow button to move to the end of the next beat, and the down arrow button to move
to the end of the previous beat.
¥
Turn the Value knob clockwise to move to the next clock value, and counter-clockwise to move to
the previous clock value.
Use the knobs and the up/down arrow buttons to set the To value as desired.
Press the To button to turn its LEDÑand the To functionÑon.
Note: If To is set before From by measure value or by beat valueÑFrom jumps to 1 measure
before To value.
To Set the Region From Value by Double-Clicking
1.
If the sequence whose From value youÕd like to set is not already playing, press the Play button.
2.
At the point in the sequence where you would like the region to begin, double-click the From button.
Ti p: If you prefer, you can stop the sequence at the location youÕd like to use as the
beginning of the region, and then double-click the From button.
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The display will show:
Region:
From=
3.01
2.01.001
i
The measure and beat number at which you double-clicked
3.
The From value will automatically be set to the beat at which you double-clicked the From button.
Press the From button if youÕd like to turn the From function on and make the displayed sequence
location the beginning of the region.
You can fine-tune the From value using the Parameter knob, the up/down arrow buttons, and the
Value knob.
To Set the Region To Value by Double-Clicking
1.
If the sequence whose To value youÕd like to set is not already playing, press the Play button.
2.
At the point in the sequence where you would like the region to end, double-click the To button.
Ti p: If you prefer, you can stop the sequence at the location youÕd like to select as the end of
the region, and then double-click the To button.
The display will show:
Region:
To=
3.01
3.04.384
i
The measure and beat number at which you double-clicked
3.
The To value will automatically be set to the last clock before the beat at which you double-clicked.
Press the To button if youÕd like to turn the To function on and make the displayed sequence location
the end of the region.
You can fine-tune the To value using the Parameter knob, the up/down arrow buttons, and the Value
knob.
Jumping to the Beginning of a Region
You can use the 16 Track RecorderÕs Rewind button to quickly move to the beginning of a regionÑits
Region From location.
To Get to the Start of a Region Using the Rewind Button
1.
If the sequence is playing, press the 16 Track Recorder Stop button.
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The sequence counter will be in the top right corner of the display.
The selected sequenceÕs name
m
The current location in the sequence
m
Big Fun
1.01
Time Signature: 4/4
2.
3.
Make sure the Region From LED is on:
If the From LED is off and the From page is showing, press the From button once to turn it on.
If the From LED is off and the From page is not showing, press the From button twice to turn it on.
Press the Rewind button once to jump to the From location. The counter will update to show where
you are.
Shortcut for Trimming a Sequence
The ZR-76 provides a shortcut that allows you to quickly trim the beginning and/or end of the selected
sequence. If your Region From and To values are already set as youÕd like them, simply hold one of the
Region buttons as you press the Song Editor Erase button. The Region button youÕre holding is
automatically turned on, and the sequence is trimmed according to its setting. If the other Region LED is
on when you do this, that portion of the sequence is trimmed as well.
Ti p: If youÕd like to audition the effect of trimming your sequence, turn on the region From
and To LEDs to hear how your sequence will sound trimmed.
To Quickly Trim a Sequence According to the Region Settings
1.
2.
Select the sequence youÕd like to trim.
If youÕd like to trim the beginning of the sequence according to the Region From value, press and hold
the Region From button. If youÕd like to trim the end of the sequence according to the Region To value,
press and hold the Region To button.
Note: If the LED of the Region button youÕre not holding is on, the sequence will be trimmed
according to its value. If the LED of the Region button youÕre not holding is off, its value will
be ignored. Be sure the other Region button is set as desired before you complete the
command
3.
Press the Song Editor Erase button.
The display confirms the completion of the command.
Using the Region From and To Settings as Locator Points
The 16 Track Recorder provides the ability to easily start playback from the Region From and To locations.
This is especially useful when the From and To LEDs are unlit, signifying that the 16 Track RecorderÕs
Region capabilities are not currently in use. In such a case, the From and To times can be set to handy
starting locationsÑperhaps areas within a sequence upon which you need to lavish special attentionÑand
used solely for that purpose. Since a sequence always remembers its From and To settings, these locator
points will be available whenever you work with the sequence.
To Set Up Playback from Pre-Determined Locations
1.
2.
228
Set the sequenceÕs From and/or To value to the place (or places) within the sequence from which youÕd
like to begin playback. (See earlier in this section to learn how to set the From and To values.)
Make sure that the relevant From and/or To LED is switched off. If itÕs on, press the appropriate From
or To button repeatedly until itÕs unlit.
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Note: If either the From or To LEDs is lit, that function will be in use for determining the
beginning or end of the sequenceÕs playback region, and will be unavailable for use as a
locator point.
To Start Playback at the From or To Location
1.
2.
If the sequence is playing, press and release the 16 Track Recorder Stop button.
Press and hold down the 16 Track Recorder Stop button.
The From and To LEDs will light, and the display will show:
The current sequence location
m
Locate:
Go To=
1.01
1.02.001
j
The playback will begin at this bar
3.
4.
5.
i
p
beat
and clock
This display will appear for as long as you hold the Stop button down.
To select the From location, press the From button onceÑyou will see its time location installed as the
new Go To value.
To select the To location, press the To button onceÑits time location will be installed as the Go To
value.
Release the Stop buttonÑthe 16 Track Recorder will jump to that location.
Press the Play button to play the sequence from the locator point youÕve selected.
Looping Sequences
When working with sequences, itÕs often handy to have them play over and over as you study or work on
them. The ZR-76 loop function enables sequence looping. If the region From button is on, its setting will
determine the start of the loop. If the region To button is on, its setting will determine the end of the loop.
Tip: You can also use the loop feature in conjunction with the 16 Track RecorderÕs Add
recording modeÑdoing so will allow you to record new notes on a track as it loops around
and around.
To Loop a Sequence
1.
Press the Loop button.
2.
Its LED will light, showing that the loop function is active.
To un-loop a looped sequence, press the Loop button to turn off the loopÑits LED will go out.
Copying a Sequence
The ZR-76 allows you to copy any sequence youÕve recorded to a new sequence location. This allows you to
create a spare copy of a sequence before making changes; perhaps youÕd like to use one sequence as the
basis for another. In addition, when you want to create a totally different section of music using the same
settings you used in a sequence, you can copy the settings to a new location without copying the music the
sequence contains. By utilizing the ZRÕs disk drive, you can also copy sequences from one song to another.
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To Copy a Sequence to a Location in the Current Song
1.
2.
Select the sequence youÕd like to copy to another location.
Press the Song Editor Copy button.
The display will show:
Copy this sequence?
Scope=
Entire Seq
3.
4.
The Scope parameter controls what aspects of the selected sequence will be copied to the new location.
You can set it to:
¥
Entire SeqÑto copy the track sounds, track parameters, insert effect, region settings, and
sequence tempo, as well as the actual music recorded on the tracks
¥
SeqParams OnlyÑto copy the track sounds, track parameters, insert effect, region settings, and
sequence tempo only
Turn the Value knob to set the Scope parameter as desired.
Press the Yes button if youÕd like to continue and choose a destination for the sequence, or press the
No button if youÕd like to cancel.
If you press Yes, the display will show:
Copy entire seq to?
Bank1: B: **EMPTY**
j
i
The selected target bank ,
5.
6.
p
sequence location
and name, if thereÕs a sequence there
You can now choose a destination for the sequence youÕre copying. The display will initially show you
the lowest empty sequence location, but you can select any sequence location in the current song by
pressing the Bank and A-H Sequence buttons for the desired location. If youÕd prefer, you can to
choose a different sequence location by turning the Value knob.
The display also shows you the contents of the currently selected destination, or **EMPTY** if it
contains no recorded material.
Turn the Value knob or use the Bank and A-H Sequence buttons to select a destination for the
sequence youÕre copying.
Press the Yes button if youÕd like to continue the copying procedure, or the No button to cancel.
If the sequence location you selected as a destination already has music recorded in it, the display will
show:
The name of the sequence in the destination location
m
Replace SOON-GONE
in Bank1: A?
i
The destination location
7.
230
Press the Yes button if youÕd like to replace the displayed sequence with the sequence youÕre copying.
Press the No button if youÕd like to cancel.
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To Copy a Sequence from One Song to Another
1.
2.
3.
4.
Select the sequence youÕd like to copy to another song.
Insert a formatted floppy into the ZRÕs disk drive (See Chapter 9 for information on formatting floppies
and using the disk drive.)
Press the Disk/Global Save button.
Each sequence is saved to floppy disk as a MIDI-FILE. Turn the Parameter knob until the display
shows:
Save to disk?
1-MIDIFILE :SEQ2SAVE
i
The name of the currently selected sequence
This display allows you to give your MIDI-FILE a DOS file name in one of two ways:
¥
You can spell the DOS file name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys in
each octave move the cursor forward and back on the display (the character currently selected for
editing is underlined). The G# types a blank space.
Note: The keys outside of the range shown above are not used for the naming of disk files.
¥
You can also name your MIDI-FILE using the front panel controls. The up/down arrow buttons are
used to select the character position within the name. The up arrow moves the location to the
right, and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
If you assign your file a name thatÕs already been used for another disk file, the ZR will ask if you want
to replace the earlier file with your new one. Respond by pressing the Yes or No buttons.
Tip: The Value knob provides access to characters unavailable on the keyboard.
5.
6.
Use the front panel controls or the keyboard to name your MIDI file.
When youÕve named your MIDI-FILE, press the Yes button. The display confirms that your MIDI-FILE
has been saved to floppy disk.
Warning: When saving data to a floppy disk, avoid removing the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the disk
and/or in the ZRÕs internal memory.
7.
Select the song to which youÕd like to copy the sequence, by selecting it from memory using the Select
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8.
Song buttonÑif the song is not already in the ZRÕs internal memory, load it from a floppy disk (for
details on loading a song from disk, see Chapter 9).
Press the Disk/Global Load button.
9.
Turn the Parameter knob until the display shows:
Load from disk?
1-MIDIFILE :MY_SEQ
i
What you see here may be different.
This display allows you to select the MIDI-FILE youÕd like to load from the floppy.
10. Turn the Value knob or use the up/down arrow buttons to select the MIDI file youÕre copying.
11. When youÕve selected your MIDI-FILE, press Yes.
The display will show:
The selected destination for the MIDI file
m
Load into: Bank1: A
SEQUENCE: **EMPTY**
i
The sequence thatÕs in the selected destination
This display allows you to select the sequence location into which your sequenceÑyour MIDI-FILEÑ
will be loaded. The bottom line shows you the name of the lowest-numbered empty sequence location
in the currently selected song. You can select a new location by pressing the Bank and A-H Sequence
buttons for the location youÕd like to use, or by turning the Value knob.
12. Select the sequence location into which youÕd like to load the sequence.
13. Press the Yes button to load the sequence into the location youÕve selected, or press the No button if
youÕd like to cancel.
The display momentarily confirms the successful completion of your command, and then selects the
newly-loaded sequence.
The sequence is now part of the currently selected song.
Warning: When loading data from a floppy disk, avoid removing the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the disk
and/or in the ZRÕs internal memory.
Erasing a Sequence
In the ZR-76, the Song Editor erase command can be used for deleting an entire sequence youÕd like to
remove from the ZRÕs memory, or for trimming unwanted music from the beginning and/or end of a
sequence.
To Erase an Entire Sequence
1.
2.
232
Select the sequence you would like to erase.
Press the Song Editor Erase button.
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Chapter 7ÑRecording
The display will show:
Erase this sequence?
Scope=
Entire Seq
3.
4.
5.
The Scope parameter allows you to choose which aspects of the sequence will be erased. If youÕd like to
erase the entire sequence, Scope should be set to Entire Seq.
If the Scope parameter is not already set to Entire Seq, turn the Value knob so that it is.
Press the Yes button to continue, or press the No button if youÕd like to cancel.
If you press Yes, the display will show:
The name of the sequence to be erased
m
Erase SOON-GONE
in Bank1: A?
i
The sequenceÕs location
6.
This display is offered as a double-check, to make sure youÕd like to erase the entire sequence.
If youÕd like to continue and erase the entire sequence, press the Yes button. If youÕd like to cancel,
press the No button
To Trim the Beginning or End of a Sequence
1.
2.
3.
Select the sequence youÕd like to trim.
You can use the Region From and To buttons to control which pieces of the sequence will be trimmed.
If:
¥
Region FromÕs LED is on and Region ToÕs is offÑyou can erase only the portion of the sequence
that comes before the Region From value. When you do, Region From will turn off and its value will
be set to 1.01.001. The Region To value will still point to the same musical location it did before,
but its value will be updated to reflect the new length of the sequence.
¥
Region FromÕs LED is off and Region ToÕs is onÑyou can erase only the portion of the sequence
that comes after the Region To value. When you do, Region To will turn off.
¥
Region FromÕs LED and Region ToÕs are both onÑyou can erase only the portions of the sequence
that come before the Region From value and after the Region To value. When you do, Region From
will turn off and its value will be updated to 1.01.001. The Region To value will still point to the
same musical location it did before, but its value will be updated to reflect the new length of the
sequence.
¥
Region FromÕs LED and Region ToÕs are both offÑyou can erase the entire sequence. When you do,
Region From and Region To values will be updated to 1.01.001.
Adjust the Region From and Region To buttons and values to the appropriate settings, according to
what parts of the sequence youÕd like to trim. (If youÕd like to know more about working with the
Region From and To parameters, see ÒUsing Regions,Ó earlier in this chapter.)
Press the Song Editor Erase button.
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The display will show:
Erase this sequence?
Scope=Outside Region
4.
The Scope parameter allows you to choose which aspects of the sequence will be erased. If youÕd like to
trim the sequence according to the Region From and Region To settings, the Scope parameter should
be set to Outside Region.
If the Scope parameter is not already set to Outside Region, turn the Value knob so that it is.
Note: If the Region From and Region To buttons are both off (their LEDs arenÕt lit), this
value will not be available.
5.
Press the Yes button to continue and trim the sequence according to the Region settings, or press the
No button if youÕd like to cancel.
Renaming a Sequence
The ZR-76 allows you to rename a sequence at any time. Sequence names in the ZR-76 are up to 11
characters long in upper or lower case (including a selection of symbols). When you rename a ZR-76
sequence, you can actually use up to 20 characters, though only 11 will normally be displayedÑuse the
remaining nine characters for a brief note about the sequence, or the date you recorded it, or perhaps a
version number. You can see all 20 characters by holding down the sequenceÕs button. Since some
Standard MIDI files have names with even more characters, holding down the sequence button can
actually display up to 40.
Note: When you save a sequence to disk as a MIDI file, it requires an eight-character DOS
name. This file name is separate from the name you assign to the sequence in the ZR-76Ñ
sequence names can use more characters than DOS allows, and can employ both upper
and lower cases.
To Rename a Sequence
1.
2.
Select the sequence youÕd like to rename.
Press the Song Editor Misc. button.
3.
Turn the Parameter knob until the display shows:
Song Editor Misc.:
Rename sequence?
4.
Press the Yes button if youÕd like to continue and choose a new name for your sequence, or press the
No button if youÕd like to cancel.
If you press Yes, the display will show:
New Sequence Name=
My Sequence
i
The underline shows that you can select a character for this location on the display
234
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Chapter 7ÑRecording
This display allows you to give your sequence a new name in one of two ways:
¥
You can spell the sequenceÕs name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys in
each octave move the cursor forward and back on the display (the character selected for editing is
underlined on the display). The F# is always a lower case lock, the A# an upper case lock, while
the G# types a blank space. The Value knob provides access to characters unavailable on the
keyboard.
Note: The keys outside of the range shown above are not used for the naming of sequences.
¥
You can also name your sequence using the front panel controls. The up/down arrow buttons are
used to select the character position within the name. The up arrow moves the location to the
right, and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
Ti p: ItÕs a good idea to give your sequence a name of no more than eleven charactersÑthatÕs
the number of characters visible on most sequence displays. You can use the additional
nine spaces for a brief note about your sequence. Once youÕve named your sequence, you
can see all of the characters by pressing and holding down the sequence button.
5.
6.
Use the front panel controls or the keyboard to rename your sequence.
When youÕve named your sequence, press the Yes button. If youÕd like to cancel the renaming, press
the No button.
Recording Automated Sequence Tempo Changes
The ZR-76 Final Mix recording mode allows you to record tempo changes that occur over the course of a
sequence, so that you can create automated ritardandi and accelerandi.
Note: You can undo Final Mix tempo changes in the same manner as you would undo any
standard 16 Track Recorder recording.
To Record Automated Tempo Changes in a Sequence
1.
Press the Record Mode button in the ZR-76 Song Editor repeatedly until the Final Mix LED is lit.
2.
3.
Press the 16 Track Recorder Rewind button to go back to the beginning of the sequence.
Hold down the 16 Track Recorder Record button.
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4.
While continuing to hold down the Record button, press the Play button, and then let both buttons go.
The sequence will begin counting down to its starting point, and the display will show:
The name of your sequence
m
My Seq
Final Mix
The current location in the sequence or countoff
m
-1
01
100%
i
The amount of change to the sequenceÕs mix
5.
Press the Yes button or turn the Parameter knob clockwise so that the display shows:
The name of your sequence
m
My Seq
Final Tempo
The current location in the sequence or countoff
m
-1 01
™:120
i
The sequenceÕs current tempo
6.
Turn the Value knob or press the up or down arrow buttons to perform the tempo changes youÕd like
to record.
Ti p: Holding down the up or down arrow button causes a natural-sounding acceleration or
deceleration, respectively.
7.
8.
9.
236
When youÕre done recording changes, press Stop, or continue until the end of the sequence.
To play back your work, press Play.
If youÕd like to re-do your tempo changes, press the 16 Track Recorder Edit and Yes buttons to undo
your work, and then return to Step 2.
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S o n g To o l s an d Te c h n i q u e s
For a introduction to the ZR-76 concept of a song, see the discussion of song playlists and songs in ÒZR-76
Recording ConceptsÓ above.
Creating a New Song
Creating a new song in the ZR-76 is an extremely simple process. When you create a song, you create:
¥
24 blank sequence locations that can be used for the sections of music youÕll use in your composition
¥
a new global chorus and global reverb setup using the current global chorus and global reverb settings
The new song appears in the ZRÕs Song Editor, where it can be played or edited. It will be assigned a
default name based on the number of songs in the ZRÕs memoryÑeach default is numbered
consecutivelyÑthat way, you can keep track of all your songs.. If thereÕs already a song in the Song Editor,
it will be moved into the ZRÕs song memory. You can re-select any song located in the song memory.
To Create a New Song
1.
Press the New Song button.
The display will show the first track of the first sequence of your newly created song. Track 1 of
Sequence A of Bank 1 will automatically be selected. You can now begin creating sequences and
recording tracks.
Creating a Song Playlist
When youÕre ready to play the sections of your composition one after another as theyÕre meant to be heard,
you create a song playlist. The song playlist, as its name implies, is a list of the sequences you want to
hear in your song, arranged in the proper order. A song playlist contains as many steps as you require for
the song youÕre creatingÑyou assign a sequence to each step. Once the song playlist is in place, pressing
the Play button in the 16 Track Recorder will begin playback of your new song.
The song playlist is used for working with songsÑwhen the Song Playlist LED is on, many of the
commands and buttons that affect sequences will not be available. If youÕd like to make any changes to a
sequence, turn off the Song Playlist LED by pressing the Song Playlist button.
Note: When you create a song playlist, it replaces any previously existing song playlist,
allowing you to quickly try out a new song playlist without having to erase an old one. You
can also create a new song playlist by editing the steps of an existing one (use the method
described in ÒEditing an Existing Song Playlist,Ó later in this chapter.)
To Create a Song Playlist
1.
Press and hold the Song Playlist button.
If you havenÕt recorded any sequences yet in the currently selected song, the display will show:
Song Playlist Entry:
No seqs to select!
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If youÕve recorded sequences in this song that can be used by the playlist, the display will show:
Song Playlist Entry:
Select a seq (A-H).
2.
For as long as you hold the Song Playlist button, each time you press a sequence button you will add
that sequence to the end of the playlist. You can select sequences from any of the three banks.
If the bank that contains the sequence youÕd like to add to the playlist is not already selected, press
the Bank button repeatedly until it is. The currently selected bank is the one whose LED it lit.
Each press of the Bank button selects the next highest numbered bank. If Bank 3 is selected, pressing
the Bank button will select Bank 1.
Note: The LEDs on the sequence buttons always reflect the status of the sequences in the
currently selected bank. A sequence whose LED is solidly lit has music on it. A sequence
whose LED is not lit is empty. A sequence whose LED is flashing is the currently selected
sequence.
3.
Without letting go of the Song Playlist button, select the sequence youÕd like to use as the first
sequence in the playlist by pressing its button.
The display will show:
Song Playlist Entry:
Step #1
= Bank1: A
i
The current step in the playlist
i
p
The selected bank and sequence for this step
Note: If the sequence you selected is empty, this display will not appearÑonly sequences
that have music on them can be added to a playlist.
4.
5.
This display is showing the sequence letter and the bank number of the sequence that is now step
#1Ñfirst in the playlist. You can continue to select sequences as long as you hold down the Song
Playlist button. Each sequence you select will be added to the playlist.
While still holding the Song Playlist button, continue to select sequences in the order youÕd like them
to appear in the playlist.
Each time you select a sequence, the display will update to show the new step number, bank number
and sequence letter. When you have finished building your list of sequences, releasing the Song
Playlist button will turn on the playlist, and you will be ready to play your song.
When you have finished creating the playlist, release the Song Playlist button to turn on the playlist.
You can now press Play to listen to your new song.
Ti p: As a song playlist plays, the Bank and A-H Sequence button LEDs will light to show
which sequence is currently being played. This allows you to see at a glance which
sequence youÕre hearing.
6.
To turn off the playlist, press the Song Playlist button. Its LED will turn off.
Note: If a sequence contains only a rhythm track, when itÕs used as a step in a song
playlist, it plays for a single measure.
Smooth Playlist Playback
When you create a new song playlistÑor when you select a songÕs playlist, or load a song from floppy that
was saved with the song playlist selectedÑthe ZR-76 examines the steps in the playlist and store certain
information in RAM regarding the transitions between playlist steps, in order to help ensure smooth
transitions. If thereÕs not enough RAM memory to hold this information, the display will show:
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RAM low! Playlist
not smooth. Proceed?
If this message is displayed you can press Yes to play the song playlist anyway, or press No to exit the
playlist. If you press Yes, your ZR-76 will let you know when the transition into an upcoming step may not
be perfect by showing a display looking something like this:
Can’t smooth step!
Step #9
=Bank3: G
i
The step that may not start correctly
i
p
The selected bank and sequence for this step
Playing a Song
When you want to hear your songÑthat is, all of your sequences strung together in the proper order, what
you want to hear is your song playlist. (To learn how to create a song playlist, see ÒCreating a Song
Playlist,Ó earlier in this chapter.)
Ti p: Each sequence in a song playlist is automatically extended to the end of its final
measure, even if that measure doesnÕt have music all the way through. If you want a
sequence in your song playlist to end before the end of its last measure, use the Region To
button to set the end of the sequence as desired (see ÒUsing RegionsÓ earlier in this
chapter).
As your song playlist plays:
¥
pressing the Rewind button takes you to the beginning of the current playlist step.
¥
holding down the Fast Forward button moves to the end of the song playlist.
¥
pressing the Play button returns you to the beginning of the current playlist step.
When the song playlist is stopped, pressing the Rewind button brings you to the beginning of the song
playlist.
Note: If youÕve created a song playlist, and you erase one of the sequences it uses, all of the
steps that use that sequence are omitted, and the remaining steps are renumbered to
reflect the changes. This prevents any ÒemptyÓ steps in a song playlist.
To Play a Song
1.
If the Song Playlist LED is not lit, press and release the Song Playlist button to turn it on. Its LED will
light.
If you have not yet created a song playlist, the LED wonÕt light, and the display will show:
No playlist defined!
Hold to define one.
2.
To learn how to create a song playlist, see ÒCreating a Song PlaylistÓ earlier in this chapter.
Press the 16 Track Recorder Play button to start playing the song.
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The display will show:
The name of the selected song
The current bar and beat in the song
m
m
SOMESONG
Step #1
1.01
= Bank1: A
i
The first step in the playlist
i
p
The selected bank and sequence for this step
This display shows you the bank number and sequence letter of the first sequence in the playlist. As
the song plays, the currently playing step and sequence will be displayed here.
Note: As a song playlist plays, the Bank and A-H Sequence button LEDs will light to show
which sequence is currently being played. This allows you to see at a glance which
sequence youÕre hearing, even when the above display isnÕt showing.
3.
To stop the song, press the 16 Track Recorder Stop button.
Tip: Whenever youÕd like to return to the main song display, press the Song Playlist button.
To Move to a Step in the Song Playlist
1.
If the Song Playlist LED is lit and the display is not showing the playlist step page, press the Song
Playlist button twice.
If the Song Playlist LED is not lit and the display is not showing the playlist step page, press the Song
Playlist button once.
The display will show:
The name of the selected song
m
SOMESONG
Step #1
i
The first step in the playlist
The current bar and beat in the song
m
1.01
= Bank1: A
i
p
The selected bank and sequence for this step
Note: If you have not already created a playlist, this display will not appear. For details on
creating a playlist, see ÒCreating a Song PlaylistÓ above.
2.
3.
This display shows the current step number and its sequence. You can change the current step
number by turning the Parameter knob, and the display will update to show the new step number and
sequence.
Turn the Parameter knob to select the step you would like to move to.
Press the 16 Track Recorder Play button to start playing the playlist at the step you selected.
Renaming a Song
When you create a new song, your ZR-76 assigns the song a default name based on the number of songs
currently in memory. You can change this name at any time, assigning it an 11-character name utilizing
upper and lower-case characters.
To Rename a Song with a Playlist
1.
240
If the Song Playlist LED is not already lit, press the Song Playlist button.
If the song youÕd like to erase doesnÕt already have a playlist, create one by holding the Song Playlist
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2.
button and selecting a sequence that has music recorded in it. Make sure the Song Playlist LED is lit
when youÕre done.
Press the Song Editor Misc. button.
3.
Turn the Parameter knob until the display shows:
Song Editor Misc.:
Rename song?
4.
Press the Yes button if youÕd like to continue and choose a new name for your song, or press the No
button if youÕd like to cancel.
If you press Yes, the display will show:
Rename Song:
New Name= NEW-SONG
i
The underlined character can be changed
¥
You can spell the song playlistÕs name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys in
each octave move the cursor forward and back on the display (the character selected for editing is
underlined on the display). The F# is always a lower case lock, the A# an upper case lock, while
the G# types a blank space.
Note: The keys outside of the range shown above are not used for the naming of song
playlists.
¥
You can also name your song playlist using the front panel controls. The up/down arrow buttons
are used to select the character position within the name. The up arrow moves the location to the
right, and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
Tip: The Value knob provides access to characters unavailable on the keyboard.
5.
6.
Use the front panel controls or the keyboard to rename your song.
When youÕve named your song, press the Yes button. If youÕd like to cancel the renaming, press the No
button.
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Editing an Existing Song Playlist
After youÕve created and listened to a song playlist, you may decide youÕd like to make some changesÑ
perhaps youÕd like to reorder some sections, or substitute a different sequence for one of its steps. The
Song Editor allows you to edit the steps of an existing song playlist without creating a new one.
To Edit an Existing Song Playlist
1.
If the Song Playlist LED is not lit, press the Song Playlist buttonÑits LED will light and the ZR will
display the song playlist page.
If the Song Playlist LED is lit and the display is not showing the song playlist page, press the Song
Playlist button twice.
The display will show:
The name of the selected song
The current bar and beat in the song
m
SOMESONG
Step #1
m
1.01
= Bank1: A
i
The first step in the playlist
2.
3.
4.
5.
i
p
The selected bank and sequence used in this
step
When this display is showing, you can edit the steps of the song playlist. Turning the left knob will
select a step number, and turning the right knob will select a sequence for the currently selected step.
Turn the left knob to select the step number whose sequence youÕd like to change.
Turn the right knob to select a sequence for the step to play. You can select any sequence that has
music recorded in it.
Repeat steps 2 and 3 until the song playlist is the way youÕd like it.
Press the 16 Track Recorder Play button to hear the new song playlist.
Selecting Another Song
The ZR-76 can hold as many songs as memory will allow. Each song can contain up to 24 sequences, a
song playlist and its own global chorus and global reverb setup. There is always a song available for
playing or editing in the ZRÕs Song Editor. When you create a new song, the song previously in the Song
Editor is moved into the ZRÕs song memory. There are two ways to select a song in the ZR-76:
¥
selecting the desired song by dialing it in with the Value knob
¥
typing the desired songÕs name on the ZRÕs keyboard
When you select a song, its global chorus and global reverb settings, its sequences and its song playlist are
all installed into the Song Editor. In addition, the setting of the Song Playlist button is restoredÑif you
were most recently working with the song playlist, the Song Playlist LED will be lit; if you were working
with an individual sequence, that sequence will be selected.
To Select a Song from the ZRÕs Song Memory
1.
242
Press and hold down the Select Song button.
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If the only song currently in your ZR-76 is already in the Song Editor, the display will show:
No songs to select!
Song memory is empty
If thereÕs a song stored in the ZRÕs song memory, the display will show:
Select another song?
SONG #1 :SOMESONG
i
The first song in the ZRÕs song memory
2.
3.
You can select any of the songs that have been created or loaded since you turned on the ZR 61 or ZR
76. As you turn the value knob, you will see the names of the available songs in the lower right-hand
corner of the display.
Turn the Value knob or use the up/down arrow buttons to select the song you would like to use.
If youÕd like to load the selected songÕs sequences into the Song Editor, replacing anything thatÕs
currently there, press Yes. The song youÕve selected will become the active songÑif there was a song in
the Song Editor, it will be moved into the ZRÕs song memory. If youÕd rather not continue the
procedure, press No.
To Select a Song by Spelling Its Name on the Keyboard
1.
Press and hold down the Select Song button.
If the only song currently in your ZR-76 is the active songÑwhich is already selectedÑthe display will
show:
No songs to select!
Song memory is empty
If thereÕs a song stored in the ZRÕs song memory, the display will show:
Use keys to spell.
SONG #1 :SOMESONG
i
The first song in the ZRÕs song memory
As long as you keep holding down the Select Song button, you can spell the songÕs name on the
keyboard as if it were a typewriterÑthe character associated with each key is printed above the key on
the ZRÕs front panel. The C# and D# keys in each octave move the cursor forward and back on the
display. The G# types a blank space.
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2.
3.
Type the desired songÕs name on the ZRÕs keyboard.
When you see the song youÕd like to move into the Song Editor, let go of the Select Song button. The
song youÕve selected will become the active songÑif there was a song in the Song Editor, it will be
moved into the ZRÕs song memory.
Copying a Song
Each ZR-76 song can have a song playlist. There may be times that youÕd like to experiment with different
song structures by setting up different playlists and listening to the various versions one after another. At
such times, youÕll want to have multiple copies of the same song in the ZRÕs Song Editor and song
memoryÑthis will allow you to compare the different song structures.
To Copy a Song
1.
2.
Insert a formatted floppy into the ZRÕs disk drive (See Chapter 9 for information on formatting floppies
and using the disk drive.)
Press the Disk/Global Save button.
3.
Turn the Parameter knob until the display shows:
Save to disk?
1-SONG
:MY_SONG
i
The underline shows that the first character in this songÕs name is editable
This display allows you to give your song a new name in one of two ways:
¥
You can spell the songÕs name on the keyboard as if it were a typewriterÑthe character associated
with each key is printed above the key on the ZRÕs front panel. The C# and D# keys in each octave
move the cursor forward and back on the display (the character selected for editing is underlined
on the display). The F# is always a lower case lock, the A# an upper case lock, while the G# types a
blank space.
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Note: The keys outside of the range shown above are not used for the naming of songs.
¥
You can also name your song using the front panel controls. The up/down arrow buttons are used
to select the character position within the name. The up arrow moves the location to the right, and
the down arrow moves it to the left. The underlined character is selected and may be changed with
the Value knob.
Tip: The Value knob provides access to characters unavailable on the keyboard.
4.
5.
Use the front panel controls or the keyboard to name your song.
When youÕve named your song, press the Yes button. The display confirms that your song has been
saved to floppy disk.
Warning: When saving data to a floppy disk, avoid removing the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the disk
and/or in the ZRÕs internal memory.
6.
Press the Disk/Global Load button.
7.
Turn the Parameter knob until the display shows:
Load from disk?
1-SONG
:MY_SONG
i
What you see here may be different.
8.
9.
This display allows you to select the song youÕd like to load.
Turn the Value knob or use the up/down arrow buttons to select the song youÕre copying.
When youÕve selected your song, press Yes.
The copy of your song on the disk will be loaded into the Song Editor, and the copy that had been in
the Song Editor is moved into the ZRÕs song memory. The display momentarily confirms the successful
completion of your command.
Warning: When loading data from a floppy disk, avoid removing the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the disk
and/or in the ZRÕs internal memory.
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Erasing a Song Playlist or an Entire Song
You can erase the song thatÕs currently in the ZRÕs Song Editor to free up sequencer memory. There are
three different possibilities:
¥
¥
¥
If the song has a song playlist, you can use the Song Editor to erase the entire songÑsequences, song
playlist, global chorus and global reverb setups. When the song is erased, a new empty song is created
in the Song Editor using the current global chorus and global reverb settings.
If the song has a song playlist, you can use the Song Editor to erase only the song playlist
If the does not have a song playlist, you can use the ZRÕs librarian to erase the song, including its
sequences and global chorus and global reverb setups.
To Erase an Entire Song
1.
If the Song Playlist LED is not already lit, press the Song Playlist button.
If the song youÕd like to erase doesnÕt already have a playlist, create one by holding the Song Playlist
button and selecting a sequence that has music recorded in it. Make sure the Song Playlist LED is lit
when youÕre done.
2.
Press the Song Editor Erase button.
The display will show:
Erase this song?
Scope= Playlist only
i
This shows what will be erased
3.
4.
The Scope parameter allows you to decide if youÕd like to erase the entire song, or just the song
playlist. You can set it to:
¥
Playlist OnlyÑto erase only the song playlist
¥
Entire SongÑto erase the entire song and all of its sequences
Turn the Value knob to set the Scope parameter to All.
Press the Yes button if youÕd like to continue, or the No button if youÕd like to cancel.
If you press Yes, the display will show:
The song to be erased
m
Erase song SOONGONE
& start a new song?
5.
This display is offered as a double-check to make sure you really want to erase the current song and
all its sequences.
Press Yes if youÕd like to continue and erase the entire song, or press No if youÕd like to cancel.
To Erase a SongÕs Playlist
1.
246
If the Song Playlist LED is not already lit, press the Song Playlist button.
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If the song youÕd like to erase doesnÕt already have a playlist, create one by holding the Song Playlist
button and selecting a sequence that has music recorded in it. Make sure the Song Playlist LED is lit
when youÕre done.
2.
Press the Song Editor Erase button.
The display will show:
Erase this song?
Scope= Playlist only
i
This shows what will be erased
3.
4.
The Scope parameter allows you to decide if youÕd like to erase the entire song, or just the song
playlist. You can set it to:
¥
Playlist OnlyÑto erase only the song playlist
¥
Entire SongÑto erase the entire song and all of its sequences
Turn the Value knob to set the Scope parameter to Playlist Only.
Press the Yes button if youÕd like to continue and erase the song playlist, or No if youÕd like to cancel.
To Rename a Song with a Playlist
1.
2.
If the Song Playlist LED is not already lit, press the Song Playlist button.
If the song youÕd like to erase doesnÕt already have a playlist, create one by holding the Song Playlist
button and selecting a sequence that has music recorded in it. Make sure the Song Playlist LED is lit
when youÕre done.
Press the Song Editor Misc. Button.
3.
Turn the Parameter knob until the display shows:
Song Editor Misc.:
Rename song?
4.
Press the Yes button if youÕd like to continue and choose a new name for your song, or press the No
button if youÕd like to cancel.
If you press Yes, the display will show:
Rename Song:
New Name= NEW-SONG
i
The underlined character can be changed
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¥
You can spell the song playlistÕs name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys in
each octave move the cursor forward and back on the display (the character selected for editing is
underlined on the display). The F# is always a lower case lock, the A# an upper case lock, while
the G# types a blank space.
Note: The keys outside of the range shown above are not used for the naming of song
playlists.
¥
You can also name your song playlist using the front panel controls. The up/down arrow buttons
are used to select the character position within the name. The up arrow moves the location to the
right, and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
Tip: The Value knob provides access to characters unavailable on the keyboard.
5.
6.
Use the front panel controls or the keyboard to rename your song.
When youÕve named your song, press the Yes button. If youÕd like to cancel the renaming, press the No
button.
W o r k i n g wi t h St a n d a r d MI D I Fi l e s (S M F s )
What Are Standard MIDI Files?
A Standard MIDI FileÑalso known as an ÒSMFÓÑis a sequence that adheres to a standardized data file
format that allows it to be understood by software and hardware sequencers of different types, created by
different manufacturers. There are two types of SMF. An SMF may be:
¥
a Type 1 Standard MIDI FileÑan SMF that contains multiple tracks, with each track using a single
MIDI channel
¥
a Type 0 Standard MIDI FileÑan SMF with a single track; Type 0 files often contain multiple tracks
with their own MIDI channels, merged into a single track
Your ZR-76 can play either type of Standard MIDI File. The ZR-76 can load SMFs of up to 215k in size.
The Standard MIDI File format is often used in the creation of General MIDI music, since GM is a form
thatÕs based on transportability from sequencer to sequencer. Not all SMFs contain General MIDI music,
howeverÑthe Standard MIDI File format can be used for any kind of sequenced music, using any sound
set whatsoever. All General MIDI sequences are SMFs, but not all SMFs are General MIDI sequences.
The sequence tracks in Standard MIDI Files usually contain Program Change values that call up the
correct sound for each trackÑthese are commonly General MIDI sounds, though they donÕt have to be. An
SMFÕs track or tracks is also likely to contain values for various standard MIDI controllers, such as Volume
(Controller #7) and Pan (Controller #10).
What Happens When You Load an SMF Into a ZR-76
Standard MIDI Files are loaded into the ZR-76 in the same manner that any other sequence files are
loaded. Chapter 9 describes the loading of single sequences and Standard MIDI Files from floppy disk.
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Note: ZR-76 sequences are themselves Standard MIDI Files, and can be played by any
Standard MIDI File-capable sequencer.
The first thing the ZR-76 does when you load an SMF is to take a moment to examine the file and learn if
its tracks are arranged in numerical order according to the MIDI channels they use, and if the SMF
contains 16 tracks or less. If both of these criteria are met, the track LEDs in the 16 Track Recorder
corresponding to the tracks in the SMF will light as soon as the SMF finishes loading into the ZR.
If the tracks in the sequence are not in numerical order by MIDI channel, or if there are more than 16
tracks in the sequence, the 16 Track RecorderÕs track LEDs will remain unlit. Since this will certainly be
true of Type 0 SMFs that contain multiple tracks merged into one, the track LEDs will always remain unlit
immediately after loading a Type 0 Standard MIDI File.
In either event, you can press the Play button to hear your Standard MIDI File immediately after itÕs been
loaded from floppy disk. If there are no Bank Select values on the SMFÕs tracks, all Program Change values
on the tracks will invoke corresponding General MIDI sounds; and if the tracks contain controller data, the
ZR will respond accordingly. You can set region From and To values for playback of the SMF, though they
wonÕt be remembered if you select another sequence and come back to the SMF (that ability can be
addedÑsee ÒThe Two-Step Process of Converting an SMF into a ZR SequenceÓ below).
Note: If an SMF contains multiple time signatures, its meter will be shown as ÒTime
Signature: 4/4.Ó The colon signifies that this time signature cannot be edited.
The Two-Step Process of Converting an SMF into a ZR Sequence
The ZR-76 allows you to play Standard MIDI Files as soon as theyÕre loaded from floppyÑthereÕs no
conversion process necessary when listening to a Standard MIDI File in your ZR-76. However, as you work
with Standard MIDI Files in your ZR, theyÕre converted, step-by-step, into ZR sequences. Though theyÕll
always be perfectly transportable SMFs that play in any Standard MIDI File-compatible sequencer, theyÕll
ultimately be able to take advantage of the ZRÕs sounds, effects, parameters, and songwriting tools.
Aligning Tracks
Since Standard MIDI Files come from so many sources, and since the format allows for so much flexibility,
thereÕs a tremendous variety in the way their tracks are used.
The ZR-76 approaches Standard MIDI Files in the 16 Track Recorder from the point of view that you
should be able to easily use them in any other SMF sequencer after youÕve worked on them in your ZR-76,
and that when you do this, you should be able to continue using the ZRÕs great sounds. The ZRÕs 16 Track
Recorder makes for an excellent multi-timbral sound source when youÕre using an external sequencerÑit
can receive MIDI data on 16 channels at once, providing up to 16 different sounds at a time. Tracks 1
through 16 in the 16 Track Recorder always receive on MIDI channels 1 through 16. The best way,
therefore, of preparing a sequence to use the ZR as a multi-timbral sound source is to set it up so that its
tracks 1 through 16 are assigned to MIDI channels 1 through 16, respectively.
The first step in converting a foreign Standard MIDI File into a fully native ZR-76 Standard MIDI File is to
arrange its tracks in numerical order, corresponding to the MIDI channels they use, if theyÕre not already
arranged in that manner. If your SMFÕs track are not yet aligned, and you:
¥
press any of the 16 Track Recorder track buttons
¥
press the Record button
¥
press the 16 Track Recorder Edit, Copy, Erase or Quantize button
¥
turn the Mix or Pan knobs
¥
attempt to change a trackÕs effect routing after pressing the Routing button
¥
press the Mute or Solo button
...the ZRÕs display will show:
Align MIDI channels
to track numbers?
When you press the Yes button is response to this question, your ZR-76 will align the SMFÕs tracks
according to their MIDI channels.
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Note: If tracks contain more than one MIDI channelÑas in Type 0 Standard MIDI FilesÑthe
ZR will automatically separate the track data according to MIDI channel so that the data
associated with each channel can reside on a track whose number is the same as its MIDI
channel. When multiple tracks use the same MIDI channel, theyÕll be merged into a single
track; in this way, any SMF with more than 16 tracks will be converted into a 16-track
sequence. If the SMF contains additional tracks with non-note/controller information on
themÑthe sequenceÕs name or arranging credit, or a System Exclusive data string, for
exampleÑthose tracks will be merged into the hidden track 0 thatÕs always part of a
Standard MIDI File.
Note: When the ZR-76 aligns the tracks of an SMF, it also adds the ability to remember
Region From and To and InsertCntrlTrack settings to the sequence.
Adding Track Parameters
The ZR-76 provides many options for customizing the sounds used in the 16 Track Recorder (see Chapter
4). Though the MIDI protocol provides for a number of sound-modifying controller messages that can be
interpreted by most MIDI devices, the ZR-76 offers additional parameters that go beyond that set.
When you first load a Standard MIDI File into the ZR, each of its tracks may already contain MIDI
controller values relating to the sound it uses. For a track to take advantage of the ZRÕs advanced soundsculpting capabilities and tools, however, the ZR parameters must also be added to the track. This process
is performed on a track-by-track basis, in the interest of preserving sequencing memoryÑparameters take
up memory space, and so, theyÕre only added to SMF tracks as you need them. If you attempt any
operations requiring these parameters on a track that doesnÕt yet have them, your ZR-76 will ask you:
Add track parameters
to track 6?
i
This will be the number of the currently selected track
When you press the Yes button in response, the ZR-76 parameters will be added to the selected track.
Send Sounds, Idea and Rhythms into SMFs Prior to Conversion
In the same way that your ZR-76 will ask you if you want to align an SMFÕs tracks and add ZR track
parameters when you attempt an operation that requires doing so, the ZR will do the same if you attempt
to send a sound from SoundFinder, a rhythm from the Drum Machine, or an idea from the Idea Pad to a
track in a Standard MIDI File whose tracks havenÕt been aligned.
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The display will show:
Align MIDI channels
& add track params?
You can press the Yes button to re-arrange the order of the SMFÕs track according to MIDI channel, and to
add track parameters for the track or tracks to which youÕre sending your sound, idea and/or rhythm.
Press the No button to cancel the operation.
If YouÕd Like to Prepare Your SMF for Use Upon Loading It
You can align a Standard MIDI FileÕs tracks and add its track parameters right after loading it, if you like,
if you know youÕll be adding tracks to it, choosing new sounds for it, adjusting its sound settings and/or
re-working its effects.
