KORG Pa300 Musical Arranger User Manual 378 Pages
The KORG Pa300 is a professional arranger keyboard that offers a wide range of sounds, styles, and features for musicians of all levels. It features a large, color touch screen, a comprehensive selection of sounds and styles, and a variety of performance features, such as a sequencer, a song player, and a SongBook. You can use the Pa300 to create your own music, play along with backing tracks, or even perform live.
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User Manual
ENGLISH | OS Ver. 1.5
E 2
Important safety instructions
• Read these instructions, and follow them carefully.
• Keep these instructions in a safe place.
• Heed all warnings.
• Do not use this apparatus near water.
• Clean only with dry cloth.
• Do not block any ventilation openings, install in accordance with the manufacturer’s instructions.
• Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
• Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
• Only use attachments/accessories specified by the manufacturer.
• Unplug this apparatus during lightning storms or when unused for long periods of time.
• Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
• Turning off the power switch does not completely isolate this product from the power line so remove the plug from the socket if not using it for extended periods of time, or before cleaning. Please ensure that the mains plug or appliance couple remains readily accessible.
• Mains powered apparatus shall not be exposed to dripping or splashing and that no objects filled with liquids, such as vases, shall be placed on the apparatus.
• Install this product near the wall socket and keep the power plug easily accessible.
• Do not install this equipment in a confined space such as a box for the conveyance or similar unit.
• When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
NOTICE REGARDING DISPOSAL (EU ONLY)
If this symbol is shown on the product, manual, battery, or package, you must dispose of it in the correct manner to avoid harm to human health or damage to the environment. Contact your local administrative body for details on the correct disposal method. If the battery contains heavy metals in excess of the regulated amount, a chemical symbol is displayed below the symbol on the battery or battery package.
PERCHLORATE (CALIFORNIA, USA ONLY)
Perchlorate Material – special handling may apply.
See www.dtsc.ca.gov/hazardouswaste/perchlorate.
THE FCC REGULATION WARNING (FOR USA)
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
If items such as cables are included with this equipment, you must use those included items.
Unauthorized changes or modification to this system can void the user’s authority to operate this equipment.
DECLARATION OF CONFORMITY (FOR USA)
Responsible Party: KORG USA INC.
Address: 316 SOUTH SERVICE ROAD, MELVILLE / Telephone: 1-631-390-6500
Equipment Type: Music Arranger / Model: Pa300
This device complies with Part 15 of FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and
(2) this device must accept any interference received, including interference that may cause undesired operation.
CE MARK FOR EUROPEAN HARMONIZED STANDARDS
CE mark which is attached to our company’s products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/
EEC) and CE mark Directive (93/68/EEC).
And, CE mark which is attached after January 1, 1997 means it conforms to EMC
Directive (89/336/EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive
(73/23/EEC).
Also, CE mark which is attached to our company’s products of Battery operated apparatus means it conforms to EMC Directive (89/336/EEC) and CE mark
Directive (93/68/EEC).
IMPORTANT NOTICE TO CONSUMERS
This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If you have purchased this product via the internet, through mail order, and/or via a telephone sale, you must verify that this product is intended to be used in the country in which you reside.
WARNING: Use of this product in any country other than that for which it is intended could be dangerous and could invalidate the manufacturer's or distributor's warranty.
Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer's or distributor's warranty.
Further notices
Automatic Power-Off
To avoid wasting power, Pa300 will by default automatically enter standby mode after two hours of non-active use (playing, pressing buttons or using the touch-screen). Please save your data (Performances, Styles, Songs, and so on) before taking a prolonged pause.
Data Handling
Data in memory may sometimes be lost due to incorrect user action. Be sure to save important data to the internal memory or to an external USB device. Korg will not be responsible for damages caused by data loss.
Cleaning
If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as benzene or thinner, or cleaning compounds or flammable polishes.
Use a soft cotton cloth to clean the display. Some materials, such as paper towels, could cause scratches and damage it. Computer wipes are also suggested, provided they are specifically designed for LCD screens.
Do not spray any liquid on the LCD screen directly. Always apply the solution to your cloth first, then clean the screen.
Example screens
Some pages of the manuals show LCD screens along with an explanation of functions and operations. All sound, style, song or parameter names, as well as shown values, are merely examples and may not always match the actual display you are working on.
Trademarks
Acrobat and PDF are registered trademarks of Adobe Systems
Incorporated. Mac is a registered trademark of Apple, Inc.
MS-DOS and Windows are registered trademarks of Microsoft
Corporation. All other trademarks or registered trademarks are the property of their respective holders.
Copyright © 2014 KORG Italy Spa.
Open Source notice
Portions of this product’s software are copyright ©2007 “The
FreeType Project” (www.freetype.org). All rights reserved.
Disclaimer
The information contained in this manual have been carefully revised and checked through. Due to our constant efforts to improve our products, the specifications might differ to those in the manual. Korg is not responsible for any differences found between the specifications and the contents of the instruction manual – all specifications being subject to change without prior notice.
Liability
Korg products are manufactured under strict specifications and voltages required by each country. These products are warranted by the Korg distributor only in each country. Any Korg product not sold with a warranty card or carrying a serial number disqualifies the product sold from the manufacturer's/distributor's warranty and liability. This requirement is for your own protection and safety.
Service and User’s Assistance
For service, please contact your nearest Authorized Korg Service
Center. For more information on Korg products, and to find software and accessories for your keyboard, please contact your local Authorized Korg distributor. For up-to-date information, please point your web browser to our web site.
Keep your keyboard up-to-date
Your instrument can be constantly updated as new versions of the operating system are released by Korg. You can download the operating system from our web site. Please, read the instructions supplied with the operating system.
Table of Contents 1
Table of Contents
Introduction
Welcome! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
What’s in the box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Making a safety copy of your data . . . . . . . . . . . . . . . . . . . . . . . . .7
Restoring the original factory data . . . . . . . . . . . . . . . . . . . . . . . . .7
Loading the Operating System . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Glossary of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Keyboard tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Performance and STS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
The LOGO decoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Interface basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Color TouchView graphical user interface . . . . . . . . . . . . . . . . 20
Operative modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Selected, highlighted items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Non-available, grayed-out parameters . . . . . . . . . . . . . . . . . . . 22
Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Easy Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
The Style Play page in detail . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
The Song Play page in detail . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Quick Guide
Turning the instrument on . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Turning the instrument on and viewing the main screen . . . 28
Connecting and calibrating the Damper pedal . . . . . . . . 29
Programming the Damper pedal . . . . . . . . . . . . . . . . . . . . . . . . 29
Playing the Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Starting and stopping the Demo . . . . . . . . . . . . . . . . . . . . . . . . . 31
Playing Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Selecting a Sound and playing it on the keyboard . . . . . . . . . . 33
Playing two or three Sounds at the same time . . . . . . . . . . . . . 35
Playing different Sounds with your left and right hand . . . . . 37
Changing the split point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Raising or lowering the Upper octave . . . . . . . . . . . . . . . . . . . . 40
Selecting and saving Performances . . . . . . . . . . . . . . . . . . 41
Selecting a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Saving your settings to a Performance . . . . . . . . . . . . . . . . . . . . 42
Selecting and saving the “My Setting” Performance . . . 44
Selecting the startup parameters (the “My Setting”
Performance) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Saving the startup parameters into the “My Setting”
Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Selecting and playing Styles . . . . . . . . . . . . . . . . . . . . . . . . . 45
Selecting and playing a Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Intro, Variation, Fill, Break, Ending . . . . . . . . . . . . . . . . . . . . . . 48
Single Touch Settings (STS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Adjusting the balance between the Style and the keyboard . . 50
Adjusting the volume of the separate tracks . . . . . . . . . . . . . . . 51
Turning the Style tracks on/off . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Song Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Selecting a Song to play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Playing back a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Changing the tracks’ volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Turning the Song tracks on/off . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Soloing a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
The SongBook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Selecting the desired Entry from the Main List . . . . . . . . . . . . . 62
Displaying Artist or Genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Sorting Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Searching for Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Adding Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Editing the Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Creating a Custom List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Selecting and using a Custom List . . . . . . . . . . . . . . . . . . . . . . . 71
Recording a new Song (Standard MIDI File) . . . . . . . . . . . 72
Preparing the Style and Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Accessing the Backing Sequence (Quick Record) mode . . . . . 72
Setting the Record parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Second-take recording (Overdubbing) . . . . . . . . . . . . . . . . . . . 76
Saving a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Searching files and musical resources . . . . . . . . . . . . . . . . . 78
How to use the Search function . . . . . . . . . . . . . . . . . . . . . . . . . 78
Notes about searching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Reference
Selecting elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Style Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Sound Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Performance Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Pad Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Song Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Style Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Start-up settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Styles and Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Master Volume and Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Factory, Favorite and User Styles . . . . . . . . . . . . . . . . . . . . . . . . 88
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
STS Name panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Volume panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Pad panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Sub-Scale panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
2 Table of Contents
Mixer/Tuning: Volume/Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Mixer/Tuning: FX Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Mixer/Tuning: EQ Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Mixer/Tuning: EQ Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Mixer/Tuning: Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Mixer/Tuning: Sub Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Effects: A/B FX Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Effects: Master 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Track Controls: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Track Controls: Drum Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Track Controls: Easy Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Keyboard/Ensemble: Key/Velocity Range . . . . . . . . . . . . . . . . 104
Keyboard/Ensemble: Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . 105
Keyboard/Ensemble: Keyboard Control . . . . . . . . . . . . . . . . . 106
Style Controls: Drum Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Style Controls: Keyboard Range On/Off / Wrap Around . . . 107
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Write Performance dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Write Single Touch Setting dialog box . . . . . . . . . . . . . . . . . . . 109
Write Current Style Settings dialog box . . . . . . . . . . . . . . . . . . 109
The Favorite banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Song Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
MIDI Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Tempo Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Master Volume, Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Track parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Standard MIDI Files and Sounds . . . . . . . . . . . . . . . . . . . . . . . . 111
Keyboard, Pad and Player tracks . . . . . . . . . . . . . . . . . . . . . . . . 112
Main page (Normal view) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
STS Name panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Volume panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Sub-Scale panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Jukebox panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Mixer/Tuning: Volume/Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Mixer/Tuning: FX Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Mixer/Tuning: EQ Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Mixer/Tuning: EQ Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Mixer/Tuning: Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Effects: A/B FX Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Effects: Master 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Track Controls: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Track Controls: Drum Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Track Controls: Easy Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Keyboard/Ensemble: Key/Velocity Range . . . . . . . . . . . . . . . . 120
Keyboard/Ensemble: Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . 120
Keyboard/Ensemble: Keyboard Control . . . . . . . . . . . . . . . . . 120
Jukebox Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Standard MIDI Files and MP3 . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Sequencer Play - Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Entering Record mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Record mode: Multitrack Sequencer page . . . . . . . . . . . . . . . . 126