In order to help ensure that your SMF plays properly, we recommend that you
run the ÒEnter GM Mode?Ó command to set all of the 16 Track Recorder sound
parameters to SMF-friendly defaults prior to loading your SMF from floppy disk.
See Chapter 3 to learn how.
To Convert an Externally Created SMF Into a ZR SMF
1.
2.
Insert the DOS-formatted floppy disk containing you Standard MIDI File into the ZRÕs disk drive.
Press the Load button.
3.
Turn the Parameter knob until 1-MIDIFILE appears in the lower-left portion of the display.
Load from disk?
1-MIDIFILE :SLICKSMF
i
The type of file selected for loading
4.
5.
6.
7.
:
i
The first file of that type on the disk
Turn the Value knob to locate the Standard MIDI File youÕd like to load.
When the desired fileÕs name is displayed, press the Yes button.
In a few moments, your Standard MIDI File will be loaded and ready to play.
Press the Play button to hear your SMF.
If any of the 16 Track RecorderÕs track-button LEDs are lit, skip to step 9.
If no track-button LEDs are lit, press any track button.
The display will show:
Align MIDI channels
to track numbers?
Your ZR-76 is asking you if you want to re-arrange the order of your Standard MIDI FileÕs tracks so
that theyÕre in numerical order according to the MIDI channels they use. See ÒAligning TracksÓ above
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for a fuller explanation of the question the ZR is posing.
8. Press the Yes button if youÕd like to proceed, or the No button to cancel.
9. If youÕd now like to add track parameters to each of the SMFÕs tracks, select any of those tracks.
10. Turn the Parameter knob one tick.
The display shows:
Add track parameters
to track 1?
i
This will be the number of the currently selected track
11. Press the Yes button to add track parameters to the selected track.
12. Repeat steps 9-11 for each of the tracks in the sequence.
When youÕre done, your externally generated Standard MIDI File will be a ZR-76 Standard MIDI File.
1 6 Tr a c k Re c o r d e r MI D I
The Out and Ins of MIDI in the 16 Track Recorder
The 16 Track Recorder can both transmit and respond to MIDI note and controller data, including Bank
Select and Program Change messages. The transmission and reception of MIDI data in the 16 Track
Recorder both have their own features and characteristics.
Tip: If youÕre unfamiliar with MIDI, see ÒWhat Is MIDIÓ in Chapter 13.
Transmitting MIDI from 16 Track Recorder
In order for a track in the 16 Track Recorder to transmit MIDI data, it must be assigned a MIDI-OUT
sound. MIDI-OUT sounds are selected for tracks in exactly the same manner as any other sound.
Each MIDI-OUT sound allows you to choose:
¥
the MIDI channel on which data will be transmitted.
¥
the Bank Select value that will be transmitted when the sound is selected
¥
the Program Change value that will be transmitted when the sound is selected
When a MIDI-OUT sound is selected, turning the Mix knob causes Expression (Controller #11) data to be
transmitted on the MIDI-OUT soundÕs MIDI channel. Turning the Pan knob transmits Pan (Controller #10)
data.
Ti p: You can use MIDI-OUT sounds in conjunction with the foot switches or CV-pedal
connected to your ZR-76 to transmit any MIDI controller. Use the system ÒSet up foot
controls?Ó procedure to assign a foot switch or pedal to one of the ZRÕs four assignable
CTRLs, and then use the system ÒEdit MIDI settings?Ó procedure to assign the desired MIDI
controller number to the selected CTRL. Both of these procedures are described in Chapter
3.
The ZR-76 provides sound controller filters that let you enable or disable a trackÕs transmission of MIDI
controller data. See ÒSound Controller FiltersÓ in Chapter 4.
If your ZR-76 is connected to an external MIDI device while you set up your MIDI-OUT
sounds, MIDI Bank Select and Program Change messages will be transmitted as you change
their settings in the sound.
To Set Up a Track to Transmit MIDI
1.
2.
252
Press the desired trackÕs button.
Press the Enter button.
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3.
Turn the Sound Type knob until the display shows ÒMIDI-OUT:Ó:
Sound
Xmit bnk:prg
MIDI-OUT:§01 000:000
j
MIDI Channel
4.
i
Bank Select
p
Program Change
A MIDI-OUT sound has three settings.
¥
MIDI transmission channel
¥
Bank Select value
¥
Program Change value
The up and down arrow buttons allow you to select any of these settings for editingÑthe one thatÕs
currently selected will flash. Once a setting has been selected, you can use the Value knob to change
its value.
Press the up/down arrow buttons to select the MIDI channel area of the display if it isnÕt already
flashing.
Sound
Xmit bnk:prg
MIDI-OUT:§01 000:000
i
The MIDI-OUT soundÕs MIDI transmission channel
5.
Turn the Value knob to select the MIDI channel on which the MIDI-OUT sound will transmit MIDI
data.
Note: Make sure your external MIDI device is configured to receive on the same MIDI
channel you select here.
6.
Use the up/down arrow buttons to select the MIDI Bank Select setting, so that it flashes.
Sound
Xmit bnk:prg
MIDI-OUT:§01 000:000
i
The MIDI Bank Select number that will be transmitted
7.
8.
Turn the Value knob to select the MIDI Bank Select value that the sound will transmit.
Use the up/down arrow buttons to select the MIDI Program Change setting, so that it flashes.
Sound
Xmit bnk:prg
MIDI-OUT:§01 000:000
i
The MIDI Program Change number that will be transmitted
9. Turn the Value knob to select the MIDI Program Change value that the sound will transmit.
10. Press Enter to complete the procedure.
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Ti p: If you prefer, you can set up your MIDI-OUT sound in SoundFinder and send it to a
track in the 16 Track Recorder instead of using the procedure above. MIDI-OUT sounds
may be assigned to as many tracks in the 16 Track Recorder as you like.
Receiving MIDI on the ZR-76
The ZRÕs 16 Track Recorder provides an excellent multi-timbral sound source when accessed via MIDI. Up
to 16 of the ZRÕs CD-quality sounds can be used at once, on up to 16 simultaneously active MIDI
channels. The ZR-76 provides sound controller filters that let you enable or disable a soundÕs response to
MIDI controller data and MIDI Bank Select and Program Change messages. See ÒSound Controller FiltersÓ
in Chapter 4.
Ti p: When youÕll be using MIDI Bank Selects and Program Changes to select sounds in the
16 Track Recorder via MIDI, you can take advantage of the ZRÕs ability to automatically
select an appropriate effect bus for each sound. See ÒEnabling or Disabling Automatic
Effect RoutingÓ in Chapter 3.
The ZR-76 can respond to received MIDI data in SoundFinder or the 16 Track Recorder according to the
following scheme:
¥
In SoundFinderÑwhen the Select Sound LED is litÑthe ZR-76 responds to a single MIDI channel (poly
mode). This channel is called the base MIDI channel, and you can set it to be any of the 16 MIDI
channels (the procedure for doing this is described below). If youÕve selected a preset, all of its
components respond to the base MIDI channel.
¥
In the 16 Track RecorderÑwhen the Select Song LED is litÑTracks 1-16 always receive MIDI data on
MIDI channels 1-16, respectively.
To activate the multi-timbral capabilities of the 16 Track Recorder, press any 16 Track Recorder or Song
Editor button.
Ti p: When a track uses a MIDI-OUT sound, it will not respond to received MIDI data. You
can also disable a trackÕs response to incoming MIDI by muting it (see Chapter 8 to learn
about muting tracks).
Updating The 16 Track RecorderÕs Track Settings Via MIDI
When the 16 Track Recorder responds to received MIDI Bank Selects, Program Changes and controllers, all
of the changes they invoke occur immediately. Any defined tracks in the 16 Track Recorder that are
displayed will show the new sounds selected by received Bank Select and Program Change messages. In
order to provide the quickest possible response to large amounts of incoming MIDI data, the other track
settings are not visibly updated as theyÕre received. This allows you to use the ZR as a sound source
without setting up any of its tracksÑjust press any button in the ZRÕs 16 Track Recorder or Song Editor
and hit the Play button on your external sequencer to start making music. Your ZR-76 will operate
flawlessly as a MIDI sound source without ever stopping to update its track settings.
If youÕd like, you can have the 16 Track Recorder update these settings to reflect the MIDI data the tracks
have received. Perhaps youÕd like to select a track and adjust its effect routing. When you press a track
button, start to change a trackÕs effect routing, or turn the Mix or Pan knob while the 16 Track Recorder is
selected, the display will show:
Update track params
with MIDI values?
If youÕd like the 16 Track RecorderÕs tracks to reflect the latest MIDI data theyÕve received, press the Yes
button. Once the tracks have been updated, you can save the current sequence to floppy as a MIDI
reception set-up. If you donÕt want to update the track settings, press No.
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Synchronizing the 16 Track Recorder with an External MIDI Sequencer
The ZR-76 16 Track Recorder can provide synchronization for, or be synchronized to, any external MIDI
device that can receive and transmit MIDI clocksÑmost MIDI sequencers and drum machines have this
capability.
To Synchronize an External Device to the 16 Track Recorder
1.
2.
3.
Connect the ZRÕs MIDI output to the MIDI input of the device that you want to synchronize to the 16
Track Recorder.
Set the external device to receive MIDI clocks.
Press the System button.
4.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
5.
6.
Press Yes if youÕd like to change the current MIDI settings. Press No if youÕd like to cancel the
procedure.
Turn the Parameter knob until the display shows ÒXmit MIDI Clocks=Ó:
MIDI Settings:
Xmit MIDI Clocks= On
i
The current Xmit MIDI Clocks value
7.
8.
9.
The Xmit MIDI Clocks parameter controls whether or not the ZR-76 will send out MIDI clocks, as well
as MIDI Start, Stop and Continue messages. This parameter may be set to:
¥
OffÑthe ZR-76 will not send out MIDI clocks or MIDI Start, Stop or Continue messages.
¥
OnÑthe ZR-76 will send out MIDI clocks and MIDI Start, Stop or Continue messages.
Turn the Value knob or use the up/down arrow buttons to set the Xmit MIDI Clocks parameter to On.
Select the ZR sequence youÕd like to work with.
The ZR will save its system settings.
Press the 16 Track RecorderÕs Play buttonÑthe external device will follow along. The 16 Track Recorder
also transmits MIDI Stop and Continue messages when you press the Stop button, and then the Play
button.
To Synchronize the 16 Track Recorder to an External Device
1.
2.
3.
4.
Connect the MIDI output of the external device to the ZRÕs rear-panel MIDI In jack.
Set the external device to transmit MIDI clocks.
Select the ZR sequence youÕd like to work with.
Press the ZRÕs System button.
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Chapter 7ÑRecording
5.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
6.
7.
Press the Yes button.
Turn the Parameter knob until the display shows:
MIDI Settings:
ClockSource=Internal
i
What you see here may be different
8.
Turn the Value knob to set ClockSource to MIDI.
Note: When ClockSource is set to MIDI, the current sequenceÕs tempo is displayed as
ÒMIDI.Ó
9.
Press the 16 Track Recorder Play button.
The ZR will save its new system parameter settings. When itÕs done, the display will show:
The name of the sequence
l
ÒMIDI SyncÓ flashes
m
Titanic
MIDI Sync
Time Signature= 4/4
ÒMIDI SyncÓ flashes in the upper right portion of the display to show that an external MIDI timing
reference is being used.
10. You may now start your external sequencer or drum machineÑthe 16 Track Recorder will follow along.
Note: To return to normal operation, the system ClockSource setting must be reset to
ÒInternal.Ó
R e c o r d i n g In t o th e 16 Tr a c k Re c o r d e r Fr o m MI D I
Recording 16 Track Recorder Tracks from MIDI Sources
The ZR-76 16 Track Recorder can record music played into its tracks from a MIDI source, including MIDI
controllers or external MIDI sequencers. The ZR-76 will faithfully capture all of the MIDI data it receives,
including notes, controllers, program changes and Bank Select messages.
The 16 Track Recorder can record a single track from a single MIDI channel, or simultaneously record
multiple tracks from multiple MIDI channels. By synchronizing the 16 Track Recorder to an external MIDI
sequencer, you can transfer sequences from the external sequencer into the 16 Track Recorder.
Note: The MIDI inputs of the 16 tracks in the 16 Track Recorder are assigned to MIDI
channels 1 through 16, respectively. Therefore, the MIDI channel you use to send MIDI
data to the 16 Track Recorder determines onto which track the data will be recorded.
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To Record a Single Track from MIDI without Synchronization
1.
2.
Press the Song Editor Record Mode button repeatedly until the Replace or Add LED is lit, depending on
how you want to record (see ÒRecording ModesÓ earlier in this chapter).
Select the track in the 16 Track Recorder that has the same number as the MIDI channel youÕll be
using.
Ti p: If itÕs more convenient for you to use some other track, you can select the other track
and proceed. However, when recording ends, your ZR-76 will need to align the data so that
it is placed onto the track corresponding to the MIDI channel you used. If thereÕs already
data present on the track, it will be merged with your new recording.
3.
Using the standard method for assigning a sound to a trackÑsee ÒChanging the Sound on a Track and
Assigning a Sound to a New TrackÓ earlier in this chapterÑdesignate a ZR sound for the track youÕre
about to record.
Ti p: If youÕd like to send a program from your MIDI device to assign a sound to the track,
send the appropriate program change and then press the trackÕs button. When your ZR-76
asks ÒUpdate track params with MIDI values? respond by pressing the Yes button.
4.
Hold down the 16 Track Recorder Record button.
5.
While continuing to hold down the Record button, press the Play button, and then let both buttons go.
6.
Send some MIDI data to the ZR from your MIDI device to record your track in the same way you would
record a track played from the ZRÕs keyboard.
Press Stop when youÕre done.
Press Play to hear your recording.
7.
8.
To Record Multiple Tracks from MIDI without Synchronization
1.
2.
Press the Song Editor Record Mode button repeatedly until the Replace or Add LED is lit, depending on
how you want to record (see ÒRecording ModesÓ earlier in this chapter).
Use the standard method for assigning a sound to a trackÑsee ÒChanging the Sound on a Track and
Assigning a Sound to a New TrackÓ earlier in this chapterÑto designate a ZR sound for the likenumbered track corresponding to each of the MIDI channels on which youÕll be sending data.
Ti p: If youÕd like to send program changes from your MIDI device(s) to assign sounds to the
ZRÕs tracks, send them (see your deviceÕs manual to learn how), and then press any 16
Track Recorder button. When your ZR-76 asks ÒUpdate track params with MIDI values?
respond by pressing the Yes button.
3.
4.
Select any track in the 16 Track Recorder.
Hold down the 16 Track Recorder Record button.
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5.
While continuing to hold down the Record button, press the Play button.
6.
7.
Play your MIDI controller.
Press the 16 Track RecorderÕs Stop button when youÕre done recording.
The display shows:
Align MIDI channels
to track numbers?
8.
Your ZR-76 is telling you that it needs to align the data received on the MIDI channels youÕve used to
their like-numbered tracks.
If youÕre ready to proceed, press the Yes button.
If youÕd like to leave the tracks unalignedÑso that the sequence can be played and saved to floppy, but
not edited or added toÑpress the No button.
To Record from an External MIDI Sequencer with Synchronization
1.
Press the Song Editor Click button.
2.
Turn the Parameter knob until the display shows the countoff setting:
Click/Countoff:
Countoff=Record Only
i
The current countoff setting
3.
4.
258
Turn the Value knob to set countoff to Off.
Use the standard method for assigning a sound to a trackÑsee ÒChanging the Sound on a Track and
Assigning a Sound to a New TrackÓ earlier in this chapterÑto designate a ZR sound for the likenumbered track corresponding to each of the MIDI channels on which youÕll be sending data.
ENSONIQ ZR-76 Musician's Manual
Chapter 7ÑRecording
Ti p: If youÕd like to send program changes from your sequencer to assign sounds on the
ZRÕs tracks, you can quickly start and stop your sequencer, and then press any 16 Track
Recorder button on the ZR. When your ZR-76 asks ÒUpdate track params with MIDI
values?Ó respond by pressing the Yes button.
If youÕre sending data to your ZR-76 from an ENSONIQ TS-10 or TS-12, you can set up the
sounds for all of the tracks at once by re-selecting the sequence on the TSÑthe TS will send
program changes for all of the tracks in the selected sequence. Press any of the ZRÕs track
buttons, and answer ÒYesÓ to the displayed question: ÒUpdate track params with MIDI
values?Ó
5.
Press the System button.
6.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
7.
8.
Press the Yes button.
Turn the Parameter knob until the display shows:
MIDI Settings:
ClockSource=Internal
i
The currently selected timing source
9. Turn the Value knob to set ClockSource to ÒMIDI.Ó
10. Press the Song Editor Record Mode button repeatedly until the Replace or Add LED is lit, depending on
how you want to record (see ÒRecording ModesÓ earlier in this chapter).
11. Select an empty sequence location and set its time signature to match the external sequenceÕs (see
ÒSetting a SequenceÕs Time SignatureÓ earlier in this chapter).
12. Select any track in the 16 Track Recorder.
13. Set your external sequencer to transmit MIDI clock Stop and Start messages.
14. Hold down the 16 Track Recorder Record button.
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15. While continuing to hold down the Record button, press the Play button.
Your ZR-76 will wait for the external sequencer to start.
16. Start your external sequencer.
Your ZR-76 will start recording when the sequence begins playing.
17. Stop the external sequence when youÕre done recording.
The display shows:
Align MIDI channels
to track numbers?
Your ZR-76 is telling you that it needs to align the data received on the MIDI channels youÕve used to
their like-numbered tracks.
18. If youÕre ready to proceed, press the Yes button.
If youÕd like to leave the tracks unalignedÑso that the sequence can be played and saved to floppy, but
not edited or added toÑpress the No button.
19. Press the System button, and the Yes button, and turn the Value knob to reset the ZRÕs ClockSource to
ÒInternal.Ó
20. Press the Song Editor Tempo button and turn the Value knob to set the 16 Track RecorderÕs tempo so
that it matches the tempo of the external sequence.
U s i n g th e ZR - 7 6 wi t h a Co m p u t e r Se q u e n c e r
The ZR-76 is designed to be used in conjunction with an external sequencerÑspecifically, with a computer
sequencer. Powerful as the ZRÕs 16 Track Recorder and Song Editor are, thereÕs no denying that a software
sequencer can offer MIDI and audio recording tools beyond those found in a keyboard workstation
sequencer. At the same time, the ZR-76 offers sounds and effects that no computer can match. A
ZR/computer synergy lies at the heart of many of the features in the ZR-76, including its utilization of
DOS-formatted floppy disks, the 16 Track RecorderÕs 16-part multi-timbral capabilities, and its recognition
of all MIDI controller messages.
ZR to Computer to ZR
Using the ZR-76 with a computer sequencing program could go something like this:
1.
2.
3.
You play the ZR sounds and/or Drum Machine, and come across an idea for a song.
The Idea Pad captures your new musical fragment.
You send the idea over to the 16 Track Recorder, where you flesh out the ideaÕs arrangement and
record other sections for your song, taking advantage of the ZRÕs advanced sequencing tools.
4. You use the ZRÕs sound and effect parameters to program all of the sounds youÕre using so that they
sound just the way you want them to.
5. You create a song playlist to hear how the pieces fit together.
6. You save each sequence to floppy disk.
7. You load the floppy into your computer, and load the ZR sequences into your software sequencer.
8. You connect the computerÕs MIDI out to the ZRÕs MIDI input, and vice versa.
9. You use the ZRÕs keyboard as your computer sequencerÕs master controller.
10. You continue to use the ZRÕs sounds and effects while working with your favorite sequencing program.
(To learn about the MIDI connections required for using your ZR-76 with a computer, see Chapter 2.)
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The Transportability of ZR-76 Sequences
Since the ZR-76 was always intended to work hand-in-hand with a computer sequencer, their sequencer
was designed with portability in mind. To start with, all ZR-76 sequences comply with the Standard MIDI
File format. This allows them to be played by any Standard MIDI File-compatible sequencer. In addition,
each track in a ZR sequence contains SysEx data that, when transmitted from a computer to your ZR-76,
sets up all of the ZRÕs 16 Track Recorder track sound parametersÑthe sequences even contain data that
sets the ZRÕs insert effectsÑso your music automatically sounds the same when played from a computer
sequencer as it did in your ZR-76. If your sequence uses a rhythm, the rhythm track contains the SysEx
data for playing the rhythm from the computer sequencer.
Using the ZR as a Master Controller for External Sequencing
A MIDI-OUT sound has another important special talent: when itÕs selected in SoundFinder (after pressing
the Select Sound button), you can use your ZR-76 as both a master controller and a multi-timbral sound
source when sequencing on a computer sequencer. MIDI travels out of the ZR from SoundFinder, to a
track in the external sequencer, and then back into the ZRÕs 16 Track Recorder. A MIDI-OUT sound in
SoundFinder provides a function thatÕs similar to local-off in other synths and samplers. (MIDI reception is
described a little later in this chapter.)
To Use the ZR-76 with a Computer Sequencer
1.
Connect a MIDI cable to the ZRÕs MIDI Out jack on one end and your computerÕs MIDI In jack on the
other.
2. Connect a MIDI cable to the computerÕs MIDI Out jack on one end and your ZRÕs MIDI In jack on the
other.
3. Turn the power on for your computer and your ZR-76.
4. Save a ZR-76 sequence to floppy disk (see Chapter 9 to learn how).
5. Press the Select Sound button.
6. Use the Sound Type and Sound Name knobs to select a MIDI-OUT sound.
7. If your computer sequencer doesnÕt automatically receive on all MIDI channels, press the up or down
arrow buttons until the MIDI-OUT soundÕs MIDI channel field is selected, and use the Value knob to
select the MIDI channel your sequencer is set up to receive.
If your sequencer requires you to do so, use the up and down arrow buttons and Value knob to assign
a Bank Select and/or Program Change value for the MIDI-OUT sound.
8. Remove the floppy from the ZRÕs disk drive and insert it into your computerÕs floppy drive.
9. Launch your computerÕs sequencing program.
10. Open the floppy disk file containing your sequence.
You can now play the sequence on your computer using the ZRÕs sounds and effects. You can also record
additional tracks in your computer sequencer using the ZRÕs keyboard as your input device.
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Chapter 8ÑFX/Mixdown
C h apt er 8
F X / Mi x d o w n
M i x i n g Yo u r ZR - 7 6 Mu s i c
No modern recording studio would be complete without a full suite of mixing toolsÑincluding high-quality
effects. The ZR-76 provides everything you need to create great-sounding stereo mixes. YouÕll find the
mixing console located in the FX/Mixdown strip on the ZRÕs front panel. Whether youÕre playing sounds in
SoundFinder or working with the 16 Track Recorder, the FX/Mixdown strip offers all the mixing tools you
need.
Use the Mix knob to adjust the loudness of your sound or tracks, and the Pan knob to place them in the
appropriate locations within the stereo field. The four buttons at the top of the FX/Mixdown console access
the ZRÕs 24-bit effects. The FX/Mixdown strip also provides mute and solo options for the tracks in the 16
Track Recorder.
This chapter provides a full description of each of these features.
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Chapter 8ÑFX/Mixdown
Tw o Mi x e r s In On e
The ZR-76 is great for playing sounds, as well as being terrific all-in-one recording studios. To serve both of
these purposes, the FX/Mixdown strip is actually two mixers in one. ItÕs:
¥
a SoundFinder FX/Mixdown stripÑWhen youÕre playing sounds in SoundFinder, the FX/Mixdown
strip provides mix, pan and effect controls for the currently selected sound.
¥
a 16 Track Recorder FX/Mixdown stripÑWhen youÕre using the 16 Track Recorder, the FX/Mixdown
strip provides mix, pan and effect controls for each of the 16 tracks.
The ZR-76 watches what you do and automatically assigns the FX/Mixdown strip to the task at hand.
To Tell at a Glance WhatÕs Being Mixed
If youÕre viewing an FX/Mixdown parameter, and are unsure of whether youÕre mixing a SoundFinder
sound or a track in the 16 Track Recorder, a quick glance at the SoundFinder Select Sound and Song
Editor Select Song buttons will tell you what youÕre mixing:
¥
¥
If the Select Sound LED is lit, youÕre mixing a sound in SoundFinder
If the Select Song LED is lit, youÕre mixing a track in the 16 Track RecorderÑthe selected trackÕs LED
will be flashing
Note: Some of the FX/Mixdown parameter displays will also show the words ÒSoundÓ or
ÒSoundFinderÓÑor the name of the track being editedÑto help remind you of whatÕs being
mixed.
This chapter begins with the procedures used for SoundFinder and 16 Track Recorder mixing, followed by
a discussion of the Mix and Pan knobs, and the powerful ZR-76 effects.
M i x i n g wi t h th e So u n d F i n d e r FX / M i x d o w n St r i p
SoundFinder FX/Mixdown
The FX/Mixdown strip allows you to set the mix level, pan and effects for anything in SoundFinder,
whether itÕs a single sound, a split, layer or a combination of split and layer. See Chapter 4 for more
information on SoundFinder.
Note: Each sound can use an insert effect, which can be manipulated in real-time through
the use of various control devices. See ÒModulating the Insert Effect in Real TimeÓ later in
this chapter.
To Use the FX/Mixdown Strip with SoundFinder Sounds
1.
2.
3.
Press the Select Sound, Split or Layer button in SoundFinder to select the sound you want to work
with.
Set up the SoundFinder sound, split or layer as you wish.
Turn the desired FX/Mixdown knob or press the desired FX/Mixdown button.
The Mix and Pan knobs and the ZRÕs effects are described in detail later in this chapter.
Saving SoundFinder FX/Mixdown Settings
When youÕve used the FX/Mixdown strip in conjunction with SoundFinder in the customizing of single
sounds or presets, you may want to preserve those changes so that any time you select the sound or
preset, your FX/Mixdown changes will be in place. When you save the sound or preset to a location in the
ZRÕs memory, your FX/Mixdown work will become part of the sound or preset.
To Save SoundFinder Mixdown Settings into a Sound
1.
264
Press the SoundFinder Save button.
The red/green No and Yes LEDs begin to flash.
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Chapter 8ÑFX/Mixdown
If the System Write Protect parameter is set to Prompt, the display will show:
System Write Protect
On! Override?
2.
This display is offered as a double-check for you, to make sure you really want to save your sound with
its new FX/Mixdown settings. If you think youÕd like to avoid this prompt in the future, see ÒProtecting
the ZRÕs MemoryÓ in Chapter 3.
If youÕd like to cancel the operation, press the No button. If youÕd like to proceed, press the Yes button.
The display now asks you what youÕd like to save:
Save SoundFinder?
Type=
Single Sound
i
What you see here may be different
3.
ÒSingle SoundÓ is the correct setting for the Type parameter when youÕre saving a SoundFinder sound
(If the Split and Layer LEDs are lit, the split and layer will become permanently integrated elements of
the saved soundÑsee Chapter 4 to learn more about saving splits and layers). If you need to, turn the
Value knob counter-clockwise until the display looks as it does above.
Press the Yes buttonÑthe display allows you to name your sound:
Save Single Sound?
New Name=My Sound
i
What you see here will be different
You can name your sound in one of two ways:
¥
You can spell the soundÕs new name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys in
each octave move the cursor forward and back on the displayÑthe character selected for editing is
underlined on the ZRÕs display. The F# is always a lower case lock, the A# an upper case lock,
while the G# types a blank space.
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Note: The keys outside of the range shown above are not used for the naming of sounds.
¥
4.
You can also name your sound using the front panel controls. The up/down arrow buttons are
used to select the character position within the name. The up arrow moves the location to the
right, and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
When youÕve named your sound, press the Yes button.
The display shows:
The name youÕve just given your sound
m
Save MyNewSound as:
Sound Type= BRASSECT
i
What you see here may be different
5.
6.
Use the Value knob to select a SoundFinder type for your sound. For a complete list of SoundFinder
types, see Chapter 13.
When youÕve defined a SoundFinder type, press the Yes button.
The display shows the memory location to which your new sound will be saved.
Save into FLS001:000
FLASH
: Steel Pad
7.
The ZR-76 has two areas of ZR-76 memory to which you can save a sound:
¥
FLASHÑthe more permanent type of ZR memory, which remains intact until you erase it
¥
RAMÑa temporary memory that lasts only until you turn your ZR-76 off.
If youÕve created a RAM sound bank in your ZR, you can turn the Sound Type knob to select FLASH or
RAM. If you havenÕt created a RAM sound bank, FLASH is the only setting available. To learn about
FLASH and RAM, see Chapter 9.
Select the desired area of memory.
The display shows:
Save into FLS001:000
FLASH
: Steel Pad
i
The sound residing in the currently selected location
8.
9.
When you save your new sound, it will replace the sound thatÕs currently displayed. You can use the
Value knob to select a new destination for your sound.
If youÕd like to, turn the Value knob to select a new location for your sound.
When youÕve selected a location for your sound, press the Yes button.
The display momentarily confirms the successful completion of your command, and then selects the
newly-saved sound.
To Save SoundFinder Mixdown Settings into a Preset
1.
266
Press the SoundFinder Save button.
The red/green No and Yes LEDs begin to flash.
ENSONIQ ZR-76 Musician's Manual
Chapter 8ÑFX/Mixdown
If the System Write Protect parameter is set to Prompt, the display will show:
System Write Protect
On! Override?
2.
This display is offered as a double-check for you, to make sure you really want to save your sound with
its new FX/Mixdown settings. If you think youÕd like to avoid this prompt in the future, see ÒProtecting
the ZRÕs MemoryÓ in Chapter 3.
If youÕd like to cancel the operation, press the No button. If youÕd like to proceed, press the Yes button.
The display now asks you what youÕd like to save:
Save SoundFinder?
Type=
Single Sound
i
What you see here may be different
3.
Turn the Value knob clockwise until the display shows:
Save SoundFinder?
Type=
Preset
4.
Press the Yes button.
The display now allows you to name your preset:
Save Preset?
New Name=DefaultPset
You can name your preset in one of two ways:
¥
You can spell the presetÕs new name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys in
each octave move the cursor forward and back on the displayÑthe character selected for editing is
underlined on the ZRÕs display. The F# is always a lower case lock, the A# an upper case lock,
while the G# types a blank space.
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Note: The keys outside of the range shown above are not used for the naming of presets.
¥
5.
You can also name your preset using the front panel controls. The up/down arrow buttons are
used to select the character position within the name. The up arrow moves the location to the
right, and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
When youÕve named your preset, press the Yes button.
The display shows an empty preset memory location to which your new preset can be saved.
Save into FLS001:000
PRESETS : **EMPTY**
You can use the Value knob to select a new destination for your preset if you wish. If you choose a
location that already contains a preset, youÕll see the presetÕs name on the bottom line of the display.
Save into FLS001:000
PRESETS :Old News
i
The name of the preset already saved to this location
6.
7.
If you decide to use such a location, your new preset will replace the one whose name you see
displayed.
If youÕd like to, turn the Value knob to select a new location for your preset.
When youÕve selected a location for your preset, press the Yes button.
The display momentarily confirms the successful completion of your command, and then selects the
newly-saved preset.
M i x i n g wi t h th e 16 Tr a c k Re c o r d e r FX / M i x d o w n St r i p
16 Track Recorder FX/Mixdown
The FX/Mixdown strip allows you to set up each track in the 16 Track Recorder with the mix level, pan
and effects you desire. (See Chapter 7 for more information on the 16 Track Recorder.) In addition to these
basic, static track settings, the ZR-76 also provides the opportunity to record, in real-time, changes you
make with the Mix and Pan knobs while each sequence plays. This allows you to create fully automated,
polished mixes, with the instruments in your musical arrangement rising and falling in volumeÑand/or
moving around in stereoÑas you see fit.
Each sequence contains an insert effect which can be manipulated in real-time as the sequence plays. See
ÒModulating the Insert Effect in Real TimeÓ later in this chapter.
Note: The FX/Mixdown strip allows control over the individual sequences that comprise a
song, not over the song as a whole. If a song playlist is active, the 16 Track Recorder
FX/Mixdown strip is disabled.
Basic Mixing with the 16 Track Recorder FX/Mixdown Strip
The ZR-76 lets you set each track in a 16 Track Recorder sequence with its own mix and pan settings and
its own effect routing. These settings can be adjusted when the 16 Track Recorder is stopped, playing or
during recording in Replace and Add modes. ThereÕs no special ÒsavingÓ procedure required for track
settingsÑthe sequence automatically remembers them. Whenever you select the sequence, these basic
mix, pan and effect routing settings are put in place. If the dynamics of the musical performances on your
tracks are well-executedÑand you donÕt plan for your instruments to be moving around in stereo during
the sequenceÑthese basic mix and pan settings may be all you need.
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To Create a Basic 16 Track Recorder Mix
1.
2.
Press the numbered button for the track that you want to mix.
Access the desired FX/Mixdown knob or button to set the trackÕs basic mix, pan and effect settings.
Mix, pan and the ZR-76 effects are fully explained later in this chapter.
Note: If youÕve already recorded real-time changes in Mix and Pan using Track Mix, the
basic Mix or Pan setting you choose here will only apply to the track settings at the
beginning of the sequence.
Recording Real-Time Mix and Pan Changes in a Sequence
After establishing a basic mix, a musical arrangement may call for tracks to be made louder or softer
during the course of a sequence, or to move around in the stereo field. The ZR-76 provides for the
recording of such changes through the use of the track mix recording mode.
To Record Real-Time Mix and Pan Changes in a Sequence
1.
2.
Establish a basic mix for the tracks in the sequence using the technique described in ÒTo Create a
Basic 16 Track Recorder MixÓ above. These settings will be in place at the beginning of your sequence.
They constitute the starting point for each of your tracks.
Press the Record Mode button in the ZR-76 Song Editor repeatedly until the Track Mix LED is lit.
3.
4.
5.
Select the desired track.
Press the 16 Track Recorder Rewind button to go back to the beginning of the sequence.
Hold down the 16 Track Recorder Record button.
6.
While continuing to hold down the Record button, press the Play button.
7.
8.
9.
10.
Turn the Mix or Pan knob to make the loudness or panning changes you desire.
When youÕre done mixing, press Stop, or continue mixing until the end of the sequence.
To play back your work, press Play.
If youÕd like to perform your mix again, press the 16 Track Recorder Edit button, and the Yes button to
undo your mix attempt.
11. Repeat steps 6 through 10 until youÕre satisfied with your mixdown performance.
Note: Pressing the Edit button after performing a real-time track mix allows you to undo
your mix only until you perform another track procedure or record a new trackÑthe Undo
memory is always concerned with only the most recent operation. If youÕd like to redo your
track mix at a later time, you must first erase the current real-time mix from the track
before recording new mix or pan changes. Use the 16 Track Recorder Erase button to erase
a single controller: controller #11 if youÕd like to erase Mix changes, or controller #10 if
youÕd like to erase Pan changes. For more help, see Chapter 7.
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Recording Volume Changes for Multiple Tracks
The Final Mix recording mode allows you to record automated volume changes to an entire sequence, or to
a group of tracks within a sequence. This is a great tool for automating fadeouts and recording wholearrangement dynamic changes.
The Final Mix recording mode works only on those tracks that are currently audibleÑtracks which are
muted will not be affected by Final Mix changes. This allows you to automate volume changes for
subgroups of tracks by muting all but the desired tracks, and performing a mix. Only the non-muted
tracks will be affected. In this way, you can adjust the level of a group of instruments in relation to the
overall mix without changing the volume relationships within the group.
Since the Final Mix recording mode utilizes MIDI Volume messages, the dynamic changes that Final Mix
produces can be recorded into an external MIDI sequencer when your 16 Track Recorder tracks use MIDIOUT sounds.
Note: There is no undo available for the recording of volume changes for multiple tracks
during Final Mix. You can always re-perform your mix, but you may have trouble getting
back to precisely where you started in terms of individual-track volume settings, especially
when the tracks contain their own dynamic changes. It is highly recommended that you
save a copy of the sequence to floppy before using Final Mix modeÑyou can always reload
it to get back to the sequenceÕs original state.
To Record an Automated Fadeout or Overall Dynamic Change
1.
270
2.
Establish a basic mix for the tracks in the sequence using the technique described in ÒBasic Mixing
with the 16 Track Recorder FX/Mixdown StripÓ earlier in this chapter. If youÕd like, record any
individual track level or pan changes you desire using the 16 Track RecorderÕs Track Mix recording
mode (as described in ÒRecording Real-Time Mix and Pan Changes in a Sequence,Ó earlier in this
chapter).
Press the Record Mode button in the Song Editor repeatedly until the Final Mix LED is lit.
3.
4.
Press the 16 Track Recorder Rewind button to go back to the beginning of the sequence.
Hold down the 16 Track Recorder Record button.
5.
While continuing to hold down the Record button, press the Play button.
ENSONIQ ZR-76 Musician's Manual
Chapter 8ÑFX/Mixdown
The sequence will begin counting down to its starting point, and the display will show:
The name of your sequence
m
My Seq
Final Mix
The current location in the sequence or countoff
m
-1
01
100%
i
The amount by which the starting volume of the sequence has been changed
7.
As the music plays, turn the Mix or Value knobs, or press the up/down arrow buttons, to record the
volume changes you desire.
The display will show you the effect of your changes, expressed in a percentage of the sequenceÕs
original volume level settings:
8. When youÕre done mixing, press Stop, or continue mixing until the end of the sequence.
9. To play back your work, press Play.
10. If youÕd like to perform your mix again, re-load the sequence from floppy and then return to Step 3.
To Record Volume Changes for a Subgroup of Tracks
1.
2.
3.
Mute all of the tracks except those youÕd like to mix.
Follow the steps in ÒTo Record an Automated Fadeout or Overall Dynamic Change,Ó above.
Un-mute all of your tracks and press Play to hear your group mix.
W o r k i n g wi t h th e Mi x Kn o b
Understanding the Mix Knob
The Mix knob adjusts the Mix (Expression) parameter, adding to or subtracting from the Mix (Expression)
value programmed into the currently selected sound in SoundFinder, or the sound being used by the
selected track in the 16 Track Recorder. Mix (Expression) is a loudness control that can be lowered or
raised up to a maximum set by each sound or trackÕs Volume parameter. The Volume parameter sets what
might be viewed as a loudness ceiling for a sound or track, and the Mix (Expression) parameter operates
beneath that maximum setting. Mix (Expression) may be set from 0 to 127.
Note: Sounds and tracks in the ZR-76 default to a volume setting of 127, though you can
set this ceiling to any value from 0 to 127. See Chapter 4 to learn how to adjust the Volume
parameter.
The Mix (Expression) parameter can also be accessed:
¥
in SoundFinder by pressing the Select sound, Split or Layer button, pressing the SoundFinder Edit
button and turning the Parameter knob to locate the Mix (Expression) parameter.
¥
in the 16 Track Recorder by selecting the desired track and turning the Parameter knob to locate the
Mix (Expression) parameter.
MIDI devices refer to the Mix (Expression) parameter as ÒExpression,Ó and access it via MIDI Control #11.
The ZRÕs Mix (Expression) parameter responds to such messages and to an NRPN LSB value of 034, as
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well. See Chapter 4 for details. In either case, the ZRÕs display will reflect (Mix) Expression changes made
via MIDI just as if youÕd made them from the front panel.
When a MIDI-OUT sound is selected in SoundFinder, or a track in the 16 Track Recorder that uses a MIDIOUT sound is selected, changes made by turning the Mix knob will be transmitted via MIDI as Control #11
changes. Mix knob changes recorded on 16 Track Recorder tracks that use MIDI-OUT sounds will also be
transmitted.
Note: If youÕre working with a Standard MIDI File that has not yet had its tracks re-ordered
to correspond to their MIDI channels, turning the Mix knob will cause ÒAlign MIDI channels
to track numbers?Ó to be displayed. See Chapter 7 to learn about working with Standard
MIDI Files.
Using the Mix Knob
The Mix knob can be used to change the Mix (Expression) setting of a sound in SoundFinder or a track in
the 16 Track Recorder.
When the following parameter is edited in a drum kit, all of the sounds in the
drum kit are affected simultaneously by the changes you make.
To Use the Mix Knob with a SoundFinder Sound
1.
2.
Press the Select Sound, Split or Layer button and use the Sound Type and Sound Name knobs to
select the sound whose level you would like to change. If youÕd like to change the Mix (Expression)
setting of a split or layer sound, press the Split or Layer button.
The Mix knob can be used to change the loudness of the currently selected sound by setting it
anywhere from 0 to 127. Turning it clockwise will increase the soundÕs loudness, turning it counterclockwise will decrease it.
Turn the Mix knob to set the soundÕs mix level to the desired level. The display will show:
This may show ÒSplitÓ or ÒLayerÓ
m
The name of the currently selected sound
m
Sound
Perc B3-PR
Mix (Expression)=100
i
The current SoundFinder mix value
When the following parameter is edited in a track that uses a drum kit, all of the
sounds in the drum kit are affected simultaneously by the changes you make.
To Use the Mix Knob with a 16 Track Recorder Track
1.
2.
272
Press the 16 Track Recorder track button whose level you would like to change.
The Mix knob can be used to change the loudness of the currently selected track by setting it
anywhere from 0 to 127. Turning it clockwise will increase the trackÕs loudness, turning it counterclockwise will decrease it.
Turn the Mix knob to set the trackÕs mix level to the desired level.
ENSONIQ ZR-76 Musician's Manual
Chapter 8ÑFX/Mixdown
The display will show:
The number of the currently selected track
m
Trk01
1.01
Mix (Expression)=100
i
The trackÕs current mix value
When the following parameter is edited in a track that uses a drum kit, all of the
sounds in the drum kit are affected simultaneously by the changes you make.
W o r k i n g wi t h th e Pa n Kn o b
Understanding the Pan Knob
The Pan knob accesses the Pan parameter, adding to or subtracting from the Pan value programmed into
the currently selected sound in SoundFinder, or the sound being used by the selected track in the 16
Track Recorder. This has the effect of shifting the sound or track to the left or right side of the stereo field.
If the sound is itself stereo, that quality will be retained as the soundÕs entire stereo image is moved
leftward or rightward. The range of this parameter is from -64 (hard left) to +63 (hard right).
The Pan parameter can also be accessed:
¥
in SoundFinder by pressing the SoundFinder Edit button and turning the Parameter knob to locate the
parameter.
¥
in the 16 Track Recorder by turning the Parameter knob to locate the parameter.
MIDI devices access the Pan parameter via MIDI Control #10. The ZRÕs Pan parameter responds to such
messages. See Chapter 4 for details. The ZRÕs display will reflect Pan changes made via MIDI just as if
youÕd made them from the front panel.
When a MIDI-OUT sound is selected in SoundFinder, or a track in the 16 Track Recorder that uses a MIDIOUT sound is selected, changes made by turning the Pan knob will be transmitted via MIDI as Control #10
changes. Pan knob changes recorded on 16 Track Recorder tracks that use MIDI-OUT sounds will also be
transmitted.
Note: If youÕre working with a Standard MIDI File that has not yet had its tracks re-ordered
to correspond to their MIDI channels, turning the Pan knob will cause ÒAlign MIDI channels
to track numbers?Ó to be displayed. See Chapter 7 to learn about working with Standard
MIDI Files.
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Using the Pan Knob
The Pan knob can be used to change the pan setting of a sound in SoundFinder or a track in the 16 Track
Recorder.
When the following parameter is edited in a drum kit, all of the sounds in the
drum kit are affected simultaneously by the changes you make.
To Use the Pan Knob with a SoundFinder Sound
1.
2.
Press the Select Sound, Split or Layer button and use the Sound Type and Sound Name knobs to
select the sound whose stereo placement you would like to change.
The Pan knob can be used to change the stereo placement of the currently selected sound by setting it
from Left -64 to Right +63. Turning the knob all the way to the left will pan the sound hard left.
Turning it all the way to the right will pan the sound hard right.
Turn the Pan knob to select a location within the stereo field for the currently selected sound. The
display will show:
This may show ÒSplitÓ or ÒLayerÓ
m
Sound
Pan=
The name of the currently selected sound
m
Perc B3-PR
Center 00
i
The current Pan value
When the following parameter is edited in a track that uses a drum kit, all of the
sounds in the drum kit are affected simultaneously by the changes you make.
To Use the Pan Knob with a 16 Track Recorder Track
1.
2.
Press the 16 Track Recorder track button whose stereo placement you would like to change.