Record mode: Step Record page . . . . . . . . . . . . . . . . . . . . . . . . 128
Record mode: Backing Sequence (Quick Record) page . . . . . 130
Record mode: Step Backing Sequence page . . . . . . . . . . . . . . . 133
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
Mixer/Tuning: Volume/Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Mixer/Tuning: FX Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Mixer/Tuning: EQ Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Mixer/Tuning: EQ Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Mixer/Tuning: Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Mixer/Tuning: Sub Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Effects: A/B FX Configuration . . . . . . . . . . . . . . . . . . . . . . . . . .137
Effects: Master 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Track Controls: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Track Controls: Drum Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Track Controls: Easy Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Event Edit: Event Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Event Edit: Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Song Edit: Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Song Edit: Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
Song Edit: Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
Song Edit: Cut/Insert Measures . . . . . . . . . . . . . . . . . . . . . . . . .142
Song Edit: Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142
Song Edit: Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Song Edit: Move . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Song Edit: RX Convert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Song Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
Save Song window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
Global . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Overview on the Global mode . . . . . . . . . . . . . . . . . . . . . . . . . .147
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
General Controls: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148
General Controls: Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148
General Controls: Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149
General Controls: Date & Power . . . . . . . . . . . . . . . . . . . . . . . .151
Mode Preferences: Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152
Mode Preferences: Song & Sequencer . . . . . . . . . . . . . . . . . . . .153
Mode Preferences: Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154
Controllers: Hand Controllers . . . . . . . . . . . . . . . . . . . . . . . . . .155
Controllers: Foot Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . .155
Tuning: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156
Tuning: Transpose Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156
Tuning: Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157
MIDI: General Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158
MIDI: MIDI In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159
MIDI: MIDI In Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159
MIDI: MIDI Out Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
MIDI: Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
Audio & EQ: MP3 / Output . . . . . . . . . . . . . . . . . . . . . . . . . . . .161
Audio & EQ: Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161
Touch Panel Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Write Quarter Tone SC Preset dialog box . . . . . . . . . . . . . . . .163
Write Midi Preset dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Write Master EQ Preset dialog box . . . . . . . . . . . . . . . . . . . . . .164
Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Storage devices and internal memory . . . . . . . . . . . . . . . . . . . .165
Supported device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Selecting and deselecting files . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Searching files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Media structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168
Table of Contents 3
Page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Navigation tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Care of mass storage devices . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
SongBook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Custom List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Book Edit 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Book Edit 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Book Edit 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Lyrics, Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Lyrics page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Score page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Style/Pad Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Recording Styles and Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Style/Pad Import/Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Entering the Style/Pad Record mode . . . . . . . . . . . . . . . . . . . . 196
Exit by saving or deleting changes . . . . . . . . . . . . . . . . . . . . . . 196
Listening to the Style while in Edit mode . . . . . . . . . . . . . . . . 196
List of recorded events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Main page - Record 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Main page - Record 2/Cue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Main page - Guitar Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Style/Pad Record procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Event Edit: Event Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Event Edit: Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Style/Pad Edit: Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Style/Pad Edit: Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Style/Pad Edit: Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Style/Pad Edit: Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Style/Pad Edit: Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Style/Pad Edit: Delete All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Style/Pad Edit: Copy from Style . . . . . . . . . . . . . . . . . . . . . . . . 215
Style/Pad Edit: Copy from Pad . . . . . . . . . . . . . . . . . . . . . . . . . 216
Style Element Track Controls: Sound/Expression . . . . . . . . . 217
Style Element Track Controls: Keyboard Range . . . . . . . . . . 218
Style Element Track Controls: Noise/Guitar . . . . . . . . . . . . . 218
Pad Track Controls: Sound/Expression . . . . . . . . . . . . . . . . . 219
Style Element/Pad Chord Table: Chord Table . . . . . . . . . . . . 220
Style Track Controls: Type/Trigger/Tension . . . . . . . . . . . . . 220
Import: Import Groove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Import: Import SMF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Export SMF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Write Style/Pad dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Copy Key/Chord dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Copy Sounds dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Copy Expression dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Copy Key Range dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Copy Chord Table dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Overdub Step Recording window . . . . . . . . . . . . . . . . . . . . . . 228
Sound Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229
The MIDI channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
How to select oscillators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Sounds, Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Basic: Sound Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Basic: OSC Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Basic: Vel/Key Zone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Basic: Damper Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Basic: Damper Trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
DrumKit: Sample Setup (Drum Kits) . . . . . . . . . . . . . . . . . . . . 237
DrumKit: EQ (Drum Kits) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
DrumKit: Voice Mixer (Drum Kits) . . . . . . . . . . . . . . . . . . . . . 239
Pitch: Pitch Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Pitch: Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Filter: Filter Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Filter: Filter Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Filter: Filter LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Filter: Filter EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Amp: Amp Level/Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Amp: Amp Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Amp: Amp EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
LFO: LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
LFO: LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Effects: “B” FX Config . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Effects: Master 1 / Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Effects: Master 2 / Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Write Sound dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Copy Oscillator dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Copy Drum Kit dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
AMS (Alternate Modulation Source) list . . . . . . . . . . . . . . . . . 256
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258
What is MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
MIDI and personal computers . . . . . . . . . . . . . . . . . . . . . . . . . 258
Standard MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
The General MIDI standard . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
The Global channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
The Control channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
MIDI Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Connecting Pa300 to a personal computer . . . . . . . . . . . . . . . 260
Appendix
Factory data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262
Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282
Dynamic Modulation sources . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Dynamics (Dynamic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
EQ and Filters (EQ/Filter) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Overdrive, Amp models, and Mic models (OD Amp Mic) . 294
Chorus, Flanger, and Phaser (Cho/Fln Phaser) . . . . . . . . . . . 299
Modulation and Pitch Shift (Mod./P.Shift) . . . . . . . . . . . . . . . 305
Reverb and Early Reflections (Reverb ER) . . . . . . . . . . . . . . . 326
Mono-Mono Serial (Mono-Mono) . . . . . . . . . . . . . . . . . . . . . . 328
4 Table of Contents
Double Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Assignable parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
List of Pedal/Footswitch functions . . . . . . . . . . . . . . . . . . . . . . 354
Recognized chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Style Element controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Style and Player controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
Single Touch Settings (STS) controls . . . . . . . . . . . . . . . . . . . . 360
MIDI Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Installing the Korg USB MIDI Driver . . . . . . . . . . . . . . . . . 362
Connecting Pa300 to a personal computer . . . . . . . . . . . . . . . .362
KORG USB-MIDI Driver system requirements . . . . . . . . . . .362
Please note before use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .362
Windows: Installing the KORG USB-MIDI Driver . . . . . . . .362
Mac OS X: Installing the KORG USB-MIDI Driver . . . . . . . .363
Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Technical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . 367
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
6 Welcome!
Welcome!
Welcome to the world of Korg Pa300 Professional Arranger!
Pa300 is a very powerful arranger, suitable both for professional and home entertainment use.
Here are some of the features of your new instrument.
Physical Features and User Experience
• 61 synth-type keys with velocity.
• Slim and compact, lightweight, elegant cabinet design.
• Wide 5" TFT graphic touch screen display. Professional
TouchView™ graphic interface for direct access to the onscreen controls and to the musical resources.
• High-quality integrated amplification, and high-quality output audio converters.
• RX (Real eXperience) Technology, the cutting edge engine that drives every aspect of the Pa300 – from the synthesis to the display and how it all works together.
• A joystick and an assignable pedal ensure total control over the sound.
Sounds and Effects
• Powerful sound generation system, for crystal-clear, realistic sounds.
• 128 voices of polyphony.
• General MIDI Level 2 Sound-compatible. Enhanced Sound compatibility for GM Songs.
• More than 950 Sounds, plus 64 Drum Kits.
• 240 Performance locations, plus 4 Single Touch Settings
(STS) for each Style and SongBook entry, for fast setting of keyboard sounds and effects.
• Four Stereo Master FX, with 125 effect types. Final 4-band
Parametric EQ.
• Edit Sound, to create and edit new Sounds.
Styles and Songs
• Over 300 Factory Styles with 4 Variations and 4 Fill In +
Break, plus 8 Favorite and 3 User Style banks for unlimited storage of your custom Styles and settings.
• Style and Pad Record, including the enhanced “Guitar
Mode 2” for even more realistic guitar parts.
• Guitar Mode 2 tracks, for more realistic guitar tracks.
• Standard MIDI File player and recorder, and MP3 player.
• Lyrics and Score display. Multilingual extended character set. Enhanced compatibility with Lyrics in graphical format
(+G) for Standard MIDI Files and MP3 files.
• Full-featured 16-track sequencer.
• Fully editable SongBook music database, for fast song retrieving.
Other Features
• Search function, for instant retrieving of any musical resource or file.
• Operating System updates, to load new features and enhancements. Don’t let your instrument get old!
• Generous internal memory, to store a great amount of data.
• USB 2.0 High Speed Host port, for connecting external devices like hard disks, CD-ROM drives, USB memory sticks, etc.
• USB 2.0 High Speed Device port, to connect a personal computer to your Pa300. This port can be used for file transfer, and for MIDI connection (without the need of a dedicated MIDI interface).
Welcome!
What’s in the box
7
What’s in the box
After you buy your Pa300, please check that all the following items are included in the package. If any of the following items is missing, please contact your Korg dealer immediately.
• Pa300
• Music stand
• AC power adapter
• Power cable
• Quick Guide
• Accessory Disc (containing the Video Manual, the User
Manual, the USB driver)
About this manual
This manual contains all the informations divided in four sections:
• An Introduction, containing an overview of the instrument and of basic operations.
• A Quick Guide, containing a series of practical guides.
• A Reference Guide, with each page and parameter described in detail.
• An Appendix, with a list of data and useful information for the advanced user.
In addition, in the Accessory Disc and in our web site you will find a multilingual Video Manual, showing how to use your
Pa300 in easy steps.
Contacts
Your preferred Korg dealer not only delivers this keyboard, but also a whole bunch of hardware and software accessories, as well as service information. You should ask them for any help should you eventually need.
Our international web site is www.korg.com
. Korg distributors around the world may have their own web page on the internet.
A list of all Korg Distributors can be found in our dedicated web site ( www.korg.co.jp/English/Distributors/ ).
Making a safety copy of your data
Making a safety copy
In case you like to customize your Musical Resources (Sounds,
Performances and Styles), we suggest you use the Media > Utility
> Backup Resources command to make frequent backup copies into compact archives.
Also, you can use the Media > Save All command to save files that you can separately reload one by one.
Restoring a safety copy
To restore a backup, use the Media > Utility > Restore Resources.
If you saved your data with the Media > Save All command, use the Media > Load operations to reload them.
Restoring the original factory data
In case you want to restore the original factory data, use the
Media > Utility > Factory Restore command.
Warning:
This operation will overwrite all the Factory, Local,
Favorite and User data!
Loading the Operating System
Your Pa300 can be constantly updated as new versions of the operating system are released by Korg. You can download the operating system from our web site is www.korg.com
. Please, read the instructions supplied with the operating system on the site.
You can see which version of the operating systems is installed in your Pa300 by going to the Media > Utility page.
Warning:
Do not install an OS other than the official OS supplied by Korg for the Pa300. Trying to install an OS created for different models or downloaded from unofficial web sites may cause data loss and permanent damage to the instrument. Korg is not responsible for any damage caused by improper installation of the OS.
8 Overview
Front Panel
Overview
Front Panel
Music stand holes
A music stand comes standard with your Pa300. Insert its legs into these two dedicated holes.
Speakers
The integrated speakers give a faithful reproduction of the sound of Pa300. They are automatically deactivated when inserting a jack into the PHONES/AUDIO OUT connector.
Joystick lever
The joystick is on the left side of the front panel.
JOYSTICK
This joystick triggers different functions, depending on the direction it is moved towards.
X (+/–) Move the joystick towards the left (–) to lower the pitch, or towards the right (+) to raise it. This effect is called the Pitch Bend.
Y+ Move the joystick forward to trigger Modulation
Y– Move the joystick backward, to trigger the assigned function.
Overview
Front Panel
9
Volume controls
Use these knobs to control the master volume, and to balance between the Keyboard and the Style or the Song.
MASTER VOLUME
This knob controls the overall volume of the instrument, both of the integrated speakers and the PHONES/AUDIO OUT connector.
BALANCE
While in Style Play and Song Play mode, this knob usually balances the volume of the Keyboard (KBD) tracks against the Style
(ACC, Accompaniment), Song and Pad tracks. This is a relative control, whose effective maximum value is determined by the
MASTER VOLUME knob position.
When moved, a magnified version of a virtual slider appears in the display, for more accurate adjustment.
Note:
This does not work in the Sequencer mode.
Mode selection
Each of these buttons recalls one of the instrument’s operating modes. When selected, each mode excludes all the others.
STYLE PLAY
Style Play mode, where you can play Styles (eight tracks of automatic accompaniments) and play up to four Keyboard tracks and four Pad tracks. In the main page, Keyboard tracks are shown in the right half of the display.
You can recall the main page by pressing EXIT from any of the
Style Play edit pages. If you are in a different operating mode, press STYLE PLAY to recall the Style Play mode. If Keyboard tracks are not shown in the display, press the TRACK SELECT button until you can see them.
10 Overview
Front Panel
This operating mode is automatically selected when turning the instrument on. The “My Setting” Performance will be automatically selected.
SONG PLAY
Song Play mode, where you can play back Songs in Standard
MIDI File (SMF or KAR) or MP3 format. In addition to the Song tracks, you can play up to four Keyboard tracks and four Pads along with the Song. In the main page, Keyboard tracks are shown in the right half of the display.
You can recall the main page of this mode by pressing EXIT from any of the Song Play edit pages. If you are in a different operating mode, press SONG PLAY to recall the Song Play mode. Use the TRACK SELECT button to cycle between the
Keyboard and Song tracks.
SEQUENCER
Sequencer mode, where you can play, record or edit Songs (in Standard MIDI File format). The Backing Sequence mode lets you record a new Song based on the Keyboard and Style tracks, and save it as a new Standard MIDI File.
Note:
In this mode, you cannot play MP3 files.
DEMO
Press the STYLE PLAY and SONG PLAY buttons together to select the Demo mode. This mode lets you listen to some Demo
Songs, to let you experience the sonic power of the Pa300. To exit from this mode, press any of the MODE buttons.
Special Mode Buttons
These buttons are used to recall settings, file management and the Song Record mode.
GLOBAL
This button recalls the Global mode, where you can adjust various global settings. Most Global settings are automatically memorized as soon as you edit them. This mode overlaps any operating mode, that will still remain active in the background.
Press EXIT to go back to the underlying operating mode.
MEDIA
This button recalls the Media mode, where you can perform various operations on files and storage devices (Load, Save, Format, etc…). This mode overlaps any operating mode, that still remains active in the background. Press EXIT to go back to the underlying operating mode.
The internal memory contains an area where to save data
(“DISK [KORG DISK]”).
RECORD
This button sets the instrument to the Style/Pad Record or Song
Record mode (depending on the current operating mode).
Accompaniment, Memory, Manual Bass
These buttons let you turn all Accompaniment tracks on/off, decide what should remain in memory, and how to play the bass.
ACCOMP. (Accompaniment)
In Style Play and Sequencer-Backing Sequence mode, use this button to turn the Accompaniment tracks (ACC1 ~ ACC5) on or off.
On After pressing START/STOP, the full accompaniment plays and follows the detected chords.
Off No chords detected. After pressing START/STOP, only the Drum and Percussion accompaniment tracks can play.
You can jump to the Global > Mode Preferences > Style
Play page by keeping SHIFT pressed and pressing the ACCOMP button.
MEMORY
This button allows you to choose whether the Lower notes and/ or chord triggering the accompaniment must remain in memory after raising your hand from the keyboard.
On Depending on the setting of the “Memory Mode” parameter (in the Global > Mode Preferences >
Style Play), the sound on the left of the split point
(Lower), and/or the chords for the automatic accompaniment can kept in memory even when you raise your hand from the keyboard.
Off Both the sound and chord are released as soon as you raise your hand from the keyboard.
You can jump to the Global > Mode Preferences > Style
Play page by keeping SHIFT pressed and pressing the MEMORY button.
MAN. BASS (Manual Bass)
This button turns the Manual Bass function on or off.
On The automatic accompaniment stops playing
(except for the Drum and Percussion tracks), and you can manually play the Bass track on the
Lower part of the keyboard. You can start the automatic accompaniment again after pressing this button to turn off the Manual Bass function.
Off The bass track is automatically played by the Style.
Note:
When you press the MANUAL BASS button, the Bass track volume is automatically set to its maximum value. The volume is automatically set back to the original value when the MANUAL
BASS button is deactivated.
Overview
Front Panel
11
Pads
Here you can play (and stop) the Pads, i.e. single sounds or looping sequences.
PAD 1-4
STOP
Each Pad button corresponds to a dedicated Pad track. Use these buttons to trigger up to four sounds or sequences at the same time.
• Press a single PAD button to trigger a single sound or sequence.
• Press more PAD buttons to trigger several sounds or sequences.
The sequences will play up to the end. Then, they will stop or continue repeating, depending on the individual settings.
You can stop all sounds or sequences at the same time, or just some of them:
• Press STOP (in the PAD section) to stop all sequences at once.
• Press a single PAD button to stop the corresponding sequence.
About Pad synchronization. In Style Play mode, Pads are syn-
chronized to the Style’s Tempo. In Song Play mode, they are synchronized to the Player.
Note:
There is no synchronization with MP3 files. Pads can only be synchronized to the Tempo of the latest selected Standard MIDI
Files. Therefore, when an MP3 file is assigned to the Player, Pads will synchronize to the Tempo of the last Standard MIDI File that has been played back.
About Pads and the Player’s Start command. When you press
the START/STOP button to start the Player, all Pads will stop playing.
You can jump to the Style Play > Pad page by keeping
SHIFT pressed and pressing one of the PAD buttons.
Selection
Here you can select a Style, Sound, SongBook entry, or Song.
STYLE
Use this button to open the Style Select window and select a
Style. This is the same as touching the name of the Style in the display. Repeatedly press it to cycle between the Style bank pages.
For each type of Styles there are several banks, that can be selected by touching the side tabs. Each Style bank contains various pages, each with up to eight Styles, that can be selected by touching the lower tabs.
Styles of the Factory type are usually write-protected (unless you uncheck the “Factory Style and Pad Protect” option in the Global
> Mode Preferences > Media page). You can use User locations to temporarily load new Styles from an external device. Favorite locations, too, can be used to load new Styles from an external device, but in addition you can edit the names of these Style banks, so that you can create a custom set of Styles.
By keeping this button pressed for about one second, the
“Write Current Style Settings” dialog box will appear.
SOUND
Use this button to open the Sound Select window and select a
Sound to be assigned to the selected track. This is the same as touching a Sound name in the display. Repeatedly press it to cycle between the Sound bank pages.
For each type of Sounds there are several Sound banks, that can be selected by touching the side tabs. Each Sound bank contains various pages, each with up to eight Sounds, that can be selected by touching the lower tabs.
Sounds of the Factory type are write-protected. Sounds of the
Legacy
type are standard Factory Sounds allowing greater compatibility with older Pa-Series instruments. Factory Sounds of the GM type allow for compatibility with General MIDI sounds.
Sounds of the User type are locations where you can load new
Sounds from an external device. The User DK type is where you can load new Drum Kits.
Some models could include Local-type Sounds, that are Factory
Sounds customized for a particular Country.
Hint:
The page menu of the Sound Select window contains a command to access Sound editing, and customize your Sounds.
SONGBOOK
The SongBook is a database of song titles, that can automatically choose the more appropriate Style, Standard MIDI File or MP3 file for you.
Press this button to open the SongBook (when you are in Style
Play or Song Play mode). While the SongBook is shown on the display, you can browse through the music database.
By keeping this button pressed for about one second, a new
SongBook Entry with the current settings is added to the database. You will be able to give it a name and save.
You can jump to the SongBook > Custom List page by keeping SHIFT pressed and pressing the SONGBOOK button.
SONG
Press this button to open the Song Select window and choose a
Songs. This is the same as touching the Song name in the display.
12 Overview
Front Panel
Style Elements
This section contains the separate elements of a Style (Intro,
Variation, etc.).
Style Controls
Use these buttons to start/stop the accompaniment.
INTRO 1-3 buttons
These buttons turn the corresponding Intro on. Intro 1 plays a sequence including a chord progression, while Intro 2 plays a fixed chord. Intro 3 is usually a one-bar Count In.
After pressing one of these buttons, start the Style, and it will begin with the selected intro. The INTRO LED will automatically go off at the end of the intro.
At the end of the Intro, the Variation whose LED was blinking will be selected.
Press one of the INTRO buttons twice (LED blinking) to let the corresponding Intro play in loop, and select any other Style element (Intro, Variation, Ending) to exit the loop.
VARIATION 1-4 buttons
Each of these buttons selects one of the four Variations of the current Style. The higher the Variation number, the denser the arrangement.
You can jump to the Style Play > Drum Map page by keeping SHIFT pressed and pressing one of the VARIATION buttons.
AUTO FILL
This button allows to turn the Auto Fill function on or off.
On
Off
When selecting a different Variation, the Fill having the same number of the previous Variation is automatically selected. For example, if going from
Variation 2 to Variation 3, Fill 2 is automatically selected.
When choosing a Variation, no fill is selected.
BREAK
This button triggers a break. Press it twice (LED blinking) to let it play in loop. Press it again or select any other Style Element
(Intro, Variation, Ending) to exit from the loop.