The Pan knob can be used to change the stereo placement of the currently selected track by setting it
from Left -64 to Right +63. Turning the knob all the way to the left will pan the track hard left. Turning
it all the way to the right will pan the track hard right.
Turn the Pan knob to select a location within the stereo field for the currently selected track. The
display will show:
The number of the currently selected track
m
Trk01
Pan=
1.01
Center 00
i
The trackÕs current pan value
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U n d e r s t a n d i n g Ho w th e ZR - 7 6 Ef f e c t s Wo r k
The ZR-76 Effects
The ZR-76 contains ENSONIQÕs powerful 24-bit ESP 2 effects chip. This next-generation chip produces
effects of extremely high quality, and allows for routing options of considerable flexibility.
Nearly all of the ZR-76 sounds utilize the ZRÕs effects. If youÕd like to customize the factory sounds, or if
youÕll be creating your own sounds and recordings in the ZR, youÕll want to familiarize yourself with the
way the effects work so that you can take full advantage of all they have to offer.
Your ZR-76 always has four effect possibilities available:
¥
¥
¥
¥
an insert effect
a global chorus
a global reverb
no effect, or dry
The Insert Effect
The most powerful type of effect offered by the ZR-76 is the insert effect. While the global reverb is always a
high-quality reverb, and the global chorus is always a high-quality chorus, the insert effect may use any
one of the 40 effects algorithms listed here:
01 Parametric EQ
15 Chorus→Rev
29 ResVCF→DDL
02 Hall Reverb
16 Flanger→Rev
30 Dist→VCF→DDL
03 Large Room
17 Phaser→Rev
31 Pitch Detuner
04 Small Room
18 EQ → Reverb
32 Chatter Box
05 Large Plate
19 Spinner→Rev
33 Formant Morph
06 Small Plate
20 DDL→Chorus
34 RotarySpeaker
07 NonLinReverb1
21 DDL→Flanger
35 Tunable Spkr
08 NonLinReverb2
22 DDL→Phaser
36 Guitar Amp
09 Gated Reverb
23 DDL→EQ
37 Dist→DDL→Trem
10 Stereo Chorus
24 Multi-Tap DDL
38 Comp→Dist→DDL
11 8-VoiceChorus
25 Dist→Chorus
39 EQ→Comp→Gate
12 Rev→Chorus
26 Dist→Flanger
40 EQ→Chorus→DDL
13 Rev→Flanger
27 Dist→Phaser
14 Rev→Phaser
28 Dist→Auto Wah
Note: Some of these effects are unique ENSONIQ creations, available only in the ZR-76,
MR-61, MR-76, MR-Rack and ASR-X.
The insert effects are extremely programmable, and each has a full complement of parameters, described
in Chapter 11. In addition, insert effects can be manipulated in real time, through the use of any number
of ZR or MIDI controllers (the method for achieving real-time control of the insert effect is described later in
this chapter). Many of the ZR-76 sounds use an insert effect.
Sounds and tracks are assigned to the insert effect by routing them to the insert FX bus (see
ÒUnderstanding Effect BussesÓ later in this chapter for details).
You can also add global reverb or chorus to the insert effect, if you like, as described later in this chapter.
The insert effect may be routed to either the ZRÕs Main or Aux OutsÑthis procedure is also described later
in this chapter.
Global Chorus
The ZR-76 always provides a high-quality global chorus effect as part of the currently active song. You can
customize the global chorus to suit your needs. The Global Chorus Preset parameter, described later in
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Chapter 8ÑFX/Mixdown
this chapter, is used to select from a variety of chorus variations:
¥
¥
¥
¥
¥
¥
ZR Chorus
ZR Classic
Fast & Wide
Halleluiah
Padmaker
Slow & Deep
¥
¥
¥
¥
¥
¥
Super Slow
Thick
Vintage
Wide
Slow Rotary
Fast Rotary
Any sound in SoundFinder or track in a sequence may utilize the currently active songÕs global chorus.
Sounds and tracks are assigned to the global chorus by routing them to the chorus FX bus (see
ÒUnderstanding Effect BussesÓ later in this chapter for details).
The global chorus provides a parameter that allows you to add global reverb to the chorus. The global
chorus can be routed to either the ZRÕs Main or Aux Outs. Both topics are discussed later in this chapter.
Global Reverb
There is always a high-quality global reverb effect available in the ZR-76 as part of the currently active
song. You can edit the global reverb to suit your needs. The Global Reverb Preset parameter, described
later in this chapter, is used to select from a selection of reverb variations:
¥
¥
¥
¥
Smooth Plate
Large Hall
Small Hall
Big Room
¥
¥
¥
¥
Small Room
Reflections
Bright
Huge Place
Any sound in SoundFinder or track in a sequence may utilize the currently active songÕs global reverb.
Sounds and tracks are assigned to the global reverb by routing them to the reverb FX bus (see
ÒUnderstanding Effect BussesÓ later in this chapter for details). The global reverb can be routed to either
the ZRÕs Main or Aux OutsÑthis procedure is described later in this chapter.
Dry
Sounds in SoundFinder and sounds on tracks in the 16 Track Recorder donÕt have to go through any of
the effects aboveÑthey can remain dry by selecting the dry effect option. Sounds and tracks remain dry
when theyÕre routed to the dry FX bus (see ÒUnderstanding Effect BussesÓ later in this chapter for details).
Dry sounds can be routed to either the ZRÕs Main or Aux OutsÑthis procedure is described later in this
chapter.
Understanding Effects Busses
A sound or track is assigned to an effect by assigning it to the FX busÑfor Òeffect busÓÑnamed after the
desired effect. Your ZR-76 offers six of these stereo pathways:
¥
¥
¥
the Insert FX Bus
the Chorus FX Bus
the LightReverb FX Bus
¥
¥
¥
the MediumReverb FX Bus
the WetReverb FX Bus
the Dry FX Bus
The Insert FX Bus
When a sound or track is assigned to the insert effect bus, it is first routed to a wet/dry control. The
wet/dry control determines the relative balance between the sound or track as it is before going through
the insert effect (dry), and as it is after going through the insert effect (wet).
The insert effect mix may then be sent into the global reverb. It can also be routed to the global chorus,
where it encounters a second wet/dry control. In this case, the ÒdryÓ component is the insert effect mix,
and the ÒwetÓ is the insert effect mix after itÕs been through the chorus.
Any sounds or tracks assigned to the insert bus will use the ZR-76 outputs chosen by the system Insert
FX Out parameter, described later in this chapter.
The Chorus FX Bus
The chorus bus accesses both global chorus and reverb. When a sound or track is assigned to the chorus
bus, it is first routed to a wet/dry control. The wet/dry control determines the relative balance between the
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sound or track as it is before going through the global chorus (dry), and as it is after the going through the
chorus (wet). This chorus mix may then be sent to the global reverb.
Any sounds or tracks assigned to the chorus bus will use the ZR-76 outputs chosen by the system
GlobalChorusOut parameter, described later in this chapter.
The Light, Medium and Wet Reverb FX Busses
For reverb, arguably the most important effect of all, the ZR-76 provides three separate busses for routing
sounds and tracks to the global reverb. ItÕs not uncommon to want some sounds or tracks to have a little
reverb; others may require a bit more, and perhaps other sounds or tracks need a lot of reverb.
Your ZR-76 solves this potential dilemma by offering a LightReverb FX Bus for sounds and tracks requiring
just a touch of reverb, a MediumVerb FX Bus for those wanting a bit more, and a WetVerb FX Bus for
sounds and tracks that need an even greater amount of reverb. You can also determine how much reverb
will be used by each of the busses, since each has its own send amount into the reverb effect (see ÒSetting
the Reverb Amounts for the LightReverb, MediumReverb and WetReverb Effect BussesÓ later in this
chapter.) Once youÕve set the busses to their desired send amounts, you can assign sounds and tracks to
the appropriate bus.
Any sounds or tracks assigned to one of the three reverb busses will use the ZR-76 outputs chosen by the
system GlobalReverbOut parameter, described later in this chapter.
The Dry Bus
Sounds and tracks assigned to the dry bus will not be processed by the insert effect, the global chorus or
the global reverbÑtheyÕll go directly to the ZR-76 outputs chosen by the system Dry FX Bus Out
parameter, described later in this chapter.
Understanding the Special Alt. FX Bus
ZR-76 sounds that use an insert effect are also assigned an alternate effect bus routing for situations in
which the desired insert effect is unavailable. This bus comes in handy when youÕre already committed to
using some other insert effect in a SoundFinder preset or a 16 Track Recorder sequence. For sounds that
depend on an insert effect, the alternate effect bus, or Alt. FX Bus, provides a sensible Òsecond-bestÓ choice
for those situations. The system AutoSelect FXBus parameter can be set so that the ZR automatically uses
the Alt. FX Bus when a soundÕs insert effect is unavailable. The Alt. FX Bus setting for sounds that use an
insert effect can be edited using the supplied Unisyn editing software.
Not all sounds use an insert effect. Each sound can be assigned instead to the global chorus, global reverb,
or left dry, according to the setting of its FX Bus parameter. This parameter is accessed by pressing the
Routing button in the FX/Mixdown section of the ZRÕs front panel. If youÕve set a soundÕs FX Bus
parameter to Chorus, LightReverb, MediumReverb, WetReverb or Dry, when you save the sound to the ZRÕs
memory, the settings are applied to its Alt. FX Bus. The Alt. FX Bus for each sound can be directly
accessed using Unisyn editing software that came with your ZR (see Chapter 12).
Effects, Sounds, Sequences and Songs
Your ZR-76 was designed as the ideal tool for the composition and performance of songs. As a result,
whether or not youÕve recorded any musicÑor loaded any from the floppy driveÑthereÕs always a song
structure active in the ZR-76, even if it happens to contain no recorded music. Everything you do in your
ZR-76 occurs within a song. Even when youÕre playing sounds in SoundFinder, youÕre still, in this sense,
working within a song. This concept is important in understanding the ZR-76 effects.
With the entire creative process in mind, great care has been taken to ensure that the ZR-76 effects do
what you want them to, whether youÕre hunting for musical ideas as you play and edit sounds in
SoundFinder, or youÕre using those sounds to record music in the 16 Track Recorder as you create a song.
Some effect elements are attached to the ZR-76 soundsÑitÕs part of why those sounds sound as great as
they do. Each sound has its own FX Bus parameter for routing the sound to an effect. If a soundÕs FX Bus
parameter is set to the insert FX bus, the sound will contain its own insert effect. If you add a split or layer
to this sound, they can share this insert effect.
Each soundÕs FX Bus settingÑand its insert effect if it has oneÑis stored in the sound when you save it to
a location in the ZRÕs memory, or to floppy disk.
Other aspects of the effects address issues that arise in dealing with more than one sound at once, as you
do in the 16 Track Recorder. You may want these aspects to change from sequence to sequence, and so,
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each sequence contains:
¥
an insert effect
¥
the FX bus routings for each of its tracks
¥
the insert control track setting (the insert control track is described later in this chapter)
These elements are stored in each sequence.
Some effect elements remain constant throughout an entire song:
¥
¥
¥
a global reverb and its settings
a global chorus and its settings
settings for sending the insert, global reverb and global chorus effects to the Main or Aux output jacks
on the ZRÕs rear panel
These elements are stored in each song.
A Di a g r a m of th e ZR - 7 6 Ef f e c t s
Note: In the above diagram, all arrows represent stereo signal paths. Hollow circles
represent parameters that can be edited. The circle with a Ò+Ó means the signals are
summed together. Arrows with a ÒbumpÓ in them are not connected to the line that they
cross. ESP 2 is the effects chip in the ZR-76.
A p p l yi n g an Ef f e c t to a So u n d or Tr a c k
Assigning a SoundFinder Sound to an Effect
Each sound in SoundFinder may be assigned to any of the ZRÕs effect busses, and therefore, to any of the
ZRÕs effects (or set up to use no effect at all). If the sound has been previously programmed to use an insert
effect, it will install the insert effect when you select the sound.
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To Assign a SoundFinder Sound to an Effect
1.
2.
3.
Press the Select Sound button.
If you havenÕt already selected the sound you want to work with, use the Sound Type and Sound Name
knobs to choose the sound youÕd like to send to an effect.
Press the Routing button.
Turn the Parameter knob, if necessary, until the display shows ÒFX BusÓ in its lower left-hand corner:
SoundFinder Routing:
FX Bus= LightReverb
i
The currently selected FX bus
4.
The sound may be routed to:
¥
the Insert Effect busÑto apply the current SoundFinder insert effect to the sound
¥
the Global Chorus busÑto apply the global chorus to the sound
¥
the LightReverb busÑto apply a minimum amount of global reverb to the sound
¥
the MediumReverb busÑto apply an average amount of global reverb to the sound
¥
the WetReverb busÑto apply the maximum amount of global reverb to the sound
¥
the Dry busÑto apply none of the effects to the sound
Use the Value knob to select Insert, Chorus, LightReverb, MediumReverb, WetReverb, or Dry.
Assigning a Split or Layer Sound to an Effect
You can assign a split and/or layer sound to any ZR effect bus.
When a sound that contains its own insert effect is used as a split or layer sound, its insert effect is
ignored. The ZR-76 provides a special feature for such situations that can help ensure that insert-effectdependent sounds will sound good even when they canÕt take advantage of their programmed insert effects.
Each sound that uses an insert effect is also programmed with an alternate effect busÑcalled the Alt. FX
BusÑthat constitutes a second-best effect choice (the Alt. FX Bus is described in the effects overview
earlier in this chapter). Your ZR-76 can be set to automatically use this bus whenever the need arises. This
feature is controlled by the system AutoSelect FXBus parameter. See Chapter 3Õs ÒEnabling or Disabling
Automatic Effect RoutingÓ for details.
To Assign a Split or Layer Sound to an Effect
1.
2.
To assign the SoundFinder split sound to an effect, press the Split button. (If doing so turns the Split
LED off, press the Split button again to light it.)
To assign the SoundFinder Layer sound to an effect, press the Layer button. (If doing so turns the
Layer LED off, press the Layer button again to light it.)
Press the Routing button.
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3.
Turn the Parameter knob, if necessary, until the display shows ÒFX BusÓ in its lower left-hand corner:
This shows if you are currently editing the split or layer sound.
m
Split Routing:
FX Bus=
Insert
i
The currently selected FX bus
4.
The split or layer sound may be routed to:
¥
the Insert Effect busÑto apply the current SoundFinder insert effect to the sound
¥
the Global Chorus busÑto apply the global chorus to the sound
¥
the LightReverb busÑto apply a minimum amount of global reverb to the sound
¥
the MediumReverb busÑto apply an average amount of global reverb to the sound
¥
the WetReverb busÑto apply the maximum amount of global reverb to the sound
¥
the Dry busÑto apply none of the effects to the sound
Use the Value knob to select Insert, Chorus, LightReverb, MediumReverb, WetReverb, or Dry.
Assigning a 16 Track Recorder Track to an Effect
Each 16 Track Recorder track can be assigned to any of the ZRÕs effects.
The ZR-76 provides a special feature that can automate the selection of effects for each track as you select
the sounds that theyÕll use. See ÒEnabling or Disabling Automatic Effect RoutingÓ in Chapter 3.
To Assign a 16 Track Recorder Track and Its Sound to an Effect
1.
2.
Press the track button of the track youÕd like to route to an effect.
Press the Routing button.
Turn the Parameter knob, if necessary, until the display shows::
The track youÕve just selected
m
Trk01 Routing:
FX Bus= LightReverb
i
The currently selected FX bus
The track may be routed to:
¥
the Insert Effect busÑto apply the sequenceÕs insert effect to the track
¥
the Global Chorus busÑto apply the global chorus to the track
¥
the LightReverb busÑto apply a minimum amount of global reverb to the track
¥
the MediumReverb busÑto apply an average amount of global reverb to the track
¥
the WetReverb busÑto apply the maximum amount of global reverb to the track
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3.
¥
the Dry busÑto apply none of the effects to the track
Use the Value knob to select Insert, Chorus, LightReverb, MediumReverb, WetReverb, or Dry.
Using MIDI to Assign a Track to an FX Bus
Tracks that are not designated as the insert control track can be assigned to the chorus bus, one of the
reverb busses or the dry bus via MIDI (the insert control track is described below, in ÒUsing the 16 Track
Recorder Insert Control TrackÓ). If such a track receives MIDI controller 93 with a value of 1 or higher, it
will be assigned to the chorus FX bus. If the track receives MIDI controller 93 with a zero value, it will be
assigned to one of the reverb busses or the dry bus, as determined by the subsequent reception of MIDI
controller 91 values according to the following scheme. If the track receives a controller 91 value of:
¥
¥
0, it will be set to the Dry bus.
1-40, it will be set to the LightReverb bus.
¥
¥
41-80, it will be set to the MediumReverb bus.
81-127, it will be set to the WetReverb bus.
W o r k i n g wi t h th e In s e r t Ef f e c t
Insert effects may be used in SoundFinder or in the 16 Track Recorder.
An insert effect is selected in SoundFinder by:
¥
selecting a sound that uses an insert effectÑif youÕd like to find out if a sound uses an insert effect,
you can press the Routing button and view the soundÕs FX Bus setting. If itÕs set to Insert, you can
press the Insert FX button to learn precisely which insert effect the sound is using
¥
manually selecting a new insert effectÑthis method is described fully in ÒManually Selecting an Insert
Effect,Ó later in this chapter
An insert effect is selected for the 16 Track Recorder by:
¥
¥
using SoundFinder or the Idea Pad Send to Track buttons to send a sound that uses an insert effect to
a track in the 16 Track RecorderÑthis method is described in ÒSending a Sound with its Insert Effect
to the 16 Track Recorder,Ó later in this chapter
manually selecting a new insert effectÑthis method is described fully in ÒManually Selecting an Insert
Effect,Ó later in this chapter
Sending a Sound with its Insert Effect to a 16 Track Recorder Track
Often, the creative process starts with a sound in SoundFinder that you enjoy playing. Many of these
sounds use an insert effect. You can move the sound youÕre playing, along with its insert effect, to the 16
Track Recorder.
To Send a Sound and its Effect from SoundFinder to a Track
1.
2.
In SoundFinder, select the sound using an insert effect that youÕd like to send to the 16 Track
Recorder.
Press the SoundFinder Send To Track button.
The Select Sound, Yes and No LEDs begin to flash, and the display may show:
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Select Target Track>
Send= Without Effect
i
What you see here may be different
3.
4.
5.
If the bottom line shown above does not appear on the display, the selected sound does not use an
insert effect. You can set the Send parameter to:
¥
Without EffectÑso that the sound is sent to a track in the 16 Track Recorder without its effect,
and the track is routed to the soundÕs Alt. effect bus
¥
With EffectÑso that the sound is sent to the 16 Track Recorder, the track to which itÕs sent
becomes the insert control track, and the soundÕs insert effect becomes the sequenceÕs insert effect
Turn the Value knob to select ÒWith Effect.Ó
If youÕd like to send the sound somewhere other than the sequence thatÕs currently selected, press the
Bank and Sequence A-H buttons to select the desired sequence location (Chapter 7 describes using the
Bank and Sequence buttons).
Press the track button in the 16 Track Recorder to which youÕd like to send the sound.
Ti p: If you prefer, you can press the Yes button to send the sound to the lowest numbered
track that doesnÕt already have a sound on it.
If youÕre sending the sound into a Standard MIDI File that hasnÕt yet had its tracks re-ordered to
correspond to their MIDI channels, the display will show:
Align MIDI channels
to track numbers?
6.
Chapter 7 describes working with Standard MIDI Files.
If youÕd like to proceed, press the Yes button. If youÕd like cancel the procedure, press No.
If youÕve selected a track to which a sound has already been assigned, the display will show:
Replace sound on
target track?
7.
If youÕd like to proceed, press the Yes button. If youÕd like cancel the procedure, press No.
Sending an Idea with its Insert Effect to a 16 Track Recorder Track
Many of the sounds in SoundFinder lead directly to musical ideas. When youÕve captured an idea youÕd
like to explore further in the 16 Track Recorder, you can send the idea over, along with its insert effect, if it
uses one.
To Send an Idea with its Effect to a Track as a New Song
1.
2.
282
Select the idea youÕd like to send to a track in the 16 Track Recorder by pressing the Recall Idea
button and using either the up and down arrow buttons or the Value knob to select it.
Press the Idea Pad Send to Track button.
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Chapter 8ÑFX/Mixdown
The Recall Idea, Yes and No LEDs begin to flash, and the display may show:
Select Target Track>
Send To=Current Song
i
What you see here may be different
3.
4.
5.
You can set the Send To parameter to:
¥
Current SongÑso that the idea is sent to a track in the currently selected sequence
¥
New SongÑso that your ZR-76 stores the current song in memory, creates a new song, and sends
the idea to a track in sequence A in bank 1
Turn the Value knob to select New Song.
If youÕd like to send the idea to a sequence other than sequence A in bank 1, press the Bank and
Sequence A-H buttons to select the desired sequence location (Chapter 7 describes using the Bank and
Sequence buttons).
Select the track to which youÕd like to send your idea by pressing its button in the 16 Track Recorder.
Tip: You can press the Yes button instead of the track button, if you prefer, to send your
idea to track 1. Pressing No cancels the procedure.
Note: If the idea uses a Drum Machine rhythm, the rhythm will be sent to the rhythm track
in the selected destination sequence.
To learn about using the 16 Track Recorder, see Chapter 7.
To Send an Idea and its Effect to a Pre-Existing Sequence
1.
2.
Select the idea youÕd like to send to a track in the 16 Track Recorder by pressing the Recall Idea
button and using either the up and down arrow buttons or the Value knob to select it.
Press the Idea Pad Send to Track button.
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The Recall Idea, Yes and No LEDs begin to flash, and the display may show:
Select Target Track>
Send To=Current Song
i
What you see here may be different
3.
4.
5.
You can set the Send To parameter to:
¥
Current SongÑso that the idea is sent to a track in the currently selected sequence
¥
New SongÑso that your ZR-76 stores the current song in memory, creates a new song, and sends
the idea to a track in sequence A in bank 1
Turn the Value knob to select Current Song.
If youÕd like to send the idea to a sequence other than the one thatÕs currently selected, press the Bank
and Sequence A-H buttons to select the desired location (Chapter 7 describes using the Bank and
Sequence buttons).
Turn the Parameter knob clockwise, so that the display shows:
Select Target Track>
Send= Without Effect
i
What you see here may be different
6.
7.
If the bottom line shown above does not appear on the display, the selected sound does not use an
insert effect.
You can set the Send parameter to:
¥
Without EffectÑso that the idea is sent to the 16 Track Recorder, but the insert effect it uses is not
sent, and the track is routed to the soundÕs Alt. effect bus
¥
With EffectÑso that the idea is sent to a track in the currently selected sequence, the track is
designated as the sequenceÕs insert control track, and the insert effect the idea uses becomes the
sequenceÕs insert effect
Turn the Value knob clockwise to select With Effect.
Select the track to which youÕd like to send your idea by pressing its button in the 16 Track Recorder.
Tip: You can press the Yes button instead of the track button, if you prefer, to send your
idea to the lowest-numbered empty track. Pressing No cancels the procedure.
Note: If the idea uses a Drum Machine rhythm, the rhythm will be sent to the rhythm track
in the selected destination sequence.
If youÕre sending the idea into a sequence containing a Standard MIDI File that hasnÕt yet had its
tracks re-ordered to correspond to their MIDI channels, the No/Yes LEDs will flash, and the display
will show:
Align MIDI channels
to track numbers?
8.
284
Chapter 7 describes using Standard MIDI Files in the ZR-76.
Press the Yes button to proceed, or No to cancel the operation.
If youÕre sending an idea to a track thatÕs already being used, the No/Yes LEDs will flash, and the
display will show:
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Chapter 8ÑFX/Mixdown
Replace contents of
target track?
9.
Press the Yes button to replace the contents of the selected track with your idea, or No to cancel.
If your idea uses a rhythm, and the selected sequenceÕs rhythm track is already in useÑfor normal
tracks, or a previous rhythm trackÑthe display will show:
Replace contents of
rhythm track?
10. Press the Yes button to send the ideaÕs rhythm to track 10, erasing anything currently on the track, or
No to cancel the operation.
If youÕre sending an idea into a sequence where any tracksÑor a prior rhythm trackÑhave already
been recorded, the No/Yes LEDs will flash, and the display will show:
Seq tempo/meter will
be used! Proceed?
Since tracks already exist in this sequence, it already has a time signature and tempo. If you choose to
continue with this operation, the idea youÕre sending to the 16 Track Recorder will be converted to the
sequenceÕs time signature and tempo.
11. Press the Yes button to complete the procedure, or No to cancel.
Selecting an Insert Effect
Whether youÕre in SoundFinder or the 16 Track Recorder, you can manually select an insert effect using
the same procedure.
To Manually Select an Insert Effect
1.
Press the Insert FX button.
2.
Turn the Parameter knob until the display shows:
Insert Effect=
27 Dist+Phaser
i
The currently selected insert effect
You can now select any of the insert effects:
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01 Parametric EQ
3.
15 Chorus→Rev
29 ResVCF→DDL
02 Hall Reverb
16 Flanger→Rev
30 Dist→VCF→DDL
03 Large Room
17 Phaser→Rev
31 Pitch Detuner
04 Small Room
18 EQ → Reverb
32 Chatter Box
05 Large Plate
19 Spinner→Rev
33 Formant Morph
06 Small Plate
20 DDL→Chorus
34 RotarySpeaker
07 NonLinReverb1
21 DDL→Flanger
35 Tunable Spkr
08 NonLinReverb2
22 DDL→Phaser
36 Guitar Amp
09 Gated Reverb
23 DDL→EQ
37 Dist→DDL→Trem
10 Stereo Chorus
24 Multi-Tap DDL
38 Comp→Dist→DDL
11 8-VoiceChorus
25 Dist→Chorus
39 EQ→Comp→Gate
12 Rev→Chorus
26 Dist→Flanger
40 EQ→Chorus→DDL
13 Rev→Flanger
27 Dist→Phaser
14 Rev→Phaser
28 Dist→Auto Wah
Use the Value knob to select the insert effect youÕd like to use.
Allow a moment for your ZR-76 to download the new insert effect youÕve chosen.
Note: If the insert effect is bypassed, you will not be able to hear it. See ÒBypassing the ZR76 EffectsÓ later in this chapter to learn about bypassing and un-bypassing effects.
General Technique for Editing an Insert Effect
Each insert effect offers a wealth of programming options. All of the insert effect parameters are edited
using the same technique. When youÕre done editing the insert effect in SoundFinder, youÕll need to save
your edits with the sound or preset with which youÕre working (see ÒSaving SoundFinder FX/Mixdown
SettingsÓ earlier in this chapter). If youÕre working in the 16 Track Recorder, your edits automatically
become part of the currently selected sequence.
Ti p: Since SoundFinder and each sequence in the 16 Track Recorder have a single insert
effect at a time, remember that your edited insert effect may be shared by the split and
layer sounds in SoundFinder, and any of the tracks in the 16 Track Recorder.
Tip: you can also edit insert effects using the supplied Unisyn editing software.
In order for a sound or track to use the insert effect, it must be routed to the
insert FX bus (see ÒTo Assign a SoundFinder Sound to an Effect,Ó ÒTo Assign a
Split or Layer Sound to an EffectÓ or ÒTo Assign a 16 Track Recorder Track and Its
Sound to an EffectÓ earlier in this chapter for details).
To Edit the Currently Selected Insert Effect
286
1.
Press the Insert FX button.
2.
Use the Parameter knob to locate the desired parameter.
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Chapter 8ÑFX/Mixdown
3.
Use the Value knob to edit the parameterÕs value.
For a complete descriptions of the many insert effect parameters, see Chapter 11. Certain parameters
are common to all insert effects, and are described later in this chapter.
Note: If the insert effect is bypassed, you will not be able to hear it. See ÒBypassing the ZR76 EffectsÓ later in this chapter to learn about bypassing and un-bypassing effects.
Selecting an Insert Effect Preset
Each insert effect contains a number of presets. The insert effects are fully editableÑthese presets serve as
helpful starting points. When you manually select a new insert effect, the effectÕs first preset is installed.
The presets can also be manually chosen with the insert preset parameter.
To Select an Insert Effect Preset
1.
Press the Insert FX button.
2.
Turn the Parameter knob until the display shows:
The name of the current insert effect
m
Insert:
Preset=
3.
Spinner+Rev
User Preset
Each insert effect has a number of presets that you can use or employ as starting points for your own
insert effect editing.
Turn the Value knob or use the up/down arrow buttons to select an insert effect preset youÕd like to
use.
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Setting the Insert FX Bus Mix
When a sound or track is assigned to the insert FX bus, itÕs first routed to a wet/dry mix control. The
wet/dry control determines the relative balance between the sound or track as it is before going through
the insert effect (dry), and as it is after the going through the insert effect (wet). The Insert FX Bus Input
Mix parameter provides the wet/dry balance control.
To Set the Insert FX Bus Input Mix
1.
Press the Insert FX button.
2.
Turn the Parameter knob until the display shows:
Insert FX Bus:
Input Mix= Full Wet
i
The current value for this parameter
3.
The insert bus wet/dry mix can be set anywhere from Full Dry (no Insert Effect) to Full Wet (all Insert
Effect).
Turn the Value knob or use the up/down arrow buttons to set the Insert Effect FX Bus Input Mix as
you prefer.
Adding Global Reverb to the Insert Effect
It may be desirable to add some reverb to the insert effect. The ZR-76 allows you to do this by sending
some or all of the insert wet/dry input mix (described above) to the global reverb. This amount is
determined by the Insert FX Bus Global Reverb Amount parameter.
To Add Global Reverb to the Insert Effect
1.
Press the Insert FX button.
2.
Turn the Parameter knob until the display shows:
Insert FX Bus:
GlobalReverb Amt=
0
i
The current value for this parameter
You can send any amount of the insert bus wet/dry mix to the global reverb, from 0 to 127.
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3.
Turn the Value knob or use the up/down buttons to set the Insert FX Bus GlobalReverb Amount.
Adding Global Chorus to the Insert Effect
After a sound or track has been processed by the insert effect, it can be sent into the global chorus, via a
wet/dry mix control. The wet/dry control determines the relative balance between the sound or track as it
is after going through the insert effectÑreferred to, in the context of this mix, as ÒdryÓÑand as it is after
going through the global chorus (wet). The Insert FX to Global Chorus Mix parameter provides the wet/dry
balance control.
1.
Press the Insert FX button.
2.
Turn the Parameter knob until the display shows:
Insert FX to Global
Chorus Mix= Full Dry
3.
You can set the insert bus wet/dry mix anywhere from full dry (the insert effect with no chorus) to full
wet (the insert effect completely chorused).
Turn the Value knob or use the up/down arrow buttons to set the Insert FX to Global Chorus Mix.
Modulating the Insert Effect in Real Time
All of the ZR-76 insert effects allow real-time control of their parameters. When youÕre using a sound in
SoundFinder, any controller you employ can be used to change the characteristics of the insert effect.
When youÕre working in the 16 Track Recorder, any controller used on the track designated as the insert
control track can modulate the insert effect in real time (see ÒUsing the 16 Track Recorder Insert Control
TrackÓ later in this section to learn how to designate an insert control track).
To set up an insert effect for real-time control, six things must be determined:
¥
¥
¥
¥
¥
¥
Mod SrcÑfor Òmodulation source,Ó this parameter allows you to select the controller youÕd like to use
to change an insert effectÕs parameter in real time
Mod Src MinÑfor Òmodulation source minimum,Ó this parameter sets a threshold below which values
generated by the Mod Src are ignored
Mod Src MaxÑfor Òmodulation source maximum,Ó this parameter sets a threshold above which values
generated by from the Mod Src are ignored
DestÑfor Òmodulation destination,Ó this parameter chooses the insert effect parameter youÕd like to
control in real time
Dest MinÑfor Òmodulation destination minimum,Ó this parameter sets the lowest value to which the
destination parameter can be set by the real-time modulator
Dest MaxÑfor Òmodulation destination maximum,Ó this parameter sets the highest value to which the
destination parameter can be set by the real-time modulator
Choosing a Real-Time Insert Effect Modulator
The ZR-76 allows you to use the following real-time effect modulators:
¥
¥
¥
¥
OffÑno effect modulation
FullModAmtÑsets the Mod Dest to its maximum amount
VelocityÑthe Mod Dest responds to the quickness, or hardness, of keystrikes
Vel+PressureÑthe Mod Dest responds to the quickness, or hardness, of keystrikes combined with the
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¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
force by which keys, once struck, are pressed down into the keyboard
+PosMIDIkey#Ñthe Mod Dest uses the most recent keyÕs note number as its value setting, from 0 for
the lowest note of the MIDI pitch range to 127 for the highest note.
-NegMIDIkey#Ñthe Mod Dest uses the most recent keyÕs note number as its value setting, from 127 for
the lowest note of the MIDI pitch range to 0 for the highest note.
PressureÑthe Mod Dest responds to the force by which keys, once struck, are pressed down into the
keyboard
PitchWheelÑthe Mod Dest responds to the position of a pitch bend wheel, with a median modulation
value produced by the wheel at rest in the middle, and with the wheel all the way forward producing
the greatest modulation
ModWheelÑthe Mod Dest responds to the up/down position of a modulation wheel, with the wheel all
the way forward producing the greatest modulation
Wheel+PressÑthe Mod Dest responds to the up/down position of a modulation wheel, combined with
the force by which keys, once struck, are pressed down into the keyboard
FootPedalÑthe Mod Dest responds to the up/down position of a foot pedal, with the pedal all the way
forward producing the greatest modulation
SustainÑa sustain pedal, most useful as an effects modulator when itÕs used for a parameter that can
be toggled on and off
SostenutoÑa sostenuto pedal, most useful as an effects modulator when itÕs used for a parameter that
can be toggled on and off
SysCTRL1ÑSystem Controller 1, a special real-time modulator that you can add to the ZRÕs designated
real-time modulators (see Chapter 3 for further information)
SysCTRL2ÑSystem Controller 2, a special real-time modulator that you can add to the ZRÕs designated
real-time modulators (see Chapter 3 for further information)
SysCTRL3ÑSystem Controller 3, a special real-time modulator that you can add to the ZRÕs designated
real-time modulators (see Chapter 3 for further information)
SysCTRL4ÑSystem Controller 4, a special real-time modulator that you can add to the ZRÕs designated
real-time modulators (see Chapter 3 for further information)
To Assign a Real-Time Insert Effect Modulator
1.
Press the Insert FX button.
2.
Turn the Parameter knob until the display shows:
The current insert effectÕs name
m
Insert: Spinner+Rev
Mod Src= PitchWheel
i
The currently selected insert effect modulator
3.
290
The Mod Src parameter can be set to any of the modulation sources listed above this ÒHow-To.Ó
Turn the Value knob or use the up/down arrow buttons to select a Mod Src youÕd like to use.
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Setting the Real-Time Insert Effect Modulation Window
The insert effect can be set to ignore real-time modulation values that donÕt fall within a pre-determined
range. The Mod Src Min and Max parameters allow you to set the low and high limits of that window. If the
insert effect receives a modulation value higher than the Mod Src Max, it will respond if it had received the
highest value within the determined range.
To Set the Insert EffectÕs Real-Time Modulation Window
1.
Press the Insert FX button.
2.
Turn the Parameter knob until the display shows:
The current insert effectÕs name
m
Insert: Spinner+Rev
Mod Src Min=
27
i
The current mod source minimum
3.
4.
The Mod Src Min parameter determines the modulation value below which the insert effect will ignore
the modulation source. It can be set anywhere below the Mod Src Max, from 0 to 127.
Turn the Value knob or press the up/down arrow buttons to set the Mod Src Min parameter to the
desired value.
Turn the Parameter knob until the display shows:
The current insert effectÕs name
m
Insert: Spinner+Rev
Mod Src Max=
96
i
The current mod source maximum
5.
The Mod Src Max parameter determines the modulation value above which the Insert Effect will ignore
the modulation source. It can be set anywhere above the Mod Src Min, from 0 to 127.
Turn the Value knob or press the up/down arrow buttons to set the Mod Src Max parameter to the
desired value.
Setting the Insert Effect Parameter to be Modulated in Real Time
The ZR-76 allows you to modulate any of the current insert effectÕs parameters, with the exception of any
LFO Rate and DDL Time parameters that are set to a division of the system clock tempo.
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To Select an Insert Effect Parameter for Real-Time Modulation
1.
Press the Insert FX button.
2.
Turn the Parameter knob until the display shows:
The current insert effectÕs name
m
Insert:
Dest=
Spinner+Rev
Decay
i
The name of the parameter being modulated in real time
3.
Each insert effect has its own unique parameters, any of which can be selected for real-time
modulation with the Dest parameter.
Turn the Value knob or press the up/down arrow buttons to select the insert effect parameter you
want to modulate in real time.
Setting the Allowable Amount of Real-Time Modulation
ItÕs useful to be able to limit the amount of change a real-time modulator can impose on a parameter. You
can use the Dest Min and Dest Max parameters to pre-determine the low and high limits to which the Dest
parameter can be set by the Mod Src. The minimum modulation amount received from the Mod Src will
never set the Dest parameter lower than the value set with the Dest Min parameter, nor will the maximum
modulation received ever set it higher than the value established by Dest Max.
Real-time modulation can only set insert effect LFO Rates and DDL Times to their unsynchronized range of
values.
Note: If the Dest Min is set above the Dest Max, the modulation will be inverted, with
higher modulation amounts lowering the parameterÕs values, and vice versa.
To Set the Allowable Insert Effect Modulation Amount
1.
292
Press the Insert FX button.
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2.
Turn the Parameter knob until the display shows:
The current insert effectÕs name
m
Insert: Spinner+Rev
Dest Min=
1.1sec
i
The current mod dest minimum allowable value
3.
4.
The Dest Min parameter determines the lowest value to which the Dest parameter can be set by the
modulation source. It can be set anywhere from 0 to 127.
Turn the Value knob or use the up/down arrow buttons to set the Dest Min parameter to the desired
value.
Turn the Parameter knob until the display shows:
The current insert effectÕs name
m
Insert: Spinner+Rev
Dest Max=
9.2sec
i
The current mod dest maximum allowable value
5.
The Dest Max parameter determines the highest value to which the Dest parameter can be set by the
modulation source. It can be set anywhere from 0 to 127.
Turn the Value knob or use the up/down arrow buttons to set the Dest Max parameter to the desired
value.
Using the 16 Track Recorder Insert Control Track
In each sequence, one track can be designated as the insert control track. The insert control track can be
used for changing the characteristics of the sequenceÕs insert effect in real time through the use of any
controllers, including the ZRÕs pitch bend and mod wheels, foot controls, keyboard velocity, and so on.
When the insert effect is programmed to respond to such real-time control, you can record the appropriate
controller changes on the insert control track, thus automating manipulation of the insert effect. MIDI
messages received on the insert control track Õs MIDI channel can be also used as a means of controlling
the insert effect.
To Designate a SequenceÕs Insert Control Track
1.
2.
Press one of the track buttons to let your ZR-76 know that you want to work with the 16 Track
Recorder mixdown strip.
Press the Routing button.
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3.
If necessary, turn the Parameter knob until the display shows:
Effects Control:
InsertCntrlTrack= 01
i
The currently selected insert control track
The InsertCntrlTrack parameter can be set to:
¥
OffÑno track will cause the real-time modulation of the sequenceÕs insert effect
¥
01-16Ñthe selected track will provide real-time control of the sequenceÕs insert effect
4. Use the Value knob or the up/down arrow buttons to set the InsertCntrlTrack parameter to the
desired value.
Determining Which Rear-Panel Outputs the Insert Effect Will Use
The insert effect can be routed to the ZR-76 rear-panel Main or Aux stereo output jacks.
The Aux jacks provide a way to isolate insert effect sounds or tracks to their own outputs.
To Set the Insert EffectÕs Output Routing
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI
Set system prefs?
3.
4.
Press the Yes button.
Turn the Parameter knob until the display shows:
System Preferences:
Insert FX Out= Main
i
The insert effectÕs currently selected rear-panel output jacks
5.
294
The output of the insert effect can be routed to:
¥
MainÑthe output of the insert effect will be routed to the ZRÕs stereo Main Outs
¥
AuxÑthe output of the insert effect will be routed to the ZRÕs stereo Aux Outs
Use the Value knob or the up/down arrow buttons to set the routing of the insert effectÕs output.
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W o r k i n g wi t h th e Gl o b a l Ch o r u s
General Technique for Editing the Global Chorus
The ZR-76 global chorus features a host of parameters that allow you to adjust the global chorus to your
taste. All of the global chorus parameters are edited using the same technique.
Any sound in SoundFinder or track in a sequence may utilize the currently active songÕs global chorus.
Your edited chorus will be used by any sounds in SoundFinder or the 16 Track Recorder that are routed to
the chorus effect bus.
In order for a sound or track to use the global chorus, it must be routed to the
chorus FX bus (see ÒTo Assign a SoundFinder Sound to an Effect,Ó ÒTo Assign a
Split or Layer Sound to an EffectÓ or ÒTo Assign a 16 Track Recorder Track and Its
Sound to an EffectÓ earlier in this chapter for details).
To Edit the Global Chorus
1.
Press the Chorus button.
2.
Use the Parameter knob to locate the desired parameter.
3.
Use the Value knob to edit the parameterÕs value.
Note: If the global chorus is bypassed, you will not be able to hear it. See ÒBypassing the
ZR-76 EffectsÓ later in this chapter to learn about bypassing and un-bypassing effects.
Selecting a Global Chorus Preset
The ZR-76 provides a selection of global chorus presets. The chorus is quite editableÑthese presets can
serve as starting points. The presets are chosen with the Global Chorus Preset parameter.
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To Select a Global Chorus Preset
1.
Press the Chorus button..
2.
Turn the Parameter knob until the display shows:
Global Chorus:
Preset= User Preset
i
The currently selected global chorus preset
3.
When you first dial to the global chorus preset display, the user preset is selectedÑit contains the
global chorus parameter settings that are in place in the current song.
The global chorus presets are:
¥
ZR Chorus
¥
Super Slow
¥
ZR Classic
¥
Thick
¥
Fast & Wide
¥
Vintage
¥
Halleluiah
¥
Wide
¥
Padmaker
¥
Slow Rotary
¥
Slow & Deep
¥
Fast Rotary
Turn the Value knob or press the up/down arrow buttons to select the desired global chorus preset
youÕd like to use.
Allow a moment for your ZR-76 to download the new global chorus preset youÕve chosen.
Setting the Chorus Bus Input Mix
When a sound or track is assigned to the chorus bus, itÕs routed to a wet/dry mix control. The wet/dry
control determines the relative balance between the sound or track as it is before going through the global
chorus, and as it is after the going through the chorus. The Chorus FX Bus Input Mix parameter provides
the wet/dry balance control.
To Set the Chorus FX Bus Input Mix
1.
296
Press the Chorus button.
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2.
Turn the Parameter knob until the display shows:
Chorus FX Bus:
Input Mix= 50.0% wet
i
The currently selected value for this parameter
3.
You can set the chorus FX bus wet/dry mix anywhere from Full Dry (no Chorus) to Full Wet (all
Chorus).
Turn the Value knob or use the up/down arrow buttons to set the chorus FX bus input mix as you
prefer.
Adding Reverb to the Global Chorus
It may be desirable to add some reverb to a chorused sound or track. The ZR-76 allows you to do this by
sending some or all of the chorus wet/dry mix (described above) to the global chorus. This amount is
determined by the Chorus FX Bus Global Reverb Amount parameter.
To Add Global Reverb to the Global Chorus
1.
Press the Chorus button.
2.
Turn the Parameter knob until the display shows:
Chorus FX Bus:
GlobalReverb Amt= 44
i
The currently selected value for this parameter
3.
You can send any amount of the chorus bus wet/dry mix to the global reverb from 0 to 127.
Turn the Value knob or use the up/down arrow buttons to set the Chorus FX Bus Global Reverb Amt
as you prefer.
Adjusting the Global Chorus LFO Rate
The global chorus creates two digital copies of sound coming into the chorus and then plays back the
copies in stereo, slightly delayed, over the original uneffected sound (the copies generally play back at
slightly different times, for a ÒfatteningÓ effect). When the amount of time by which the copies are delayed is
changed, the characteristic sweep of the chorus is heard. The Chorus LFO Rate sets how long it will take
for the delay time to change from its shortest value to its longest value.
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To Adjust the Global Chorus LFO Rate
1.
Press the Chorus button.
2.
Turn the Parameter knob until the display shows:
The current global chorus preset
m
Chorus: User Preset
LFO Rate=
0.5Hz
i
The currently selected value for this parameter
3.