ENDING 1-3 buttons
These buttons trigger the corresponding Ending. Ending 1 plays a sequence including a chord progression, while Ending 2 plays a fixed chord. Ending 3 starts immediately, and is just two measures long.
While the Style is running, these three buttons trigger an Ending, and stop the Style. Press one of them, and the Style will stop running with an Ending.
Press them twice (LED blinking) to let them play in loop, and select any other Style element (Intro, Variation…) to exit the loop.
START/STOP
Starts or stops the Style.
You can reset all ‘frozen’ notes and controllers on the
Pa300 and any instrument connected to its MIDI OUT or the USB
Device port, by using the “Panic” (SHIFT + START/STOP) key combination. Just press SHIFT + START/STOP to stop all notes and reset all controllers.
SYNCHRO START / STOP button
These buttons turn the Synchro Start and Synchro Stop functions on or off. With this feature, you can choose to press the
START/STOP button to start and/or stop a Style, or just play the keyboard in the Chord Scan area.
Start On, Stop Off
In this situation, just play a chord in the chord recognition area to automatically start the Style. If you like, turn one of the INTROs on before starting the Style.
Start On, Stop On
When both LEDs are lit, raising your hands from the keyboard will momentarily stop the Style. If you play a chord again, the Style will start again.
Start Off, Stop On
In this case, raising your hands from the keyboard will stop the Style.
Start Off, Stop Off
All Synchro functions are turned off.
You can jump to the Global > MIDI > Setup/General Control by keeping the SHIFT button pressed and pressing the SYN-
CHRO START/STOP button.
TAP TEMPO/RESET
This is a double-function button, acting in a different way depending on whether the Style is running or not.
Note:
This button only works while in Style Play mode.
Tap Tempo: When the Style is not playing, you can “beat” the
tempo on this button. Tap as many times as the Time Signature’s numerator (for example, four times with a 4/4 Time Signature, or three times with a 3/4 one). At the end, the accompaniment starts playing, using the “tapped in” tempo.
Reset: If you press this button while the Style is playing back, the
Style pattern goes immediately back to the beginning of measure
1.
Display and Brightness Controls
Overview
Front Panel
13
STS Section
Use the STS (Single Touch Settings) buttons to assign Sounds to the keyboard.
COLOR TOUCHVIEW™ GRAPHICAL DISPLAY
Use this display to interact with the instrument. To adjust the display brightness, keep the MENU button pressed, and turn the
DIAL counter-clockwise to make the display darker, or clockwise to make it brighter.
Special Function Controls
Use the TRACK SELECT, SEARCH and SHIFT buttons to choose special functions.
STS 1-4 buttons
These buttons allow to select up to four Single Touch Settings
(abbreviated as STS). Each one of the Styles and SongBook
Entries includes four Single Touch Settings (STS), to automatically configure Keyboard tracks and effects at the touch of a finger.
By keeping one of these buttons pressed for about one sec-
ond, the “Write Single Touch Setting” dialog box will appear.
Note:
STS contained inside Factory Styles are usually write-protected (unless you uncheck the “Factory Style and Pad Protect” option in the Global > Mode Preferences > Media page)
Player Controls
Pa300 is equipped with a Standard MIDI File and MP3 Player. Its controls can be used in Song Play and Sequencer mode.
TRACK SELECT
Depending on the operating mode, this button switches between the various track views.
STYLE PLAY MODE
Toggles between Keyboard and Style tracks.
SONG PLAY MODE
Toggles between Keyboard tracks, Song tracks 1-
8, and Song tracks 9-16.
SEQUENCER MODE
Toggles between Song tracks 1-8 and Song tracks
9-16.
SEARCH
Press this button to open the Search window, and look for a specified file or musical resource. The Search window appears slightly different depending on the current context.
SHIFT
With this button held down, pressing certain other buttons gives access to a second function. The list of shortcuts is in the Appendix.
<< and >>
Rewind and Fast Forward commands. If you use them while the
Song is in play, they make it scroll back or forward.
When pressed once, these buttons move the Song to the previous or following measure (with a Standard MIDI File) or to the previous or next second (with an MP3 file). When kept pressed, they make the Song scrolling continuously until released.
In Sequencer mode, if you set a “Start from” measure other than
1, when pressing the << button the Song will rewind up to that
measure instead of the first one (see page 124).
In Jukebox mode, keep the SHIFT button pressed, and press these buttons to scroll to the previous or next Song in the
Jukebox list.
(HOME)
Sends the Song Position back to measure 1 (i.e., the beginning of the Song).
In Sequencer mode, if you set a “Start from” measure other than
1, the Song Position will go back to that measure (see page 124).
(START/STOP)
Starts the Song from the current Song Position, or stops it at the current Song Position.
14 Overview
Front Panel
Lyrics, Score
Use this button to access the Lyrics and Score pages.
LYRICS/SCORE
When a Style is selected, this buttons recalls the Lyrics page, or exits from it.
When a Song is selected, it cycles through the Lyrics and Score pages. Press it a first time to see the Lyrics page, a second time to see the Score page. Press it again to return to the main page.
Data Entry and Navigation
The VALUE DIAL can be used to assign a different value to the parameter selected in the display, or to scroll a list of files in the
Song Select, Song-
Book, Search and
Media pages.
VALUE DIAL
Turn the dial clockwise to increase the value of the selected parameter. Turn it counter-clockwise to decrease its value.
When used while pressing the MENU button, this control always acts as a Display Brightness control.
EXIT
Use this button to perform various actions, leaving from the current status:
• exit the edit menu page, without selecting any item
• make the page menu disappear, without selecting any item
• return to the main page of the current operating mode
• exit the Global or Media edit environment, and return to the current page of the current operating mode
• exit from the SongBook mode
• exit from the Lyrics and Score pages
• exit from a Style, Pad, Performance or Sound Select window
MENU
This button opens the edit menu page for the current operating mode. After opening an edit menu, you can jump to one of the edit sections by touching the corresponding button in the display.
Otherwise, press EXIT to return to the main page of the current operating mode, or the current page of the underlying operating mode.
Tempo Section
The TEMPO and METRO buttons can be used to control the
Tempo.
TEMPO +/– buttons
TEMPO– decreases the speed of the Style or Song. TEMPO+ increases it.
Press both buttons together to reset the Tempo to the value memorized in the Style or Standard MIDI File. With MP3 files, the original speed of the file is recalled (value reset to “0”).
TEMPO LOCK
This button turns the Tempo Lock function on or off.
On When you select a different Style or Performance, or select a different Song, the Tempo will not change. You can still manually change it, by using the TEMPO +/– buttons, or select the Tempo value and change it by using the VALUE dial.
Off When you select a different Style, or select a different Song, the memorized Tempo will be automatically selected.
Note:
This button does not work with MP3 files.
You can jump to the Global > Lock page by keeping
SHIFT pressed and pressing this button.
METRO
Use this button to turn the Metronome click on or off. The metronome uses the same time signature as the latest selected Style or Standard MIDI File.
You can jump to the Global > General Controls > Basic page by keeping SHIFT pressed, and pressing this button.
Split
Splitting the keyboard allows for separating the chords area from the melody.
SPLIT
In Style Play, Song Play and Sequencer-Backing
Sequence mode, use this button to choose how the four Keyboard tracks are positioned on the keyboard, and how chords are recognized by the arranger.
Note:
The ACCOMP LED must be turned on for the accompaniment to play.
On The Lower track plays below the split point, while the Upper 1, Upper 2 and Upper 3 tracks play above it. This is called the Split keyboard mode.
By default, turning on the Split mode automatically selects the Lower chord scanning mode. In this mode, chords are detected below the split point. The number of notes you should play to
form a chord is defined by the “Chord Recognition” parameter.
Off The Upper 1, Upper 2 and/or Upper 3 tracks play over the whole keyboard range. The Lower track does not play. This is also called the Full keyboard mode.
By default, turning off the Split mode automatically selects the Full chord scanning mode. In this mode, chords are detected over the full keyboard
Overview
Front Panel
15
range. You must always play three or more notes to let the arranger recognize a chord.
By keeping this button pressed for about one second, the
Split Point window appears. When there, play the new split point on the keyboard.
Ensemble
The Ensemble function automatically harmonizes the melody played with the right hand.
ENSEMBLE
This button turns the Ensemble function on or off.
When on, the right-hand melody is harmonized with the lefthand chords.
Note:
The Ensemble function only works when the keyboard is in
SPLIT mode.
You can jump to the Style Play > Keyboard/Ensemble page by keeping SHIFT pressed and pressing the ENSEMBLE button.
Performance Select Section
Use these buttons to select a Performance. Performances memorize all Sounds assigned to the keyboard and most control panel settings.
Transpose Section
Use these buttons to transpose the Sounds of the single tracks, or the instrument as a whole.
UPPER OCTAVE
Use these buttons to transpose the Upper tracks in steps of one whole octave (12 semitones; max ±3 octaves). The octave transposition value is always shown (in octaves) next to the Sound’s name.
–
+
Press both buttons together, to reset the Octave Transpose to the saved value.
Lowers the selected track by one octave.
Raises the selected track by one octave.
You can jump to the Style Play > Tuning page by keeping
SHIFT pressed and pressing one of the UPPER OCTAVE buttons. Hint: Go to the Tuning page to separately transpose each track.
TRANSPOSE
These buttons transpose the whole instrument in steps of one semitone (Master Transpose). The transpose value is usually shown in the page header.
MY SETTING
This is a special direct-access Performance, that is automatically selected when the instrument is turned on. When pressing this button, the Performance is immediately selected.
Keep this button pressed for about one second to save the current settings into the My Setting Performance.
PERFORMANCE buttons
Use these buttons to open the Performance Select window, and select a Performance.Each Performance bank contains five pages, each with up to eight Performances. Repeatedly press a
PERFORMANCE button to cycle between the available pages.
All Performances can be freely customized, by accessing the edit pages of the Style Play and Song Play modes by pressing the
MENU button.
By keeping one of these buttons pressed for about one sec-
ond, the “Write Performance” dialog box will appear.
Press both buttons together, to reset the Master Transpose to zero.
Note:
You can also transpose MP3 files. Keep in mind, however, that transposition always remains inside the range -5…+6 semitones. This range is enough to cover all keys, but allows to avoid excessive audio degradation. Any further transposing will be reversed to fit the range. So, you might see a +7 transpose value
(Just Fifth Up) shown in the display, but the MP3 will actually play
5 semitones lower (Just Fourth Down).
♭
Lowers the Master Transpose in steps of one semitone.
♯
Raises the Master Transpose in steps of one semitone.
You can jump to the Global > Transpose Control page by keeping SHIFT pressed, and pressing one of the TRANSPOSE buttons.
16 Overview
Front Panel
Power On/Off
POWER
Use this button to let the instrument exit (LED off) or enter (LED on) standby.
Press it briefly to let the instrument exit standby.
Keep it pressed for about one second to let it enter standby.
Warning:
When the instrument is in standby mode, it is still connected to the power line. Accessing the inside of the instrument can be dangerous. To completely disconnect the instrument from the power, unplug the power plug from the power socket on the wall.
Note:
To avoid wasting power, Pa300 will by default automatically enter standby mode after two hours of non-active use (playing, pressing buttons or using the touch-screen). Please save your data
(Performances, Styles, Songs, and so on) before taking a prolonged pause. You can change the auto power-off timer in Global > General Controls > Date & Power.
Overview
Rear Panel
17
Rear Panel
USB-HOST
This is a USB Type A (Master/Host) connector, USB 2.0 compliant (High Speed only – to connect older, slower USB devices, please use an USB hub). Use it to connect to the Pa300 an USB Flash Memory stick, an external CD-ROM drive, an USB hard disk. You can access the connected device in the Media mode.
USB-DEVICE
This is a USB Type B (Slave/Device) connector, USB 2.0 (High
Speed). Use it to connect the Pa300 to a personal computer, and transfer data to/from its internal memory (Disk). You can enable
USB connection in the “USB” page of the Media mode.
MIDI over USB is supported, so you can use this connector instead of the MIDI ports found on older devices. The drivers for PC and Mac, needed to make full use of this type of connection, are supplied in the Accessory Disc that comes with the instrument, or can be downloaded from our web site.
PEDAL/DAMPER
Use this port to connect a footswitch or Damper pedal, like the (optional) Korg PS1, PS3 or DS1H, or a continuous/expression pedal, like the
(optional) Korg EXP2, XVP10. To program and calibrate it, or to change its polarity, go to the
Controllers > Foot Controllers page of the Global mode.
PHONES/AUDIO OUT
Use this connector to connect a pair of headphones, or to send the audio signal (sound) to a mixer, a PA system, a set of powered monitors, or your hi-fi system.
You can select the type of connection by using
the “Level” parameter in the Global > Audio & EQ > MP3/Output page (see page 161).
When the Headphone option is assigned to the “Level” parame-
ter, you can connect headphones. You can use headphones with an impedance of 16-200 Ohms (50 Ohms suggested).
When the Line Out option is assigned to the “Level” parameter,
you can connect a line-level device to this connector. Use a stereo jack to send the final stereo mix to an external device. Connect the other end of the cable to a stereo channel of your mixer, two mono channels, two powered monitors, or the CD, LINE IN or TAPE/AUX input of your audio system. Don’t use the
PHONO inputs of your audio system!
Adjust the output level with the MASTER VOLUME knob.
DC IN 15V power adapter connector
Plug the supplied power adapter into this connector. When the cable is connected, the instrument is in standby mode. To let it enter or exit standby, use the POWER switch located on the front panel.
Warning:
When the instrument is in standby mode, it is still connected to the power line. Accessing the inside of the instrument can be dangerous. To completely disconnect the instrument from the power, unplug the power plug from the power socket on the wall.
Cable holder
Fix the power cable to this hook, to avoid cable jamming.
18 Glossary of Terms
Sound
Glossary of Terms
Before you begin, take a few moments to familiarize yourself with the names and terms we will be using to talk about the various elements of the Pa300.
In this section, you will find a brief description of various key elements of the Pa300. A professional arranger (Pa) keyboard uses different terminology than a traditional synthesizer or workstation. By familiarizing yourself with the names and functions in this section, you will get a better understanding of how all the different parts of the Pa300 work together to create a realistic musical performance. This will also help you to get the most out of the rest of the manual.
Sound
A Sound is the most basic unit of an Arranger Keyboard performance. A Sound is basically a playable instrument timbre (piano, bass, sax, guitar…) that can be edited, saved, recalled and assigned to any track. In the Style Play, Song Play or Sequencer mode, Sounds may be freely assigned to Sequencer tracks, Style tracks, or Keyboard tracks.
Style
The Style is the heart of a professional arranger keyboard. At its basic level, a Style will consist of up to eight parts, or “Tracks”.
Drums
The Drum track will provide a repeating rhythmic phrase, played by the standard instruments of a Drum Kit.
Percussion
An additional rhythmic phrase played by various percussion instruments (conga, shaker, cowbell, etc.) is provided by the Percussion track.
Bass & Accompaniment
The Bass track and the (up to) five additional Accompaniment tracks will each play musical phrases that are musically related to and in sync with the Drum and Percussion tracks. However, the notes being played by these tracks will change to follow the chord progression that you play on the keyboard.
Again, any Sound you choose may be assigned to any track in a
Style.
Variation
For each Style, there are four Variations, to be used for the Verse,
Bridge and Chorus of a song. In general, each Variation is a slightly different version of the others. As you progress from
Variation one to Variation four, the arrangements will become more complex, and more parts (Tracks) may be added. This allows your performance to have a more dynamic arrangement, without losing the original “feel” of the Style.
Fill-in & Break
During a performance, a drummer may often perform a “fill” such as when transitioning from a verse to a chorus – adding extra dynamics and keeping the beat from getting too repetitive.
The Pa300 offers four Fill-ins specifically programmed for each
Style, that may be automatically recalled when choosing the corresponding Variation (Auto Fill). A Fill-in may be drums alone or drums with instrumentation. Then, there is even a silent
“break”.
Intro & Ending
Each Style also allows you to complete your performance with a set of musical introductions and endings. A long and short version of the Intro and Ending are usually provided, with the former more harmonically elaborated, and the latter with a fixed chord. A “count-in” Style Intro is also provided, as well as the quick Ending 3.
Pad
Pads are single sounds or single-track patterns, that can be triggered by using the dedicated PAD buttons. They can be used to play single sounds, as well as short, cycling sequences that play in time with the Style or Standard MIDI File, and are transposed according to the recognized chords.
Keyboard tracks
Up to four parts can be played on the keyboard in real-time.
Three of them (Upper) can be layered and played over the full keyboard. They can also be used to created particular sound configurations: each of these Keyboard tracks can be limited to a particular range of keys or velocities, but in general up to three can be assigned to play above the split point (Upper), and one below (Lower). This allows the Upper Sounds to be layered together. The split point can be set to any note on the keyboard.
In addition to performing along with a Style, these same Keyboard tracks will allow you to play along with the Player.
Glossary of Terms
Performance and STS
19
Ensemble
By turning the Ensemble feature on, a single note played on one of the Keyboard tracks will be embellished by additional notes to create a complete chord voicing. The Ensemble knows which notes to add by looking at the chord that you are playing. In addition, the Ensemble parameters allow you to select the type of voicing that will be added – from a simple one-note harmony to a full “Brass” section – even a marimba-style trill!
The LOGO decoder
On the front panel of your Pa300 you have probably noticed a series of logos, and may have even wondered what they stand for.
Well, here is a quick explanation of each one.
Performance and STS
The Performance is the most encompassing setting on the Pa300
– a single setting that can remember the Keyboard tracks (with all the appropriate sounds) and all their transposition, effects, etc… A Performance can be stored in one of the Performance bank locations.
Single Touch Settings (STS) are similar to Performances, but are associated to a Style or SongBook Entry.
General MIDI (GM) is a standard that ensures the compatibility of sounds and messages between GM compatible instruments available from different manufacturers. For example, sequenced songs created on any GM equipped product and saved in the GM format will playback correctly on the Pa300.
General MIDI 2 extends the basic features of the General MIDI, allowing for 256 Sounds and 9 Drum Kits (instead of 128 and 1).
RX Technology is the cutting edge engine that drives every aspect of the Pa300 – from the synthesis to the display and how it all works together.
Sequencer
The Sequencer acts as a recorder, so you can capture and playback your performances. The Pa300 sequencer can function in different modes. In the Backing Sequence mode, each Style element and each Keyboard and Pads element can be recorded on a separate track in a single pass. This can be a big help in getting a song recorded quickly. The sequencer can also behave as a traditional 16-track linear sequencer, where each track is recorded individually one at a time.
TouchView is the sophisticate technology allowing for touching the objects in the display, instead of pointing to them through an external device (a mouse, a series of buttons). Go straight to the musical elements, instead of catching keys somewhere on the control panel.
Player
The Player lets you playback your performances or any Standard
MIDI File or MP3 file.
20 Interface basics
Color TouchView graphical user interface
Interface basics
Color TouchView graphical user interface
Pa300 features our exclusive easy-to-use TouchView graphic interface, based on a touch‐panel LCD screen. By touching items on the LCD screen, you can select pages, tabs, and parameters, and set parameter values via on‐screen menus and buttons. Here are the basic elements of the user interface.
Menus and sections
Pages are grouped in sections, to be selected by touching the corresponding buttons in the Edit menu that opens up when you press the MENU button.
Overlapping windows
Several windows, like the Style Select or Pad Select, the Global, the Media, or the Lyrics, overlap the current window. After you select an item in the window, or press the EXIT button, the window closes, and the underlying page is shown again. (The following example is the Sound Select window).
Dialog boxes
Similar to selecting windows, dialog boxes overlap the underlaying page. Touch one of the button on the display to give Pa300 an answer, and the dialog box will close.
Pages
Parameters are grouped into separate pages, to be selected by touching the corresponding tabs on the lower area of the display.
Page menus
Touch the icon on the upper right corner of each page, and a menu with suitable commands for the current page will appear.
Touch one of the available commands to select it. (Or, touch anywhere else on the screen to make it disappear, with no command selected).
Interface basics
Color TouchView graphical user interface
21
Pop-up menus
When an arrow appears next to a parameter name, touch it to open a pop-up menu. Select any of the available options (or anywhere else on the screen to make the menu disappear).
Editable names
When the (Text Edit) button appears next to a name, touch it to open the Text Edit window and edit the name.
Checkboxes
This kind of parameters are on/off switches. Touch them to change their status.
= On
= Off
Numeric fields
When a numeric value can be edited, touch it a second time to open the Numeric Keypad.
The virtual keyboard works exactly as a personal computer’s keyboard. Some of the symbols are context-sensitive, and only appear when they can actually be used.
Lists and scrollbars
Files on storage media, as well as other kinds of data, are shown as lists. Use the scrollbar to scroll the list content. Also, you can use the VALUE DIAL to scroll.
The virtual numeric keypad works exactly as the numeric keypad of a personal computer.
As an alternative, touch a numeric field and keep it held. Then move your fingers up (or right) to increase the value, or move it down (or left) to decrease it.
List Scrollbar
When the Name label is selected, keep the SHIFT button pressed while touching one of the arrows on the scrollbar, to scroll to the next or previous alphabetic section.
Virtual sliders
To change a virtual slider’s position, select it, then use the
VALUE dial to change its position. As an alternative, touch a slider with your fingers and keep it held; then move it up or down to change its position.