The LFO Rate parameter can be set anywhere from 0.0Hz to 20.0Hz.
Turn the Value knob or use the up/down arrow buttons to set the chorus LFO rate as you prefer.
Adjusting the Global Chorus Depth
The global chorus creates two digital copies of sound coming into the chorus and then plays back the
copies in stereo, slightly delayed, over the original uneffected sound (the copies generally play back at
slightly different times, for a ÒfatteningÓ effect). When the amount of time by which the copies are delayed is
changed, the characteristic sweep of the chorus is heard. The Chorus Depth parameter determines how
much the original delay time will be increased and decreased.
To Adjust the Global Chorus Depth
1.
Press the Chorus button.
2.
Turn the Parameter knob until the display shows:
The current global chorus preset
m
Chorus: User Preset
Chorus Depth= 1.8ms
i
The currently selected value for this parameter
3.
298
The Chorus Depth parameter can be set anywhere from 0.0ms (milliseconds) to 25.0ms.
Turn the Value knob or use the up/down arrow buttons to set the chorus depth as you prefer.
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Adjusting the Global Chorus Center
The global chorus creates two digital copies of sound coming into the chorus and then plays back the
copies in stereo, slightly delayed, over the original uneffected sound (the copies generally play back at
slightly different times, for a ÒfatteningÓ effect). When the amount of time by which the copies are delayed is
changed, the characteristic weep of the chorus is heard. The Chorus Center parameter sets the basic
amount of delay time between the original uneffected sound and the copies.
To Adjust the Global Chorus Center
1.
Press the Chorus button.
2.
Turn the Parameter knob until the display shows:
The current global chorus preset
m
Chorus: User Preset
ChorusCenter= 18.0ms
i
The currently selected value for this parameter
3.
The Chorus Center parameter can be set anywhere from 0.0ms (milliseconds) to 25.0ms.
Turn the Value knob or use the up/down arrow buttons to set the chorus center as you prefer.
Adjusting the Global Chorus Spread
The global chorus is a stereo chorus. The Chorus Spread parameter allows you to decide just how
pronounced youÕd like the stereo effect to be.
To Adjust the Global Chorus Spread
1.
Press the Chorus button.
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2.
Turn the Parameter knob until the display shows:
The current global chorus preset
m
Chorus:
Spread=
User Preset
-L---|---Ri
i
i
This represents the current amount of stereo spread
3.
The chorus spread parameter is represented pictorially in the ZR-76. The line you see in the display
represents the ZRÕs stereo field. Moving the ÒLÓ and the ÒRÓ further from the middle increases the
amount of stereo separation in the global chorus, and moving them closer to the middle decreases it.
When there is an ÒMÓ in the middle, there will be no stereo separation in the global chorus (ÒMÓ stands
for ÒmonoÓ).
Turn the Value knob or use the up/down arrow buttons to set the chorus spread as you prefer.
Adjusting the Global Chorus Phase
The global chorus creates two digital copies of sound coming into the chorus and then plays back the
copies in stereo, slightly delayed, over the original uneffected sound (the copies generally play back at
slightly different times, for a ÒfatteningÓ effect). When the amount of time by which the copies are delayed is
changed, the characteristic sweep of the chorus is heard. The Chorus Phase parameter determines
whether the two copiesÕ delay times will change together, or 180 degrees out of sync with each otherÑas
one copyÕs delay time lengthens, the otherÕs will shorten, and vice-versa.
To Adjust the Global Chorus Phase
1.
Press the Chorus button.
2.
Turn the Parameter knob until the display shows:
The current global chorus preset
m
Chorus: User Preset
Chorus Phase=
0deg
i
The currently selected value for this parameter
¥
¥
3.
300
The Chorus Phase parameter can be set to:
0degÑthe delay times of the left and right copies of the original uneffected sound will change together
-180degÑthe delay times of the left and right copies of the original uneffected sound will change 180
degrees out of sync with each other
Turn the Value knob or use the up/down arrow buttons to set the Chorus Phase as you prefer.
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Determining Which Rear-Panel Outputs the Global Chorus Will Use
The global chorus can be routed to the ZR-76 rear-panel Main or Aux stereo output jacks.
The Aux jacks provide a way to isolate global chorus sounds or tracks to their own outputs.
To Set the Global ChorusÕs Output Routing
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI
Set system prefs?
3.
4.
Press the Yes button.
Turn the Parameter knob until the display shows:
System Preferences:
GlobalChorusOut=Main
i
The Global ChorusÕs currently selected rear-panel output jacks
5.
The output of the global chorus can be routed to:
¥
MainÑthe output of the global chorus will be routed to the ZRÕs stereo Main Outs
¥
AuxÑthe output of the global chorus will be routed to the ZRÕs stereo Aux Outs
Use the Value knob or the up/down arrow buttons to route the global chorusÕs output to the ZRÕs rearpanel Main Outs or the Aux Outs.
W o r k i n g wi t h th e Gl o b a l Re v e r b
General Technique for Editing the Global Reverb
The ZR-76 global reverb offers a suite of parameters that allow you to customize the global reverb. All of
the global reverb parameters are edited using the same technique.
Any sound in SoundFinder or track in a sequence may utilize the currently active songÕs global reverb.
Your edited reverb will be used by any sounds in SoundFinder or the 16 Track Recorder that are routed to
the reverb effect busses.
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In order for a sound or track to use the global reverb, it must be routed to one of
the three reverb FX busses (see ÒTo Assign a SoundFinder Sound to an Effect,Ó
ÒTo Assign a Split or Layer Sound to an EffectÓ or ÒTo Assign a 16 Track Recorder
Track and Its Sound to an EffectÓ earlier in this chapter for details).
To Edit the Global Reverb
1.
Press the Reverb button.
2.
Use the Parameter knob to locate the desired parameter.
3.
Use the Value knob to edit the parameterÕs value.
Note: If the global reverb is bypassed, you will not be able to hear it. See ÒBypassing the ZR76 EffectsÓ later in this chapter to learn about bypassing and un-bypassing effects.
Selecting a Global Reverb Preset
The ZR-76 provides a selection of global reverb presets. The reverb can be fully editedÑthese presets can
serve as starting points. The presets are chosen with the Global Reverb Preset parameter.
To Select a Global Reverb Preset
1.
302
Press the Reverb button.
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2.
Turn the Parameter knob until the display shows:
Global Reverb:
Preset= User Preset
i
The currently selected global reverb preset
3.
When you first dial to the global reverb preset display, the user preset is selectedÑit contains the
global reverb parameter settings that are in place in the current song.
The global reverb presets are:
¥
Smooth Plate
¥
Small Room
¥
Large Hall
¥
Reflections
¥
Small Hall
¥
Bright
¥
Big Room
¥
Huge Place
Turn the Value knob or press the up/down arrow buttons to select the global reverb preset youÕd like
to use.
Allow a moment for your ZR-76 to download the new global reverb preset youÕve chosen.
Setting Reverb Amounts for the Light, Medium and Wet Reverb Busses
There are always three different amounts of global reverb available. While the overall volume of the global
reverb effect is determined by the setting of the Reverb Return Level parameter (described later in this
chapter) the ZR-76 provides three separate and customizable busses for sending sounds and tracks into
the current songÕs global reverb effect:
¥
the LightReverb FX BusÑfor sending minimal amounts of dry sound into the global reverb
¥
the MediumReverb FX BusÑfor sending average amounts of dry sound into the global reverb
¥
the WetReverb FX BusÑfor sending larger amounts of dry sound into the global reverb
The LightReverb, MediumReverb and WetReverb busses can each be set anywhere within their general
ranges.
To Set the LightReverb Amount
1.
Press the Reverb button.
2.
Turn the Parameter knob until the display shows:
LightReverb FX Bus:
GlobalReverb Amt= 34
i
The currently selected value for this parameter
3.
The LightReverb Global Reverb amount can be set anywhere from 0 to 63.
Turn the Value knob or press the up/down arrow buttons to set the LightReverb Global Reverb
amount to the desired value.
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To Set the MediumReverb Amount
1.
Press the Reverb button.
2.
Turn the Parameter knob until the display shows:
MediumReverb FX Bus:
GlobalReverb Amt= 68
i
The currently selected value for this parameter
3.
The MediumReverb Global Reverb amount can be set anywhere from 32 to 95.
Turn the Value knob or press the up/down arrow buttons to set the MediumReverb Global Reverb
amount to the desired value.
To Set the WetReverb Amount
1.
Press the Reverb button.
2.
Turn the Parameter knob until the display shows:
WetReverb FX Bus:
GlobalReverb Amt=110
i
The currently selected value for this parameter
3.
The WetReverb Global Reverb amount can be set anywhere from 64 to 127.
Turn the Value knob or press the up/down arrow buttons to set the WetReverb Global Reverb amount
to the desired value.
Setting the Global ReverbÕs Overall Volume
The ZR-76 offers three busses that allow a sound or track to be treated with varying degrees of global
reverb. (See ÒSetting the Reverb Amounts for the Light, Medium and Wet Reverb BussesÓ above for details.)
The overall volume of the global reverb is determined by the setting of the Reverb Return Level parameter.
Though the three different amounts of dry sound sent into the global reverb by the three busses donÕt
change when this parameter is adjusted, the volume of the global reverb itself does. This has the effect of
raising and lowering the amount of reverb for all three busses at once.
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To Set the Global ReverbÕs Overall Volume
1.
Press the Reverb button.
2.
Turn the Parameter knob until the display shows:
The current global reverb preset
m
Reverb: User Preset
Return Level=
100
i
The currently selected value for this parameter
3.
You can set the global reverb return level to any amount from 0 to 127.
Turn the Value knob or use the up/down arrow buttons to set the global reverb return level.
Setting the Global ReverbÕs Decay Time
Reverb has the effect of making the sounds it processes seem to exist in a real (or sometimes, surreal)
acoustic space. The size of that imaginary space is determined primarily by how long it takes for the reverb
to fade away, or decay. The Reverb Decay parameter allows you to adjust the size of the imaginary space
created by the global reverb by setting the decay time in fractions of seconds.
To Set the Global ReverbÕs Decay Time
1.
Press the Reverb button.
2.
Turn the Parameter knob until the display shows:
The current global reverb preset
m
Reverb:
Decay=
User Preset
2.0sec
i
The currently selected value for this parameter
3.
You can set the global reverb decay time to any amount from 0.0sec (seconds) to 10.0sec.
Turn the Value knob or use the up/down arrow buttons to set the global reverb decay time to the
desired length.
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Setting the Global ReverbÕs High-Frequency Damping
As the global reverb decays, HF (for Òhigh frequencyÓ) damping progressively decreases the volume of
frequencies that occur above the value set with the Reverb HF Damping parameter. By setting the damping
to a higher frequency, the global reverb appears more expansive, since its high-frequency content doesnÕt
drop off before the reverb fades away. Lower values suggest a somehow more contained space as the decay
becomes muffled as it rings off.
To Set the Global ReverbÕs HF Damping
1.
Press the Reverb button.
2.
Turn the Parameter knob until the display shows:
The current global reverb preset
m
Reverb: User Preset
HF Damping=
8.0kHz
i
The currently selected value for this parameter
3.
You can set the global reverb high-frequency damping to any amount from 100Hz to 21.2kHz
Use the Value knob or the up/down arrow buttons to set the reverbÕs HF Damping frequency.
Setting the Global ReverbÕs Brightness
The global reverbÕs HF (for ÒHigh FrequencyÓ) bandwidth parameter filters out frequencies that occur above
the HF Bandwidth parameterÕs value. Set the HF bandwidth to a higher frequency to suggest hard
reflective surfaces, and lower values to imply softer surfaces.
To Set the Global ReverbÕs HF Bandwidth
1.
306
Press the Reverb button.
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2.
Turn the Parameter knob until the display shows:
The current global reverb preset
m
Reverb: User Preset
HF Bandwidth=10.0kHz
i
The currently selected value for this parameter
3.
You can set the global reverb high-frequency bandwidth to any amount from 100Hz to 21.2kHz.
Turn the Value knob or use the up/down arrow buttons to set the global reverb HF Bandwidth to the
desired value.
Setting the Global ReverbÕs Diffusion
Quick, unusually loud bursts of soundÑtransientsÑmay need some help to blend in pleasingly with the
rest of the global reverb. The Reverb Diffusion 1 and 2 parameters offer a way to blurÑor ÒsmearÓÑthese
bursts when you donÕt want them to be perceived as such discrete events within the overall reverb.
Diffusion 1 works on the higher-frequency components of such transients, while Diffusion 2 affects their
lower-frequencies. Higher values for both of these parameters increase the smearing. Lower values leave
the transients as more discernible individual reflections within the global reverb.
To Set the Global ReverbÕs High-Frequency Diffusion
1.
Press the Reverb button.
2.
Turn the Parameter knob until the display shows:
The current global reverb preset
m
Reverb: User Preset
Diffusion 1=
67
i
The currently selected value for this parameter
3.
You can set the global reverb high-frequency diffusion to any amount from 0 to 100.
Turn the Value knob or use the up/down arrow buttons to set the global reverb Diffusion 1 to the
desired value.
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To Set the Global ReverbÕs Low-Frequency Diffusion
1.
Press the Reverb button.
2.
Turn the Parameter knob until the display shows:
The current global reverb preset
m
Reverb: User Preset
Diffusion 2=
72
i
The currently selected value for this parameter
3.
You can set the global reverb low-frequency diffusion to any amount from 0 to 100.
Turn the value knob or use the up/down arrow buttons to set the global reverb Diffusion 2 to the
desired value.
Setting the Global ReverbÕs Definition
Reverb is achieved by creating many copies of an uneffected signal and playing back those copies one after
the other, too close together in time to be perceived as separate copies, and decreasing in volume until
silence is reached. As the copies fade away, they may occur closer together in time, acquiring a greater
density. The reverb Definition parameter allows you to adjust how quickly this density will increase as the
global reverb decays. Higher values cause the global reverb to ÒthickenÓ as it trails off. Lower values leave it
with a more consistent sound as it fades away.
To Set the Global ReverbÕs Definition
1.
Press the Reverb button.
2.
Turn the Parameter knob until the display shows:
The current global reverb preset
m
Reverb: User Preset
Definition=
96
i
The currently selected value for this parameter
You can set the global reverb definition to any amount from 0 to 100.
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3.
Turn the Value knob or use the up/down arrow buttons to set the global reverb definition to the
desired value.
Determining Which Rear-Panel Outputs the Global Reverb Will Use
The global reverb can be routed to the ZR-76 rear-panel Main or Aux stereo output jacks.
The Aux jacks provide a way to isolate global reverb sounds or tracks to their own outputs.
To Set the Global ReverbÕs Output Routing
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI
Set system prefs?
3.
4.
Press the Yes button.
Turn the Parameter knob until the display shows:
System Preferences:
GlobalReverbOut=Main
i
The Global ReverbÕs currently selected rear-panel output jacks
5.
The output of the global reverb can be routed to:
¥
MainÑthe output of the global reverb will be routed to the ZRÕs stereo Main Outs
¥
AuxÑthe output of the global reverb will be routed to the ZRÕs stereo Aux Outs
Use the Value knob or the up/down arrow buttons to route the Global ReverbÕs output to the ZRÕs
rear-panel Main Outs or the Aux Outs.
W o r k i n g wi t h Dr y So u n d s an d Tr a c k s
Sounds and tracks donÕt have to use the ZR-76 effectsÑthey can be assigned to the dry FX bus. (See ÒTo
Assign a SoundFinder Sound to an EffectÓ or ÒTo Assign a 16 Track Recorder Track and Its Sound to an
Effect,Ó above for details.)
Determining Which Rear-Panel Outputs Dry Sounds and Tracks Will Use
Any sound or tracks using the dry FX bus can be routed to the ZR-76 rear-panel Main or Aux stereo
output jacks.
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The Aux jacks provide a way to isolate dry sounds or tracks to their own outputs.
To Set the Output Routing for Dry Sounds and Tracks
1.
Press the System button.
2.
Turn the Parameter knob until the display shows:
System/MIDI
Set system prefs?
3.
4.
Press the Yes button.
Turn the Parameter knob until the display shows:
System Preferences:
Dry FX Bus Out= Main
i
The currently selected rear-panel output jacks for dry sounds and tracks
5.
Sounds and tracks using the dry FX bus can be routed to:
¥
MainÑthey will be routed to the ZRÕs stereo Main Outs
¥
AuxÑthey will be routed to the ZRÕs stereo Aux Outs
Use the Value knob or the up/down arrow buttons to route and dry sound or tracks to the ZRÕs rearpanel Main Outs or the Aux Outs.
B yp a s s i n g th e ZR - 7 6 Ef f e c t s
There may be times when youÕd like to temporarily turn an effectÑor all of the effectsÑoff in order to hear
sounds or tracks in their uneffected, Òdry,Ó state. This is accomplished by bypassing the effects. You can
bypass an individual effect, pairs of them or all of them at once. The ZR-76 provides two ways to bypass
the effects:
¥
¥
Double-clicking the Routing/Bypass button to quickly bypass and un-bypass all of the effects at once
Using the Effects Bypass parameter to bypass and un-bypass single effects, pairs of effects or all of the
effects
Note: When the insert effect is bypassed, it still responds to real-time modulation. Any realtime changes that occur while the effect is bypassed will be heard when itÕs un-bypassed.
Quick Bypass/Unbypass of the ZR-76 Effects
The Routing button provides an instantaneous way to silence all of the ZR-76 effects so that any sound or
tracks youÕre working with will be heard without any effects.
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To Quickly Bypass all of the Effects
1.
Double-click the Routing/Bypass button.
All of the ZR-76 effects will be bypassed, and *ALL-BYPASS* will appear on all effect-specific displays.
(Displays which refer to FX Bus routing parameters will be unchanged.)
To Quickly Un-Bypass all of the Effects
1.
Double-click the Routing/Bypass button.
All of the ZR-76 effects will be un-bypassed, and all effect-specific displays will return to their normal,
active state. (Displays which refer to FX Bus routing parameters will be unchanged.)
Using the Bypass Parameter to Selectively Bypass and Un-Bypass Effects
Use the bypass parameter whenever youÕd like to turn off either the insert effect, global chorus, global
reverb, or any pair of effects. This parameter can also be used to selectively turn effects back on.
To Bypass and Un-Bypass Effects Using the Bypass Parameter
1.
2.
Press the Routing button.
Turn the Parameter knob until the display shows:
Effects:
Bypass= Chorus Only
i
This shows which effect or effects, if any, are bypassed
3.
4.
You can use the Value knob or the up/down arrow buttons to select which Effect or effects youÕd like
to turn off or on. The choices are:
¥
NoneÑnone of the effects will be bypassed
¥
Chorus OnlyÑonly the chorus will be bypassed
¥
Reverb onlyÑonly the reverb will be bypassed
¥
Chorus&ReverbÑthe global chorus and global reverb will be bypassed
¥
Insert OnlyÑonly the insert effect will be bypassed
¥
Insert&ChorusÑthe insert effect and the global chorus will be bypassed
¥
Insert&ReverbÑthe insert effect and the global reverb will be bypassed
¥
All EffectsÑall of the effects will be bypassed
Turn the Value knob or use the up/down arrow buttons to bypass or un-bypass any or all of the
effects as you desire.
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M u t i n g an d So l o i n g Tr a c k s in th e 16 Tr a c k Re c o r d e r
Mute/Solo
The FX/Mixdown section provides two methods for quickly controlling which of the 16 Track RecorderÕs
tracks will be heard. Tracks can be:
¥
mutedÑto silence the selected track. Music recorded on the track is unaltered; you just canÕt hear it
while itÕs muted
¥
soloedÑto isolate the track from the other tracks in the sequence. While a track is soloed, all other
tracks are silenced
The 16 Track Recorder remembers which tracks are mutedÑwhenever you re-select the sequence, tracks
that had been muted remain so. Mute-button presses can also be recorded. The 16 Track Recorder does
not remember which tracks are soloedÑwhen you reselect a sequence that had contained a soloed track,
the track will no longer be soloed.
Tip: When a track is muted, you can still play its sound on the ZRÕs keyboard.
To Mute a Track
1.
2.
Select the track youÕd like to silence.
Press the FX/Mixdown Mute button.
The red Mute LED will light, and the track will be silenced.
Tip: Whenever youÕd like to learn if a track is muted, select the trackÑthe Mute LED will
light if the track is muted.
To Un-Mute a Track
1.
2.
Select the muted track.
Press the Mute button.
The red Mute LED will go out, and the track will once again be heard.
Tip: Whenever youÕd like to learn if a track is muted, select the trackÑthe Mute LED will
light if the track is muted.
To Solo a Track
1.
2.
Select the track youÕd like to hear by itself.
Press the FX/Mixdown Solo button.
The yellow Solo LED will light, and the only the selected track will be heard.
Tip: Whenever youÕd like to learn if a track is soloed, select the trackÑthe Solo LED will
light if the track is soloed.
To Un-Solo a Track
1.
2.
Select the soloed track.
Press the Solo button.
The yellow Solo LED will go out, and all of the tracks in the selected sequence will once again be heard.
Tip: Whenever youÕd like to learn if a track is soloed, select the trackÑthe Solo LED will
light if the track is soloed.
To Record Mute Button Presses
1.
2.
3.
312
Select the track on which youÕd like to record Mute button presses.
Begin recording the track in your choice of Replace, Add or Track mix recording mode.
Press the Mute button to mute or un-mute the trackÑyour button presses will be recorded.
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Chapter 9ÑStoring Your Music
C h apt er 9
S t o r i n g Yo u r Mu s i c
This chapter describes how to best utilize your ZRÕs internal memory, and discusses the use of floppies
and external MIDI storage devices for the safekeeping of your sounds, presets, rhythms, sequences,
songs and some other special types of ZR data.
All of the ZR-76 memory and storage tools are found in the ZRÕs Disk/Global section:
U n d er s ta n d i n g Z R - 76 Mem o r y
Your ZR-76 stores its sounds, presets, rhythms, sequences and songs in one of two areas within its
memory:
¥
¥
ROM (for ÒRead Only MemoryÓ)Ña type of permanent memory that can never be erased, and whose
contents canÕt be altered. ROM holds some of the sounds and rhythms created by ENSONIQ.
INT (for ÒInternalÓ memory)Ñwritable memory that you can use for storing sounds, presets, rhythms,
songs, sequences and system-wide settings. INT memory can be erased and re-used.
How the ZRÕs INT Memory Works
The ZR-76 provides two types of INT memory meant to address two different kinds of storage needs.
These two types of memory are named FLASH and RAM.
FLASH
FLASH memory is designed to hold the tools that youÕd like to have at your disposal during the creative
process. ItÕs the perfect place to store sounds, presets and rhythms that you use again and again and to
which you want quick access. The system-wide parameter settings that you use to customize your ZR-76
are also automatically saved into FLASH (these parameters are described in Chapter 3). When you save a
sound to FLASH, itÕs stored in sound bank 001. FLASH rhythms are stored in rhythm bank 001. Each
time you turn on your ZR-76, anything stored in FLASH is available, ready to help you realize your latest
inspiration. Your ZR-76 was shipped from ENSONIQ with sounds and rhythms already stored in its
FLASH memory.
Due to its permanent nature and ENSONIQÕs efficient use of the ZRÕs onboard FLASH memory, saving
sounds, rhythms and presets to FLASH can take a little bit of time. Each time a sound or preset is saved
to FLASH, for example, youÕll see the ZRÕs entire FLASH sound and preset memory being re-written. This
is a perfectly normal optimization routine that your ZR-76 is performing, and nothing to be concerned
about. Though a little patience is required when working with FLASH sounds and presets, overall itÕs a
good tradeoff, considering FLASH memoryÕs exceptional reliability.
W a r n i n g : In the unlikely event that you need to re-initialize, itÕs a good idea to regularly
save the sounds, rhythms and presets you store in FLASH to a floppy disk as a backup.
Reinitializing is described at the end of Chapter 1.
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RAM
The ZRÕs RAM memoryÑwhich, technically speaking, is DRAM memoryÑis similar to the type of memory
that computers use. RAM is ideal for sounds and rhythms that go along with a particular song or project
(presets are only stored in FLASH). ItÕs also an extremely fast type of memory. When youÕre editing and
saving sounds and rhythmsÑor when youÕre creating sounds using the supplied Unisyn editing
softwareÑRAM is the memory type of choice. RAM is also used for sequences and songs in the ZR-76.
When you turn off your ZR-76, its RAM memory is clearedÑjust as it would be in a personal computer.
ItÕs a good idea to save any sounds, rhythms, sequences or songs in RAM to floppy disk regularly so that
theyÕre not lost in the event of a power outage, or inadvertently when you turn your ZR off.
T i p : Whenever youÕve added anything to the ZRÕs RAM memoryÑnew 16 Track Recorder
data or a new sound, for exampleÑthe Save LED in the ZRÕs Disk/Global section flashes
to remind you to that the sound bank, rhythm bank or song containing the new material
has not yet been saved to floppy disk.
When your ZR-76 was shipped from the factory, all of its RAM was allocated to the 16 Track
Recorder/Song Editor and the Idea Pad. You can easily create RAM sound or rhythm banks by allocating
RAM memory for the purpose. The procedure for doing so can be found in ÒSetting Up the ZRÕs RAM
Memory for Your NeedsÓ later in this chapter. A RAM sound bank is referred toÑand accessed via MIDIÑ
as sound bank 002 (the FLASH sound bank is sound bank 001). RAM rhythms are stored in rhythm
bank 002 (the FLASH rhythm bank is rhythm bank 001).
U sing the ZRÕs RAM Memory Wisely
The ZRÕs RAM memory is where much of the creative action occurs. Sounds, rhythms, sequences,
songsÑeven the Idea PadÑshare the ZRÕs RAM memory. Your ZR-76 is configured to allow you to
determine how youÕd like to allocate its memory resources as your needs dictate. RAM memory is
configured using the ZRÕs memory librarian.
Layers and Bytes
Any discussion of memory usage in the ZR-76 must include an understanding of the ways in which
sounds, rhythms, sequences and songs use FLASH and RAM memory. (Preset memory is simpler: you
always have room for 32 presets in your ZR-76.)
¥
¥
A standard ZR-76 sound can have up to 16 layers. (Some special sounds have more than 16 layers,
as discussed in Chapter 4Õs ÒSplitting the ZR-76 KeyboardÓ and ÒLayering ZR-76 Sounds.Ó) Each
sound bank can have up to 361 layers total. The number of sounds that can be fit into a sound bank
depends, therefore, on how many layers each sound has. For this reason, sound memory usage is
expressed in numbers of layers.
Rhythms, sequences and songs use memory in a more complex manner. Each rhythm or sequence
eventÑincluding all of the notes and all of the controller dataÑconsumes memory, as do the various
rhythm and track settings. The amount of memory each rhythm, sequence or song uses depends on a
great number of variables, including the length of the rhythm or sequence and the amount of activity
it contains. In the case of songs, the number of sequences has an important impact on memory
usage. Due to the dynamic way in which rhythms, sequences and songs consume memory, the only
meaningful way to measure that use is in terms of raw memory: bytes.
Z R Mem o r y Ma n a g em en t
Introducing The Librarian
The ZR-76 librarian provides a full complement of memory management tools. Using the librarian, you
can:
¥
¥
¥
¥
¥
314
allocate the ZRÕs RAM memory as you see fit
find out how much free memory is available for sounds, rhythms and songs
learn the names of any ENSONIQ EXP Series Wave Expansion Boards youÕve installed in your ZR-76
erase all of the songs currently in RAM memory, erase FLASH sound, preset or rhythm banks, or
RAM sound and rhythm banks
erase individual sounds, presets or rhythms from FLASH, or individual sounds and rhythms from
RAM
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Chapter 9ÑStoring Your Music
¥
transmit as MIDI SysEx data the current sound in SoundFinder, a 16 Track Recorder trackÕs sound,
all FLASH sounds, the current SongEditKit, the current RthmEditKit or your current system-wide
settings for storage on an external MIDI storage device
General Technique for Using the Librarian
The librarianÕs functions are grouped into several categories of activity, accessed by answering ÒYesÓ to
the appropriate question posed on the ZRÕs display.
To Use the Librarian
1.
Press the Librarian button.
The No and Yes LEDs will begin to flash, and the display will show:
Librarian Commands:
Set up RAM memory?
i
What you see on the bottom line may be different
2.
Turn the Parameter knob clockwise and counter-clockwise.
The display will show:
Librarian Commands:
Show free memory?
or:
Librarian Commands:
Show expander names?
or:
Librarian Commands:
Erase memory banks?
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or:
Librarian Commands:
Erase memory item?
or:
Librarian Commands:
Dump MIDI SysEx?
The librarianÕs memory management tools are conveniently grouped into six areas, each of which may
be accessed by pressing the Yes button in response to the appropriate question.
When you answer ÒyesÓ to:
¥
ÒSet up RAM memory?Ó you can divide up the ZRÕs RAM memory according to your needs. RAM
can be allocated to the 16 Track Recorder and Song Editor, to the Idea Pad, and/or to the
creation of RAM sound and rhythm banks.
¥
ÒShow free memory?Ó you can learn how much memory is currently available for FLASH and RAM
sounds and rhythms, and for songs in the 16 Track Recorder and Song Editor.
¥
ÒShow expander names?Ó you can learn the names of all currently installed ENSONIQ EXP Series
Wave Expansion boards.
¥
ÒErase memory banks?Ó you can delete all of the songs currently in the ZRÕs memory, any FLASH
sound, preset or rhythm bank, or any RAM sound and rhythm bank.
¥
ÒErase memory item?Ó you can delete any single sound, preset or rhythm from the ZRÕs memory.
¥
ÒDump MIDI SysEx?Ó you can initiate a dump of MIDI System Exclusive data that will allow you to
store the current sound in SoundFinder, the sound on the currently selected 16 Track Recorder
track, all FLASH sounds, the current SongEditKit, or the current RthmEditKit on an external MIDI
storage device.
3. Press the Yes button in response to the appropriate question.
Specific instructions for each task can be found below.
T i p : You can cycle through the top-level librarian questions by pressing the Librarian
button again at any time.
Setting Up the ZRÕs RAM Memory for Your Needs
The librarian allows you to allocate the ZRÕs RAM memory as you see fit. RAM can be used:
¥
¥
¥
¥
by the 16 Track Recorder and Song Editor for the creation and editing of songs
by the Idea Pad
for a RAM sound bank
for a RAM rhythm bank
N o t e : Whenever you change your ZRÕs RAM setup, RAM is completely cleared out. If you
have any sequences, songs, RAM sounds or RAM rhythms currently in your ZR-76, make
sure youÕve saved them to floppy disk before reconfiguring the ZRÕs RAM. Saving to floppy
disk is described later in this chapter.
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To Re-A lloc at e t h e Z RÕs RA M Memory
1.
Press the Librarian button.
The No and Yes LEDs will begin to flash, and the display will show:
Librarian Commands:
Set up RAM memory?
i
What you see on the bottom line may be different
2.
3.
Turn the Parameter knob until the display looks as shown above.
The red/green No/Yes flashers begin to flash.
Press Yes if youÕd like to continue, or No if youÕd like to cancel.
If you press Yes, the display will show:
The top line shows the four things for which RAM can be used
m
m
m
m
Song Idea Snds Rthm
215K 16K --- --i
The bottom line shows how the ZRÕs RAM is currently allocated
4.
5.
On this display:
¥
ÒSongÓ refers to the 16 Track Recorder and Song Editor
¥
ÒIdeaÓ refers to the Idea Pad
¥
ÒSndsÓ refers to a RAM sound bank
¥
ÒRthmÓ refers to a RAM rhythm bank
When your ZR-76 is shipped from the factory, its RAM memory is allocated to the 16 Track
Recorder/Song Editor and the Idea Pad, as shown above. There is no RAM allocated for RAM sound or
rhythm banks. (The FLASH sound and rhythm banks are always available.)
Turn the Value knob to allocate the ZRÕs RAM as you desire.
Press the Yes button.
The display will show:
Erase all items in
RAM memory?
In order to reconfigure its RAM, the ZR must clear out anything currently stored there. Make sure
that youÕve saved any sequences, songs, RAM sound or RAM rhythm banks saved to floppy before
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continuing with this procedure. Saving to floppy disk is described later in this chapter.
T i p : Whenever youÕve changed anything in RAM that has not yet been saved to floppy disk,
the Save LED in the ZRÕs Disk/Global section flashes. This tells you at a glance whether or
not youÕve got anything in RAM that hasnÕt yet been stored on a floppy for safekeeping.
6.
Press the Yes button if youÕd like to complete the re-configuration of the ZRÕs RAM, or press the No
button to cancel the operation.
Viewing the Amount of Free FLASH and RAM Memory
You can use the librarian to find out how much FLASH memory is currently available for sounds and
rhythms, or how much RAM is available for sounds, rhythms and songs.
To Check the Amount of Free Sound, Rhythm or Song Memory
1.
Press the Librarian button.
2.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Librarian Commands:
Show free memory?
3.
4.
Press Yes if youÕd like to continue, or No if youÕd like to cancel the procedure.
Turn the Parameter knob to display the amount of free memory available for sounds, rhythms and
songs.
This shows the type of free memory being viewed
m
FLASH Sounds:
18 layers free
i
This shows the amount of free memory available for the selected type
You can see how much memory is available for:
¥
FLASH SoundsÑThis shows how much memory is available for saving sounds to the FLASH
sound bank. Sound memory is expressed in the number of layers available.
¥
FLASH RhythmsÑThis shows how much memory is available for saving rhythms to the FLASH
rhythm bank. Rhythm memory is expressed in bytes.
¥
RAM SoundsÑThis shows how much memory is available for saving sounds to the RAM sound
bank. Sound memory is expressed in the number of layers available. If you have not created a
RAM sound bank, the display will show ÒNot availableÓ on the bottom line. To learn how to create
a RAM sound bank, see ÒSetting Up the ZRÕs RAM Memory for Your Needs.Ó
¥
RAM RhythmsÑThis shows how much memory is available for saving rhythms to the RAM rhythm
bank. Rhythm memory is expressed in bytes. If you have not created a RAM rhythm bank, the
display will show ÒNot availableÓ on the bottom line. To learn how to create a RAM rhythm bank,
see ÒSetting Up the ZRÕs RAM Memory for Your Needs.Ó
¥
SongsÑThis shows how much memory is available for recording sequences and songs in the 16
Track Recorder and Song Editor. Song memory is express in bytes.
The amount of available memory is read-onlyÑit canÕt be changed.
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N o t e : The amount of memory available for sounds is displayed in layers, while the amount
of memory available for rhythms and songs is displayed in bytes. To learn more about
how memory usage is measured in the ZR-76, see ÒLayers and BytesÓ earlier in this
chapter.
Viewing the Names of Your Expansion Boards
Your ZR-76 can be expanded through the installation of up to three ENSONIQ EXP Series Wave
Expansion Boards (the installation procedure is described in Chapter 10.) ENSONIQ EXP Series Wave
Expansion Boards add new sound waves and sounds to your ZR-76. The librarian provides an easy way
to learn the names of installed expansion boards.
To See the Names of Installed Expansion Board s
1.
Press the Librarian button.
2.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Librarian Commands:
Show expander names?
3.
Press Yes if youÕd like to continue, or press No if youÕd like to cancel the operation.
If you press Yes, the display will show:
Wave Expander 1:
Exp Name:Piano:EXP-4
i
This will show the name of the first installed expansion board
4.
The top line of the display shows one of the three expansion slots, and the bottom line shows the
name of the expansion board in that slot. If the displayed slot has no expansion board, its name will
read Ò**EMPTY**Ó.
Turn the left knob to select the expansion slot whose expansion board name youÕd like to view.
N o t e : The ZR can hold up to three different ENSONIQ EXP Series Wave Expansion Boards
(including the Perfect Pianoª). To learn how to install expansion boards, see Chapter 10.
Erasing All Songs in Memory or a Sound, Preset or Rhythm Bank
The librarian provides the necessary tools for quickly clearing the ZRÕs song memory and its sound,
preset and rhythm banks.
N o t e : Erasing a RAM sound or preset bank clears all sounds and rhythms from the bank.
The bank itself, though empty, remains and still uses RAM.
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To Erase All Songs or a Sound, Preset or Rhythm Bank
1.
Press the Librarian button.
2.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Librarian Commands:
Erase memory banks?
3.
Press Yes if youÕd like to continue, or press No if youÕd like to cancel.
If you press Yes, the display will show:
Erase memory banks?
* All FLS Sounds *
i
What you see may be different
4.
5.
You can turn the right knob to select:
¥
All SongsÑto erase all of the songs and sequences currently in the ZRÕs memory
¥
All FLS SoundsÑto erase the entire FLASH sound bank
¥
ALL FLS PresetsÑto erase all of the ZRÕs presets
¥
All FLS RhythmsÑto erase the entire FLASH rhythm bank
¥
All RAM SoundsÑto erase the entire RAM sound bank
¥
All RAM RhythmsÑto erase the entire RAM rhythm bank
Turn the right knob to select the bank youÕd like to erase.
Press the Yes button if youÕd like to erase the bank youÕve selected, or press No if youÕd prefer to
cancel.
N o t e : Whenever a change is made to the FLASH sound or preset banks, the ZR re-saves
both the FLASH sound and preset banks in their entirety in order to make most efficient
use of that area of memory. The process may take a few moments.
Erasing Single Sounds, Presets or Rhythms
The librarian allows you to erase single sounds, presets or rhythms from FLASH and RAM memory.
To Erase a Single Sound, Preset or Rhythm
1.
Press the Librarian button.
The red and green No and Yes LEDs begin to flash.
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2.
Turn the Parameter knob until the display shows:
Librarian Commands:
Erase memory item?
3.
Press Yes if youÕd like to continue, or press No if youÕd like to cancel.
If you press Yes, the display will look something like this:
The memory used by the selected item
m
Erase
SOUND
i
The type of item to be erased
4.
5.
6.
The itemÕs memory location
m
0.4K? 001:004
:Acid Wheel2
i
The name of the item to be erased
This display allows you to choose an item to erase. You can turn the left knob to select one of three
types of items:
¥
SoundsÑto erase a specific sound from RAM or FLASH.
¥
PresetsÑto erase a specific preset
¥
RhythmsÑto erase a specific rhythm from RAM or FLASH
Turn the left knob to select the type of item youÕd like to erase.
If there are no items of the type youÕve selected, Ò**EMPTY**Ó will be displayed on the bottom line,
and the top line of the display will show ÒErase memory item?Ó
Turn the right knob to select the name of the particular item youÕd like to erase.
Once youÕve selected a sound, preset or rhythm, the amount of memory it takes up is displayed in
the center of the top line.
Press the Yes button if youÕd like to erase the item youÕve selected, or press the No button if youÕd
like to cancel.
N o t e : Whenever a change is made to the FLASH sound or preset banks, the ZR re-saves
both the FLASH sound and preset banks in their entirety in order to make most efficient
use of that area of memory. The process may take a few moments.
Sending ZR Data to External Devices Via SysEx
There may be occasions when youÕd like to store the sounds youÕre using, or your system setup, on an
external MIDI device. This can be accomplished through the transmission of MIDI System Exclusive data
(System Exclusive data is explained in ÒWhat Is MIDI?Ó in Chapter 13).The ZR-76 supports MIDI SysEx
transmission of:
¥
¥
¥
¥
¥
¥
the current SoundFinder sound
the sound being used by the currently selected track in the 16 Track Recorder
all FLASH sounds
the current SongEditKit (Chapter 4 describes the SongEditKit)
the current RthmEditKit (Chapter 5 describes the RthmEditKit)
the ZRÕs system-wide settings (described in Chapter 3)
When performing SysEx dumps from the ZR-76, make note of your ZRÕs current
SysEx Device ID number. This number is embedded in the SysEx data. Your ZR
will need to be set to this ID number when you want to re-transmit the data
back into the ZR. See ÒUsing SysEx Device IDs in Chapter 3ÑGlobal Settings.
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Transmitting ZR Data Via SysEx
1.
3.
Connect a MIDI cable from the ZR-76 MIDI Out to the MIDI In of the receiving unit (the one you will
use to store SysEx information).
Set up the receiving unit to receive SysEx messages. Its manual should contain instructions on how
to do this.
Press the Librarian button
4.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
2.
Librarian Commands:
Dump MIDI SysEx?
5.
Press the Yes button if youÕd like to continue and select an item to transmit via SysEx, or press No if
youÕd like to cancel.
If you press Yes, the display will look something like this:
Send SysEx dump of
SoundFinder Sound?
i
What you see here may be different
6.
7.
8.
You can initiate a SysEx dump of:
¥
the current sound in SoundFinder
¥
the sound used by the track currently selected in the 16 Track Recorder
¥
all FLASH sounds
¥
the current SongEditKit
¥
the current RthmEditKit
¥
your ZRÕs system-wide settings
Turn the right knob until the display shows the desired type of sound on its bottom line.
Press Yes if youÕd like to transmit the current SoundFinder sound via SysEx, or press No if youÕd
like to cancel.
If you press Yes, the display will confirm the successful completion of your command.
Save the SysEx information in your receiving device as explained in its manual.
Returning SysEx Data Back to the ZR-76
When youÕve stored sounds or system settings to an external MIDI storage device by sending the device a
SysEx dump, youÕll naturally want to return that data back into your ZR-76.
T o L o ad S y sE x D at a Bac k I n t o t h e Z R - 7 6
1.
2.
322
Connect a MIDI cable from the MIDI Out of the device containing the SysEx data to the MIDI In of
your ZR-76.
Prepare the external device to transmit SysEx data. Its manual should contain instructions on how to
do this.
YouÕll want to verify that your ZR-76 is set up to receive SysEx data.
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3.
Press the ZRÕs System button.
4.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
System/MIDI:
Edit MIDI settings?
5.
6.
Press Yes if youÕd like to change the current system MIDI settings. Press No if youÕd like to cancel
the procedure.
Turn the Parameter knob clockwise until the display shows:
MIDI Settings:
SysEx Device ID= 000
i
The current SysEx Device ID value
7.
8.
The SysEx Device ID parameter can be set to any number from 000 to 127.
Use the Value knob to set the ZR to the same device ID number to which it was set when you
originally transmitted the SysEx data you now want to load back in.
Send the SysEx data to your ZR-76 from the external device as explained in its manual.
W o r ki n g w i th Fl o ppy D i s ks
About the ZR-76 Disk Drive
The ZR-76 has a built-in floppy disk drive, allowing ZR-76 sounds, presets, rhythms, sequences and
songs to be stored on floppy disks. The ZR also offers a couple of special options that allow you to
quickly save to floppy everything currently in RAM or everything in FLASH and RAM. If youÕve got a
computer, and would like to use your favorite sequencing program to further develop sequences youÕve
begun with your ZR-76, you can pop your ZR floppy into the computerÕs drive and load in your music.
Any computer that can read a DOS-formatted diskÑand that includes just about every recent type of
computerÑcan read the song files on a ZR-76 floppy.
Care and Feeding of the Disk Drive
The ZR-76Õs built-in disk drive is a quad-density disk drive that allows you to store your ZR-76 data
onto a DOS-formatted high-density (HD) or double-density (DD) 3.5Ó floppy disks.
N o t e : The ZR-76 will only format high-density disks. When formatting a DD floppy for use
with the ZR-76, itÕs best to use the following DOS command to ensure that it will work
successfully with your ZR-76: Òformat (alphanumeric character designation of your floppy
drive): /F:720Ó.
Floppy disks are enclosed in a protective plastic carrier with an automatic shutter to protect the diskette
from physical damage. It is important not to alter this carrier in any way.
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3.5Ó floppy disks have a sliding write-protection tab so that you can protect your data against accidental
erasure. Sliding the write-protection tab in the lower left corner of the diskÑso that the window is
closedÑwill allow you to store information on the disk. Sliding the tab so that the window is open will
protect the disk against being accidentally reformatted and will safeguard against the inadvertent
deletion of disk files. High-density disks can be easily identified because they have an additional
window located on the lower right corner of the disk.
Floppy disks are a magnetic storage medium and should be treated with the same care youÕd give
important audio tapes. Just as you would use high quality audio tapes for your important recording
needs, we recommend using high-quality floppy disks for your ZR-76. Here are a few DoÕs and DonÕts
concerning disks and the disk drive.
Do:
¥
¥
¥
use either
from most
keep your
label your
high-density (HD) or double-density (DD) 3.5 inch floppy disks. Both types are available
computer stores, and many music stores carry them as well.
disks and the disk drive clean and free of dust, dirt, liquids, etc.
disks and keep a record of what is saved in each.