This also includes the Tempo numeric field in the main page of the Style Play, Song Play, and Sequencer modes.
22 Interface basics
Operative modes
Virtual knobs
To change a virtual knob’s position, select it, then use the VALUE dial to change its position. As an alternative, touch a knob with your finger and keep it held; then move your fingers up (or right) to rotate it clockwise, or move it down (or left) to rotate the knob counter-clockwise.
Operative modes
The pages of Pa300 are grouped in various operating modes.
Each mode is accessed by pressing the corresponding button in the MODE section on the control panel.
Each operating mode is marked with a different color code, that helps you understand at first sight where you are.
Two special modes (Global and Media) overlap the current operating mode, that remains active in the background.
The Song Record mode can be accessed from the Sequencer mode, and allows for creating new Songs.
Icons
Various icons help identifying the type of a file, a Song, a folder.
For example:
Folder
File of Style bank
Standard MIDI File
Selected, highlighted items
Any operation on parameters, data or list entries, is executed on highlighted items. First select the parameter or item, then execute the operation.
Non-available, grayed-out parameters
When a parameter or command is not currently available, it is shown in grey on the display. This means it cannot be selected, but may become available when a different option is selected, or you switch to a different page.
Shortcuts
Some commands or pages can be recalled by keeping the SHIFT button pressed, and pressing other buttons or elements in the display. Some others can be accessed by keeping a button pressed for more than one second. See the “Shortcuts” chapter on page
“Shortcuts” on page 364 for a list of available shortcuts.
Easy Mode 23
Easy Mode
If you have never used an arranger before, we suggest you to switch to the Easy Mode. Easy Mode allows you to play Styles and Songs with a simple user interface, free from the many advanced parameters that you will want to learn later.
Turning the Easy Mode on
Touch the little rectangle on the top right corner of the display, to open the page menu:
Touch the “Easy Mode” menu item, to make the checkmark appear:
At this point, the Easy Mode has been activated, and the elements in the display appear less crowded:
The page menu
Turning the Easy Mode off
Reverse the above operation when you want to deactivate the
Easy Mode.
24 Easy Mode
The Style Play page in detail
The Style Play page in detail
To see this page, press the STYLE PLAY button.
Style name and info. Touch the Style’s name to open the Style Select window and choose a different Style.
Sounds assigned to the right hand (UP1 to UP3) and to the left hand (LOW). Touch the Sound’s name to open the Sound Select window and choose a different Sound.
Sound icon and status. If the
icon appears, the Sound is in mute and cannot be heard. If the icon does not appear, the
Sound is in play and can be
Tempo. Use the
TEMPO buttons to change it.
Length of the accompaniment pattern, and current beat.
Performance or STS. Touch it to open the Performance Select window and choose a different Performance.
Sounds on the keyboard will change.
Split Point. Touch here and play a note to set the new split point.
Mixer. Touch here, and mix the track’s volume and pan.
Effects. Touch here and choose the effects assigned to the vari- ous tracks.
Single Touch Settings (STS). Touch one of them to choose it, or use the dedicated buttons on the control panel. Sounds on the keyboard will change.
Notes:
• There are three Sounds for the right hand (Upper 1, Upper 2,
Upper 3), and a single Sound for the left hand (Lower). Their names are abbreviated as UP1, UP2, UP3, LOW, and are shown on the right side of the display.
• Right hand (Upper) and left hand (Lower) Sounds are separated by the Split Point.
• Performances and STSs are collections of Sounds. Just choose one of them to change all the keyboard’s Sounds.
• Choose a Style to change the musical style of the accompaniment patterns.
Easy Mode
The Song Play page in detail
25
The Song Play page in detail
To see this page, press the SONG PLAY button.
Song assigned to the Player. Touch it to open the
Song Select window and choose a different Song.
Tempo. Use the
TEMPO buttons to change it.
Meter (or Time Signature) and current beat.
Sounds assigned to the right hand (UP1 to UP3) and to the left hand (LOW). Touch the Sound’s name to open the Sound Select window and choose a different Sound.
Sound icon and status. If the
icon appears, the Sound is in mute and cannot be heard. If the icon does not appear, the
Sound is in play and can be
Current measure.
Split Point. Touch here and play a note to set the new split point.
Performance or STS. Touch it to open the Performance Select window and choose a different Performance.
Sounds on the keyboard will change.
Mixer. Touch here, and mix the track’s volume and pan.
Effects. Touch here and choose the effects assigned to the vari- ous tracks.
Single Touch Settings (STS). Touch one of them to choose it, or use the dedicated buttons on the control panel. Sounds on the keyboard will change.
Notes:
• As in Style Play mode, there are three Sounds for the right hand
(Upper 1, Upper 2, Upper 3), and one Sound for the left hand
(Lower). Their names are abbreviated as UP1, UP2, UP3, LOW, and are shown in the right side of the display.
• Right hand (Upper) and left hand (Lower) Sounds are separated by the Split Point.
• Performances and STSs are collections of Sounds. Just choose one of them to change all the keyboard’s Sounds.
• Available STSs depend on the Style or SongBook Entry you last selected.
• Touching a Song name in the display is the same as pressing the
SONG button in the SELECTION section of the control panel.
26 Easy Mode
The Song Play page in detail
28 Turning the instrument on
Turning the instrument on and viewing the main screen
Turning the instrument on
First of all, turn the instrument on and familiarize with the main screen. You can also listen to the demos.
Display Power button
Turning the instrument on and viewing the main screen
1
Turn Pa300 on (exit from standby) by pressing the POWER button located in the control panel.
After you turn the instrument on, a welcome screen is shown for some seconds, then the main display appears.
2
When you want to put Pa300 to standby, keep the POWER button pressed for about one second, and release it when the screen appears dimmed.
After having pressed the POWER button, the display brightness will be dimmed. At this point, the shutdown procedure will begin and last for a few seconds. Please do not disconnect the power cable during this procedure.
Connecting and calibrating the Damper pedal
Programming the Damper pedal
29
Connecting and calibrating the Damper pedal
If you want to play Piano, you will want to connect a Damper pedal to sustain notes while playing.
You can connect a Korg PS1, PS3 or DS1H to the PEDAL/DAMPER connector on the back of the instrument.
Damper/Assignable pedal connector
Programming the Damper pedal
Calibrating the Damper pedal will let you use the full run of the pedal, without “dead spots”. Also, this might be the only way to connect a third-party Damper pedal that seems to work in reverse, sustaining the notes when they are not pressed!
1
Connect the Damper pedal to the PEDAL/DAMPER connector on the back of the instrument.
2
Press the GLOBAL button to access the Global mode.
Menu of the Global mode
Global mode is where you can set some global parameters, like this one or the Master Tuning.
These settings are not tied to any specific operative mode, so they are programmed in these separate pages.
3
Touch the Controllers button to access the Controllers section of the Global mode.
If you have not yet chosen a different page, the “Hand Controller” page will appear (being the first one in the Controllers section).
30 Connecting and calibrating the Damper pedal
Programming the Damper pedal
4
Touch the Foot Contr. tab to select the “Foot Controllers” page.
This is the page where you can program the PEDAL/DAMPER connector, by assigning it one of the available functions.
5
Be sure the Damper function is assigned to the “Function” parameter.
6
Touch the “Calibration” button, to make the “Damper & Pedal/Footswitch Calibration” dialog box appear.
7
Fully press the Damper pedal down, and while continuing to press touch the “Push” button to confirm the maximum value.
8
When the following dialog box appears, release the pedal.
9
Touch the “Push” button in the display to confirm the minimum value.
Check if the pedal is working properly. In case it isn’t, repeat the procedure.
10
Press the EXIT button to return to the previous operative mode.
Playing the Demo
Starting and stopping the Demo
31
Playing the Demo
Listen to the built-in Demo Songs to appreciate the power of Pa300. There are several Demo Songs to choose from.
Demo buttons
Starting and stopping the Demo
Here is how to start, choose and stop the Demo Songs.
1
Press the STYLE PLAY and SONG PLAY buttons together.
The LED of the two buttons will start blinking. Pa300 will be set in Demo mode.
At this point, if no other button is pressed, a selection of the best Demo Songs will be played back.
2
In case you want to listen to a specified Demo Song, select one of the available options on the display (Full Songs, Solo Instruments, Styles).
32 Playing the Demo
Starting and stopping the Demo
3
Choose one of the Demo. To stop it, touch the STOP button on the display.
4
Exit from the Demo mode by pressing any one of the MODE buttons.
Playing Sounds
Selecting a Sound and playing it on the keyboard
33
Playing Sounds
You can play up to three sounds at the same time on the keyboard. You can also split the keyboard in two parts, to play up to three sounds with your right hand (Upper) and one with your left hand
(Lower).
Split button
Sound Select button
Performance section
Selecting a Sound and playing it on the keyboard
1
Be sure the Upper 1 track is selected and set to play.
A selected track is shown with a white background. In this example, the Upper 1 track is selected. If it is not selected, touch it once to
select it.
The fact that there isn’t a icon over the bank icon means that the Upper 1 track is set to play. If it is muted, touch the
bank icon to set it to play.
i
Note: Be sure tracks
Upper 2 and Upper 3 are muted and are not playing. If you hear more than one
how to mute tracks.
2
If you want to play the Sound on the whole keyboard, be sure the keyboard is in Full
Upper mode (i.e., the SPLIT LED is turned off). If it is split in two parts, press the SPLIT button to turn its LED off.
(Full) Upper
34 Playing Sounds
Selecting a Sound and playing it on the keyboard
3
Touch the Upper 1 track’s area in the display to open the Sound Select window.
Type of Sounds.
The currently selected Sound appears in the page header.
Target track for the selected Sound
Sound’s name
i
Note: You can also open the Sound Select window by first touching the track to which to assign the new
Sound, then pressing the
SOUND button in the SELEC-
TION section.
Sound bank icon
The selected Sound is highlighted.
Touch a Sound’s name to select it.
Touch one of the side tabs to select a different Sound bank.
Touch one of the lower tabs to select a different Sound page.
A Previous and Next Page pair of button may appear in this area, when more than six pages are available.
As an alternative, repeatedly press the SOUND button to cycle between the pages.
4
Select a Sound from the Sound Select window, then press the EXIT button to close the window.
The Sound Select window closes, and the main screen appears again, with the selected
Sound assigned to the
Upper 1 track.
5
Play the Sound on the keyboard.
i
Note: Selection windows may automatically close after a selection. To do this, uncheck the “Display Hold” box in the Global > General
Controls > Interface page. In this case, press the EXIT button only if you don’t make any selection but want to close the window.
Playing Sounds
Playing two or three Sounds at the same time
35
Playing two or three Sounds at the same time
You can layer all three Upper tracks and play them on the keyboard.
Please note how the icon appears in the Upper 2 and Upper 3 status boxes.
These tracks will not be heard.
1
Touch the icon in the Upper 2 status box, to set the Upper 2 track to play.
After touching in this area, the disappears. The
icon
Upper 2 track will be set to play and will be heard.
2
Play the keyboard.
Note how the ‘Dark Pad’ Sound (assigned to the Upper 2 track) has been layered with the ‘Grand Piano RX’ (assigned to the Upper 1 track).
3
Touch the icon in the Upper 3 status box, to set the Upper 3 track to play.
As above, after touching in this area, the
icon disappears. The Upper 3 track will be set to play and will be heard.
4
Play the keyboard.
Note how the ‘Strings Ens.2 GM’ Sound (assigned to the Upper 3 track) has been added to the ‘Dark Pad’ (assigned to the Upper 2 track) and the ‘Grand Piano RX’
(assigned to the Upper 1 track).
5
Touch the bank icon in the Upper 3 status box, to mute the Upper 3 track again.
36 Playing Sounds
Playing two or three Sounds at the same time
6
Play the keyboard.
Note how the ‘Strings Ens.2 GM’ Sound (assigned to the Upper 3 track) has been muted again. Only tracks Upper 1 and Upper 2 can be heard at this time.
7
Touch the bank icon in the Upper 2 status box, to mute the Upper 2 track again.
8
Play the keyboard.
Note how the ‘Dark Pad’ Sound (assigned to the Upper 2 track) has been muted again. Only track Upper 1 can be heard at this time.
Playing Sounds
Playing different Sounds with your left and right hand
37
Playing different Sounds with your left and right hand
You can play a single Sound with your left hand, in addition to playing up to three Sounds with your right hand.
1
Press the SPLIT button to turn its LED on, and split the keyboard in the Lower (left hand) and Upper (right hand) parts.
Upper
Lower
2
Be sure the Lower track is set to play.
If the Lower track is muted, touch its icon to make it disappear from this area.
If the Bass & Lower Backing function is turned on, and the Style is not running, the Lower track will always play.
3
Play the keyboard.
Note how the keyboard is split in two parts, each playing different sounds.
Lower Upper
38 Playing Sounds
Playing different Sounds with your left and right hand
4
Return to the full keyboard playing mode by pressing the SPLIT button to turn its LED off.
5
Play the keyboard.
(Full) Upper
Note how the keyboard once again plays the Upper tracks over the entire length of the keyboard.
Upper
Changing the split point
If you are not comfortable with the selected split point, you may set the split point to a different key.
1
Touch the Split tab to see the Split Point panel.
Playing Sounds
Changing the split point
39
2
Touch the keyboard in the display, then play the lowest note of the Upper section on the keyboard.
i
Hint: As an alternative, keep the SPLIT button pressed to open the Split
Point dialog.
Upper
Lower
3
As an alternative, touch the Split Point parameter to select it, and use the VALUE dial to select the new split point.
When you change the split point, the “Global” parameter is automatically unchecked. This is because you are setting a “local” or “temporary” split point, and not the “global” one, used across the whole instrument.
To change the “global” split point, go to the Global > Mode Preferences > Style page, and set the
“Split Point” parameter.
You can save the “local” split point into a Performance, as described in the following pages (see
“Saving your settings to a Performance” on page 42).
40 Playing Sounds
Raising or lowering the Upper octave
Raising or lowering the Upper octave
If all Upper tracks sound too high or too low, you can quickly change which octave they are playing in.
1
Use the UPPER OCTAVE buttons on the control panel, to transpose all Upper tracks at the same time.
i
Note: The Octave Transpose value for each of the keyboard track is shown under the Sound’s name.
Each time you press this button, the pitch will be lowered by one octave.
Each time you press this button, the pitch will be raised by one octave.
2
Press both UPPER OCTAVE buttons together to reset the octave to the value saved in the current Performance.
Selecting and saving Performances
Selecting a Performance
41
Selecting and saving Performances
Performances are the musical heart of Pa300. Unlike selecting single Sounds, selecting a Perfor-
mance will immediately assign several Sounds to the Keyboard tracks, the needed effects and transpositions, plus many more setting parameters. Performance can be considered a snapshot of the current configuration of Sounds.
You can save these settings to a Performance memory location. While many Performances are already supplied with the instrument, you can customize each of them to your own taste, and then save them in their customized version.
Similar to Performances, but optimized for the Style or SongBook Entry they are associated to, you can also save your settings to a Single Touch Setting (STS). Four STSs are supplied with each Style or
SongBook Entry, and can be selected with the four dedicated buttons under the display.
Please note that settings saved in the “My Setting” Performance are automatically selected when
the instrument is turned on (exit from standby). This means you can save your preferred startup
settings to this Performance (see below for more information).
Single Touch Settings (STS) section Performance section
Note: Style tracks are saved to a third object called the
Style Settings.
Selecting a Performance
1
Touch the Performance area in the display, to open the Performance Select window.
i
Hint: You can also open the Performance Select window by pressing one of the buttons in the PERFOR-
MANCE section. This will let you jump directly to the desired Performance bank.
The selected Performance is highlighted. Touch a Performance name to select it.
Touch one of the side tabs to select a different Performance bank.
Touch one of the lower tabs to select a different Performance page.
42 Selecting and saving Performances
Saving your settings to a Performance
2
Select one of the Performances in the Performance Select window, then press the EXIT button to close the window.
After pressing the EXIT button, the Performance Select window closes, and the main screen appears again. Sounds, Effects, and other settings, change according to the setting memorized in the selected Performance.
Note that Selection windows may automatically close after a selection. To do this, uncheck the
“Display Hold” box in the Global > General Controls > Interface page. In this case, press the
EXIT button only if you don’t make any selection but want to close the window.
3
Play the keyboard.
Settings memorized in the selected Performance have been selected. Sounds, effects and other settings have been recalled.
Saving your settings to a Performance
The Sounds and Effects assigned to the Keyboard tracks, together with the parameters you can access by pressing the MENU button while in Style Play and Song Play mode, can be saved into a single Performance, to be quickly recalled at a later time.
1
Keep one of the PERFORMANCE buttons pressed for about one second to open the
Write Performance dialog box.
i
Hint: To open the Write
Performance dialog box, you can also choose the ‘Write
Performance’ command you can find in the page menu.
Selecting and saving Performances
Saving your settings to a Performance
43
2
If you like, you may assign a new name to the Performance.
Use the ‘<–’ and ‘–>’ buttons or the DIAL to move the cursor.
Touch the ‘Backspace’ symbol to delete just a single character, ‘Clear’ to delete the whole string.
Use the alphabetic characters to enter text.
Touch the (Text Edit) symbol to open the
Text Edit dialog box.
Touch the Shift key to switch between capitals and small characters.
3
Select a bank and Performance location in memory, where you would like to save the
Performance.
When done, touch OK to confirm the new name, or Cancel to abandon all changes.
The selected Performance location is highlighted. Touch a
Performance’s name to select it.
Touch one of the side tabs to select a different Performance bank.
Touch one of the lower tabs to select a different Performance page.
4
When you have edited the name to the Performance, and selected the target location, touch OK to save the Performance to memory (or Cancel to stop the operation).
!
Warning: Saving a Performance to an already used location overwrites any existing data at that location. The old data are lost. Make a backup of all your important data.
44 Selecting and saving the “My Setting” Performance
Selecting the startup parameters (the “My Setting” Performance)
Selecting and saving the “My Setting” Performance
There is a special Performance, where you can save your preferred settings for things like Keyboard
Sounds, Effects, Transposition. It also memorizes a preferred Style (that is only recalled when turning the instrument on). This Performance is automatically selected when the instrument is turned on
(exit from standby). It is called the “My Setting” Performance.
‘My Setting’ Performance
Selecting the startup parameters (the “My Setting” Performance)
After having done some changes to the Sounds, transposition, or other parameters, you can return to the startup situation by pressing the MY SETTING button in the control panel.
•
Press the MY SETTING button to recall the “startup” settings.
Saving the startup parameters into the “My Setting” Performance
You can save the startup settings (Sounds and other settings, including most of the settings on the control panel and the selected Style) into this special Performance.
•
Keep the MY SETTING button pressed for about one second, until the “Write Startup
Settings” dialog box appears, then touch the OK button to confirm saving to memory.
Selecting and playing Styles
Selecting and playing a Style
45
Selecting and playing Styles
Pa300 is an arranger, i.e. a musical instrument providing automatic accompaniments, or arrangements. Each arrangement style is called, as a consequence, a Style.
A Style is made of several Style Elements (Intro, Variation, Fill, Break, Ending), corresponding to the various sections of a song. By selecting Style Elements, you can make your playing more varied and musical.
When selecting a Style, Sounds, Effects and various configuration parameters for the Style tracks are also selected. These are called the Style Settings. Four STSs are assigned to the STS buttons. Selecting a Style also selects the four Pads it contains. Pads are single sounds or single-track patterns, that can be triggered with the dedicated PAD buttons.
Use the Style controls to start or stop the Style.
Style Select button
Style Elements Style Controls
Selecting and playing a Style
1
Touch the Style area in the display. The Style Select window appears.
Type of Style.
The selected Style is highlighted.
Touch a Style’s name to select it.
Touch one of the side tabs to select a different Style bank.
Touch one of the lower tabs to select a different Style page.
i
Hint: You can also open the Style Select window by pressing the STYLE button in the SELECTION section of the control panel.
46 Selecting and playing Styles
Selecting and playing a Style
2
Select a Style from the Style Select window.
After pressing the EXIT button, the Style Select window closes, and the main screen appears again, with the selected
Style ready to go.
3
Be sure the ACCOMP. LED is turned on.
For the accompaniment tracks to play, the LED of this button (meaning “Accompaniment”) must be turned on.
4
Press the SYNCHRO-START/STOP button to turn the START LED on.
This will turn the Synchro-Start function on, and let the accompaniment start as soon as you play a chord on the keyboard.
START LED
STOP LED
5
Play the keyboard.
i
Note: You could simply press START/STOP to start the
Style, but the Synchro-Start function allows you to make the Style start in sync with your playing on the keyboard. Therefore, it may be considered a “more musical” way of starting a Style.
When the Syncho-Start function is turned on, the Style starts playing as soon as you play a note or chord in the chord scan area.
Play chords with your left hand, and the melody with your right hand. The arranger will follow your playing.
6
Press START/STOP to stop the Style.
i
Note: The chord scan area depends on the status of the SPLIT LED and the Chord
Recognition parameter (see
Global > Mode Preferences >
Style).
Selecting and playing Styles
Tempo
47
Tempo
While a Tempo setting is saved with each Style or Performance, you can change it to be whatever you like. You can use either of the following two methods.
•
Use the TEMPO + or – buttons to change the Tempo value.
i
Hint: As an alternative to using the TEMPO buttons, hold the Tempo value in the display, then move your finger up/down or left/right (or change the value with the
VALUE dial).