DonÕt:
¥
¥
¥
¥
¥
¥
¥
use single-sided (SSDD or SSSD) disks. These disks have not passed testing on both sides. While a
single-sided disk might work successfully with the ZR-76, it is possible that you will eventually lose
important data to a disk error if you try using single-sided disks.
put anything other than a disk in the disk drive.
transport the unit with a disk in the drive.
expose disks to temperature extremes. Temperatures below 50û F and above 140û F can damage the
plastic outer shell.
expose your disks to moisture.
subject disks to strong magnetic fields. Exposure to magnetic energy can permanently damage the
information on the disk. Keep disks away from speaker cabinets, tape decks, power cables, airline
x-ray equipment, power amplifiers, TV sets, and any other sources of magnetic energy.
eject the disk while the drive is operating (i.e., when the disk drive light is on).
Floppy Disk Directories and Overall Disk Capacity
When using your ZR-76 DOS-formatted floppy disks on your computer, you may find it convenient to
organize your disk files in sub-directories. The ZR-76 can read files three levels deepÑthe root directory
and two layers downÑin up to a total of 50 sub-directories. The files are displayed in the ZR-76 as a
single series of files that can be viewed alphabetically (see ÒViewing Disk Files AlphabeticallyÓ later in
this chapter), if you so choose.
You can store up to 100 files on a ZR-76 floppy disk.
Saving Files to Floppy Disk
Pressing the Save button in the Disk/Global section of the front panel allows you to save data from the
ZR-76 to a DOS-formatted floppy disk. For more information about formatting floppy disks, see
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ÒFormatting a Floppy DiskÓ later in this chapter.
The disk storage system has been designed to allow maximum flexibility in saving, loading and
organizing your sounds, rhythms, sequences and songs. Consequently, for each of these items, there are
a number of different storage options:
Sounds
¥
¥
¥
When you select the RAM-SNDBANK storage option, all of the sounds in the RAM memory bank are
saved as a SOUND-BANK file. SOUND-BANK files can be loaded into the ZRÕs FLASH or RAM
memory.
When you select the FLS-SNDBANK storage option, all of the sounds in the FLASH memory bank are
saved as a SOUND-BANK file. SOUND-BANK files can be loaded into the ZRÕs FLASH or RAM
memory.
You can save a 1-SOUND file containing a single ZR-76 sound.
Presets
¥
¥
You can save a PRESET-BANK containing all of the presets currently in the ZR-76.
You can save a 1-PRESET file containing a single ZR-76 preset.
Rhythms
¥
¥
¥
When you select the RAM-RTMBANK storage option, all of the rhythms in RAM memory are saved as a
RHYTHM-BANK file. RHYTHM-BANK files can be loaded back into the ZRÕs FLASH or RAM memory.
When you select the FLS-RTMBANK storage option, all of the rhythms in FLASH memory are saved as
a RHYTHM-BANK file. RHYTHM-BANK files can be loaded back into the ZRÕs FLASH or RAM memory.
You can save a 1-RHYTHM containing a single Drum Machine rhythm (8 variations and 8 fills).
Sequences
¥
You can save a 1-MIDIFILE containing a single sequence.
Songs
¥
¥
You can save an ALL-SONGS file containing all of the songs in the ZR-76.
You can save a 1-SONG file containing a single song, including all of its sequences, its song playlist,
if it has one, and its global chorus and global reverb settings.
Special File Types
¥
¥
¥
You can save your current Favorites buttons assignments as a FAVORITES file.
You can save an ALL-RAM file containing all of the sounds, rhythms and songs currently in RAM.
You can save an ALL-SESSION file containing all of the sounds, presets, rhythms and songs
currently stored in FLASH and RAM.
All of the file types described above can be loaded back into your ZR-76.
Floppy Disk File Names
In order to allow you to use ZR-76 floppy disks in your computer, the ZR-76 uses a DOS disk format
(see later in this chapter to learn how to format floppies.) While sounds, presets, rhythms, sequences
and songs in the ZR-76 can have up to 11 lower and upper case characters, DOS files can only have a
maximum of eight upper case characters. For this reason, whenever you save a sound, rhythm or preset
file to floppy, you must assign it an eight-character name. This file name is independent of the name you
give to the sound, preset, rhythm, sequence or song for use inside your ZR-76. When you load such a
file back into your ZR-76, youÕll find the 11-character name restored. This means that, to change the
inside-your-ZR name of a sound, preset, rhythm, sequence or song, you must name it as desired within
your ZR-76 before storing it on a floppy. Chapter 4 describes how to rename sounds and presets,
Chapter 5 describes renaming rhythms and Chapter 7 discusses renaming sequences and songs.
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N o t e : When loading files into the ZR-76, you can easily tell when a foreign disk fileÕs
name exceeds the DOS 8-character limit. If the file was named on a Macintosh, an
exclamation point will appear at the beginning of the fileÕs name; if it was named on a PCcompatible, the last two characters displayed will be an arrow and a number.
Saving Sound, Preset and Rhythm Banks
The ZR-76 allows you to save FLASH sound, preset and rhythm banks, as well as RAM sound and
rhythm banks, to floppy disk by selecting the type of bank youÕd like to save. You can select:
¥
RAM-SNDBANKÑto save all of the sounds in RAM as a SOUND-BANK disk file.
¥
FLS-SNDBANKÑto save all of the sounds in FLASH as a SOUND-BANK disk file.
¥
PRESET-BANKÑto save all of the ZRÕs presets as a PRESET-BANK disk file.
¥
RAM-RTMBANKÑto save all of the rhythms in RAM as a RHYTHM-BANK disk file.
¥
FLS-RTMBANKÑto save all of the rhythms in FLASH as a RHYTHM-BANK disk file.
Sound and rhythm banks are saved as plain SOUND-BANK and RHYTHM-BANK filesÑwith no reference
to the area of memory from which they were savedÑso that you can load them back into FLASH or RAM
as your needs dictate.
T i p : You can move sound and rhythm banks back and forth between FLASH and RAM by
saving the bank you want to move to floppy disk and then loading it back in to the
desired area of memory.
To Save a Sound, Preset or Rhythm Bank to Floppy Disk
1.
2.
Insert a formatted floppy into the ZRÕs disk drive.
Press the Disk/Global Save button.
The red and green No and Yes LEDs begin to flash.
In the lower left corner of the display youÕll see the type of file selected for saving to floppy disk.
Save to disk?
1-SONG
:SONG0001
i
The type of file selected for saving to disk
By
¥
¥
¥
turning the Parameter knob, you can select:
RAM-SNDBANKÑto save all of the sounds in RAM
FLS-SNDBANKÑto save all of the sounds in FLASH
PRESET-BANKÑto save all of the ZRÕs presets
N o t e : Since presets utilize ROM, FLASH and RAM ZR-76 sounds, make sure that any
FLASH and/or RAM sounds your presets use are also saved to floppy . When you reload
your preset bank, youÕll need to reload the sounds your presets depend on.
¥
¥
RAM-RTMBANKÑto save all of the rhythms in RAM
FLS-RTMBANKÑto save all of the rhythms in FLASH
N o t e : If you choose a bank thatÕs currently empty, youÕll see ÒN/AÓ displayed when the
file type is selected, and the Yes and No LEDs will stop flashing.
3.
326
Turn the Parameter knob clockwise or counter-clockwise to select the type of file youÕd like to save to
disk.
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YouÕll see the display change as you select different items that can be saved. When youÕve found the
desired type of file, the display will look something like this:
Save to disk?
FLS-SNDBANK:!FLSSNDS
i
The type of bank youÕve chosen
i
The default name for the selected type of bank
When viewing this display, you can give your sound, preset or rhythm bank a DOS file name (for an
explanation of DOS file names, see ÒFloppy Disk File NamesÓ earlier in this chapter). You can create
a file name in one of two ways:
¥
You can spell the DOS file name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys
in each octave move the cursor forward and back on the display (the character currently selected
for editing is underlined). The G# types a blank space.
N o t e : The keys outside of the range shown are not used for the naming of disk files.
¥
You can also name your file using the front panel controls. The up/down arrow buttons are used
to select the character position within the name. The up arrow moves the location to the right,
and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
If you assign your file a name thatÕs already been used for another disk file, the ZR will ask if you
want to replace the earlier file with your new one. Respond by pressing the Yes or No buttons.
T i p : The Value knob provides access to characters unavailable on the keyboard.
4.
5.
Using the ZRÕs keyboard and/or the front panel controls, name the file youÕll be saving.
When youÕve named your disk file, press the Yes button. The display confirms that your sound,
preset or rhythm bank has been saved to floppy disk.
W a r n i n g : When saving data to a floppy disk, avoid removing the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory.
Saving a Single Sound, Preset, Rhythm, Sequence or Song to Floppy
The ZR-76 allows you to save individual sounds, presets, rhythms, sequences and songs to floppy as the
following file types:
¥
¥
¥
¥
¥
1-SOUNDÑsaves the currently selected sound in SoundFinder
1-PRESETÑsaves the currently selected preset in SoundFinder
1-RHYTHMÑsaves the currently selected Drum Machine rhythm
1-MIDIFILEÑsaves the currently selected sequence in the Song Editor
1-SONGÑsaves the currently selected song, all of its sequences, its song playlist if one has been
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Chapter 9ÑStoring Your Music
created, and its global chorus and global reverb settings
To Save a Sound, Preset, Rhythm, Sequence or Song to Floppy
1.
2.
Insert a formatted floppy into the ZRÕs disk drive.
Press the Disk/Global Save button.
The red and green No and Yes LEDs begin to flash.
In the lower left corner of the display youÕll see the type of file thatÕs currently selected for saving to
floppy disk.
Save to disk?
1-SONG
:SONG0001
i
The type of file selected for saving to disk
By turning the Parameter knob, you can select:
¥
1-SOUNDÑto save the sound currently selected in SoundFinder
N o t e : If split and layer in SoundFinder are on, the ZR will show an error message when
you try to save a single sound. To save splits and layers to floppy, save them as presets.
¥
1-PRESETÑto save the preset currently selected in SoundFinder
N o t e : Since presets utilize ROM, FLASH and RAM ZR-76 sounds, make sure that any
FLASH and/or RAM sounds your preset uses are also saved to floppy. When you reload
your preset, youÕll need to reload the sounds it depends on.
¥
¥
¥
1-RHYTHMÑto save the rhythm currently selected in the Drum Machine
1-MIDIFILEÑto save the sequence currently selected in the Song Editor
1-SONGÑsaves the currently selected song, all of its sequences, its song playlist if it has one,
and its global chorus and global reverb settings
N o t e : If you select 1-MIDIFILE when thereÕs no sequence in the currently selected
sequence location, or if you select 1-SONG when there are no sequences recorded, youÕll
see ÒN/AÓ displayed, and the Yes and No LEDs will stop flashing.
3.
Turn the Parameter knob clockwise or counter-clockwise to select the type of file youÕd like to save to
disk.
YouÕll see the display change as you select different file types. When youÕve found the desired type
of file, the display will look something like this:
Save to disk?
1-SOUND
:CONCERTG
i
The file type youÕve chosen
i
The first eight characters of the currently selected sound
When viewing this display, you can give your sound, preset, rhythm, sequence or song a DOS file
name (for an explanation of DOS file names, see ÒFloppy Disk File NamesÓ earlier in this chapter).
You can create a file name in one of two ways:
¥
You can spell the DOS file name on the keyboard as if it were a typewriterÑthe character
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associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys
in each octave move the cursor forward and back on the display (the character currently selected
for editing is underlined). The G# types a blank space.
N o t e : The keys outside of the range shown are not used for the naming of disk files.
¥
You can also name your file using the front panel controls. The up/down arrow buttons are used
to select the character position within the name. The up arrow moves the location to the right,
and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
If you assign your file a name thatÕs already been used for another disk file, the ZR will ask if you
want to replace the earlier file with your new one. Respond by pressing the Yes or No buttons.
T i p : The Value knob provides access to characters unavailable on the keyboard.
4.
5.
Using the ZRÕs keyboard and/or the front panel controls, name the file youÕll be saving.
When youÕve named your disk file, press the Yes button. The display confirms that your sound,
preset, rhythm, sequence or song has been saved to floppy disk.
W a r n i n g : When saving data to a floppy disk, avoid removing the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory.
A Special Note About Saving Single Sounds
When you save a standard sound thatÕs assigned to the insert effect bus, the soundÕs insert effect will be
saved with the sound. When you save a drum or percussion kit sound, if any drum key is routed to the
Insert FX Bus, the Insert Effect will be saved with the Sound, with one exception: when the only drum
keys routed to the insert effect are using the sound called ÒSilence,Ó the insert effect wonÕt be saved with
the sound.
Saving All of the Songs in the ZRÕs Memory as a Group
Each ZR-76 song consists of the sequences that comprise the song, its song playlist if youÕve created
one, and the songÕs global chorus and global reverb settings. The ZR-76 can hold as many songs as
memory allows. You can save all of the songs currently in your ZR-76 as a single ALL-SONGS disk file.
To Save All of the Songs in the ZR to Floppy Disk at Once
1.
2.
Insert a formatted floppy into the ZRÕs disk drive.
Press the Disk/Global Save button.
3.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob. In the lower left corner of the display youÕll see the type of file thatÕs
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4.
currently selected for saving to floppy disk. The display will change as you select different file types.
Stop turning the Parameter knob when the display shows:
Save to disk?
ALL-SONGS :SONGS
i
The file type youÕve chosen
i
The default name for the ALL-SONGS file type
N o t e : If there are no songs currently in your ZR-76, youÕll see ÒN/AÓ displayed when you
select the ALL-SONGS file type, and the Yes and No LEDs will stop flashing.
While viewing the above display, you can give your collection of songs a DOS file name (for an
explanation of DOS file names, see ÒFloppy Disk File NamesÓ earlier in this chapter). You can create
a file name in one of two ways:
¥
You can spell the DOS file name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys
in each octave move the cursor forward and back on the display (the character currently selected
for editing is underlined). The G# types a blank space.
N o t e : The keys outside of the range shown are not used for the naming of disk files.
¥
You can also name your file using the front panel controls. The up/down arrow buttons are used
to select the character position within the name. The up arrow moves the location to the right,
and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
If you assign your file a name thatÕs already been used for another disk file, the ZR will ask if you
want to replace the earlier file with your new one. Respond by pressing the Yes or No buttons.
T i p : The Value knob provides access to characters unavailable on the keyboard.
5.
6.
Using the ZRÕs keyboard and/or the front panel controls, name the file youÕll be saving.
When youÕve named your disk file, press the Yes button. The display confirms that your songs have
been saved to floppy disk.
W a r n i n g : When saving data to a floppy disk, avoid removing the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory.
Saving Favorites Buttons Assignments to Floppy
The ZR-76 allows you to save all of your current Favorites buttons assignments to floppy in a group as a
single FAVORITES disk file.
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To Save Your Current Favorites Set to Floppy
1.
2.
Insert a formatted floppy into the ZRÕs disk drive.
Press the Disk/Global Save button.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob. In the lower left corner of the display youÕll see the type of file thatÕs
currently selected for saving to floppy disk. The display will change as you select different file types.
4. Stop turning the Parameter knob when the display shows:
3.
Save to disk?
FAVORITES :FAVORITE
i
The file type youÕve chosen
i
The default name for the FAVORITES file type
While viewing the above display, you can give your favorites set a DOS file name (see ÒFloppy Disk
File NamesÓ earlier in this chapter). You can create a file name in one of two ways:
¥
You can spell the DOS file name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys
in each octave move the cursor forward and back on the display (the character currently selected
for editing is underlined). The G# types a blank space.
N o t e : The keys outside of the range shown are not used for the naming of disk files.
¥
You can also name your file using the front panel controls. The up/down arrow buttons are used
to select the character position within the name. The up arrow moves the location to the right,
and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
If you assign your file a name thatÕs already been used for another disk file, the ZR will ask if you
want to replace the earlier file with your new one. Respond by pressing the Yes or No buttons.
T i p : The Value knob provides access to characters unavailable on the keyboard.
5.
6.
Using the ZRÕs keyboard and/or the front panel controls, name the file youÕll be saving.
When youÕve named your disk file, press the Yes button. The display confirms that your favorites
have been saved to floppy disk.
W a r n i n g : When saving data to a floppy disk, avoid removing the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory.
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Saving Everything in RAM to Floppy Disk at Once
The ZR-76 allows you to quickly save everything thatÕs in RAM to a floppyÑall at once. When you do this,
the ZR saves everything currently in RAM as separate disk files, saving:
¥
the RAM sound bank as a SOUND-BANK disk file
¥
the RAM rhythm bank as a RHYTHM-BANK disk file
¥
all of the songs in ZR as an ALL-SONGS file
In addition, your ZR-76 creates a special ALL-RAM disk file. The ALL-RAM file takes a Òsnap-shotÓ of
your ZRÕs RAM and enables you to reload everything youÕve saved back into its original RAM location.
The ZR-76 allows you to name the ALL-RAM disk file. The SOUND-BANK, RHYTHM-BANK and ALLSONGS files that are saved along with the ALL-RAM file share this name.
T i p : All of the files saved using the ALL-RAM storage option can also be loaded back into
your ZR-76 individually, as SOUND-BANK, RHYTHM-BANK and ALL-SONGS disk files.
To S ave t h e E n t i re Z R RA M Mem o ry t o Flo ppy D i sk
1.
2.
Insert a formatted floppy into the ZRÕs disk drive.
Press the Disk/Global Save button.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob. In the lower left corner of the display youÕll see the type of file thatÕs
currently selected for saving to floppy disk. The display will change as you select different file types.
4. Stop turning the Parameter knob when the display shows:
3.
Save to disk?
ALL-RAM
:RAM
i
The file type youÕve chosen
i
The default name for the ALL-RAM file type
If thereÕs nothing currently in RAM, youÕll see ÒN/AÓ displayed when you select the ALL-RAM file
type, and the Yes and No LEDs will stop flashing.
T i p : You can jump directly to this display by double-clicking the Disk/Global Save button
when you want to save an ALL-RAM disk file.
While viewing the above display, you can give your ALL-RAM files a common DOS file name (for an
explanation of DOS file names, see ÒFloppy Disk File NamesÓ earlier in this chapter).
N o t e : Remember, every file thatÕs saved to floppy disk during the ALL-RAM saving
procedure will use this file name.
You can create a file name in one of two ways:
¥
You can spell the DOS file name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys
in each octave move the cursor forward and back on the display (the character currently selected
for editing is underlined). The G# types a blank space.
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N o t e : The keys outside of the range shown are not used for the naming of disk files.
¥
You can also name your file using the front panel controls. The up/down arrow buttons are used
to select the character position within the name. The up arrow moves the location to the right,
and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
If you assign your file a name thatÕs already been used for another disk file, the ZR will ask if you
want to replace the earlier file with your new one. Respond by pressing the Yes or No buttons.
T i p : The Value knob provides access to characters unavailable on the keyboard.
5.
6.
Using the ZRÕs keyboard and/or the front panel controls, name the file youÕll be saving.
When youÕve named your disk file, press the Yes button. The display will confirm the save.
W a r n i n g : When saving data to a floppy disk, avoid removing the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory.
Saving the Entire Contents of FLASH and RAM to Floppy at Once
Your ZR-76 allows you to save everything in its FLASH and RAM memory to a floppy all at once. When
you do this, the ZR saves everything currently in FLASH and RAM as separate disk files, including:
¥
the FLASH sound bank as a SOUND-BANK disk file
¥
any RAM sound bank as a second SOUND-BANK disk file
¥
all of the presets in the ZR as a PRESET-BANK disk file
¥
the FLASH rhythm bank as a RHYTHM-BANK disk file
¥
any RAM rhythm bank as a second RHYTHM-BANK disk file
¥
all of the songs in ZR as an ALL-SONGS file
In addition, your ZR-76 creates a special ALL-SESSION disk file. The ALL-SESSION file takes a ÒsnapshotÓ of your ZRÕs FLASH and RAM, enabling you to later reload everything youÕve saved back into its
original FLASH or RAM location.
The ZR-76 allows you to name the ALL-SESSION disk file with a seven-character DOS file name. All of
the files that are saved along with the ALL-SESSION file share this name. The ZR uses the eighth legal
DOS character to show the source of the sound and rhythm banks. When you save an ALL-SESSION file,
sound and rhythm banks that originated in FLASH memory are marked with an ÒFÓ affixed to the end of
their ALL-SESSION name, and sound and rhythm banks from RAM are marked with an ÒR.Ó
T i p : The files saved with the ALL-SESSION file type can also be loaded back into your ZR
as individual SOUND-BANK, PRESET-BANK, RHYTHM-BANK and ALL-SONGS disk files.
To Save All of FLASH and RAM to Floppy Disk at Once
1.
2.
Insert a formatted floppy into the ZRÕs disk drive.
Press the Disk/Global Save button.
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The red and green No and Yes LEDs begin to flash. The display will show:
Save to disk?
ALL-SESSION:SESSION
i
What you see here may be different
If this display does not appear when you press the Disk/Global Save button, turn the Parameter
knob counter-clockwise until it does. In the lower left corner of the display youÕll see the type of file
currently selected for saving to floppy disk.
Save to disk?
ALL-SESSION:SESSION
i
The selected file type
i
The default name for the ALL-SESSION file type
While viewing the above display, you can assign your ALL-SESSION files a common seven-character
DOS file name (for more on DOS file names, see ÒFloppy Disk File NamesÓ earlier in this chapter).
N o t e : Remember, every file thatÕs saved to floppy disk during the ALL-SESSION saving
procedure will use this file name.
You can create a file name in one of two ways:
¥
You can spell the DOS file name on the keyboard as if it were a typewriterÑthe character
associated with each key is printed above the key on the ZRÕs front panel. The C# and D# keys
in each octave move the cursor forward and back on the display (the character currently selected
for editing is underlined). The G# types a blank space.
N o t e : The keys outside of the range shown are not used for the naming of disk files.
¥
You can also name your file using the front panel controls. The up/down arrow buttons are used
to select the character position within the name. The up arrow moves the location to the right,
and the down arrow moves it to the left. The underlined character is selected and may be
changed with the Value knob.
If you assign your file a name thatÕs already been used for another disk file, the ZR will ask if you
want to replace the earlier file with your new one. Respond by pressing the Yes or No buttons.
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T i p : The Value knob provides access to characters unavailable on the keyboard.
3.
4.
Using the ZRÕs keyboard and/or the front panel controls, name the file youÕll be saving.
When youÕve named your disk file, press the Yes button. The display confirms that entire contents of
your ZRÕs FLASH and RAM memory have been saved to floppy disk.
W a r n i n g : When saving data to a floppy disk, avoid removing the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory.
Loading Files from Floppy Disk
Pressing the Load button in the Disk/Global section of the front panel allows you to load data from any
DOS-formatted HD or DD floppy disk.
The Load button in the Disk/Global section of the front panel allows you to load files from a DOSformatted high-density or double-density floppy disk into the ZR-76. You can load the following types of
ZR-76 files:
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
SOUND-BANKÑa bank of sounds
1-SOUNDÑa single sound
PRESET-BANKÑa bank of presets
1-PRESETÑa single preset
RHYTHM-BANKÑa bank of Drum Machine rhythms
1-RHYTHMÑa single Drum Machine rhythm
1-MIDIFILEÑa single ZR-76 sequence, or an externally created Standard MIDI File of up to 215k in
size (working with Standard MIDI Files is discussed in Chapter 7)
ALL-SONGSÑto load all of the songs that were in the ZRÕs memory when the selected file was saved
1-SONGÑa single ZR songs, including its sequences, song playlist if it has one, and the songÕs
global chorus and global reverb settings
ALL-RAMÑto load a set of files that constituted the entire contents of the ZRÕs RAM memory when the
selected file was saved
ALL-SESSIONÑto load a set of files that constituted the entire contents of the ZRÕs FLASH and RAM
memory when the selected file was saved
FAVORITESÑto load a complete set of Favorites button assignments.
N o t e : When an MR-FLASH board has been installed in your ZR, you can also load. WAVand .AIF-format samples (described later in this chapter).
Loading Sound Banks from Floppy
The ZR-76 allows you to load collections of sounds as sound banks. Each sound bank may be loaded
into either FLASH or RAM memory, replacing any sounds previously stored there.
T o L o ad a Ban k o f S o u n d s i n t o R A M o r F L A S H
1.
2.
Insert the floppy disk containing the sound bank youÕd like to load into the ZRÕs disk drive.
Press the Disk/Global Load button.
The red and green No and Yes LEDs begin to flash.
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3.
Turn the Parameter knob until the display shows:
Load from disk?
SOUND-BANK :HOTSTUFF
i
The type of file to be loaded
i
The name of the first SOUND-BANK file on the disk
N o t e : If there are no SOUND-BANK files on the floppy disk, this display will not be
available.
4.
5.
This display allows you to select the bank of sounds youÕd like to load.
Turn the Value knob or use the up/down arrow buttons to select the sound bank youÕd like to load.
As you turn the knob, youÕll see the name of each SOUND-BANK file on the floppy.
When youÕve selected a sound bank to load, press Yes.
The display will show:
Load from disk?
Load into bank=FLASH
i
The area of memory selected to receive the sound bank
This display allows you to select the area of memory into which youÕd like to load your sound bank.
The ZR-76 has two areas of memory to which you can load a sound:
¥
FLASHÑthe more permanent type of ZR memory, which remains intact until you erase it
¥
RAMÑa temporary memory thatÕs cleared when you turn your ZR-76 off.
N o t e : Whenever you load a FLASH sound bank, the ZR re-saves both the FLASH sound
and preset banks in their entirety in order to make most efficient use of that area of
memory. The process may take a few moments.
6.
7.
If youÕve allocated memory for a RAM sound bank in your ZR, you can turn the Parameter knob to
select FLASH or RAM. If you havenÕt created a RAM sound bank, FLASH is the only setting available.
To learn about FLASH and RAM, see ÒUnderstanding ZR-76 MemoryÓ earlier in this chapter.
Turn the Parameter knob to select the desired area of memory.
Press the Yes button.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading Single Sounds from Floppy
Single sounds are stored on floppy as 1-SOUND files. Each 1-SOUND file may be loaded into either
FLASH or RAM memory, according to your needs.
To Load a Single Sound into the Z R-7 6
1.
2.
336
Insert the floppy disk that contains the sound youÕd like to load into the ZRÕs disk drive.
Press the Disk/Global Load button.
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3.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Load From Disk?
1-SOUND
:PLAYTHIS
i
The type of file to be loaded
i
The name of the first 1-SOUND file on the disk
This display allows you to select the sound youÕd like to load.
N o t e : If there are no single sounds on the floppy disk, this display will not be available.
4.
5.
Turn the Value knob or use the up/down arrow buttons to select the sound youÕd like to load. As you
turn the knob, youÕll see the name of each 1-SOUND file on the floppy.
When youÕve selected a sound to load, press Yes.
The display will show:
Load into FLS001:069
FLASH
: **EMPTY**
i
The lowest-numbered empty location will be shown here
This display allows you to select a memory location for the sound youÕre loading.
The ZR-76 has two areas of memory to which you can load a sound:
¥
FLASHÑthe more permanent type of ZR memory, which remains intact until you erase it
¥
RAMÑa temporary memory thatÕs cleared when you turn your ZR-76 off.
N o t e : Whenever you load a sound into a FLASH sound bank, the ZR re-saves both the
FLASH sound and preset banks in their entirety in order to make most efficient use of
that area of memory. The process may take a few moments.
6.
7.
8.
If youÕve created a RAM sound bank in your ZR, you can turn the Parameter knob to select FLASH or
RAM. If you havenÕt created a RAM sound bank, FLASH is the only setting available. To learn about
FLASH and RAM, see ÒUnderstanding ZR-76 MemoryÓ earlier in this chapter.
Turn the Parameter knob to select the desired area of memory.
Turn the Value knob to select a specific location within the FLASH or RAM bank youÕve selected. If
thereÕs currently a sound in any selected location, its name will show on the bottom line of the
display. If the selected location is empty, the bottom line will show Ò**EMPTY**Ó. You can select an
empty memory location, or one thatÕs occupied by a sound you donÕt want to keep.
When youÕve selected a location for your sound, press the Yes button.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading Preset Banks from Floppy
The ZR-76 allows you to load collections of presets as preset banks.
N o t e : Since presets utilize ROM, FLASH and RAM ZR-76 sounds, make sure that the
FLASH and/or RAM sounds your presets use are also loaded into the ZR to ensure that
your presets sound as intended.
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To Load a Preset Bank from Floppy
1.
2.
Insert the floppy disk that contains the preset bank youÕd like to load into the ZRÕs disk drive.
Press the Disk/Global Load button.
3.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Load from disk?
PRESET-BANK:SUPERKUL
i
The type of file to be loaded
i
The name of the first PRESET-BANK file on the disk
N o t e : If there are no PRESET-BANK files on the floppy disk, this display will not be
available.
4.
This display allows you to select the bank of presets youÕd like to load.
Turn the Value knob or use the up/down arrow buttons to select the PRESET-BANK file youÕd like to
load. As you turn the knob, youÕll see the name of each PRESET-BANK file on the floppy.
N o t e : Whenever you load a preset bank, the ZR re-saves both the FLASH sound and
preset banks in their entirety in order to make most efficient use of that area of memory.
The process may take a few moments.
5.
When youÕve selected a file to load, press Yes.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading Single Presets from Floppy
Single presets are stored on floppy, and reloaded back into the ZR, as 1-PRESET files.
N o t e : Since presets utilize ROM, FLASH and RAM ZR-76 sounds, make sure that any
FLASH and/or RAM sounds your preset uses are also loaded into the ZR to ensure that it
sounds as intended.
To Load a Single Preset From Floppy
1.
2.
Insert the floppy disk that contains the preset youÕd like to load into the ZRÕs disk drive.
Press the Disk/Global Load button.
The red and green No and Yes LEDs begin to flash.
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3.
Turn the Parameter knob until the display shows:
Load from disk?
1-PRESET
:MYPRESET
i
The type of file to be loaded
i
The name of the first 1-PRESET file on the disk
This display allows you to select the preset youÕd like to load.
N o t e : If there are no presets on the floppy disk, this display will not be available.
4.
Turn the Value knob or use the up/down arrow buttons to select the preset youÕd like to load. As you
turn the knob, youÕll see the name of each 1-PRESET file on the floppy.
N o t e : Whenever you load a preset into FLASH, the ZR re-saves both the FLASH sound and
preset banks in their entirety in order to make most efficient use of that area of memory.
The process may take a few moments.
5.
When youÕve selected a preset to load, press Yes.
The display will show:
Load into FLS001:000
PRESET : **EMPTY**
i
The lowest-numbered empty location will be shown here
6.
This display allows you to select a memory location for the preset youÕre loading by turning the right
knob. If thereÕs anything already in the currently selected location, its name will show on the bottom
line of the display. If the currently selected location is empty, the bottom line will show Ò**EMPTY**Ó.
Presets in the ZR-76 can only be loaded into FLASH memory (to learn about FLASH memory, see
ÒUnderstanding ZR-76 MemoryÓ earlier in this chapter.)
Select the desired memory location and press the Yes button.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading Rhythm Banks from Floppy
The ZR-76 allows you to load collections of rhythms as rhythm banks. Each rhythm bank may be loaded
into either FLASH or RAM memory, replacing any rhythms previously stored there.
To L oad a Ban k of Rh y t h m s i n t o RA M or FL A SH
1.
2.
Insert the floppy disk containing the Drum Machine rhythm bank youÕd like to load into the ZRÕs
disk drive.
Press the Disk/Global Load button.
The red and green No and Yes LEDs begin to flash.
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3.
Turn the Parameter knob until the display shows:
Load from disk?
RHYTHM-BANK:BIGSHOW
i
The type of file to be loaded
i
The name of the first RHYTHM-BANK file on the disk
N o t e : If there are no RHYTHM-BANK files on the floppy disk, this display will not be
available.
4.
5.
This display allows you to select the bank of rhythms youÕd like to load.
Turn the Value knob or use the up/down arrow buttons to select the rhythm bank youÕd like to load.
As you turn the knob, youÕll see the name of each RHYTHM-BANK file on the floppy.
When youÕve selected a rhythm bank to load, press Yes.
The display will show:
Load from disk?
Load into bank=FLASH
i
The area of memory selected to receive the rhythm bank
6.
7.
This display allows you to select the area of memory into which youÕd like to load your rhythm bank.
The ZR-76 has two areas of memory to which you can load a rhythm:
¥
FLASHÑthe more permanent type of ZR memory, which remains intact until you erase it
¥
RAMÑa temporary memory thatÕs cleared when you turn your ZR-76 off.
If youÕve allocated memory for a RAM rhythm bank in your ZR, you can turn the Parameter knob to
select FLASH or RAM. If you havenÕt created a RAM rhythm bank, FLASH is the only setting available.
To learn about FLASH and RAM, see ÒUnderstanding ZR-76 MemoryÓ earlier in this chapter.
Turn the Parameter knob to select the desired area of memory.
Press the Yes button.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading Single Drum Machine Rhythms from Floppy
Single rhythms are stored on floppy as 1-RHYTHM files. Each 1-RHYTHM file may be loaded into either
FLASH or RAM memory, according to your needs.
To Load a Single Drum Machine Rhy thm f rom Floppy
1.
2.
Insert the floppy disk that contains the rhythm youÕd like to load into the ZRÕs disk drive.
Press the Disk/Global Load button.
The red and green No and Yes LEDs begin to flash.
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3.
Turn the Parameter knob until the display shows:
Load From Disk?
1-RHYTHM
:TIMELORD
i
The type of file to be loaded
i
The name of the first 1-RHYTHM file on the disk
This display allows you to select the rhythm youÕd like to load.
N o t e : If there are no single rhythms on the floppy disk, this display will not be available.
4.
5.
Turn the Value knob or use the up/down arrow buttons to select the rhythm youÕd like to load. As
you turn the knob, youÕll see the name of each 1-RHYTHM file on the floppy.
When youÕve selected the rhythm youÕd like to load from floppy, press Yes.
The display will show:
Load into FLS001:20
1-RHYTHM
:WAKKIT
i
The lowest-numbered empty location will be shown here
6.
7.
8.
This display allows you to select a memory location for the rhythm youÕre loading.
The ZR-76 has two areas of memory to which you can load a rhythm:
¥
FLASHÑthe more permanent type of ZR memory, which remains intact until you erase it
¥
RAMÑa temporary memory thatÕs cleared when you turn your ZR-76 off.
If youÕve created a RAM rhythm bank in your ZR, you can turn the Parameter knob to select FLASH or
RAM. If you havenÕt created a RAM rhythm bank, FLASH is the only setting available. To learn about
FLASH and RAM, see ÒUnderstanding ZR-76 MemoryÓ earlier in this chapter.
Turn the Parameter knob to select the desired area of memory.
Turn the Value knob to select a specific location within the FLASH or RAM bank youÕve selected. If
thereÕs currently a rhythm in any selected location, its name will show on the bottom line of the
display. If the selected location is empty, the bottom line will show Ò**EMPTY**Ó. You can select an
empty memory location, or one thatÕs occupied by a rhythm you donÕt want to keep.
When youÕve selected a location for your rhythm, press the Yes button.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading ZR-76 Sequences and Standard MIDI Files
ZR-76 sequences are saved and loaded as Standard MIDI Files. Standard MIDI Files created elsewhere
can also be loaded as sequences into the ZR-76.
To Load a Single Sequence or Standard MIDI File From Floppy
1.
2.
Insert the floppy disk containing the ZR sequence or Standard MIDI File youÕd like to load into the
ZRÕs disk drive.
Press the Disk/Global Load button.
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3.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Load from disk?
1-MIDIFILE :HOTSTUFF
i
The type of file to be loaded
i
The name of the first 1-MIDIFILE disk file
All ZR-76 sequences and Standard MIDI Files are read from floppy as MIDIFILEs.
N o t e : If there are no MIDIFILEs on the floppy disk, this display will not be available.
4.
5.
This display allows you to select the MIDIFILE youÕd like to load.
Turn the Value knob or use the up/down arrow buttons to select the MIDIFILE youÕd like to load. As
you turn the knob, youÕll see the name of each 1-MIDIFILE disk file on the floppy.
When youÕve selected a MIDIFILE to load, press Yes.
The display will show:
The bank number and letter of an empty sequence location
m
m
Load into: Bank1: A
SEQUENCE: **EMPTY**
i
If there was a sequence in this location, its name would appear here
6.
This display allows you to select a location for the sequence or Standard MIDI File youÕre loading. If
an empty sequence location is currently selected in the Song Editor, the ZR will offer you that
location as a destination for the MIIDIFILE youÕre loading. If the currently selected sequence contains
data, the ZR will suggest the first empty sequence location as a destination. You can select a new
location by:
¥
pressing the Song Editor Bank and A-H buttons to select a new location.
¥
dialing in a new location with the Value knob.
In either case, the display will reflect your choice. If you choose a location that already contains a
sequence, its name will be shown on the bottom line of the displays.
Select the desired memory location and press the Yes button.
Chapter 7 describes working with Standard MIDI Files.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading Collections of Songs from Floppy
The ZR-76 allows you to load groups of songs with a single loading operation. When these ALL-SONGS
files are loaded into your ZR-76, they replace any songs and sequences currently in the ZRÕs memory.
To Load an ALL-SONGS Song Collection from Floppy
1.
2.
342
Insert the floppy disk that contains the ALL-SONGS file youÕd like to load into the ZRÕs disk drive.
Press the Disk/Global Load button.
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3.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Load from disk?
ALL-SONGS :GREATSET
i
The type of file to be loaded
i
The name of the first ALL-SONGS file on the disk
N o t e : If there are no ALL-SONGS files on the floppy disk, this display will not be
available.
4.
5.
This display allows you to select the collection of songs youÕd like to load.
Turn the Value knob or use the up/down arrow buttons to select the ALL-SONGS file youÕd like to
load. As you turn the knob, youÕll see the name of each ALL-SONGS file on the floppy.
When youÕve selected a file to load, press Yes.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading Individual Songs from Floppy
Single songs may be loaded into your ZR-76. A song contains sequences, a song playlist if there is one,
and the songÕs global chorus and global reverb settings. When a single song file is loaded into your ZR,
the song that had been previously selected is moved into the ZRÕs song memory.
To Load a Single Song from Floppy
1.
2.
Insert the floppy disk that contains the song youÕd like to load into the ZRÕs disk drive.
Press the Disk/Global Load button.
3.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Load From Disk?
1-SONG
:OURSONG
i
The type of file to be loaded
i
The name of the first 1-SONG file on the disk
This display allows you to select the song youÕd like to load.
N o t e : If there are no single songs on the floppy disk, this display will not be available.
4.
Turn the Value knob or use the up/down arrow buttons to select the song youÕd like to load. As you
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5.
turn the knob, youÕll see the name of each 1-SONG file on the floppy.
When youÕve selected the song youÕd like to load from floppy, press Yes.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading a Set of Favorites from Floppy
You can load a set of favorites into the ZR from floppy. After youÕve loaded the set, press the desired
Favorites buttonÑor tap the desired foot switch if youÕve programmed this function (see Chapter 4) to
select the favorite you seek.
To Load a Set of Favorites f rom Floppy
1.
2.
Insert the floppy disk that contains the favorites set youÕd like to load into the ZRÕs disk drive.
Press the Disk/Global Load button.
3.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Load From Disk?
FAVORITES :FESTIVAL
i
The type of file to be loaded
4.
5.
i
The name of the first FAVORITES file on the disk
This display allows you to select the group of favorites youÕd like to load.
Turn the Value knob or use the up/down arrow buttons to select the favorites youÕd like to load. As
you turn the knob, youÕll see the name of each FAVORITE file on the floppy.
When youÕve selected the set youÕd like to load from floppy, press Yes.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading an ALL-RAM File from Floppy
The ZR-76 allows you to quickly reload the ÒsnapshotÓ of your ZRÕs RAM that you saved earlier as an ALLRAM file (see ÒSaving Everything in RAM to Floppy Disk at OnceÓ earlier in this chapter). The sounds,
rhythms and songs that were in your ZRÕs RAM at that time were saved on the floppy disk as separate
files sharing a common name. Your ZR also created an ALL-RAM file, which can be used to automatically
reload all these files at once.
N o t e : If your ZR-76 had RAM memory allocated to sounds and/or rhythms when an ALLRAM file was originally saved, youÕll want to duplicate that memory scheme before you reload the file, so as to ensure that all of its sounds and/or rhythms have RAM memory
space designated for their use.
To Load an ALL-RAM File from Floppy
1.
2.
344
Insert the floppy disk that contains the ALL-RAM file youÕd like to load into the ZRÕs disk drive.
Press the Disk/Global Load button.
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3.
The red and green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Load from disk?
ALL-RAM
:GRANDRAM
i
The type of file to be loaded
i
The name of the first ALL-RAM file on the disk
N o t e : If there are no ALL-RAM files on the floppy disk, this display will not be available.
4.
This display allows you to select the ALL-RAM disk file youÕd like to load.
Turn the Value knob or use the up/down arrow buttons to select the ALL-RAM file youÕd like to load.
As you turn the knob, youÕll see the name of each ALL-RAM file on the floppy.
W a r n i n g : Before you complete the loading of an ALL-RAM file, make sure there is nothing
currently in RAM that you want to keep.
5.
When youÕve selected a file to load, press Yes.
Since ALL-RAM files can contain a good deal of data, your file may take a few moments to load.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Loading an ALL-SESSION File from Floppy
The ZR-76 allows you to quickly reload the ÒsnapshotÓ of its FLASH and RAM memory that you saved
earlier as an ALL-SESSION file (see ÒTo Save All of FLASH and RAM to Floppy Disk at OnceÓ). The
sounds, presets, rhythms and songs that were in your ZRÕs FLASH and RAM at that time were saved on
the floppy disk as separate files sharing a common name. Your ZR also created an ALL-SESSION file,
which can be used to automatically reload all these files at once.
N o t e : If your ZR-76 had RAM memory allocated to sounds and/or rhythms when an ALLSESSION file was originally saved, youÕll want to duplicate that memory scheme before
you re-load the file, so as to ensure that all of its RAM sounds and/or rhythms have RAM
memory space designated for their use.
To Load an ALL-SESSION File from Floppy
1.
2.
Insert the floppy disk that contains the ALL-SESSION file youÕd like to load into the ZRÕs disk drive.
Press the Disk/Global Load button.
The red and green No and Yes LEDs begin to flash.
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3.
Turn the Parameter knob until the display shows:
Load from disk?
ALL-SESSION:JULY26TH
i
The type of file to be loaded
i
The name of the first ALL-SESSION file on the disk
N o t e : If there are no ALL-SESSION files on the floppy disk, this display will not be
available.
4.
This display allows you to select the ALL-SESSION disk file youÕd like to load.
Turn the Value knob or use the up/down arrow buttons to select the ALL-SESSION file youÕd like to
load. As you turn the knob, youÕll see the name of each ALL-SESSION file on the floppy.
W a r n i n g : Before you complete the loading of an ALL-SESSION file, make sure there is
nothing currently in FLASH or RAM that you want to keep.
5.
When youÕve selected a file to load, press Yes.
Since ALL-SESSION files can contain a great deal of data, your file may take a little while to finish
loading.
W a r n i n g : When loading data from a floppy disk, donÕt remove the disk from the drive until
the disk drive light is no longer flashingÑdoing so may result in corrupted data on the
disk and/or in the ZRÕs internal memory!
Lo a d i n g a n d U s i n g S a m p l es I n th e Z R - 76
N o t e : The loading of samples into a ZR-76 requires the installation of an MR-FLASH
Sample Memory Board. The MR-FLASH package contains instructions for setting up an
MR-FLASH board. The ZR-76 will recognize a single MR-FLASH board at a timeÑif
multiple MR-FLASH boards are installed, only the lowest-numbered board will be
accessible.
What Kind of Samples Can Be Loaded?
Once an MR-FLASH Expansion Board has been installed, the ZR-76 can load wavesample data in the
following formats:
.WAV:
8-bit PCM
16-bit PCM
a-Law
u-Law
IMA-ADPCM
AIF:
8-bit PCM
16-bit PCM
N o t e : The now-obsolete Microsoft .WAV ADPCM format is not supported.
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Where Do Loaded Samples Go?
When the ZR-76 loads sample data from a floppy, the data is stored on the MR-FLASH board.
An MR-FLASH Sample Memory Board provides 4 megabytes of non-volatile space, meaning that your
sample data will remain safely stored there for as long as you desire. Memory permitting, there can be up
to 128 samples stored on an MR-FLASH board.
How Are Samples Played?
The ZR-76 uses loaded sample data in a manner similar to the way in which they use onboard ROM wave
data: it is not played directly; rather, itÕs incorporated into ZR sounds. When you load a sample into the
FLASH board, your ZR-76 automatically creates a sound that uses the newly imported sample dataÑthe
sample data is accessed by playing this sound. The new sound, which uses the sample fileÕs name as a
default, will be assigned to the *CUSTOM and USER-SND SoundFinder categories. You can rename the
sound, if you wish, and you can store the sound in any internal FLASH or RAM location.
If the sample is a looped sample, its loop will still be in place after the sample has been loaded into your
ZR-76. The sample will retain its root key, and will play throughout the ZRÕs 88-key range.
Loading Samples
.WAV and AIF samples may be loaded into a ZR-76 from any DOS-formatted floppy. Samples may reside
in root or sub-directoriesÑthe ZR-76 will locate them automatically.
N o t e : Since the ZR-76 employs DOS disk file naming conventions, AIF files created on a
Macintosh require the addition of a Ò.aifÓ extension attached to the end of the sample fileÕs
name. Without this suffix, your ZR-76 will not ÒseeÓ the file on a floppy.
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To Load a Sample Into the ZR-76
1.
2.
Insert the floppy containing the sample into the ZRÕs disk drive.
Press the Disk/Global Load button.
3.
If youÕre loading a .WAV sample, turn the Parameter knob until the display looks something like this:
Load from disk?
1-WAV SOUND=BOING
i
The kind of sample to be loaded
i
The name of the currently selected .WAV sample
If youÕre loading an AIF sample, turn the Parameter knob until the display looks something like this:
Load from disk?
1-AIF SOUND=SPROING
i
The kind of sample to be loaded
4.
5.
i
The name of the currently selected .AIF sample
Turn the Value knob to select the specific sample youÕd like to load.
When the desired sample file has been selected, press Yes. The display will show:
The memory location currently selected for the sound that plays the sample
m
Load into FLS001: 70
FLASH
: **EMPTY**
i
The selected sound bank
6.
7.
8.
9.
10.
i
The name of the sound currently in the selected location
If youÕd like to store the sound that will play your new sample in the ZRÕs internal FLASH sound
bank, you can turn the Value knob to select a new FLASH sound bank location if you like.
When youÕve selected the FLASH location into which youÕd like to store the sound that will play your
newly loaded sample, press the Yes button.
If youÕd like to store the sound in a RAM sound bankÑpresuming youÕve created a RAM bankÑturn
the Parameter knob to select RAM.
Turn the Value knob to select the desired location in the RAM sound bank for the sound that will
play your sample.
Press Yes to save the sound to the selected location.
N o t e : If you save a wavesample-based sound to a RAM sound bank location, make sure to
immediately save a copy of the sound to floppyÑotherwise, the sound will be cleared from
the ZRÕs memory when you power down, leaving you unable to access the sample youÕve
loaded.
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When the floppy drive stops working, your new sample-playing sound will be selected, and youÕll be
ready to enjoy your newly loaded sample.
Erasing a Sample from the MR-FLASH Sample Memory Board
There may be occasions on which youÕd like to erase an unwanted sample from the MR-FLASH board to
free up memory.
N o t e : The ZR-76 needs to utilize their onboard RAM memory during the process of erasing
samples from the MR-FLASH Sample Memory Board. This requires the erasure of RAM as
part of the sample-erasure process. Before erasing samples, make sure to save to floppy
disk anything in RAMÑa sound, rhythm, sequence or songÑfirst.
To Erase a Single Sample
1.
Press the Librarian button.
2.
Turn the Parameter knob until the display shows:
Librarian:
Erase samples?
3.
4.
Press the Yes button.
If necessary, turn the Parameter knob so that the display shows:
Erase Samples:
Erase single sample?
5.
Press the Yes button.
The display shows:
The size of the currently selected sample
m
Erase 119K sample?
SMPL-000:
BE_FUNNY
i
The sampleÕs number
6.
7.
i
The currently selected sample
Turn the Value knob to select the sample youÕd like to erase.
The top line of the display will show how much memory will be regained by erasing the sample.
When youÕve selected the sample youÕd like to delete, press the Yes button.
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The display shows:
Erase all RAM memory
to erase sample?
8.
This display is a reminder that erasing a sample requires the erasure of everything currently in the
ZRÕs RAM memory.
If thereÕs nothing in RAM that you need to save to floppy, press the Yes button.
The sample and the sound that played it will be erased. If youÕve got something in the ZRÕs RAM that
needs to be saved to floppy, press the No button to cancel the erase procedure.
Erasing the Entire MR-FLASH Sample Memory Board
The ZR-76 allows you to erase all of the samples from your MR-FLASH Sample Memory board in a single
operation. This is handy when youÕd like to Òwipe the slate clean,Ó or if you decide that your samples are
behaving unexpectedly and need to be reloaded (all computer memory, including FLASH, can become
corrupted). In either case, erasing the board completelyÑor ÒformattingÓ itÑis the thing to do.
To E rase A ll of t h e S am ples on t h e MR-FL A S H Board
1.
Press the Librarian button.
2.
Turn the Parameter knob until the display shows:
Librarian:
Erase samples?
3.
4.
Press the Yes button.
Turn the Parameter knob so that the display shows:
Erase Samples:
Format sample board?
5.
Press the Yes button. The display shows:
Erase and format all
sample board memory?
6.
350
This is provided as a double-check to make sure you really want to erase all of your samples from
the MR-FLASH board.
If youÕre ready to format/erase the MR-FLASH board, press the Yes button.
If youÕd like to cancel the procedure, press the No button.
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Chapter 9ÑStoring Your Music
D i s k Fi l e Ma n a g em en t
The ZR-76 offers a number of helpful utilities for working with files stored on a floppy disk. The Utilities
button in the Disk/Global section of the front panel provides access to these file management tools.
General Technique for Using the ZR Disk Utilities
The disk utility functions are grouped into several categories of activity, accessed by answering ÒYesÓ to
the appropriate question posed on the ZRÕs display.
To Use the Disk Utilities
1.
Press the Utilities button.
The No and Yes LEDs will begin to flash, and the display will show:
Disk Utilities:
Format floppy disk?
i
What you see on the bottom line may be different
2.
Turn the Parameter knob clockwise and counter-clockwise.
The display will show:
Disk Utilities:
Erase disk files?
or:
Disk Utilities:
Rename disk files?
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or:
Disk Utilities:
Set disk prefs/info?
The disk file management tools are conveniently grouped into four areas, each of which may be
accessed by pressing the Yes button in response to the appropriate question.
When you answer ÒyesÓ to:
¥
ÒFormat floppy diskÓ you can format and erase a high-density floppy disk.
¥
ÒErase disk file?Ó you can remove an individual file from a floppy disk inserted in the ZRÕs disk
drive.
¥
ÒRename disk file?Ó you can give a new name to an individual file on the floppy disk in the ZRÕs
disk drive.
¥
ÒSet disk prefs/info?Ó you can arrange to view all of the files on a floppy in either alphabetical
order or the order in which they were saved to the disk. You can also learn how much free space
is available on a floppy inserted into the ZRÕs disk drive.
3. Press the Yes button in response to the appropriate question.
Specific instructions for each task can be found below.
T i p : You can cycle through the top-level disk utility questions by pressing the Utilities
button again at any time.
Formatting a Floppy Disk
The ZR-76 can read and save files to DOS-formatted high-density (HD) and double-density (DD) floppy
disks. Before a disk can be used by the ZR-76 to store data, it must be in DOS formatÑthis is equally
true for blank disks or disks already formatted to some other standard. You can use your ZR-76 to
format HD floppy disks. You may format DD disks on any device capable of DOS formatting using the
DOS command Òformat (the letter designator of your floppy drive): /F:720Ó.
Warn i n g: Make sure that each disk you format doesnÕt contain anything you want to keep.
All data on a disk will be lost when the disk is formatted.
To Format a Floppy Disk
1.
2.
352
Insert a non-copy-protected, high density 3.5Ó floppy disk into the disk drive, with the label-side
facing up, and the metal shutter facing away from you. Make sure the plastic write-protect tab is in
the closed position (no light showing through the window).
Press the Utilities button.
The red/green No and Yes LEDs begin to flash.
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Chapter 9ÑStoring Your Music
3.
Turn the Parameter knob until the display shows:
Disk Utilities:
Format floppy disk?
4.
5.
Press Yes if youÕd like to continue the procedure, or No if youÕd like to cancel.
If you press Yes, the display will ask if youÕre sure you want to format the floppy in the disk drive:
Erase and format
this floppy disk?
W a r n i n g : When you format a floppy, any information it currently contains will be erased.
Make sure the disk doesnÕt contain any files youÕd like to keep.
6.
7.
If youÕre sure youÕd like to format the floppy, press Yes. If youÕd rather not continue, press No.
If the floppy in the disk drive is copy protected, the ZRÕs display will indicate that it is unable to
format the floppy. To format disk, take it out of the drive and move the copy-protect tab to the
unprotected (closed-window) position. You may then start again from step 1.
The ZR-76 will begin formatting the disk. This process takes a few minutes. The display will indicate
that formatting is taking place, and the disk drive LED will light.
When the process is complete, the display will indicate the disk has been successfully formatted.
Erasing Floppy Disk Files
The ZR-76 allows you to permanently erase any ZR-76 floppy disk file.
To Erase a Floppy Disk File
1.
2.
Insert the floppy containing the file youÕd like to erase into the ZRÕs floppy drive, with the label-side
facing up, and the metal shutter facing away from you. Make sure the plastic write-protect tab is in
the closed position (no light showing through the window).
Press the Utilities buttonÑthe red/green No and Yes LEDs begin to flash.
3.
Turn the Parameter knob until the display shows:
Disk Utilities:
Erase disk files?
4.
Press Yes if youÕd like to continue the procedure, or No if youÕd like to cancel.
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If you press Yes, the display will allow you to select the file youÕd like to erase.
Erase this file?
1-SONG
:DUNKIN'
i
The type of file to be erased
5.
6.
7.
i
The name of the first file of the selected type on the disk
The Parameter knob will select different types of files. The Value knob will select files of the
currently selected type.
Turn the Parameter knob to select the type of the file youÕd like to erase.
When youÕve selected a type of file, turn the Value knob to select the specific file youÕd like to erase.
If youÕd like to continue and erase the file youÕve selected, press Yes. To cancel, press No.
If you press Yes, the display will show that the file has been successfully erased.
Renaming Files
As your music progresses from initial idea to completed song, you may find that youÕd like to rename
files youÕve already saved to floppy. You assign it a new DOS file name of up to eight characters.
To Rename a Disk File
1.
2.
Insert the floppy containing the file youÕd like to rename into the ZRÕs floppy drive, with the labelside facing up, and the metal shutter facing away from you. Make sure the plastic write-protect tab is
in the closed position (no light showing through the window).
Press the Utilities buttonÑthe red/green No and Yes LEDs begin to flash.
3.
Turn the Parameter knob until the display shows:
Disk Utilities:
Rename disk files?
4.
Press Yes if youÕd like to continue the procedure, or No if youÕd like to cancel.
If you press Yes, the display will allow you to select the file youÕd like to rename.
Erase this file?
1-SOUND
:YIKES
i
The type of file to be renamed
5.
6.
354
i
The name of the first file of the selected type on the disk
The Parameter knob will select different types of files.
Turn the Parameter knob to select the type of the file youÕd like to rename.
When youÕve selected a file type, turn the Value knob to select the file youÕd like to rename.
¥
You can now rename the file youÕve selected using the keyboard. The character associated with
each key is printed above the key on the ZRÕs front panel. The C# and D# keys in each octave
move the cursorÑindicated by an underline on the ZRÕs displayÑforward and back. When a
character is underlined, it can be changed. The G# types a blank space.
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N o t e : The keys outside of the range shown are not used for the renaming of disk files.
¥
You can also give you file a new name your file using the front panel controls. The up/down
arrow buttons are used to select the character position within the name. The up arrow moves the
location to the right, and the down arrow moves it to the left. The underlined character is
selected and may be changed with the Value knob.
If you assign your file a name thatÕs already been used for another disk file, the ZR will tell you that
it canÕt complete the renaming procedure, since two files canÕt have the same name.
T i p : The Value knob provides access to characters unavailable on the keyboard.
7.
8.
Using the ZRÕs keyboard and/or the front panel controls, rename your file.
When youÕve finished renaming the file, press the Yes button to complete the process.
Finding Out How Much Free Space is Available on a Floppy Disk
The ZR-76 can tell you how much free space is left on a floppy disk, expressed in bytes. A blank,
formatted high-density disk has about 1,400 free bytes; a double-density around 720 bytes.
To Learn How Much Free Space is on a Floppy Disk
1.
2.
Insert the relevant floppy into the ZRÕs floppy drive, with the label-side facing up, and the metal
shutter facing away from you.
Press the Utilities button.
3.
The red/green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Disk Utilities:
Set disk prefs/info?
4.
Press Yes if youÕd like to continue the procedure, or No if youÕd like to cancel.
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If you press Yes, turn the Parameter knob until the ZR shows the number of free bytes on the floppy:
Disk Prefs/Info:
Bytes Free: 222,208
i
The number of free bytes on the floppy
Viewing Disk Files Alphabetically
The ZR-76 provides a handy utility that alphabetically sorts the files within the directories on a floppy
disk, making disk files easier to find and load.
To A lph abet i z e t h e V i ew i n g o f Fi les o n a Flo ppy D i sk
1.
2.
Insert the relevant floppy into the ZRÕs floppy drive, with the label-side facing up, and the metal
shutter facing away from you.
Press the Utilities button.
3.
The red/green No and Yes LEDs begin to flash.
Turn the Parameter knob until the display shows:
Disk Utilities:
Set disk prefs/info?
4. Press Yes if youÕd like to continue the procedure, or No if youÕd like to cancel.
If you press Yes, turn the Parameter knob until the display shows:
Disk Prefs/Info:
Directory Sorted= On
i
What you see here may be different
5.
356
When Directory Sorted=On, disk files will be viewed alphabetically within their selected file type
When Directory Sorted=Off, disk files will be in the order in which they were saved within their
selected file type
Turn the Value knob to the desired setting.
ENSONIQ ZR-76 Musician's Manual
Chapter 10ÑExpanding the ZR-76
C h a p t e r 10
E x pa n d i n g th e ZR- 7 6
This chapter discusses the two methods for expanding the capabilities of your ZR-76:
¥
¥
the installation of ENSONIQ EXP Series Wave Expansion and MR-FLASH Boards
the upgrading of your ZR-76 operating system software
U s i n g EX P an d MR - F L A S H Ex p a n s i o n Bo a r d s
EXP Series Wave Expansion Boards
The ZR-76 is shipped from ENSONIQÕs factory with a powerful 14 megabytes of 16-bit wave data, at a CDquality sample playback rate of 44.1kHz. By installing wave expansion boardsÑsuch as ENSONIQÕs EXP
Series Wave Expansion BoardsÑyou can bring your ZRÕs wave data memory up to a gigantic 86
megabytes. Your ZR-76 already contains one such board installed at the factory: EXP-4, The Perfect
Pianoª by William Coakley. The ZR-76 can accommodate an additional pair of wave expansion boards
which can supply new sounds and demos, as well as up to 24 megabytes of new wave data. You can easily
install these boards yourselfÑthis chapter describes how.
MR-FLASH Boards
With the installation of an MR-FLASH board, your ZR-76 can load .WAV and AIF-format sample files from
floppy disk. Once loaded into the ZRÑand stored on the MR-FLASH boardÑthese samples can be played in
the same way as any other ZR sound (see Chapter 9 to learn more).
Note: The ZR-76 will recognize a single MR-FLASH board at a time.
An Important Note About Electro Static Discharge
Many of the internal components in the ZR-76 and areas of their expansion boards are susceptible to
Electro Static Discharge (ESD), commonly known as Òstatic.Ó Electro static discharge can damage or
destroy electronic devices. Here are some procedures you can follow when handling electronic devices in
order to minimize the pO.S.sibility of causing ESD damage:
¥
Before opening your ZR-76, or handling an expansion board, you should be grounded. Use a ground
strap to discharge any static electric charge built up on your body. The ground strap attaches to your
wrist and any unpainted metal surface within the ZR-76.
¥
Avoid any unnecessary movement, such as scuffing your feet when handling electronic devices, since
mO.S.t movement can generate additional charges of static electricity.
¥
Minimize the handling of expansion boards. Keep them in their static-free packages until needed.
Transport or store the expansion boards only in their protective packages.
¥
When handling the expansion boards, avoid touching the connector pins. Try to handle the expansion
boards by the edges only.
If you have any questions concerning the use of the expansion boards, or for additional technical support,
please contact your authorized ENSONIQ dealer or ENSONIQ Customer Service at (610) 647-3930 Monday
through Friday 9:30 a.m. to 12:15 p.m. and 1:15 p.m. to 6:30 p.m. Eastern Time.
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I n s t a l l i n g An d Re m o vi n g Ex p a n s i o n Bo a r d s In Th e ZR - 7 6
The ZR-76 can use up to two additional ENSONIQ EXP Series Wave Expansion Boards expansion boards
at any one time, or one MR-FLASH board and one EXP board. These boards are easily installed.
Warning: Make sure to read ÒAn Important Note About Electro Static DischargeÓ earlier in
this chapter before installing a wave expansion board.
To prevent any damage to yourself or your ZR-76, we highly recommend that
you perform this operation on a wide, solid surface, such as a table. Do not
attempt to open your unit if your ZR-76 keyboard is only supported by a
keyboard stand.
To Install An Expansion Board In The ZR-76
1.
2.
3.
Turn the ZR-76 off, and unplug it from its AC outlet.
Turn the ZR-76 upside down, and place it on a soft surface with the keys facing away from you.
Remove the six Phillips-head screws from the trap door on the bottom of the ZR-76.
4.
Examine the inside of the ZR-76, and locate the two empty expansion board bays. Notice that each bay
has a pair of connectors: a 50-pin connector (toward the left of the unit) and a 40-pin connector
(toward the right).
5.
Examine your expansion board. Notice that it too has a 50-pin and a 40-pin connector.
When you turn your expansion board connector-side-down, its connectors will line up with thO.S.e in
the ZR-76.
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Chapter 10ÑExpanding the ZR-76
6.
PO.S.ition your expansion board above the lowest-numbered empty bay and align the connectors. The
number of each bay is printed on the ZRÕs circuit board: ÒEXP CARD 1,Ó ÒEXP CARD 2Ó or ÒEXP CARD
3.Ó (The Perfect Pianoª board will already be installed in one of the bays.)
Important: Expansion boards must be installed in the lowest-numbered available locations,
or the ZR-76 may not recognize them.
7.
8.
9.
Press the expansion board down firmly into its location so that it makes a physical (and electrical)
connection with your ZR-76. The expansion boardÕs connectors must be inserted into both of the
chassisÕ connectors in order to work properly.
Reinstall the trap door with the six Phillips-head screws.
Turn the ZR-76 right-side up, plug it into an outlet, turn it on, and follow the instructions in ÒTo
Identify an Installed Expansion Board,Ó below to verify that the ZR-76 is properly recognizing the
expansion board.
Warning: Make sure to read ÒAn Important Note About Electro Static DischargeÓ earlier in
this chapter before installing a wave expansion board.
To prevent any damage to yourself or your ZR-76, we highly recommend that
you perform this operation on a wide, solid surface, such as a table. Do not
attempt to open your unit if your ZR-76 keyboard is only supported by a
keyboard stand.
To Remove An Expansion Board From The ZR-76
1.
2.
3.
Turn the ZR-76 off, and unplug it from its AC outlet.
Turn the ZR-76 upside down, and place it on a soft surface with the keys facing away from you.
Remove the six Phillips-head screws from the trap door on the bottom of the ZR-76.
4.
5.
6.
Remove the trap door.
Examine the inside of the ZR-76, and locate the expansion board youÕd like to remove.
Grab the expansion board you want to remove by its edges and gently lift it straight upwards out of its
sockets to remove it.
Important: Expansion boards must be installed in the lowest numbered available locationÑ
theyÕre numbered from left to right, with the first bay to the left. If youÕve removed the
number 1 or 2 expansion board, re-install the remaining boards in the lowest available
expansion bays.
7.
8.
Reinstall the trap door with the six Phillips-head screws.
Turn the ZR-76 right-side up, plug it into an outlet, turn it on, and follow the instructions in ÒTo
Identify an Installed Expansion BoardÓ below to verify that the ZR-76 is properly recognizing any
remaining expansion boards.
Note: Sequences and drum kits that used sounds from the expansion board youÕve just
removed will display **EMPTY** in place of any no-longer available expansion-board
sounds.
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Chapter 10ÑExpanding the ZR-76
To Identify An Installed Expansion Board
1.
Press the Librarian button.
2.
Turn the Parameter knob until the display shows:
Librarian Commands:
Show expander names?
3.
Press the Yes button.
The display shows:
Wave Expander 1:
Exp Name:World:EXP-1
i
This will show the name of the first installed expansion board
When an expansion board is installed, this read-only display will show the name of the expansion
board located in the first slot.
4. Turning the Parameter knob two more times will show the names of the expansion boards in Wave
EXP slots 2 and 3 (if theyÕre installed).
If there are no expansion boards installed, the display will show ÒExp Name: **EMPTY**.Ó
Note: If youÕve installed new expansion boards and the ZR-76 appears not to be recognizing
them, carefully repeat the instructions in ÒHow To Install an Expansion Board.Ó If the ZR76 still doesnÕt recognize the expansion board, call your authorized ENSONIQ dealer or
ENSONIQ Customer Service at (610) 647-3930.
U p d a t i n g th e ZR - 7 6 Op e r a t i n g Sy s t e m
With mO.S.t electronic devices, operating system (O.S.) upgrades have become common. For ENSONIQ
products, an operating system upgrade provides system enhancements, and at times offers additional
features. The ZR-76 O.S. is contained entirely on a pair of chipsÑa ROM chip and an EPROM chipÑ
installed in sockets on your ZRÕs mainboard. Any O.S. changes require changing the O.S. EPROM chip.
You can find out what the current operating system is by calling ENSONIQ Customer Service at (610) 6473930, or by visiting ENSONIQÕs World Wide Web site at http://www.ensoniq.com. (YouÕll find the O.S. list
at http://www.ensoniq.com/html/0010.htm). An up-to-date O.S. list for all ENSONIQ products can also be
found in the Transoniq Hacker, a third-party monthly publicationÑfor more information about the Hacker,
call (503) 227-6848.
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Learning The Version Number Of Your Operating System
You can easily find out what operating system your ZR-76 is currently using.
To Find The Installed Operating SystemÕs Version Number
1.
Press the SoundFinder Save button and hold it down.
2.
While still holding the Save button, press the System button.
The display briefly shows you the version number of the operating system installed in your ZR-76:
ENSONIQ ZR
O.S. Version:
#.##
If youÕd like to upgrade your ZR-76, contact your authorized ENSONIQ dealer or ENSONIQÕs Customer
Service at (610) 647-3930 to obtain the ZR-76 EPROM upgrade kit. If your operating system version is
numbered 1.20 or less, call ENSONIQ Customer Service at (610) 647-3930 for special upgrade information.
Updating Your ZR-76 Operating System Using the EPROM Kit
Extremely Important:
READ THROUGH ALL OF THESE INSTRUCTIONS BEFORE ATTEMPTING TO INSTALL THIS SOFTWARE
UPDATE. IF YOU HAVE ANY UNCERTAINTY ABOUT INSTALLING AN EPROM CHIP, TAKE YOUR ZR-76 TO
AN AUTHORIZED ENSONIQ SERVICE CENTER AND LET A TECHNICIAN INSTALL IT FOR YOU. TO FIND
THE AUTHORIZED ENSONIQ SERVICE CENTER NEAR YOU, CALL (800) 553-5151.
If you install this software update and your ZR-76 does not work afterwards, call ENSONIQÕs Customer
Service at (610) 647-3930.
Items Included in the EPROM Replacement Kit
¥ One software update EPROM chip ¥
A self-addressed stamped envelope ¥ An anti-static wrist strap
Do not remove the EPROM chip from the protective black foam until you are ready to install it. Be sure to
use a grounding strap when handling the chip to avoid damage from static discharge.
A dispO.S.able grounding strap is included in this kit. You need not use the wrist strap until you have the
cover off of your ZR-76. A grounding wrist strap will discharge to ground any static built up on your body,
and prevent you from damaging your software chip or your ZR-76.
Warning: Make sure the power switch is off any time the case of the ZR-76 is opened and
always use a wrist grounding strap.
The Tools YouÕll Need
¥
¥
#2 Phillips screwdriver
A thin bladed, flathead screwdriver or a scribe as shown here:
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Chapter 10ÑExpanding the ZR-76
A Visual Examination of EPROMs and Sockets
The EPROM goes in a socket that look like this:
Aligning the Chip to the Socket
The EPROM chip and its socket have a notch on one end. Looking down on the EPROM or socket, with the
notch facing away from you, pin 1 will always be to the left. Pin 1 of the EPROM will always go into pin 1 of
the socket.
The ZR O.S. EPROM chip must always be justified to pin 1 on the chip and the socket. Look at your chip
through its pink plastic bag and make sure you can locate pin 1.
Warnings: Make sure youÕve read ÒAn Important Note About Electro Static DischargeÓ earlier
in this chapter before installing the EPROM chip.
To Replace Your Operating System EPROM
1.
2.
362
Save all of your work to diskÑsee Chapter 9 for instructions.
Disconnect all other cables from the ZR-76.
Make sure to disconnect the power cable from your ZR-76 before proceeding!
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 10ÑExpanding the ZR-76
3.
You will need to remove the access cover from the bottom of the unit. Remove the screws and remove
the access cover from the bottom of the unit.
4.
Make sure the power switch is off on your ZR, and then disconnect the power supply cable to the ZR76 and the wall outlet.
Open the envelope with the dispO.S.able wrist strap. Unwrap the first two folds of the band and wrap
the expO.S.ed adhesive side firmly around your wrist. Unroll the rest of the band and peel the liner
from the copper foil at the oppO.S.ite end. Attach the sticky side of the copper foil to the inside of the
ZRÕs bottom panel.
Locate the U200 O.S. EPROM chip on the ZR-76 main board.
5.
6.
7. Remove the U200 O.S. EPROM from the ZR-76 main board. ENSONIQ recommends using the angled
end of a scribe, or a thin-bladed, flathead screwdriver to slowly lift each end of the EPROM until it is
free from the socket. Gently wedge the scribe or screwdriver between the black socket and the chip (not
the green board and the socket). When the scribe or screwdriver is in place, work it slowly up and
down between the chip and the socket, raising the chip a little at one end and then the other, until the
chip is free.
8. Lift the chip out of the ZR-76 and set it aside for now.
9. Replace the U200 EPROM chip with the new one supplied. Remember to line up the notch in the
socket with the notch in the chip (review ÒAligning the Chip to the SocketÓ earlier in this chapter if you
need to). The pins of the chip should be inserted into the holes in the socket. In a new EPROM, itÕs not
uncommon for the left and right sets of pins on a chip to be spread a bit wider than the socket. You
can very carefully bend the pins inward slightly by resting the long edge of the chip on a flat non-metal
surface and tipping the chip while applying pressure gently.
10. Install the access cover, replacing all of the screws.
11. Load in any work you saved in step 1.
12. Load the FLASH sounds and rhythms from the disk that was supplied with your ZR-76.
13. Place the old chip in the black foam and pink bag. Put the pink bag in the supplied envelope, and mail
the envelope to ENSONIQ.
14. Congratulations, youÕve updated your ZRÕs software!
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Chapter 11ÑInsert Effect Parameters
C h a p t e r 11
I n s e r t Effe c t Pa r a m e t e r s
This chapter offers detailed descriptions of the insert effects and their related parameters. For a basic
overview of how the effects work in the ZR-76, see Chapter 8.
To access the functions youÕll find in this chapter, press the Insert FX button:
The ZR-76 provides many options for routing, assigning, and editing effects. Each of these options is called
a parameter. When you change the setting of a parameter, you are editing the parameterÕs value.
To select insert effect parameters, turn the Parameter knob. To edit an insert effect parameterÕs value, turn
the Value knob or use the up and down arrow buttons.
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Chapter 11ÑInsert Effect Parameters
L i s t of ZR - 7 6 In s e r t Ef f e c t s
The following is a list of the insert effects in the order that they appear in the ZR-76:
01 Parametric EQ
15 Chorus→Rev
29 ResVCF→DDL
02 Hall Reverb
16 Flanger→Rev
30 Dist→VCF→DDL
03 Large Room
17 Phaser→Rev
31 Pitch Detuner
04 Small Room
18 EQ→Reverb
32 Chatter Box
05 Large Plate
19 Spinner→Rev
33 Formant Morph
06 Small Plate
20 DDL→Chorus
34 RotarySpeaker
07 NonLinReverb1
21 DDL→Flanger
35 Tunable Spkr
08 NonLinReverb2
22 DDL→Phaser
36 Guitar Amp
09 Gated Reverb
23 DDL→EQ
37 Dist→DDL→Trem
10 Stereo Chorus
24 Multi-Tap DDL
38 Comp→Dist→DDL
11 8-VoiceChorus
25 Dist→Chorus
39 EQ→Comp→Gate
12 Rev→Chorus
26 Dist→Flanger
40 EQ→Chorus→DDL
13 Rev→Flanger
27 Dist→Phaser
14 Rev→Phaser
28 Dist→AutoWah
L i s t of In s e r t Ef f e c t Mo d u l a t o r s
Here is a list of the effect modulators available within the ZR-76:
Off
Pressure
Sostenuto
FullModAmt
PitchWheel
SysCTRL1
Velocity
ModWheel
SysCTRL2
Vel+Pressure
Wheel+Press
SysCTRL3
+PosMIDIkey#
FootPedal
SysCTRL4
-NegMIDIkey#
Sustain
For full descriptions of each of these effect modulators, see ÒChoosing a Real-Time Insert Effect ModulatorÓ
in Chapter 8.
A No t e ab o u t Si g n e d Pa r a m e t e r s
Many insert effect parameters have a range that includes both negative and positive signed values (e.g., -99
to +99). The sign denotes the phase of the parameter. An inverted phase setting helps to add some of the
natural phase irregularities found in acoustic spaces.
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Chapter 11ÑInsert Effect Parameters
L F O Wa v e Sh a p e s
Many insert effects have an LFO Shape parameter that determines how the LFO signal will rise or fall.
There are eight possible values:
D i s t o r t i o n Cu r v e s
Many distortion-based insert effects have a ÒDist CurveÓ parameter that determines the type of clipping
produced by the distortion. There are five possible distortion curves:
ENSONIQ ZR-76 MusicianÕs Manual
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Chapter 11ÑInsert Effect Parameters
I n s e r t Ef f e c t Pa r a m e t e r s
The following is a description of the insert effects and their related parameters. Parameters that are
common to all insert effects, and the modulation parameters are defined in Chapter 8.
Common Insert Effect Parameters
Preset
GlobalReverb Amt
Input Mix
Insert FX to Global Chorus Mix
Common Modulation Parameters
Mod Src
Mod Src Max
Dest Min
Mod Src Min
Dest
Dest Max
I n s e r t E f f e c t De s c r i p t i o n s
01 Parametric EQ
This insert effect offers a minimum phase, four-band parametric EQ.
368
Parameter
Range
Description
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQs to eliminate the possibility of
clipping boosted signals.
LoShelf Fc
10Hz to 20.0kHz
Sets the center of the low frequency EQ.
LoShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this low frequency shelf.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
Bandwidth control that determines the width of the resonant peak at
the center frequency band. This parameter is equal to the cutoff
frequency divided by the bandwidth. By raising the value, you can
produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency
parametric.
Mid 2 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, used to control different
bandwidths within the mid range.
HiShelf Fc
10Hz to 20.0kHz
Sets the center frequency of the high frequency shelf.
HiShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this high frequency shelf.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
02 Hall Reverb
03 Large Room
04 Small Room
Hall Reverb is a large acoustic space, and provides a high density reverb. Large Room reverb provides
ambience, and Small Room reverb simulates the ambience and shorter decay times of a small space.
Parameter
Range
Description
Decay
0sec to 10.0sec
(Hall setting)
0sec to 10.0sec
(Room settings)
Controls the amount of time it takes for the reverberation to decay
to a very low level after the input signal stops. Higher values are
recommended for the hall reverb.
LF Decay
-99% to +99%
Functions as a tone control and boosts (when set to a positive value)
or cuts (when set to a negative value) the rate at which low
frequencies will decay.
HF Damping
100Hz to 21.2kHz
Controls the rate of attenuation of high frequencies in the decay of
the reverberation. As natural reverb decays, some high frequencies
tend to get absorbed by the environment. Increasing the value of this
parameter will gradually filter out (dampen) more and more high
frequency energy.
HF Bandwidth
100Hz to 21.2kHz
The high frequency bandwidth acts as a low pass filter on the signal
going into the reverb, controlling the amount of high frequencies
that will pass into the effect. The higher the setting, the more high
frequencies are allowed to pass.
Primary Send
-99% to +99%
Controls the level of the diffused input signal into the reverb
definition.
Diffusion 1
0 to 100
Smears the input signal transients, to diffuse and smooth the sound.
Lower values will cause impulse sounds to appear as a series of
discrete echoes, while higher values tend to increase the smear
(smoother sounding with fewer discrete echoes). We recommend
settings of 50 for starters.
Diffusion 2
0 to 100
This parameter, similar to and in series with Diffusion 1, performs the
same way but controls lower frequency ranges. Experiment with
different levels between the diffusion parameters to find the settings
that are right for your source.
Definition
0 to 100
Controls the rate at which echo density is increased with time.
Setting this parameter too high can cause the echo density to build at
a rate which exceeds the decay rate.
Detune Rate
0.00Hz to 1.54Hz
Controls the LFO rate of detuning introduced into the reverberation
decay. Detuning creates a slight oscillating pitch shift into the decay,
giving it a more natural sound by breaking up resonant nodes.
Detune Depth
0% to 100%
Controls the depth of the detuning, that is, how much the pitch will
change. Low values yield a metallic sound. Some sounds may require
very low values, while others sound more natural with higher values.
PreDelay
0 to 36ms
Controls the amount of time it takes for the original signal to be
presented to the reverb. Higher values denote a longer delay.
ER 1 Time
0 to 112ms
Controls the delay time for the first pre-echo. Pre-echoes are the first
sounds reflected back from the walls or reflective ÒliveÓ surfaces.
Higher values delay the diffused signal more.
ER 1 Send
-99% to +99%
Controls the level of the first pre-echo, with the echo routed directly
to the output. The sign denotes the phase of the echo.
ER 1 Level
-99% to +99%
Controls the level of the first pre-echo. This pre-level controls the
echo send to the Definition.
ER 2 Time
0 to 112ms
Controls the delay time for the second pre-echo.
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Chapter 11ÑInsert Effect Parameters
ER 2 Send
-99% to +99%
Controls the level of the second pre-echo, with the echo routed
directly to the output.
ER 2 Level
-99% to +99%
Controls the level of the second pre-echo. As a signal continues to
bounce off the different reflective surfaces (walls), it decreases in
volume. Set this parameter to a lower value than Ref 1 Level, in order
to create a natural sounding echo.
Position 1
Position 2
Position 3
-99% to +99%
-99% to +99%
-99% to +99%
These parameters simulate the depth of the hall. Think of them as
three different microphones placing at various distances within the
hall (Position 1 is closest to the front, and Position 3 is farthest from
the front). When the range (volume) is higher for Position 1, the
sound appears closer to the front, whereas a higher setting for
Position 3 appears farther from the front, suggesting a deeper
(wetter) hall. The sign denotes the phase of the echo.
Output Bal
Full <L to Full >R
Controls the left/right stereo balance of the reverb signal.
05 Large Plate
06 Small Plate
A plate reverb takes the vibrations from a metal plate and uses them to create a metallic sounding reverb.
Large plate reverbs are often used to enhance a vocalistÕs performance, and small plate reverbs are often
used in the studio for drums and percussion.
370
Parameter
Range
Description
Decay
0sec to 10.0sec
Controls the amount of time it takes for the reverberation to decay
away to a very low level after the input signal stops. High values of
decay sound good on plate reverbs.
HF Damping
100Hz to 21.2kHz
Increasing the value of this parameter will gradually filter out
increasing amounts of high frequency energy. Higher values yield an
abrupt decay. This parameter controls the cut off of a low pass filter
in series with the decay within the definition.
HF Bandwidth
100Hz to 21.2kHz
This parameter acts as a low pass filter on the output of the plate
reverbs, controlling the amount of high frequencies present. The
higher the setting, the more high frequencies are allowed to pass
through, offering a brighter ringing sound. Some interesting effects
can be created by using a mod controller over a large range.
Diffusion 1
0 to 100
Smears the input signal to create a smoother sound. Lower values will
cause impulse sounds to appear as a series of discrete echoes, while
higher values tend to increase the smear, making the echoes less
apparent.
Diffusion 2
0 to 100
This diffuser, similar to and in series with the previous one, offers
control over lower frequency ranges. Plate reverbs tend to sound
metallic, and the diffusers help to smear the signal, eliminating the
metallic sound.
Definition
0 to 100
Controls the rate at which echo density increases with time. Higher
values can cause the echo density to build at a rate that exceeds the
decay rate. For the best results, try to select the highest value that
works with your sound source.
PreDelay
0 to 36ms
Controls the amount of time it takes for the input signal to be
presented to the plate reverb. A value of 0 would offer no delay.
ER 1 Level
ER 2 Level
ER 3 Level
ER 4 Level
-99% to +99%
-99% to +99%
-99% to +99%
-99% to +99%
Control four early reflection levels. Setting these levels to lower
values will produce a wetter sound. These four reflection levels are
close to the input of the Definition.
Output Bal
Full <L to Full >R
Controls the left/right stereo balance of the plate reverb signal.
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Chapter 11ÑInsert Effect Parameters
07 NonLinReverb1
08 NonLinReverb2
Non linear reverbs can be used to obtain blooming reverb, gated reverb, reverse reverb and early
reflections. In general, they do not produce an exponentially decaying reverb. Unlike the hall, room and
plate reverbs, NonLinReverb1 and 2 pass the input signal through the reverb diffusers only once. For this
reason the reverb diffusers are called density, to distinguish them from the other reverb diffusers (called
definition). Density controls the amount of echo density, as opposed to the rate of increase of echo density.
The NonLin Reverbs purposely impose a coloration on the resulting sound.
Parameter
Range
Description
Env 1 Level
Env 2 Level
Env 3 Level
Env 4 Level
Env 5 Level
Env 6 Level
Env 7 Level
Env 8 Level
Env 9 Level
-99% to +99%
-99% to +99%
-99% to +99%
-99% to +99%
-99% to +99%
-99% to +99%
-99% to +99%
-99% to +99%
-99% to +99%
These parameters control the output tap levels sequenced in time
across the density from input to output. Envelope Level 1 is tapped
right after the diffusers and before the echoes. If this is undesirable,
set Envelope Level 1 to 0%. Envelope Levels 8 and 9 are positioned at
the very end of the Density setting these too high can cause excessive
ringing. Envelope Levels 8 and 9 are also very dry. Set all nine tap
levels to find the envelope for your application. We recommend the
average Envelope Level not to exceed a value of ±45% to prevent
overdriving these reverbs.
HF Damping
100Hz to 21.2kHz
The HF Damping is located within the density. This parameter selects
the amount of high frequency energy to be filtered out.
HF Bandwidth
100Hz to 21.2kHz
The high frequency bandwidth parameter acts as a low pass filter on
the output signal, controlling the amount of high frequencies that
will be heard. The higher the setting, the more high frequencies are
heard.
Primary Send
-99% to +99%
Controls the level of the diffused input signal which is nearly
instantaneous with respect to the input. This signal is injected directly
into the Density at the specified level.
Diffusion 1
0 to 100
This parameter smears the input signal transients of higher frequency
ranges. Higher values are recommended for smoother decay. Very
low values will give a highly repetitive echo-like sound. Diffusion 1
and 2 exist within each diffuser block.
Diffusion 2
0 to 100
Diffusion 2 is similar to Diffusion 1, but offers control of lower
frequencies. In general a setting of 50 can be considered an equal mix
of dry/diffused sound. This setting is a good starting point.
Density 1
0 to 100
Density 1 controls the number of echoes.
Density 2
0 to 100
Density 2 controls the number of echoes in a lower frequency range.
In general, to get the smoothest sound, Density 2 is usually less than
the value of Density 1.
ER 1 Time
0 to 112ms
Controls the amount of time it takes for the first pre-echo to be
injected into the density. Pre-echoes are the sounds which have been
reflected back from the walls or other reflective surfaces.
ER 1 Send
-99% to +99%
This parameter controls the level of the first pre-echo.
ER 2 Time
0 to 112ms
This controls the amount of time it takes for the second pre-echo to
be injected into the density.
ER 2 Send
-99% to +99%
This parameter controls the level of the second pre-echo. Experiment
with both positive and negative on all echoes to change the tonal
character of the results.
Output Bal
Full <L to Full >R
Controls the left/right stereo balance of the reverb signal.
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Chapter 11ÑInsert Effect Parameters
09 Gated Reverb
When the output of a reverb is muted partway through its decay, it creates a gated sound. To achieve this
gated effect, the gated reverb must gate a number of internal parameters, not just the output amplitude
envelope. It is, however, the output amplitude over which you have control. The ZR-76 offers a highly
controllable gated reverb, optimized for percussive instruments, but useful for any sound. The gated reverb
triggers whenever the input signal exceeds a (user programmable) threshold. This trigger threshold should
be set as low as possible, so that none of the input signal is missed. The gate will stay open as long as the
input signal remains above the threshold, and all the input signals will be accumulated under this gate
until the total input signal level falls below the hysteresis level. When this happens, the hold time will
begin. The reason for hysteresis is to eliminate false retriggering and to ensure precise hold time durations.
If you desire a separate gate on each and every note, use the Non Lin reverbs.
372
Parameter
Range
Description
Gate Thresh
-96.0dB to 0.0dB
Sets the signal level that triggers the gated reverb. When the
incoming signal reaches this value, it triggers (starts) the gated
reverb. Higher values would require a stronger incoming signal. Set
this parameter as low as possible to work with your particular source,
but not so low as to cause false triggering.
Gate Hysteresis
0dB to 48dB
Sets the lower threshold level relative to Gate Thresh below which
the Gate Hold Time begins. If the difference between Gate Thresh
and Gate Hysteresis is lower than the level of the incoming signal, the
gated reverb will continue to retrigger. With a high decay rate, this
adds a cavernous quality to percussion instruments.
Gate Attack
50us to 10.0s
Sets the attack time of the gated reverb once the incoming signal has
reached the trigger level. Generally the attack should be short and
not set longer than the Gate Hold time.
Gate Release
50us to 10.0s
Sets the amount of time after the Gate Hold time has elapsed for the
gated reverb to shut down. Generally these times are very short.
Gate Hold
50us to 10.0s
Sets the amount of time that the reverb will hold after the retrigger
and before the release. The Gate Hold time will begin again if
retriggered.
Decay
0sec to 10.0sec
Sets the decay rate. In general, the decay rate is set very high.
HF Damping
100Hz to 21.2kHz
Controls the rate of attenuation of high frequencies in the decay of
the reverb. Increasing the value of this parameter will gradually filter
out increasing amounts of high frequency energy.
Diffusion 1
0 to 100
Smears the transients, so as to diffuse and smooth the sound. Lower
values will cause impulsive sounds to appear as a series of discrete
echoes, while higher values tend to increase the smear (smoother
sounding). Recommended setting is approximately 50.
Diffusion 2
0 to 100
This parameter, similar to and in series with Diffusion 1, performs the
same way but controls lower frequency ranges. Recommended
setting is approximately 50.
Definition
0 to 100
Controls the rate of echo density build up in the reverb decay. If set
too high, the echo density will build at a rate that exceeds the decay
rate. A general rule of thumb: Definition should not exceed the Decay
Rate. We recommend settings between 25 and 50.
Slap Time
0ms to 108ms
Controls the delay time of an internal dry stereo signal to create a
slapback. In general, the slapback is greater or equal to the Gate Hold
time to achieve a reverse effect.
Slap Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the slapback (internal dry) signal.
ER 1 Level
ER 2 Level
ER 3 Level
ER 4 Level
-99% to +99%
-99% to +99%
-99% to +99%
-99% to +99%
These parameters control four early reflection levels. Setting these
levels to lower values will produce a wetter sound. A setting of 0%
turns the early reflections off.
Output Bal
Full <L to Full >R
Controls the left/right stereo balance of the gated reverb signal.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
10 Stereo Chorus
This stereo chorus uses delays to produce pitch and amplitude modulation.
Parameter
Range
Description
LFO Rate
0.0Hz to 20.0Hz
Controls the rate of pitch modulation applied to the delays.
Chorus Depth
0.0ms to 25.0ms
Controls the excursion of modulation. As this parameter increases,
the amount of detuning also increases.
ChorusCenter
0.0ms to 50.0ms
Controls the nominal delay time of the chorus about which the delay
modulation occurs. Adjusting this parameter will change the tonal
character of the chorus.
Spread
(wide stereo to mono, to Offers control of the synthesized stereo field. The farthest
reversed image)
counterclockwise setting of the Value knob offers true stereo, the
middle setting forces the left & right into the center (mono), and
turning the Value knob fully clockwise inverts the left & right signal.
Chorus Phase
0deg or -180deg
Controls the relative phase between left and right LFOs.
11 8-VoiceChorus
8-Voice Chorus offers a symphonic chorused sound having eight different voices and using eight separately
randomized LFOs. This effect is good for creating an ensemble of instruments from single sources (there is
no internal filtering applied to any of the chorused voices).
Parameter
Range
Description
EQ Input
Off, -49.5dB to +24dB
Adjusts the input volume of the EQs to eliminate the possibility of
clipping boosted signals.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency band.
Mid 1 Q
1.0 to 40.0
Bandwidth control that determines the width of the resonant peak at
the center frequency band. This parameter is equal to the cutoff
frequency divided by the bandwidth. Raising the value will produce a
narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
Dry Blend
Full Dry to Full Wet
Controls the dry to wet mix of the chorus .
HPF Cutoff
10Hz to 10.9kHz
Controls the cutoff frequency of the high pass filter frequency applied
to the input signal.
LFO Rate
0.0Hz to 7.0Hz
Controls the rate of pitch modulation applied to the delays.
Chorus Depth
0.0ms to 300ms
Controls the excursion of modulation.
ChorusCenter
0.0ms to 300.0ms
Controls the nominal delay time of the chorus about which the delay
modulation occurs. Adjusting this parameter will change the tonal
character of the chorus.
Center Offset
0% to 100%
Controls the relative spacing in nominal delay time among the eight
voices. 100% is the maximum setting.
Chorus Phase
-180deg to +180deg
Controls the relative phase between left and right LFOs.
Chorus Feedback -99% to +99%
ENSONIQ ZR-76 MusicianÕs Manual
Controls the amount of feedback applied to the chorus. Positive
settings are in-phase, negative values are out-of-phase, and impart a
different tonality to the chorus.
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Chapter 11ÑInsert Effect Parameters
12 Rev →C
Chorus
Combines a plate reverb with a stereo chorus.
374
Parameter
Range
Description
Decay
0.0sec to 10.0sec
Controls the amount of time it takes for the reverberation to decay
after the input signal stops.
HF Damping
100Hz to 21.2kHz
Controls the rate of attenuation of high frequencies in the decay of
the reverberation. Increasing the value of this parameter will
gradually filter out (dampen) more and more high frequency energy.
HF Bandwidth
100Hz to 21.2kHz
The high frequency bandwidth acts as a low pass filter on the signal
going into the reverb, controlling the amount of high frequencies
that will pass into the effect. The higher the setting, the more high
frequencies are allowed to pass.
Diffusion 1
0 to 100
Smears the input signal transients, to diffuse and smooth the sound.
Lower values will cause impulse sounds to appear as a series of
discrete echoes, while higher values tend to increase the smear
(smoother sounding with fewer discrete echoes). We recommend
settings of 50 for starters.
Diffusion 2
0 to 100
This parameter, similar to and in series with Diffusion 1, performs the
same way but controls lower frequency ranges. Experiment with
different levels between the diffusion parameters to find the settings
that are right for your source.
Definition
0 to 100
Controls the rate at which echo density is increased with time.
Setting this parameter too high can cause the echo density to build at
a rate which exceeds the decay rate.
Chorus Mix
Full Dry to Full Wet
Controls the dry/wet mix of the chorus.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of pitch modulation to the chorus.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
LFO Phase
-180deg to +180deg
Controls the relative phase between left & right LFOs.
Chorus Depth
0.0ms to 25.0ms
Controls the amount of modulation.
Chorus Center
0.0ms to 50.0ms
Controls the delay times within the chorus. Adjusting this parameter
will change the tonal character of the chorus.
System
Feedback
-99% to +99%
Controls the amount of feedback applied from the output of the
chorus to the input of the reverb.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
13 Rev →FFlanger
This insert effect features a plate reverb with a flanger effect.
Parameter
Range
Description
Decay
0.0sec to 10.0sec
Controls the amount of time it takes for the reverb to decay after the
input signal stops.
HF Damping
100Hz to 21.2kHz
Controls the rate of attenuation of high frequencies in the decay of
the reverberation. Increasing the value of this parameter will
gradually filter out (dampen) more and more high frequency energy.
HF Bandwidth
100Hz to 21.2kHz
The high frequency bandwidth acts as a low pass filter on the signal
going into the reverb, controlling the amount of high frequencies
that will pass into the effect. The higher the setting, the more high
frequencies are allowed to pass.
Diffusion 1
0 to 100
Smears the input signal transients, to diffuse and smooth the sound.
Lower values will cause impulse sounds to appear as a series of
discrete echoes, while higher values tend to increase the smear
(smoother sounding with fewer discrete echoes). We recommend
settings of 50 for starters.
Diffusion 2
0 to 100
This parameter, similar to and in series with Diffusion 1, performs the
same way but controls lower frequency ranges. Experiment with
different levels between the diffusion parameters to find the settings
that are right for your source.
Definition
0 to 100
Controls the rate at which echo density is increased with time.
Setting this parameter too high can cause the echo density to build at
a rate which exceeds the decay rate.
FlangerMix
Full Dry to Full Wet
Controls the dry/wet mix of the flanger.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of modulation applied to the flanger.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
LFO Phase
-180deg to +180deg
Controls the relative phase between left and right LFOs.
Flanger Depth
0.0ms to 25.0ms
Controls the range of the high-to-low frequency sweep in the flanger
effect.
FlangerCenter
0.0ms to 50.0ms
Sets the sweep mid-point of the flanger effect.
Notch Depth
0% to 100%
Controls the depth of the peaks and notches produced by the flanger.
Feedback
-99% to +99%
Controls the amount of feedback applied to the flanger. Positive or
negative values will impart a different tonality to the flange effect,
either accenting the peaks or the notches.
System
Feedback
-99% to +99%
Controls the amount of feedback applied from the output of the
flanger to the input of the reverb.
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Chapter 11ÑInsert Effect Parameters
14 Rev →P
Phaser
Combines a plate reverb with a 12-pole phase shifter.
376
Parameter
Range
Description
Decay
0.0sec to 10.0sec
Controls the amount of time it takes for the reverberation to decay
away to a very low level after the input signal stops.
HF Damping
100Hz to 21.2kHz
Controls the rate of attenuation of high frequencies in the decay of
the reverberation. As natural reverb decays, some high frequencies
tend to get absorbed by the environment. Increasing the value of this
parameter will gradually filter out (dampen) more and more high
frequency energy.
HF Bandwidth
100Hz to 21.2kHz
The high frequency bandwidth acts as a low pass filter on the signal
going into the reverb, controlling the amount of high frequencies
that will pass into the effect. The higher the setting, the more high
frequencies are allowed to pass. This functions like a tone control on
a guitar.
Diffusion 1
0 to 100
Smears the input signal transients, to diffuse and smooth the sound.
Lower values will cause impulse sounds to appear as a series of
discrete echoes, while higher values tend to increase the smear
(smoother sounding with fewer discrete echoes). We recommend
settings of 50 for starters.
Diffusion 2
0 to 100
This parameter, similar to and in series with Diffusion 1, performs the
same way but controls lower frequency ranges. Experiment with
different levels between the diffusion parameters to find the settings
that are right for your source.
Definition
0 to 100
Controls the rate at which echo density is increased with time.
Setting this parameter too high can cause the echo density to build at
a rate which exceeds the decay rate.
Phaser Mix
Full Dry to Full Wet
Controls the dry/wet mix of the phaser.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of the modulation applied to the phaser.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
Phaser Depth
0 to 100
Controls the amount of modulation applied to the phaser.
Phaser Center
0 to 100
This parameter controls the mid-point of the phaser.
Notch Depth
0% to 100%
Controls the depth of the peaks and notches produced by the phaser.
This parameter should normally be set to 100%.
Feedback
-99% to +99%
Controls the amount of feedback applied to the phaser. Positive or
negative values will impart a different tonality to the phaser effect,
either accenting the peaks or the notches.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
15 Chorus→R
Rev
Chorus→Rev combines a rich sounding chorus with the standard reverb.
Parameter
Range
Description
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of the modulation applied to the delay time of the
chorus.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
LFO Phase
-180deg to +180deg
Controls the relative phase between left and right LFOs.
Chorus Depth
0.0ms to 25.0ms
Controls the amount of modulation.
Chorus Center
0.0ms to 50.0ms
Controls the four delay times within the chorus. Adjusting this
parameter will change the tonal character of the chorus.
Rev Mix
Full Dry to Full Wet
Controls the dry/wet mix of the reverb.
Decay
0.0sec to 10.0sec
Controls the amount of time it takes for the reverberation to decay
away to a very low level after the input signal stops.
HF Damping
100Hz to 21.2kHz
Controls the rate of attenuation of high frequencies in the decay of
the reverberation. As natural reverb decays, some high frequencies
tend to get absorbed by the environment. Increasing the value of this
parameter will gradually filter out (dampen) more and more high
frequency energy.
HF Bandwidth
100Hz to 21.2kHz
The high frequency bandwidth acts as a low pass filter on the signal
going into the reverb, controlling the amount of high frequencies
that will pass into the effect. The higher the setting, the more high
frequencies are allowed to pass.
Diffusion 1
0 to 100
Smears the input signal transients, to diffuse and smooth the sound.
Lower values will cause impulse sounds to appear as a series of
discrete echoes, while higher values tend to increase the smear
(smoother sounding with fewer discrete echoes). We recommend
settings of 50 for starters.
Diffusion 2
0 to 100
This parameter, similar to and in series with Diffusion 1, performs the
same way but controls lower frequency ranges. Experiment with
different levels between the diffusion parameters to find the settings
that are right for your source.
Definition
0 to 100
Controls the rate at which echo density is increased with time.
Setting this parameter too high can cause the echo density to build at
a rate which exceeds the decay rate.
ENSONIQ ZR-76 MusicianÕs Manual
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Chapter 11ÑInsert Effect Parameters
16 Flanger→R
Rev
This insert effect features a flanger combined with a plate reverb.
378
Parameter
Range
Description
LFO Rate
1/1 Sys to 1/32 Sys,
0.0Hz to 20.0Hz
Controls the rate of the modulation applied to the flange effect.
LFO Shape
Triangle, Sine,
Sawtooth, Square,
Asym, 16-Step, 8Step, 4-Step
Determines the shape that the LFO will use for pitch modulation.
LFO Phase
-180deg to +180deg
Controls the relative phase between left and right LFOs.
Flanger Depth
0.0ms to 25.0ms
Controls the range of the high-to-low frequency sweep in the flanger
effect.
FlangerCenter
0.0ms to 50.0ms
Sets the sweep mid-point of the flanger effect.
Notch Depth
0% to 100%
Controls the depth of the peaks and notches produced by the flanger. This
parameter should be set to 100% for maximum effect.
Feedback
-99% to +99%
Controls the amount of feedback applied to the flanger. Positive or
negative values will impart a different tonality to the flange effect, either
accenting the peaks or the notches.
Rev Mix
Full Dry to Full Wet
Controls the dry/wet mix of the reverb.
Decay
0.0sec to 10.0sec
Controls the amount of time it takes for the reverberation to decay to a
very low level after the input signal stops.
HF Damping
100Hz to 21.2kHz
Controls the rate of attenuation of high frequencies in the decay of the
reverberation. As natural reverb decays, some high frequencies tend to
get absorbed by the environment. Increasing the value of this parameter
will gradually filter out (dampen) more and more high frequency energy.
HF Bandwidth
100Hz to 21.2kHz
The high frequency bandwidth acts as a low pass filter on the signal going
into the reverb, controlling the amount of high frequencies that will pass
into the effect. The higher the setting, the more high frequencies are
allowed to pass.
Diffusion 1
0 to 100
Smears the input signal transients, to diffuse and smooth the sound.
Lower values will cause impulse sounds to appear as a series of discrete
echoes, while higher values tend to increase the smear (smoother
sounding with fewer discrete echoes). We recommend settings of 50 for
starters.
Diffusion 2
0 to 100
This parameter, similar to and in series with Diffusion 1, performs the
same way but controls lower frequency ranges. Experiment with different
levels between the diffusion parameters to find the settings that are right
for your source.
Definition
0 to 100
Controls the rate at which echo density is increased with time. Setting this
parameter too high can cause the echo density to build at a rate which
exceeds the decay rate.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
17 Phaser →R
Rev
A 12-pole phase shifter with reverb.
Parameter
Range
Description
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of the modulation applied to the phaser.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
Phaser Depth
0 to 100
Controls the amount of modulation applied to the phaser.
Phaser Center
0 to 100
This parameter controls the mid-point of the phaser.
Notch Depth
0% to 100%
Controls the depth of the peaks and notches produced by the phaser. This
parameter should normally be set to 100%.
Feedback
-99% to +99%
Controls the amount of feedback applied to the phaser. Positive or
negative values will impart a different tonality to the phaser effect, either
accenting the peaks or the notches.
Rev Mix
Full Dry to Full Wet
Controls the dry/wet mix of the reverb.
Decay
0.0sec to 10.0sec
Controls the amount of time it takes for the reverberation to decay to a
very low level after the input signal stops.
HF Damping
100Hz to 21.2kHz
Controls the rate of attenuation of high frequencies in the decay of the
reverberation. As natural reverb decays, some high frequencies tend to
get absorbed by the environment. Increasing the value of this parameter
will gradually filter out (dampen) more and more high frequency energy.
HF Bandwidth
100Hz to 21.2kHz
The high frequency bandwidth acts as a low pass filter on the signal going
into the reverb, controlling the amount of high frequencies that will pass
into the effect. The higher the setting, the more high frequencies are
allowed to pass. This functions like a tone control on a guitar.
Diffusion 1
0 to 100
Smears the input signal transients, to diffuse and smooth the sound.
Lower values will cause impulse sounds to appear as a series of discrete
echoes, while higher values tend to increase the smear (smoother
sounding with fewer discrete echoes). We recommend settings of 50 for
starters.
Diffusion 2
0 to 100
This parameter, similar to and in series with Diffusion 1, performs the
same way but controls lower frequency ranges. Experiment with different
levels between the diffusion parameters to find the settings that are right
for your source.
Definition
0 to 100
Controls the rate at which echo density is increased with time. Setting this
parameter too high can cause the echo density to build at a rate which
exceeds the decay rate.
ENSONIQ ZR-76 MusicianÕs Manual
379
Chapter 11ÑInsert Effect Parameters
18 EQ→R
Reverb
A parametric EQ with reverb.
380
Parameter
Range
Description
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQs to eliminate the possibility of
clipping boosted signals.
LoShelf Fc
10Hz to 20.0kHz
Sets the center of the low frequency EQ.
LoShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this low frequency shelf.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of the
resonant peak at the center frequency band. This parameter is equal to
the cutoff frequency divided by the bandwidth. By raising the value,
you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this high frequency shelf.
HiShelf Fc
10Hz to 20.0kHz
Sets the center frequency of the high frequency shelf.
HiShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this shelf.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
Rev Mix
Full Dry to Full Wet
Controls the reverb mix.
Decay
0.0sec to 10.0sec
Controls the amount of time it takes for the reverb to decay after the
input signal stops.
HF Damping
100Hz to 21.2kHz
Controls the rate of attenuation of high frequencies in the decay of the
reverb. Increasing the value of this parameter will gradually filter out
(dampen) more and more high frequency energy.
HF Bandwidth
100Hz to 21.2kHz
Acts as a low pass filter on the signal going into the reverb, controlling
the amount of high frequencies that will pass. The higher the setting,
the more high frequencies are allowed to pass.
Diffusion 1
0 to 100
Smears the input signal transients, to diffuse and smooth the sound.
Lower values will cause impulse sounds to appear as a series of discrete
echoes, while higher values tend to increase the smear (smoother
sounding with fewer discrete echoes). We recommend settings of 50
for starters.
Diffusion 2
0 to 100
This parameter, similar to and in series with Diffusion 1, controls lower
frequency ranges.
Definition
0 to 100
Controls the rate at which echo density is increased with time. Setting
this too high can cause the echo density to build at a rate which
exceeds the decay rate.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
19 Spinner →R
Rev
Combines a pseudo-three dimensional panner with the standard reverb.
Parameter
Range
Description
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of modulation applied to the spinner.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
LFO Phase
-180deg to +180deg
Controls the relative phase between the left and right and front and
back LFOs. Set this to ±90 deg for circular motion.
DDL Mod Depth
0.0ms to 10.0ms
Controls the left to right mod depth of delay time. Try setting this to
0.3 ms for average head size.
DDL ModCenter
0.0ms to 50.0ms
Fixed delay time.
Level Mod
0% to 100%
Left to right LFO mod depth to level.
L-to-R Mod
0% to 100%
Left to right LFO mod depth to filter.
F-to-B Mod
0% to 100%
Front to back LFO mod depth to filter. If the sum of the L-to-R Mod
and F-to-B Mod is greater than 100%, the filter can ÒthumpÓ as it
closes down.
Cancellation
-99% to +99%
Sets the depth and phase of the opposite speaker cancellation signal.
Rev Mix
Full Dry to Full Wet
Controls the dry/wet mix of the reverb.
Decay
0.0sec to 10.0sec
Controls the amount of time it takes for the reverb to decay after the
input signal stops.
HF Damping
100Hz to 21.2kHz
Controls the rate of attenuation of high frequencies in the decay of
the reverberation. Increasing the value of this parameter will
gradually filter out (dampen) more and more high frequency energy.
HF Bandwidth
100Hz to 21.2kHz
Acts as a low pass filter on the signal going into the reverb,
controlling the amount of high frequencies that will pass. The higher
the setting, the more high frequencies are allowed to pass.
Diffusion 1
0 to 100
Smears the input signal transients, to diffuse and smooth the sound.
Lower values will cause impulse sounds to appear as a series of
discrete echoes, while higher values tend to increase the smear
(smoother sounding with fewer discrete echoes). We recommend
settings of 50 for starters.
Diffusion 2
0 to 100
This parameter, similar to and in series with Diffusion 1, controls
lower frequency ranges.
Definition
0 to 100
Controls the rate at which echo density is increased with time.
Setting this too high can cause the echo density to build at a rate
which exceeds the decay rate.
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Chapter 11ÑInsert Effect Parameters
20 DDL →C
Chorus
DDL→Chorus combines four independent, controllable digital delays with a chorus.
382
Parameter
Range
Description
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly1 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly2 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly2 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly3 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the third independent delay.
Dly3 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly3 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly4 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the fourth independent delay.
Dly4 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly4 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the four rates of the modulation applied to the delay time of
the chorus.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
LFO Phase
-180deg to +180deg
Controls the relative phase between left and right LFOs.
Chorus Depth
0.0ms to 25.0ms
Controls the amount of modulation.
ChorusCenter
0.0ms to 50.0ms
Controls the delay time within the chorus, and changes the tonal
character.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
Spread
(wide stereo to mono)
This parameter offers control of the synthesized stereo field. The
farthest counterclockwise setting of the Value knob offers true
stereo, the middle setting forces the left and the right into the center
(mono), and turning the Value knob fully clockwise inverts the left
and right signal.
21 DDL →FFlanger
Combines four independent controllable digital delays with a flanger.
Parameter
Range
Description
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly1 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly2 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly2 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly3 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the third independent delay.
Dly3 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly3 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly4 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the fourth independent delay.
Dly4 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly4 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of the modulation applied to the flange effect.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
LFO Phase
-180deg to +180deg
ENSONIQ ZR-76 MusicianÕs Manual
Controls the relative phase between left and right LFOs.
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Chapter 11ÑInsert Effect Parameters
Flanger Depth
0.0ms to 25.0ms
Controls the range of the high-to-low frequency sweep in the flanger
effect.
FlangerCenter
0.0ms to 50.0ms
Sets the sweep mid-point of the flanger effect.
Notch Depth
0% to 100%
Controls the depth of the peaks and notches produced by the flanger.
This parameter should be set to 100% for maximum effect.
Feedback
-99% to +99%
Controls the amount of feedback applied to the flanger. Positive or
negative values will impart a different tonality to the flange effect,
either accenting the peaks or the notches.
22 DDL →P
Phaser
Combines a digital delay with a phase shifter.
384
Parameter
Range
Description
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly1 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly2 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly2 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly3 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the third independent delay.
Dly3 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly3 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly4 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the fourth independent delay.
Dly4 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly4 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of the modulation applied to the phaser.
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Chapter 11ÑInsert Effect Parameters
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
Phaser Depth
0 to 100
Controls the amount of modulation applied to the phaser.
Phaser Center
0 to 100
This parameter controls the mid-point of the phaser.
Notch Depth
0% to 100%
Controls the depth of the peaks and notches produced by the phaser.
This parameter should normally be set to 100%.
Feedback
-99% to +99%
Controls the amount of feedback applied to the phaser. Positive or
negative values will impart a different tonality to the phaser effect,
either accenting the peaks or the notches.
23 DDL →EEQ
Combines a digital delay with a parametric EQ.
Parameter
Range
Description
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly1 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly2 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly2 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly3 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the third independent delay.
Dly3 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly3 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly4 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the delay time for the fourth independent delay.
Dly4 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly4 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
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Chapter 11ÑInsert Effect Parameters
386
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQs to eliminate the possibility of
clipping boosted signals.
LoShelf Fc
10Hz to 20.0kHz
Sets the center of the low frequency EQ.
LoShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this low frequency shelf.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
HiShelf Fc
10Hz to 20.0kHz
Sets the center frequency of the high frequency shelf.
HiShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this high frequency shelf.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
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Chapter 11ÑInsert Effect Parameters
24 Multi-Tap DDL
Multi-Tap DDL offers four diffusers in series feeding a nine-tap digital delay.
Parameter
Range
Description
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQ to eliminate the possibility of
clipping boosted signals.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
Diffusion 1
-99% to +99%
Sets the amount and phase of the first diffuser.
Diffus Time 1
0ms to 62ms
Sets the delay time of the first diffuser.
Diffusion 2
-99% to +99%
Sets the amount and phase of the second diffuser.
Diffus Time 2
0ms to 62ms
Sets the delay time of the second diffuser.
Diffusion 3
-99% to +99%
Sets the amount and phase of the third diffuser.
Diffus Time 3
0ms to 62ms
Sets the delay time of the third diffuser.
Diffusion 4
-99% to +99%
Sets the amount and phase of the fourth diffuser.
Diffus Time 4
0ms to 62ms
Sets the delay time of the fourth diffuser.
Dly Interval
Uniform, Linear+,
Linear-, Expon.+,
Expon.-, Random
Controls the spacing of the taps within the DDL.
MaxDlyTime
1/1 Sys to 1/32 Sys, 0ms
to 500ms
Controls the maximum delay time.
Dly Smoothing
0ms to 500ms
Controls the amount of time it takes to change from one Dly Max
Time setting to another. Low values result in more clicking but less
detuning. High values result in less clicking but more detuning.
Feedback Tap
1 to 9
Selects one of the nine taps to be fed back into the input of the
effect.
Dly Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly Damping
10Hz to 20.0kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly Levels
Uniform, Linear+,
Linear-, Expon.+,
Expon.-, Random
Controls the relative levels of the taps.
Dly Max Level
0 to 100
Controls the maximum level that any one tap can attain.
Dly Pan
Centered, Alternating, L- Controls the panning of the taps in the stereo field.
>R, R->L, Center->Out,
Out->Center, Random
Dly Spread
0 to 100
ENSONIQ ZR-76 MusicianÕs Manual
Controls the width of the stereo field. A setting of 0 is the narrowest
(mono)Ña setting of 100 is the widest (full stereo).
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Chapter 11ÑInsert Effect Parameters
25 Dist →C
Chorus
Dist→Chorus combines a distortion with a chorus.
Parameter
388
Range
Description
Dist LPF Fc
10Hz to 20.0kHz
Filters out high frequencies prior to the distortion.
Dist Offset
-99% to +99%
Adjusts the balance of even-to-odd-generated harmonics.
Dist Gain
Off, -49.5dB to +48dB
Controls the gain going into the distortion effect. This will boost the
signal level up to 48 dB. For more distortion, use a high input level
gain and turn Dist Volume down to keep the volume under control.
For less distortion, use a low gain input level and a higher output
volume.
Dist Curve
Soft, Medium 1, Medium
2, Hard, Buzz
Selects the type of clipping produced by the distortion. The curves
range from tube-like distortion (Soft) to nasty distortion (Buzz).
Dist Volume
Off, -99dB to 0.0dB
Controls the volume of the distortion effect. Generally, if Distortion
Gain is set high, set this parameter lower.
Post VCF Fc
10Hz to 7.10kHz
Determines the distortion filter cutoff frequency. Higher values have
a brighter sound. This parameter can be modulated, using a CV Pedal
or any controller for a wah-wah pedal effect.
Post VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Fc (filter cutoff) parameter determines where
(at what frequency) this peak will occur, the Q setting controls the
sharpness of the peak.
Dist Dry Lev
Off, -49.5dB to 0.0dB
Controls the amount of dry signal to be mixed with the distorted
signal.
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQs to eliminate the possibility of
clipping boosted signals.
LoShelf Fc
10Hz to 20.0kHz
Sets the center of the low frequency EQ.
LoShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this low frequency band.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
Mid 2 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, and is used to control different
bandwidths within the mid range.
HiShelf Fc
10Hz to 20.0kHz
Sets the center frequency of the high frequency shelf.
HiShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this high frequency shelf.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the four rates of the modulation applied to the delay time of
the chorus.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
LFO Phase
-180deg to +180deg
Controls the relative phase between left and right LFOs.
Chorus Depth
0.0ms to 25.0ms
Controls the amount of modulation.
ChorusCenter
0.0ms to 50.0ms
Controls the delay times within the chorus. Adjusting this parameter
will change the tonal character of the chorus.
Spread
(wide stereo to mono)
This parameter offers control of the synthesized stereo field. The
farthest counterclockwise setting of the Value knob offers true
stereo, the middle setting forces the left and the right into the center
(mono), and turning the Value knob fully clockwise inverts the left
and right signal.
26 Dist →FFlanger
Dist→Flanger combines a distortion with a flanger.
Parameter
Range
Description
Dist LPF Fc
10Hz to 20.0kHz
Filters out high frequencies prior to the distortion.
Dist Offset
-99% to +99%
Adjusts the balance of even-to-odd-generated harmonics.
Dist Gain
Off, -49.5dB to +48dB
Controls the gain going into the distortion effect. This will boost the
signal level up to 48 dB. For more distortion, use a high input level
gain and turn the distortion volume down to keep the volume under
control. For less distortion, use a low gain input level and a higher
output volume.
Dist Curve
Soft, Medium 1, Medium
2, Hard, Buzz
Selects the type of clipping produced by the distortion. The curves
range from tube-like distortion (Soft) to nasty distortion (Buzz).
Dist Volume
Off, -99dB to 0.0dB
Controls the volume of the distortion effect. Generally, if the
distortion gain is set high, set this parameter lower.
Post VCF Fc
10Hz to 7.10kHz
Determines the distortion filter cut off frequency. Higher values have
a brighter sound. This parameter can be modulated, using a CV Pedal
or any controller for a wah-wah pedal effect.
Post VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Fc (filter cutoff) parameter determines where
(at what frequency) this peak will occur, the Q setting controls the
sharpness of the peak.
Dist Dry Lev
Off, -49.5dB to 0.0dB
Controls the amount of dry signal to be mixed with the distorted
signal.
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQs to eliminate the possibility of
clipping boosted signals.
LoShelf Fc
10Hz to 20.0kHz
Sets the center of the low frequency EQ.
LoShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this low frequency shelf.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
Mid 2 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
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Chapter 11ÑInsert Effect Parameters
Mid 2 Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, and is used to control different
bandwidths within the mid range.
HiShelf Fc
10Hz to 20.0kHz
Sets the center frequency of the high frequency shelf.
HiShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this high frequency shelf.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of the modulation applied to the flange effect.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
LFO Phase
-180deg to +180deg
Controls the relative phase between left and right LFOs.
Flanger Depth
0.0ms to 25.0ms
Controls the range of the high-to-low frequency sweep in the flanger
effect.
FlangerCenter
0.0ms to 50.0ms
Sets the sweep mid-point of the flanger effect.
Notch Depth
0% to 100%
Controls the depth of the peaks and notches produced by the flanger.
This parameter should be set to 100% for maximum effect.
Feedback
-99% to +99%
Controls the amount of feedback applied to the flanger. Positive or
negative values will impart a different tonality to the flange effect,
either accenting the peaks or the notches.
27 Dist →P
Phaser
This insert effect combines a raspy distortion with a phase shifter.
390
Parameter
Range
Description
Dist LPF Fc
10Hz to 20.0kHz
Filters out high frequencies prior to the distortion.
Dist Offset
-99% to +99%
Adjusts the balance of even-to-odd-generated harmonics.
Dist Gain
Off, -49.5dB to +48dB
Controls the gain going into the distortion effect. This will boost the
signal level up to 48 dB. For more distortion, use a high input level
gain and turn the distortion volume down to keep the volume under
control. For less distortion, use a low gain input level and a higher
output volume.
Dist Curve
Soft, Medium 1, Medium
2, Hard, Buzz
Selects the type of clipping produced by the distortion. The curves
range from tube-like distortion (Soft) to nasty distortion (Buzz).
Dist Volume
Off, -99dB to 0.0dB
Controls the volume of the distortion effect. Generally, if the
distortion gain is set high, set this parameter lower.
Post VCF Fc
10Hz to 7.10kHz
Determines the distortion filter cut off frequency. Higher values have
a brighter sound. This parameter can be modulated, using a CV Pedal
or any controller for a wah-wah pedal effect.
Post VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Fc (filter cutoff) parameter determines where
(at what frequency) this peak will occur, the Q setting controls the
sharpness of the peak.
Dist Dry Lev
Off, -49.5dB to 0.0dB
Controls the amount of dry signal to be mixed with the distorted
signal.
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQs to eliminate the possibility of
clipping boosted signals.
LoShelf Fc
10Hz to 20.0kHz
Sets the center of the low frequency EQ.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
LoShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this low frequency shelf.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
Mid 2 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, and is used to control different
bandwidths within the mid range.
HiShelf Fc
10Hz to 20.0kHz
Sets the center frequency of the high frequency shelf.
HiShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this high frequency shelf.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of the modulation applied to the phaser.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
Phaser Depth
0 to 100
Controls the amount of modulation applied to the phaser.
Phaser Center
0 to 100
This parameter controls the mid-point of the phaser.
Notch Depth
0% to 100%
Controls the depth of the peaks and notches produced by the phaser.
This parameter should normally be set to 100%.
Feedback
-99% to +99%
Controls the amount of feedback applied to the phaser. Positive or
negative values will impart a different tonality to the phaser effect,
either accenting the peaks or the notches.
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Chapter 11ÑInsert Effect Parameters
28 Dist →A
AutoWah
Dist→AutoWah combines a voltage control filter and a raspy distortion, and a second voltage controlled
filter. Three effects can be obtained: Distortion, Wah-wah, and Auto-wah. The last two functions use the
same VCF. These filters can be disabled or used as EQ if desired. There is a second VCF that exists after
the distortion that can be set to act like a simple speaker simulator, or it can be modulated in parallel with
the pre-distortion VCF.
392
Parameter
Range
Description
Pre HPF Fc
10Hz to 1.50kHz
Filters out the low frequencies before the EQ. The higher the value,
the less low frequencies will pass through.
Pre VCF Fc
10Hz to 7.10kHz
Determines the distortion filter cutoff frequency. Higher values have
a brighter sound. This parameter can be modulated, using a CV Pedal
or any controller for a wah-wah pedal effect.
Pre VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Fc (filter cutoff) parameter determines where
(at what frequency) this peak will occur, the Q setting controls the
sharpness of the peak.
PreVCF EnvAmt
-99% to +99%
Determines how much the amplitude of the incoming signal will
modify the distortion filter cutoff frequency. When set to 0, no
modification will occur. When set to mid positive values, the Pre-VCF
Fc will go high, but then come down to its nominal setting. When set
to negative mid values, the Pre-VCF Fc will go low, and then go back
up to its nominal setting. How quickly it does so is determined by the
Attack and Release parameters. This sound is the auto-wah. Positive
values will boost the high frequencies, offering an Òoww-owwÓ sound,
and negative values will cut the high frequencies, producing a
Òdweep-dweepÓ sound.
Dist Gain
Off, -49.5dB to +48dB
Controls the gain going into the distortion effect. This will boost the
signal level up to 48 dB. For more distortion, use a high input level
gain and turn the distortion volume down to keep the volume under
control. For less distortion, use a low gain input level and a higher
output volume.
Dist Volume
Off, -99dB to 0.0dB
Controls the volume of the distortion effect. Generally, if the
distortion gain is set high, set this parameter lower.
Distortion
Off, On
Chooses between distorted and clean signals.
Post VCF Fc
10Hz to 7.10kHz
Determines the second distortion filter cutoff frequency. Higher
values have a brighter sound. This parameter can be modulated, using
a CV Pedal or any controller for a wah-wah pedal effect.
Post VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Fc (filter cutoff) parameter determines where
(at what frequency) this peak will occur, this parameter controls the
sharpness of the peak.
PostVCF
EnvAmt
-99% to +99%
Determines how much the amplitude of the incoming signal will
modify the distortion filter cutoff frequency. When set to 0, no
modification will occur. When set to mid positive values, the Pre-VCF
Fc will go high, but then come down to its nominal setting. When set
to negative mid values, the Pre-VCF Fc will go low, and then go back
up to its nominal setting. How quickly it does so is determined by the
Attack and Release parameters.
VCF Attack
50us to 10.0s
Sets the attack of the envelope follower (i.e., determines how closely
the attack is followed) once the incoming signal has been detected.
Generally the attack should be short.
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Chapter 11ÑInsert Effect Parameters
VCF Release
50usto 10.0s
Sets the amount of time after the incoming signal has ceased for the
envelope follower to shut down. Generally these times are longer
than the attack times.
Post HPF Fc
10Hz to 1.50kHz
Filters out the low frequencies after the distortion.
29 ResVCF→D
DDL
ResVCF→DDL combines a voltage control filter and a digital delay.
Parameter
Range
VCF Input
Off, -49.5dB to 0.0dB
Acts as a trim control at the input of the VCF.
VCF Fc
10Hz to 7.10kHz
Determines the VCF cut off frequency. Higher values have a brighter
sound. This parameter can be modulated, using a CV Pedal for a wah
wah pedal effect.
VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Fc (filter cutoff) parameter determines where
(at what frequency) this peak will occur, the Q setting controls the
sharpness of the peak.
ADSR Attack
50us to 10.0s
Sets the attack time for the ADSR envelope shape.
ADSR Decay
50us to 10.0s
Sets the decay time for the ADSR envelope shape.
ADSR Sustain
Off, -49.5dB to 0.0dB
Sets the sustain level for the ADSR envelope shape.
ADSR Release
50us to 10.0s
Sets the release time for the ADSR envelope shape.
ADSR Env Amt
-99% to +99%
Determines the degree to which the envelope modifies the cutoff
frequency of the VCF.
ADSR TrigMode
Single or Multi
Determines whether the envelope which controls the VCF will
retrigger with each key-event (Multi) or not (Single).
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly1 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly2 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly2 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
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Description
393
Chapter 11ÑInsert Effect Parameters
30 Dist →V
VCF →D
DDL
Dist→VCF→DDL combines a distortion, a voltage control filter and a digital delay.
394
Parameter
Range
Description
Dist LPF Fc
10Hz to 20.0kHz
Filters out high frequencies prior to the distortion.
Dist Offset
-99% to +99%
Adjusts the balance of even-to-odd-generated harmonics.
Dist Gain
Off, -49.5dB to +48dB
Controls the gain going into the distortion effect. This will boost the
signal level up to 48 dB. For more distortion, use a high input level
gain and turn the distortion volume down to keep the volume under
control. For less distortion, use a low gain input level and a higher
output volume.
Dist Curve
Soft, Medium 1, Medium
2, Hard, Buzz
Selects the type of clipping produced by the distortion. The curves
range from tube-like distortion (Soft) to nasty distortion (Buzz).
Dist Volume
Off, -99dB to 0.0dB
Controls the volume of the distortion effect. Generally, if the
distortion gain is set high, set this parameter lower.
Post VCF Fc
10Hz to 7.10kHz
Determines the distortion filter cut off frequency. Higher values have
a brighter sound. This parameter can be modulated, using a CV Pedal
or any controller for a wah-wah pedal effect.
Post VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Fc (filter cutoff) parameter determines where
(at what frequency) this peak will occur, the Q setting controls the
sharpness of the peak.
Dist Dry Lev
Off, -49.5dB to 0.0dB
Controls the amount of dry signal to be mixed with the distorted
signal.
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQs to eliminate the possibility of
clipping boosted signals.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
VCF Input
Off, -49.5dB to 0.0dB
Acts as a trim control at the input of the VCF.
VCF Fc
10Hz to 7.10kHz
Determines the VCF cut off frequency. Higher values have a brighter
sound. This parameter can be modulated, using a CV Pedal or any
controller for a wah-wah pedal effect.
VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Fc (filter cutoff) parameter determines where
(at what frequency) this peak will occur, the Q setting controls the
sharpness of the peak.
ADSR Attack
50us to 10.0s
Sets the attack time for the ADSR envelope shape.
ADSR Decay
50us to 10.0s
Sets the decay time for the ADSR envelope shape.
ADSR Sustain
Off, -49.5dB to 0.0dB
Sets the sustain level for the ADSR envelope shape.
ADSR Release
50us to 10.0s
Sets the release time for the ADSR envelope shape.
ADSR Env Amt
-99% to +99%
Determines the degree to which the envelope modifies the cutoff
frequency of the VCF.
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Chapter 11ÑInsert Effect Parameters
ADSR TrigMode
Single or Multi
Determines whether the envelope which controls the VCF will
retrigger with each key-event (Multi) or not (Single).
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly1 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly2 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly2 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
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Chapter 11ÑInsert Effect Parameters
31 Pitch Detuner
Pitch Detuner allows you to change the pitch of a sound to any pitch within a range of two octaves in
either direction. We recommend using this insert effect as an LFO-controlled detuner.
396
Parameter
Range
Description
Voice1 Semi
-24 semi to +24 semi
Allows you to adjust the pitch of voice 1 up to two octaves above or
below the original pitch in semi-tones (half steps).
Voice1 Fine
-100cent to +100cent
This parameter allows you to fine tune the pitch of voice 1.
Voice1 Level
Off, -49.5dB to 0.0dB
Adjusts the volume of voice 1.
Voice1 Regen
-99% to +99%
Controls the amount of feedback from the output of the pitch detuner
back into the input. This allows you to create special effects with
ascending/descending delays.
Voice1 Width
1ms to 185ms
Controls the splice width of voice 1. Select the width that sounds best to
you. Shorter values result in a grainier sound, while longer values sound
smoother.
Voice1 Mod
0% to 100%
Controls the amount of modulation applied to voice 1.
Voice2 Semi
-24 semi to +24 semi
Allows you to adjust the pitch of voice 2 up to two octaves above or
below the original pitch in semi-tones (half steps).
Voice2 Fine
-100cent to +100cent
This parameter allows you to fine tune the pitch of voice 2.
Voice2 Level
Off, -49.5dB to 0.0dB
Adjusts the volume of voice 2.
Voice2 Regen
-99% to +99%
Controls the amount of feedback from the output of the pitch detuner
back into the input. This allows you to create special effects with
ascending/descending delays.
Voice2 Width
1ms to 185ms
Controls the splice width of voice 2. Select the width that sounds best to
you. Shorter values result in a grainier sound, while longer values sound
smoother.
Voice2 Mod
0% to 100%
Controls the amount of modulation applied to voice 2.
LFO Rate
1/1 Sys to 1/32 Sys,
0.0Hz to 20.0Hz
This parameter controls the rate of pitch modulation which creates a
chorusing effect. To achieve chorusing, this rate must be very low.
LFO Shape
Triangle, Sine,
Sawtooth, Square,
Asym, 16-Step, 8-Step,
4-Step
Determines the shape that the LFO will use for pitch modulation.
LFO Phase
-180deg to +180deg
Controls the relative phase between left and right LFOs.
Regen Time
1/1 Sys to 1/32 Sys, 0ms Controls the amount of delay in the feedback path.
to 185ms
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Chapter 11ÑInsert Effect Parameters
32 Chatter Box
This insert effect uses a formant filter with a time-varying spectrum to impart a dynamic vocal-like quality
to almost any sound. Two LFOs are combined such that the filter morphs between four vowel shapes that
you select. The first LFO is also tied to an auto-panner, which can bounce the vocalized signal through
stereo space. Finally, a digital delay can be used to create highly unusual talking echo effects.
Parameter
Range
Description
VCF Input
Off, -49.5dB to 0.0dB
Trims the input to the formant filter so that clipping does not occur.
VCF Dry Amt
Off, -49.5dB to 0.0dB
Controls the level of the DDL signal to be mixed with the output of
the formant filter.
Shape 1
A, E, I, O, U, AA, AE, AH,
AO, EH, ER, IH, IY, UH,
UW, B, D, F, G, J, K, L,
M, N, P, R, S, T, V, Z
Select the shape of the first formant filter.
Shape 2
A, E, I, O, U, AA, AE, AH,
AO, EH, ER, IH, IY, UH,
UW, B, D, F, G, J, K, L,
M, N, P, R, S, T, V, Z
Select the shape of the second formant filter.
Shape 3
A, E, I, O, U, AA, AE, AH,
AO, EH, ER, IH, IY, UH,
UW, B, D, F, G, J, K, L,
M, N, P, R, S, T, V, Z
Select the shape of the third formant filter.
Shape 4
A, E, I, O, U, AA, AE, AH,
AO, EH, ER, IH, IY, UH,
UW, B, D, F, G, J, K, L,
M, N, P, R, S, T, V, Z
Select the shape of the fourth formant filter.
FormantWarp
-12 to +12 semi
Shifts all formant frequencies up or down, warping the ÒsizeÓ of the
formant filter.
AutoPan Depth
0% to 100%
Controls the depth of the auto-panning function after the formant
filter.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
This parameter controls the rate of pitch modulation which creates a
chorusing effect. To achieve chorusing, this rate must be very low.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
LFO 2 Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
LFO 2 Shape
Triangle, Sine, Sawtooth, Determines the shape that the second LFO will use for pitch
Square, Asym, 16-Step,
modulation.
8-Step, 4-Step
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
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This parameter controls the rate of the second LFO.
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Chapter 11ÑInsert Effect Parameters
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly2 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
33 Formant Morph
This effect is similar to the Chatter Box, except that it has a distorter for increased harmonic content, and
it uses a single LFO to morph between two vowel shapes that you select.
398
Parameter
Range
Description
Dist Gain
Off, -49.5dB to +48dB
Controls the gain going into the distortion effect. This will boost the
signal level up to 48 dB. For more distortion, use a high input level
gain and turn the distortion volume down to keep the volume under
control. For less distortion, use a low gain input level and a higher
output volume.
Dist Volume
Off, -99dB to 0.0dB
Controls the volume of the distortion effect. Generally, if the
distortion gain is set high, set this parameter lower.
Dist LPF Fc
10Hz to 20.0kHz
Filters out high frequencies prior to the distortion.
Post VCF Fc
10Hz to 7.10kHz
Determines the distortion filter cut off frequency. Higher values have
a brighter sound. This parameter can be modulated, using a CV Pedal
or any controller for a wah-wah pedal effect.
Post VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Fc (filter cutoff) parameter determines where
(at what frequency) this peak will occur, the Q setting controls the
sharpness of the peak.
Dist Offset
-99% to +99%
Adjusts the balance of even-to-odd-generated harmonics.
Dist Curve
Soft, Medium 1, Medium
2, Hard, Buzz
Selects the type of clipping produced by the distortion. The curves
range from tube-like distortion (Soft) to nasty distortion (Buzz).
Dist Dry Lev
Off, -49.5dB to 0.0dB
Controls the amount of dry signal to be mixed with the distorted
signal.
VCF Input
Off, -49.5dB to 0.0dB
Trims the input to the formant filter so that clipping does not occur.
VCF Dry Amt
Off, -49.5dB to +24dB
Controls the level of the distortion/DDL signal to be mixed with the
output of the formant filter.
Shape 1
A, E, I, O, U, AA, AE, AH,
AO, EH, ER, IH, IY, UH,
UW, B, D, F, G, J, K, L,
M, N, P, R, S, T, V, Z
Selects the shape of the first formant filter.
Shape 2
A, E, I, O, U, AA, AE, AH,
AO, EH, ER, IH, IY, UH,
UW, B, D, F, G, J, K, L,
M, N, P, R, S, T, V, Z
Selects the shape of the second formant filter.
FormantWarp
-12 to +12 semi
Shifts all formant frequencies up or down, warping the ÒsizeÓ of the
formant filter.
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Chapter 11ÑInsert Effect Parameters
AutoPan Depth
0% to 100%
Controls the depth of the auto-panning function after the formant
filter.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
This parameter controls the rate of pitch modulation which creates a
chorusing effect. To achieve chorusing, this rate must be very low.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for pitch modulation.
Square, Asym, 16-Step,
8-Step, 4-Step
LFO Phase
-180deg to +180deg
Controls the relative phase between left and right LFOs.
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly2 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
34 RotarySpeaker
This insert effect adds the famous, classic rotating speaker effect to any sound. A tunable distortion is
added to the input signal and is also passed through the rotors.
Parameter
Range
Description
Dist LPF Fc
10Hz to 20.0kHz
Filters out high frequencies prior to the distortion.
Dist Offset
-99% to +99%
Adjusts the balance of even-to-odd-generated harmonics.
Dist Gain
Off, -49.5dB to +48dB
Controls the gain going into the distortion effect. This will boost the
signal level up to 48 dB. For more distortion, use a high input level
gain and turn the distortion volume down to keep the volume under
control. For less distortion, use a low gain input level and a higher
output volume.
Dist Curve
Soft, Medium 1, Medium
2, Hard, Buzz
Selects the type of clipping produced by the distortion. The curves
range from tube-like distortion (Soft) to nasty distortion (Buzz).
Dist Volume
Off, -99dB to 0.0dB
Controls the volume of the distortion effect. Generally, if the
distortion gain is set high, set this parameter lower.
Post VCF Fc
10Hz to 7.10kHz
Determines the distortion filter cut off frequency. Higher values have
a brighter sound. This parameter can be modulated, using a CV Pedal
or any controller for a wah-wah pedal effect.
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Chapter 11ÑInsert Effect Parameters
400
Post VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Fc (filter cutoff) parameter determines where
(at what frequency) this peak will occur, the Q setting controls the
sharpness of the peak.
Dist Dry Lev
Off, -49.5dB to 0.0dB
Controls the amount of dry signal to be mixed with the distorted
signal.
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQs to eliminate the possibility of
clipping boosted signals.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency
parametric.
Speed
Slow or Fast
Selects one of the two available rotor speeds, whose rates are
determined by the Hi Slow, Hi Fast, Lo Slow, and Lo Fast parameters.
The behavior of this switch accurately reflects an actual rotary
speaker, taking time to speed up or slow down, based on the values of
the inertia parameters. By assigning a modulation controller to this
parameter, you can change between the slow and fast speeds in real
time.
Spread
Stereo or Mono
Selects either a stereo or mono rotary speaker effect.
Crossover Fc
10Hz to 20.0kHz
Sets the crossover frequency between the low and high rotors.
Lo Hi Bal
Full <Lo to Full >Hi
Controls the volume balance between the low and the high rotor.
Rotor Mix
Full Dry to Full Wet
Controls the balance between the leakage (dry) signal and the rotor
(wet) signal. We recommend settings near 70.0% wet.
Hi Inertia
100ms to 10.0s
Determines how long it will take for the rotor effect to speed up to
the high setting after switching from slow or vice versa. Adjust this
parameter to simulate the effect of the rotary speaker gradually
picking up speed.
Hi Slow
0.0Hz to 10.0Hz
Sets the speed of the horn rotor simulator when Speed=Slow
(modulatedor set by hand).
Remember, a real Leslie has two sets of speakers (horns & woofer).
The ZR has seperate controls for both. This parameter is used to set
the hornÕs rate.
Hi Fast
0.0Hz to 10.0Hz
Sets the speed of the horn rotor simulator when Speed=Fast
(modulatedor set by hand).
Remember, a real Leslie has two sets of speakers (horns & woofer).
The ZR has seperate controls for both. This parameter is used to set
the hornÕs rate.
Hi FM Min
0 to 100
Sets the minimum amount of detuning as the speaker rotates when
the Speed parameter is set to ÒSlow.Ó
Hi FM Max
0 to 100
Sets the maximum amount of detuning as the speaker rotates when
the Speed parameter is set to ÒFast.Ó These two parameters create
what is also known as the ÒDopplerÓ effect.
Hi AM Min
0 to 100
Sets the minimum amount that the volume will change as the
speaker rotates when the Speed parameter is set to ÒSlow.Ó
Hi AM Max
0 to 100
Sets the maximum amount that the volume will change as the
speaker rotates when the Speed parameter is set to ÒFast.Ó Broader
ranges between these two parameters will create a deeper rotating
speaker effect.
Lo Inertia
100ms to 10.0s
Determines how long it will take for the rotor Speed effect to slow
down to the low setting after switching from Fast or vice versa.
Adjust this parameter to simulate the effect of the rotary speaker
gradually slowing down.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
Lo Slow
0.0Hz to 10.0Hz
Sets the speed of the bass wooferÕs rotor simulator when Speed=Slow
(modulatedor set by hand).
A real Leslie has two sets of speakers (horns & woofer). The ZR has
seperate controls for both. This parameter is used to set the wooferÕs
rate.
Lo Fast
0.0Hz to 10.0Hz
Sets the speed of the bass wooferÕs rotor simulator when Speed=Fast
(modulatedor set by hand).
A real Leslie has two sets of speakers (horns & woofer). The ZR has
seperate controls for both. This parameter is used to set the wooferÕs
rate.
Lo FM Min
0 to 100
Sets the minimum amount of detuning as the speaker rotates when
the Speed parameter is set to ÒSlow.Ó
Lo FM Max
0 to 100
Sets the maximum amount of detuning as the speaker rotates when
the Speed parameter is set to ÒFast.Ó These two parameters create
what is also known as the ÒDopplerÓ effect.
Lo AM Min
0 to 100
Sets the minimum amount that the volume will change as the
speaker rotates when the Speed parameter is set to ÒSlow.Ó
Lo AM Max
0 to 100
Sets the maximum amount that the volume will change as the
speaker rotates when the Speed parameter is set to ÒFast.Ó Broader
ranges between these two parameters will create a deeper rotating
speaker effect.
Speed Control
Normal or Toggle
Allows you to select a modulator and define what type of modulation
you want to use to affect the rotor speed. The two modulation modes
are:
¥ Normal Ñ The modulation source continuously switches between
the Speed slow and fast setting, based on the mod source position
and/or movement. Try this setting with a Mod Wheel Ñ youÕll hear
the rotary speaker change speed based on the position of the wheel
(and the speed settings).
¥ Toggle Ñ The modulation source toggles the rotor speed between
the Speed parameterÕs slow and fast setting. Every time the
modulation source moves from zero in a positive direction, the
rotating speaker effect changes speeds from slow to fast or vice
versa. Try this setting with a Sustain pedal.
With both types of modulation, the rotary speaker always takes the
inertia time to get to the rotor speed slow and fast settings.
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Chapter 11ÑInsert Effect Parameters
35 Tunable Spkr
This insert effect offers an EQ controllable speaker sound. By tuning three parametric filters, you can
simulate many different speaker cabinet sounds that are used in all styles of music.
402
Parameter
Range
Description
Pre HP Fc
10Hz to 1.50kHz
Controls the boost or cut of the high pass filter frequency applied to
the input signal.
EQ Input
Off, -49.5dB to +24dB
This parameter allows you to adjust the input level before the EQs to
eliminate the possibility of clipping boosted signals.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid-frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
Mid 2 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, and is used to control different
bandwidths within the mid range.
Mid 3 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
Mid 3 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
Mid 3 Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, and is used to control different
bandwidths within the mid range.
EQ Output
Off, -49.5dB to +24dB
Since speaker cabinets are Òlossy,Ó output gain is required to
compensate losses in perceived volume. Setting this gain too high will
cause clipping of the output signal.
HPF Cutoff
10Hz to 20.0kHz
Filters out the low frequencies. The higher the value, the less low
frequencies pass through. This parameter is used to increase
brightness.
LPF Cutoff
10Hz to 20.0kHz
Controls the boost or cut of the low pass filter frequency applied to
the input signal.
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Chapter 11ÑInsert Effect Parameters
36 Guitar Amp
This insert effect recreates the warm sound of a tube guitar amplifier. It does this by emulating tube
distortion characteristics. This effect is good for all stringed instruments.
Parameter
Range
Description
Pre HP Fc
10Hz to 1.50kHz
Filters out the low frequencies before the preamp. The higher the
value, the less low frequencies pass through.
Pre EQ Trim
Off, -49.5dB to +24dB
Controls the input level to the pre-amp EQ to eliminate the possibility
of clipping boosted signals.
Pre EQ Fc
10Hz to 20.0kHz
Determines the center frequency of the parametric filter before the
preamp. Higher values have a brighter sound.
Pre EQ Q
1.0 to 40.0
Determines the width of the resonant peak at the parametric filter
center frequency. While the filter center parameter determines
where (at what frequency) this peak will occur, the Q setting controls
the sharpness of the peak.
Pre EQ Gain
Off, -49.5dB to +24dB
Adjusts the amount of boost or cut applied to the parametric filter in
front of the preamp.
Preamp Gain
Off, -49.5dB to +24dB
Adjusts the amount of boost or cut applied to the incoming signal.
This parameter can be thought of as the primary distortion stage
(clipping). We recommend a setting of 0 dB, since these emulations
were optimized for distortion there. Lower preamp gains will result in
less distortion, while higher preamp gains will yield clipping
distortion. For low preamp gain, it may be desirable to use low tube
bias values.
Master Level
Off, -99dB to 0.0dB
This parameter controls the output level of the main amp.
Tube Bias
0 to 100
For preamp gains approximately 0 dB, this parameter controls the
emphasis of even to odd harmonics which determines the tone of the
amp. Mid values emphasize even harmonics and offer a warmer
Òglowing tubeÓ sound, while the highest values may sound like tubes
going bad. Tube bias and preamp gain are independent parameters.
For low preamp gain, it may be desirable to use low tube bias values,
because this more closely imitates the operation of a real amplifier.
Bias Attack
50us to 10.0s
Controls the time it takes for the incoming signal to get to the tube
bias. Generally the attack should be short.
Bias Release
50us to 10.0s
Sets the amount of time after the incoming signal has ceased for the
amp level to shut down. Generally these times are longer than the
attack times.
Post HP Fc
10Hz to 1.50kHz
This parameter filters out the low frequencies of the main amp prior
to the speaker. The higher the value, the less low frequencies pass
through.
Amp BassGain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to the low shelving filter.
Amp Mid1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Amp Mid1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Amp Mid1Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency
parametric.
Amp Mid2 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
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Chapter 11ÑInsert Effect Parameters
404
Amp Mid2 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
Amp Mid2Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, and is used to control different
bandwidths within the mid range.
Amp TrebGain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to the high shelving filter.
PostEQ Level
Off, -49.5dB to +24dB
This parameter controls the output level of the main amp before the
output EQ.
Speaker LPF
10Hz to 20.0kHz
Attenuates the high frequency content of the signal driving the
distortion at a rate of 6dB per octave starting at the corner frequency
set by this parameter.
The high-frequency bandwidth acts as a low pass filter on the signal
going into the distortion, controlling the amount of high frequencies
that will pass into the effect. The higher the setting, the more high
frequencies are allowed to pass. This functions like a tone control on
a guitar.
Gate Thresh
-96.0dB to 0.0dB
Sets the upper threshold level at which the noise gate passes the
audio.
Gate Hysteresis
0dB to 48dB
Sets the lower threshold level relative to Gate Thresh, below which
the noise gate shuts off the audio.
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly1 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
37 Dist →D
DDL →T
Trem
A guitar-effect chain that includes voltage-controlled distortion, parametric EQ, digital delay, and LFO
modulation.
Parameter
Range
Description
Dist LPF Fc
10Hz to 20.0kHz
Filters out high frequencies prior to the distortion.
Dist Offset
-99% to +99%
Adjusts the balance of even-to-odd-generated harmonics.
Dist Gain
Off, -49.5dB to +48dB
Controls the gain going into the distortion effect. This will boost the
signal level up to 48 dB. For more distortion, use a high input level
gain and turn the distortion volume down to keep the volume under
control. For less distortion, use a low gain input level and a higher
output volume.
Dist Curve
Soft, Medium 1, Medium
2, Hard, Buzz
Selects the type of clipping produced by the distortion. The curves
range from tube-like distortion (Soft) to nasty distortion (Buzz).
Dist Volume
Off, -99dB to 0.0dB
Controls the volume of the distortion effect. Generally, if the
distortion gain is set high, set this parameter lower.
Post VCF Fc
10Hz to 7.10kHz
Determines the filter cut off-frequency after the distortion. Higher
values have a brighter sound. This parameter can be used to emulate
a speaker cabinet.
Post VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Post VCF Fc parameter determines where (at
what-frequency) this peak will occur, this parameter controls the
sharpness of the peak.
Dist Dry Lev
Off, -49.5dB to 0.0dB
Controls the amount of dry signal to be mixed with the distorted
signal.
LoShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to the low frequency shelf.
HiShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to the high frequency shelf.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency shelf.
Mid 2 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, and is used to control different
bandwidths within the mid range.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
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Chapter 11ÑInsert Effect Parameters
406
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly1 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly2 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly2 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
LFO Rate
1/1 Sys to 1/32 Sys, 0.0Hz
to 20.0Hz
Controls the rate of the modulation applied to the tremolo.
LFO Shape
Triangle, Sine, Sawtooth, Determines the shape that the LFO will use for amplitude
Square, Asym, 16-Step,
modulation.
8-Step, 4-Step
LFO Phase
-180deg to +180deg
Controls the relative phase between left and right LFOs.
LFO Depth
Full Dry to Full Wet
Controls the amount of tremolo.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
38 Comp →D
Dist→D
DDL
Left
Comp
Gate
Dist
L
Lo Shelf
Mid 1
Mid 2
Hi Shelf
2-Tap DDL
Output
R
Right
A bright guitar-effects chain that features compression, gate voltage-controlled distortion, parametric EQ,
and a digital delay.
Parameter
Range
Description
Comp Ratio
1.0:1 to INF:1
Sets the amount of compression. The range is based on decibels (dB)
above the threshold. If set to 4:1 for example, it will allow 1 dB
increase in output level for every 4 dB increase in input level. When
set to infinity, it acts as a limiter.
Comp Attack
50us to 10.0s
Determines the time after the initial signal has been detected and
before the compression takes affect.
Comp Release
50us to 10.0s
Determines how long it takes for the compression to be fully
deactivated after the input signal drops below the threshold level.
This is generally set longer than the attack time.
Comp Thresh
-96.0dB to 0.0dB
Sets the threshold level. Signals that exceed this level will be
compressed, while signals that are below will be unaffected. To turn
off the compressor, set the level to +00 dB.
Comp Output
Off, -49.5dB to +48dB
This parameter boosts or cuts the compressed signal level.
Gate Thresh
-96.0dB to 0.0dB
Sets the upper threshold level at which the noise gate passes the
audio.
Gate Hysteresis
0dB to 48dB
Sets the lower threshold level relative to Gate Thresh, below which
the noise gate shuts off the audio.
Dist LPF Fc
10Hz to 20.0kHz
Filters out high frequencies prior to the distortion.
Dist Offset
-99% to +99%
Adjusts the balance of even-to-odd-generated harmonics.
Dist Gain
Off, -49.5dB to +48dB
Controls the gain going into the distortion effect. This will boost the
signal level up to 48 dB. For more distortion, use a high input level
gain and turn the distortion volume down to keep the volume under
control. For less distortion, use a low gain input level and a higher
output volume.
Dist Curve
Soft, Medium 1, Medium
2, Hard, Buzz
Selects the type of clipping produced by the distortion. The curves
range from tube-like distortion (Soft) to nasty distortion (Buzz).
Dist Volume
Off, -99dB to 0.0dB
Controls the volume of the distortion effect. Generally, if the
distortion gain is set high, set this parameter lower.
Post VCF Fc
10Hz to 7.10kHz
Determines the filter cut off-frequency after the distortion. Higher
values have a brighter sound. This parameter can be used to emulate
a speaker cabinet.
Post VCF Q
1.0 to 40.0
Determines the level and width of the resonant peak at the filter
cutoff point. While the Post VCF Fc parameter determines where (at
what-frequency) this peak will occur, this parameter controls the
sharpness of the peak.
Dist Dry Lev
Off, -49.5dB to 0.0dB
Controls the amount of dry signal to be mixed with the distorted
signal.
LoShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to the low frequency shelf.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
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Chapter 11ÑInsert Effect Parameters
Mid 2 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, and is used to control different
bandwidths within the mid range.
HiShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to the high frequency shelf.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly1 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
39 EQ→C
Comp→G
Gate
EQ→Comp→Gate combines an EQ with a full feature stereo compressor. When using high compressor
ratios, this insert effect functions as a limiter. This effect operates by compressing (attenuating) signals
above the threshold and passing the signals below the threshold. With higher ratios and lower thresholds,
this effect can be used to create sustain.
408
Parameter
Range
Description
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQs to eliminate the possibility of
clipping boosted signals.
Lo Shelf Fc
10Hz to 20.0kHz
Sets the center of the low frequency EQ.
LoShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this low frequency shelf.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
Mid 2 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, and is used to control different
bandwidths within the mid range.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 11ÑInsert Effect Parameters
HiShelf Fc
10Hz to 20.0kHz
Sets the center frequency of the high frequency shelf.
HiShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this high frequency shelf.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
Comp PreDelay
0ms to 100ms
Determines how long it takes before the compressor is activated.
Comp Ratio
1.0:1 to INF:1
Sets the amount of compression. The range is based on decibels (dB)
above the threshold. If set to 4:1 for example, it will allow 1 dB
increase in output level for every 4 dB increase in input level. When
set to infinity, it acts as a limiter.
Comp Attack
50us to 10.0s
Determines the time after the initial signal has been detected and
before the compression takes affect.
Comp Release
50us to 10.0s
Determines how long it takes for the compression to be fully
deactivated after the input signal drops below the threshold level.
This is generally set longer than the attack time.
Comp Thresh
-96.0dB to 0.0dB
Sets the threshold level. Signals that exceed this level will be
compressed, while signals that are below will be unaffected. To turn
off the compressor, set the level to +00 dB.
Comp Output
Off, -49.5dB to +48dB
This parameter boosts or cuts the compressed signal level.
Gate Thresh
-96.0dB to 0.0dB
Sets the upper threshold level at which the noise gate passes the
audio.
Gate Hysteresis
0dB to 48dB
Sets the lower threshold level relative to Gate Thresh, below which
the noise gate shuts off the audio.
Gate Attack
50us to 10.0s
Determines the time after the initial signal has been detected for the
gate to occur.
Gate Release
50us to 10.0s
This parameter sets the amount of time after the signal has elapsed
for the noise gate to shut down. For a longer sustain, set this
parameter higher.
Gate Hold
50us to 10.0s
This is the detection sustain time in the ADSRÑit determines how
long the gate will last.
40 EQ→C
Chorus →D
DDL
An effect chain that features a four-band parametric EQ, chorus, and four discrete delays.
Parameter
Range
Description
EQ Input
Off, -49.5dB to +24dB
Adjusts the input level trim to the EQs to eliminate the possibility of
clipping boosted signals.
LoShelf Fc
10Hz to 20.0kHz
Sets the center of the low frequency EQ.
LoShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this low frequency shelf.
Mid 1 Fc
10Hz to 20.0kHz
Sets the center of the mid frequency parametric.
Mid 1 Q
1.0 to 40.0
This parameter is a bandwidth control that determines the width of
the resonant peak at the center frequency band. This parameter is
equal to the cutoff frequency divided by the bandwidth. By raising
the value, you can produce a narrower bandwidth.
Mid 1 Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this mid frequency band.
Mid 2 Fc
10Hz to 20.0kHz
Identical to the Mid 1 Fc parameter, and is used to control different
bandwidths within the mid range.
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Chapter 11ÑInsert Effect Parameters
410
Mid 2 Q
1.0 to 40.0
Identical to the Mid 1 Q parameter, and is used to control different
bandwidths within the mid range.
Mid 2 Gain
Off, -49.5dB to +24dB
Identical to the Mid 1 Gain parameter, and is used to control different
bandwidths within the mid range.
HiShelf Fc
10Hz to 20.0kHz
Sets the center frequency of the high frequency shelf.
HiShelf Gain
Off, -49.5dB to +24dB
Sets the amount of boost or cut applied to this high frequency shelf.
EQ Output
Off, -49.5dB to +24dB
Controls the gain coming out of the parametric EQ.
Dry Blend
Full Dry to Full Wet
Controls the amount of the dry signal.
LFO Rate
0.0Hz to 20.0Hz
Controls the four rates of the modulation applied to the delay time of
the chorus.
Chorus Depth
0.0ms to 25.0ms
Controls the amount of modulation.
Chorus Center
0.0ms to 50.0ms
Controls the four delay times within the chorus. Adjusting this
parameter will change the tonal character of the chorus.
Dly1 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the first independent delay.
Dly1 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly1 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly1 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly1 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly2 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the second independent delay.
Dly2 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly2 Feedback
-99% to +99%
Determines the amount of signal that will be fed from the output
back into the input, increasing the number of repeats in the delay.
Dly2 Damping
100Hz to 21.2kHz
Controls the cutoff of a low pass filter on the feedback signal, which
adjusts the amount of damping to the feedback signals. The lower the
number, the more the signals are damped.
Dly2 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly3 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the third independent delay.
Dly3 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly3 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
Dly4 Time
1/1 Sys to 1/32 Sys, 0ms
to 630ms
Sets the amount of delay time for the fourth independent delay.
Dly4 Level
Off, -49.5dB to +12.0dB
Adjusts the volume of the delayed signal against the original dry
signal.
Dly4 Pan
Full <L to Full >R
Determines the location of the delay in the stereo spectrum.
ENSONIQ ZR-76 MusicianÕs Manual
Chapter 12ÑUsing the Unisyn Editing Software
C h apt er 1 2
U s i n g t h e U n i s y n E d i t i n g S o ft w a r e
The Unisyn ZR-76 software provides a way to create and edit ZR-76 sounds with your computer. Before
you begin, you must first connect your ZR-76 to a Macintosh or PC-compatible computer. For more
information about setting up the ZR with a computer, see Chapter 2, as well as UnisynÕs own
documentation. Consult your Unisyn documentation to familiarize yourself with the way that Unisyn
operates. If you have any problems configuring your Unisyn software, call Mark of the Unicorn customer
service.
The following sections provide information specific to the ZR parameters you can edit using the Unisyn
editing software.
T i p : You can use the Unisyn editing software to edit sounds in the ZRÕs FLASH or RAM
sound banks. Due to the faster nature of RAM memory, however, it is strongly
recommended that you use RAM sound bank locations as targets for your edits when
programming ZR-76 sounds. To learn how to create a RAM sound bank, see Chapter 9.
Make sure to save the RAM sounds you edit to floppy, copy them into FLASH memory, or
save them as Unisyn disk files on your computer before powering down your ZR-76.
S o u n d E d i to r P a r a m eter s
Sound Modulators
Various aspects of the layers in a ZR sound may be modulated in real time by the following modulators:
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
¥
OffÑno modulation
FullAmtÑthe maximum amount of modulation is applied to the modulation destination
LFOÑthe selected layerÕs LFO
SteppedÑa significant amount of random noise modulation at a rate determined by the Noise Rate
parameter (see below)
SmoothÑa subtle amount of random noise modulation at a rate determined by the Noise Rate
parameter (see below)
Env1Ñthe selected layerÕs Envelope 1
Env2Ñthe selected layerÕs Envelope 2
Env3Ñthe selected layerÕs Envelope 3
VelocityÑMIDI velocity: higher values cause greater modulation; lower values cause less modulation
Vel+PresÑa combination modulator, with MIDI velocity and pressure messages together achieving
maximum modulation amounts
MIDIKeyÑMIDI note numbers set the modulation destination parameter to absolute corresponding
values
KeyboardÑMIDI note numbers above C4 raise the modulation destinationÕs value from its setting;
lower note numbers reduce it
PressureÑMIDI channel or polyphonic (ENSONIQ PolyKey™) pressure; higher values cause greater
modulation, lower values cause less modulation
PitchWhlÑMIDI pitch bend raises or lowers modulation destination value; a pitch bend wheel at rest
transmits a central modulation value of 64
ModWhlÑMIDI modulation wheel (controller #1); maximum values are attained when the mod wheel
is pushed all the way forward
Whl+PresÑa combination modulator, with MIDI mod wheel and pressure messages together
achieving maximum modulation amounts
FtPedalÑMIDI foot pedal (controller #4); maximum values are attained when the foot pedal is pushed
all the way forward
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¥
¥
¥
¥
¥
¥
SustainÑMIDI sustain pedal (controller #64) operating as a modulation switch: down produces
maximum modulation; up produces no modulation
SostenutoÑMIDI sostenuto pedal (controller #66) operating as a modulation switch: down produces
maximum modulation; up produces no modulation
SysCTRL1Ñthe first of the ZR-76Õs assignable MIDI controllers (see ÒSetting Up New Real-Time
ControllersÓ in Chapter 3)
SysCTRL2Ñthe second of the ZR-76Õs assignable MIDI controllers (see ÒSetting Up New Real-Time
ControllersÓ in Chapter 3)
SysCTRL3Ñthe third of the ZR-76Õs assignable MIDI controllers (see ÒSetting Up New Real-Time
ControllersÓ in Chapter 3)
SysCTRL4Ñthe fourth of the ZR-76Õs assignable MIDI controllers (see ÒSetting Up New Real-Time
ControllersÓ in Chapter 3)
Sound Settings
While most of the Sound Editor parameters refer to a single layers within a sound, the following suite of
parameters apply to the whole sound.
Layers in Sound
Determines the number of layers to be used in the sound being edited or created. Each sound can
have up to 16 layers, depending on available memory in the ZR-76.
Range:
1 to 16
Bend Down
Determines the maximum number of semitone steps by which the pitch-bend enabled layers in the
sound will be lowered or raised when the ZR-76 receives pitch bend messages from a MIDI pitch
bend wheel pulled all the way down (back).
Range:
12 down to 12 up, Off
Bend Up
Determines the maximum number of steps by which the pitch-bend enabled layers in the sound will
be raised or lowered when the ZR-76 receives pitch bend messages from a MIDI pitch bend wheel
pushed all the way up (forward).
Range:
12 down to 12 up, Off
Restrike Limit
Determines the number of consecutive keystrikes of the same key in the same layer before voicestealing occurs. Velocity-switched sounds may result in keystrikes sounding from different layers,
therefore allowing more keystrikes before note-stealing is activated. In a standard sound, the default
value is equivalent to 2 voices/layers. If the sound is used by a drum or percussion kit, the default
value changes to 6 voices/layers.
Range:
1 voice/layer to 16 voices/layer, Default
GM Alias
reserved for future use
Pitch Table
Selects a pitch table which may be accessed by layers in the sound (see ÒList of ROM System Pitch
TablesÓ elsewhere in this chapter for a list of pitch tables). The ZR-76 supports the MIDI Tuning
Change StandardÑpitch tables may be transmitted via MIDI SysEx to the ZRÕs RAM pitch table (see
ÒZR-76 MIDI ImplementationÓ in Chapter 13 for more details).
Range:
various, RAM
Held P Ben d
Determines whether or not the soundÕs pitch-bend enabled layers will operate normally or in held
mode. Normally, when MIDI pitch bend messages are received, all notes sounding are affected by the
pitch bend messages. In held mode, only notes physically being held downÑnotes which have not
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yet received a key-up messageÑare affected when pitch bend messages are received. The held
option is useful for a number of musical situations, including the simulation of pedal steel guitars or
solo string lines played against a chordal background.
Range:
Off, On
Sound Category
Determines the soundÕs SoundFinder sound type instrument category.
Range:
various
Demo Sound?
Enables/disables inclusion of the sound in the DEMO-SND SoundFinder sound type category.
Range:
Off, On
User Sound?
Enables/disables inclusion of the sound in the USER-SND SoundFinder sound type category. The
USER-SND category provides easy access to sounds youÕve created yourself. (This category is only
visible in the ZR-76 when it contains sounds.)
Range:
Off, On
Use Handshake?
Enables/disables the ability of an editor and the ZR-76 to confirm edits behind the scenes. When set
to Off, the editor sends edits, but receives no confirmation back from the ZR; when set to On, The ZR
invisibly confirms receipt of edit data.
Range:
No (off-line), Yes (Live)
Select Parameters
Volume (dB)
Determines the volume of the current layer.
Range:
-72 to 14
Pan
Positions the current layer within the stereo field. A value of -64 pans the layer hard left, +00 pans
the layer center, +63 pans the layer hard right.
Range:
-64 to 63
Semi Tune
Lowers or raises the pitch of the current layer by semitones.
Range:
-64 to 63
Fine Tune
Fine tunes the pitch of the current layer by steps of one cent (1/100 of a semitone).
Range:
-128 to 127
Trigger On
Determines whether the selected layer will sound notes upon the receipt of note-ons or note-offs.
When Trigger On=Key Down, the layer will sound on note-on. When Trigger On=Key Up, layer will
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trigger on note-off, and release velocity amounts will be used for all velocity-dependent envelope
parameters.
Range:
KeyUp, KeyDown
Low Key
Determines the lowest MIDI note to which the current layer will respond.
Range:
A0 to C8
High Key
Determines the highest MIDI note to which the current layer will respond.
Range:
A0 to C8
Vel lo
Determines the lowest velocity amount the current layer will respond to when Trigger On=KeyDown,
or the lowest release velocity the layer will respond to if Trigger On=KeyUp.
Range:
0 to 127
Vel hi
Determines the highest velocity amount the current layer will respond to when Trigger On=KeyDown,
or the highest release velocity the layer will respond to if Trigger On=KeyUp.
Range:
0 to 127
Trigger Ctrl
This parameter designates a MIDI Controller as a filter for the current layer. When the layer has
received a value for the controller that falls within the range determined by the (Trigger) Ctrl Low and
Ctrl High parameters (see below), the layer will respond to MIDI note-ons and note-offs. If no such
controller values have been received, the layer will not sound.
Range:
Off (unused), all MIDI Controllers, SysCTRLs 1-4
Ctrl Low
Determines the lowest recognized value for the MIDI controller specified with the Trigger Ctrl
parameter (see above). Values for the selected Trigger Ctrl lower than this setting will cause the
selected layer to ignore MIDI note-ons and note-offs.
Range:
0 to 127
C t rl Hi gh
Determines the highest recognized value for the MIDI controller specified with the Trigger Ctrl
parameter (see above). Values for the selected Trigger Ctrl higher than this setting will cause the
selected layer to ignore MIDI note-ons and -offs.
Range:
0 to 127
Glide
Enables/disables glide (portamento) in the current layer. The exact nature of the layerÕs glide is
determined by the Voice parameter (see below).
Range:
Off, On
Glide Time
Determines the amount of time it takes for the pitch to glide from one note to another when glide is
enabled in the current layer: 0 represents the shortest glide time, 127 the longest. When
Voice=Mono (see below), glide in the ZR is constant-time portamento: the time it takes to glide from
note to note is the same regardless of how far way from each other the notes are.
Range:
0 to 127
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Voice
Determines whether the current layer will be polyphonic or monophonic. When Voice=Poly, notes
glide from a random selection of pitches.
Range:
Poly, Mono
PBend
Enables/disables the current layerÕs response to MIDI pitch bend messages.
Range:
Off, On
Sustain
Enables/disables the current layerÕs response to MIDI sustain messages.
Range:
Off, On
KeyGrp
Allows assignment of current layer to one of 16 monophonic key groups. Key groups are used when
youÕd like two or more waves to cut each other off, particularly helpful when emulating real-world
situations where two waves would be mutually exclusive. For example, when designing hi-hat drum
sounds, you can assign the layers in your open hi-hat sound and those in your closed hi-hat sound
to the same key group. When these two sounds are accessed by a drum or percussion kit sound, the
last one played will silence the other, as it would in a real hi-hat.
Range:
Off, 1 to 16
Layer Delay
Determines amount of time the current layer will wait to sound a note after receiving a note-on or
trigger. A delay of up to 9999 milliseconds is possible. If envelope 3Õs Env Mode parameter (see
below) is set to Finish, notes will sound even if their keys have been released before the layer delay
time has passed.
Range:
0 to 9999
Pitch Parameters
KeyTrack
Determines the pitch response of the current layer to MIDI note numbers. The default setting is
Western equal temperament; other options include ratio relationships to received note numbers,
inverted equal temperament or assignment to the soundÕs pitch table, determined by the pitch table
parameter (see above).
Range:
various
Pitch Mod
Selects a pitch modulator for the current layer. See ÒSound Editor OverviewÓ above for a list of the
available pitch modulators.
Range:
various
Mod Amt
Determines the amount and polarity of pitch modulation caused by the Pitch Mod within the overall
limit designated by the Mod Range parameter (see below).
Range:
-127 to 127
Mod Range
Determines the maximum amount of pitch shifting the Pitch Mod may cause, in keyboard steps. The
amount of pitch change invoked by each step is dependent on the layerÕs pitch table.
Range:
0 to 64
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Env1 Amt
Env 1 Amt is a special routing that endows envelope 1 with unique capabilities in the modulation of
the current layerÕs pitch. When applied to the current layerÕs pitch via the Env 1 Amt parameter,
Envelope 1 automatically sustains at the pre-enveloping pitch, regardless of its Level 4 setting.
Instead, its Level 4 setting serves to determine which Envelope 1 level values will cause the pitch to
rise above the un-enveloped pitch and which level values will drive it below. Envelope 1 level values
equal to the Level 4 value will cause the current layer to sound at the un-enveloped pitch. Higher
level values will shift the pitch upward, and lower values will shift the pitch downward. This feature
allows for the creation of bi-directional pitch envelope shapes, while conveniently ensuring that the
current layer will always sustain at the un-enveloped pitch.
Range:
-127 to 127
LFO Amt
Determines the degree to which the LFO will affect the pitch of the current layer.
Range:
0 to 127
Wave Parameters
Wave Class
Determines the wave class from which the current layerÕs wave will be selected. See ÒList of Wave
Names and ClassesÓ in Chapter 13 for a complete list of the wave classes resident in an unexpanded
ZR.
Range:
various
Wave Name
Determines the wave used by the current layer. Each wave may contain a single sound sample or a
set of matched multisamples. See ÒList of Wave Names and ClassesÓ in Chapter 13 for a complete list
of the waves resident in an unexpanded ZR.
Range:
various
Direction
Determines the direction that the current layerÕs wave will play. When Direction=backward, looped
waves will play from the end of the sample to the start point, and will not loop.
Range:
Forward, Backward
Start Index
Determines a location relative to the beginning of the selected wave. The wave will play from this
location at note-on. A setting of 0 will cause the wave to play from its beginning; higher values move
the playback start point further into the wave.
Range:
0 to 127
Wave Mod
Selects a start index modulation source. See ÒSound Editor OverviewÓ above for a list of the available
start index modulators.
Range:
various
Wave Mod Amt
Determines the degree to which the selected Wave Mod will move the start index, and in which
direction it will move it. Negative modulation amounts will push the start index forward towards the
beginning of the layerÕs wave; higher values will push it back toward its end. If the Direction
parameter (see above) is set to Backward, the opposite is true.
Range:
-127 to 127
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Shift Mode
Enables/disables the resetting of the key ranges for multisamples in the selected layer. If the layerÕs
wave consists of a single sample, this parameter will have no effect.
Range:
¥
¥
¥
¥
¥
OffÑuses standard sample mapping.
Shift AllÑmoves the key ranges of all samples in the wave by the number of semitones designated by
the Shift Amount parameter (see below).
StretchÑstretches the sample designated by the Shift Amount parameter down to the bottom of the
keyboard but preserves the original key ranges of all other samples above that key.
Pick OneÑstretches the sample designated by the Shift Amount parameter over the entire pitch
range.
Shift VelÑselects the sample designated by the Shift Amount parameter as the sample heard at the
lowest-velocity keystrikes. Greater velocities play samples mapped higher on the keyboard than the
selected sample.
Shift Amount
¥
¥
¥
This parameter is used in conjunction with the Shift Mode parameter (see above), and operates
according to the selected Shift Mode value:
When Shift Mode=Off, this parameter has no effect.
When Shift Mode=Shift All, this parameter selects the number of keyboard steps by which all of the
layersÕ wavesample key ranges will be shifted.
When Shift Mode=Stretch, Pick One or Shift Vel, this parameter selects a location, in keyboard
steps, above or below C4 (Middle C).
Range:
-64 to 63
Envelope 1 Parameters
The following parameters pertain to the first of the selected layerÕs three envelopes. Envelope 1 is
typically applied to pitch, though it may be used as a modulator for any modulatable parameter. When
envelope 1 is applied to a layerÕs pitch through the Env1 Amt pitch parameter (see ÒPitch Parameters,Ó
above), itÕs endowed with some special attributes, also described above.
Time 1
Determines the time it takes for the envelopeÕs level to travel from zero (when a note-on is received)
to Level 1, also referred to as the Òattack time.Ó The higher the value, the longer the time.
Range:
0 to 99
Time 2
Determines the time it takes the envelope to go from Level 1 to Level 2.
Range:
0 to 99
Time 3
Determines the time it takes the envelope to go from Level 2 to Level 3.
Range:
0 to 99
Time 4
Determines the time it takes the envelope to go from Level 3 to the Level 4 stage. At the end of Time
4, the envelope will remain at Level 4 until the key is released.
Range:
0 to 99
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Time 5
Determines the time it takes the envelope to return to zero after the key has been released, also
referred to as the Òrelease time.Ó
Range:
0 to 99
Level 1
Determines the level the envelope will reach at the end of the time defined by Time 1.
Range:
0 to 127
Level 2
Determines the level the envelope will reach at the end of Time 2.
Range:
0 to 127
Level 3
Determines the level the envelope will reach at the end of Time 3.
Range:
0 to 127
Level 4
Determines the level the envelope will reach at the end of Time 4 and that it will retain until a note-off
or sustain-off message is received. When Envelope 1 is used to modulate the current layerÕs pitch
through the Env 1 Amt parameter, this parameter functions differentlyÑsee ÒEnv 1 AmtÓ above.
Range:
0 to 127
Level Vel
Determines to what degree velocity will affect envelope levels. Level Vel values above 0 increase the
amount of velocity required to reach the Envelope 1 values determined by the Level 1 through Level 4
settings. Vel Curv gives you further control over the velocity response of the envelope.
Range:
0 to 99
Attack Vel
Determines the degree to which higher velocities will shorten envelope 1Õs Time 1. This parameter
will have no effect if Time 1=0.
Range:
0 to 99
Key Scale
Makes the envelope times longer or shorter, depending on the key played. The scaling effect of this
parameter is based on a center break point of F4+. Higher values will make all envelope 1 times
(except Time 5) shorter for keys above F4+, and longer for keys below F4+. Envelope times for F4+
itself are not affected by this parameter.
Range:
0 to 99
Release Mod Amt
Determines the degree to which higher release velocities will make the envelope 1Õs Time 5 shorter
or longer. When the value is positive, a higher release velocity value will result in a shorter Time 5.
When the value is negative, a higher release velocity value will result in a longer Time 5. This
parameter will have no effect if the Time 5=0. Note that release velocity values must fall within the
range set with the Vel lo and hi parameters, in order to be recognized.
Range:
-127 to 127
Env Mode
¥
418
Envelope 1 may function in one of three ways:
NormalÑEnvelope 1 plays through normally. When the key is released, the envelope takes the Time
5 to go from the current level down to zero.
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¥
¥
FinishÑEnvelope 1 finishes playing through all its stages, ignoring the key-up event. The envelope
spends no time at the Level 4 stage. When the Time 4 interval is finished, instead of stopping at the
Level 4 stage, the envelope immediately goes into the Time 5 stage. This is good for percussive-type
sounds where you want the envelope to be the same for every note, no matter how long the key is
held down.
RepeatÑAt the end of the Time 3 stage, instead of sustaining, envelope 1 goes immediately back to
the beginning and repeats, starting with the Time 1 stage. When the key is released, the envelope
stops repeating and moves into the release stage, taking the Time 5 interval to go from the current
level down to zero. This type of envelope can be used to create complex LFO-type effects.
Range:
Normal, Finish, Repeat
Vel Curve
Selects which of the velocity response curves the envelope will use if the velocity level control (Level
Vel) is set to some value other than zero.
Range:
Quikrise, Convex1, Convex2, Convex3, Linear, Concave1, Concave2, Concave3,
Concave4, LateRise
Filter Parameters
Each layer in a ZR sound has a pair of independently configurable multi-mode dynamic digital filters.
The following parameters determine the behavior of the selected layerÕs filters.
Mode
Determines the filter configuration for the current layer: LP=low-pass filter, which allows frequencies
lower than the filter cutoff frequency (Fc) to be heard; HP=high-pass filter, which allows frequencies
above the Fc to be heard. Each layer has two filters: the first is always LP, while the second may be
LP or HP. The steepness of each filter is determined by its pole setting; the higher the pole value, the
more extreme the filterÕs slope becomes. A 1-pole filter rolls off frequencies at a slope of 6 dB per
octave, a 2-pole filter at 12 dB per octave, and a 3-pole at 18 dB per octave.
Range:
2LP/2HP, 3LP/1HP, 2LP/2LP, 3LP/1LP
Flt 1+2 Link
When set to On, Filter 2 uses Filter 1Õs settings; when Off, Filter 2 uses its own settings.
Range:
Off, On
Filter 1 Parameters
FC1 Mod
Selects a modulator for Filter 1Õs cutoff frequency. See ÒSound Editor OverviewÓ above for a list of the
available FC1 modulators.
Range:
various
FC1 Mod Amt
Determines the amount by which the modulation source will lower or raise Filter 1Õs cutoff frequency.
Range:
-127 to 127
KeyTrack
Determines how Filter 1Õs cutoff frequency will change as various MIDI note numbers are received,
expressed in ratios. Positive values raise the cutoff as higher note numbers are received.
Range:
Off, various
KeyT Breakpoint
Determines which MIDI note number will be treated as the nominal center of the key track range,
and produce neither negative or positive cutoff modulation.
Range:
C-1 to A9
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FC1
Determines filter 1Õs cutoff frequency. Filter 1 is always a low-pass filter: frequencies within the
selected wave that are lower than the FC1 setting will pass, or be heard. Frequencies above it will be
filtered out. Lowering the FC1 value is similar to turning down the treble on a home stereo.
Range:
0 to 127
Env2 Amt
Determines the degree to which envelope 2 will affect Filter 1Õs cutoff frequency.
Range:
0 to 127
Filter 2 Parameters
FC2 Mod
Selects a modulator for Filter 2Õs cutoff frequency. See ÒSound Editor OverviewÓ above for a list of the
available FC2 modulators.
Range:
various
FC2 Mod Amt
Determines the amount by which the modulation source will lower or raise Filter 2Õs cutoff frequency.
Range:
-127 to 127
KeyTrack
Determines how Filter 2Õs cutoff frequency will change as various MIDI note numbers are received,
expressed in ratios. Positive values raise the cutoff as higher note numbers are received.
Range:
Off, various
KeyT Breakpoint
Determines which MID