• Press the TEMPO – and + buttons together to recall the saved Tempo value.
•
As an alternative, keep the SHIFT button pressed, and use the VALUE dial to change the
Tempo. The selected tempo will be shown in a small window.
•
If you like to keep the currently selected Tempo value unchanged, turn on the LED of the TEMPO (LOCK) button.
When the Tempo Lock function is turned on, the Tempo will not change when selecting a different Style (or a different Song in Song Play mode).
48 Selecting and playing Styles
Intro, Variation, Fill, Break, Ending
Intro, Variation, Fill, Break, Ending
When playing Styles, you can select various “Style Elements” to cover the various sections of a song. A
Style is made of three Intros (or two Intros and a Count-In), up to four basic patterns (Variations), four Fills, a Break, and three Endings.
1
Make sure the SYNCHRO-START LED is turned on (otherwise, press the button to turn it on).
Activating the Synchro Start function is not mandatory, but it might be handy.
2
Press one of the INTRO buttons to set the corresponding Intro to play.
3
Play the keyboard.
The Style starts with the selected Intro. When the Intro is completed, the basic pattern (selected Variation) starts to play.
4
Be sure the LED of the AUTO FILL button is turned on.
When the Auto Fill function is turned on, a Fill is automatically performed before switching to a different variation.
5
While playing, press one of the VARIATION buttons, to select a different variation of the basic pattern.
If you turned the Auto Fill function on in the previous step, a Fill will be performed before the
Variation begins.
When the Fill ends, the selected Variation will start playing.
Selecting and playing Styles
Single Touch Settings (STS)
49
6
When you like to stop playing, press one of the ENDING buttons to stop the Style with an Ending.
When the Ending is finished, the Style automatically stops.
Single Touch Settings (STS)
Each Style may come with up to four Keyboard track settings, called the STS (short for “Single Touch
Settings”). STSs are very similar to Performances, but they are fine-tuned to the Style they are associated to.
1
In case it is not shown, touch the STS Name tab to see the STS Name panel.
i
Note: You can also find four STSs with each of the
SongBook Entries. This allows for linking STSs to Songs.
2
Press one of the four STS buttons under the display, or touch the name of an STS in the
STS panel in the display.
3
Play the keyboard.
Settings memorized in the selected STS have been selected.
Sounds, effects and other settings have been recalled.
4
Try all the other STSs, and see how settings change with each of them.
50 Selecting and playing Styles
The Pads
The Pads
Each Style or SongBook Entry can assign different sounds or patterns to the four PADS. These sounds or patterns can be played along with the Keyboard and Style tracks.
1
If you want to see which sounds or patterns are associated to the four Pads for the current Style, touch the Pad tab to see the Pad panel.
2
Press one of the four PADS to play the corresponding Pad.
3
If the selected PAD triggers an endless pattern (i.e. a guitar arpeggio), press the same
PAD button again to stop it.
4
Select a different Style, and see how the sounds or patterns assigned to the PADS change.
5
Press more PAD buttons at once, to play two or more sounds or patterns at the same time.
6
Press STOP to stop all the Pads at the same time.
i
Hint: You can open the
Pad Select window to assign a different sound or pattern to the Pads, by pressing SHIFT
+ one of the PADs.
Adjusting the balance between the Style and the keyboard
Balancing between the Keyboard and Style tracks may be useful, to gently fade them and adjust their respective volume.
•
While the Style is playing, use the BALANCE knob to balance between the Keyboard
(KBD) and Style’s Accompaniment (ACC) volume.
This knob also balances between the Keyboard and the Pad tracks. Also, it balances between the
Keyboard and the Song tracks (in Song Play mode).
Selecting and playing Styles
Adjusting the volume of the separate tracks
51
Adjusting the volume of the separate tracks
You can adjust the volume of each of the Style and Keyboard tracks, for example to soften the bass a little, or to make the keyboard solo louder.
1
Touch the Volume tab to see the Volume panel.
2
Hold & drag the Virtual Sliders in the display to adjust each Keyboard track’s volume.
3
To separately adjust each Style track, press the TRACK SELECT button to change the track’s view.
i
Hint: As an alternative, you can change each track’s volume, by touching a track’s area to select it, then using the VALUE dial to change the volume.
In Style view, all separate
Style tracks are shown, and their volume can be adjusted by dragging the corresponding sliders.
4
To return to the Keyboard Tracks view, press the TRACK SELECT button again.
52 Selecting and playing Styles
Turning the Style tracks on/off
Turning the Style tracks on/off
You may easily turn on or off any Style track while you are playing. For example, try muting all accompaniment tracks, while drums and bass continue to play.
1
Be sure the Volume panel is shown, or touch the Volume tab to show it.
i
Note: While in the Normal view of the Style Play mode, you can see Style tracks grouped in just three
“grouped” tracks. To see each
Style track as separate, individual tracks, just press the
TRACK SELECT button.
2
While the Style is playing, touch the Play button to set the track to Mute.
Mute the ACCOMP track. All accompaniment tracks will go silent (apart from Drum, Percussion and Bass).
3
To set the tracks back to the Play status, touch the Mute icon on the muted track.
Set the ACCOMP track to Play. All accompaniment tracks will return to their original volumes.
4
To mute/unmute each single Style track, first press TRACK SELECT to switch to the Style
Tracks view, then repeat the above procedure.
5
Press the TRACK SELECT button again to go back to the Normal view.
i
Hint: To turn all Accompaniment tracks (including the Bass track) off while you are not in the Main page, press the ACCOMP button on the control panel to turn its
LED off.
Selecting and playing Styles
Adding harmony notes to your right-hand melody with the ENSEMBLE function
53
Adding harmony notes to your right-hand melody with the
ENSEMBLE function
Chords played with your left hand may be applied to the right-hand melody.
1
Press the SPLIT button to turn its LED on and split the keyboard.
The Ensemble function only works in Split mode.
2
Press the ENSEMBLE button to turn its LED on.
3
Play chords with the left hand and single notes in the right hand.
Notice how the right hand is automatically harmonized, according to the chords composed with your left hand.
4
To select a different harmonization style, keep the SHIFT button pressed, and press the
ENSEMBLE button to open the Ensemble page.
This is a fast ‘shortcut’ to recall this page. The longer procedure would have consisted in accessing the Edit mode by pressing the MENU button, touching the Keyboard/Ensemble section, and then going to the Ensemble page.
While the Ensemble parameter is selected, use the VALUE dial to select one of the available harmonization types.
54 Selecting and playing Styles
Adding harmony notes to your right-hand melody with the ENSEMBLE function
5
When the right harmonization type has been selected, press the EXIT button to go back to the main page.
While in an Edit page, press EXIT to go back to the Main page of the current operating mode.
6
Press the ENSEMBLE button again to turn its LED off. The automatic harmonization will be turned off.
Song Play
Pa300 is equipped with an onboard Player that can read Songs in Standard MIDI File (MID), Karaoke™ (KAR) and MP3 format. It may be of great interest to singers and guitar players to know that if a
Standard MIDI File or an MP3 file contains lyrics and chords, they can be seen in the display. Lyrics in the graphical “+G” format are also supported.
In addition to lyrics and chords, with Standard MIDI Files and Karaoke files you can also see the score in traditional notation.
The SONG PLAY button
Song Play
Selecting a Song to play
55
Player controls
Selecting a Song to play
1
Press the SONG PLAY button to switch to the Song Play mode.
After pressing the SONG PLAY button, the main page of the Song
Play mode appears.
i
Hint: In Style Play mode, you can pre-select the Song to be assigned to the Player.
This way, you will be ready to start it, as soon as you switch to Song Play mode.
The Song area of the
Style Play main page.
56 Song Play
Selecting a Song to play
2
Touch the Player area to open the Song Select window.
This window is very similar to the one you can see when pressing the MEDIA button on the control panel, and touching the Load tab to see the Load page. This page is, however, “filtered” to only show Song files.
i
Hint: As an alternative, you can open the Song Select window by pressing the
SONG button in the SELEC-
TION section of the control panel.
3
Scroll through the list and select the Song to play.
The selected Song is highlighted. Touch a Song’s name to select it.
Use the Device pop-up menu to select one of the available mass-storage devices.
Use the Open and Close buttons to browse through the folders.
4
When the Song is selected, touch the Select button to confirm your selection; this will automatically close the Song Select window.
Selected Song
Use the scroll bar or the VALUE DIAL to see all the Songs in the list. Keep
SHIFT pressed and touch the Up/
Down arrow to jump to the next/ previous alphabetic section.
Touch the Select button to select the highlighted Song, and assign it to the Player.
Use the Locate button to ‘locate’ and go to the folder of the selected Song.
After touching the Select button in the display, the main page of the Song Play mode will appear again.
Playing back a Song
Once a Song has been selected, it may be played back by the Player.
1
Press the (START/STOP) button in the PLAYER section to start playback.
Song Play
Playing back a Song
57
After pressing the (START/STOP) button, the button’s LED turns on, and the measure counter begins to show the current measure number.
2
Use the PLAYER control section to control the Song’s playback.
Press the FAST FORWARD button once to go forward. Keep it pressed to go forward more.
Press the REWIND button once to go back. Keep it pressed to go back more.
Press the HOME button to move to the beginning of the Song.
Press the START/STOP button to stop the Song at the current position. Press it again to resume playback.
3
When you want to stop the song and go back to the beginning, press the (HOME) button.
When the Song is stopped, the LED on the START/STOP button turns off.
i
Note: In any case, the
Player will automatically stop when the end of the Song is reached.
58 Song Play
Changing the tracks’ volume
Changing the tracks’ volume
While playing back a Standard MIDI File, you may wish to change each track’s volume, to create a mix
“on the fly”.
1
Be sure the Volume panel is shown, or touch the Volume tab to show it.
2
As seen for the Styles, you can hold & drag the Virtual Sliders on the display to adjust each track’s volume. Use the TRACK SELECT button to cycle between track groups.
Use the TRACK
SELECT button to cycle between different groups of tracks
3
In Normal view, you can adjust each Keyboard track’s volume.
i
Hint: As an alternative, you can change each track’s volume, by touching a track’s area to select it, then using the VALUE dial to change the volume.
Keyboard tracks
4
Press the TRACK SELECT button once to see tracks 1-8 (Track 1-8 view).
Song Play
Changing the tracks’ volume
59 i
Note: Changes to Song tracks will not be saved, and are reset each time you press the (Home) button. To save changes, you must edit the Song in Sequencer mode.
In Track 1-8 view, the first 8 tracks of the selected Song are shown.
5
Press TRACK SELECT once again to see tracks 9-16 (Track 9-16 view).
In Track 9-16 view, the second group of 8 tracks of the selected
Song are shown.
6
Press TRACK SELECT again, to return to the Normal view (Keyboard tracks).
7
Press the (START/STOP) button to start the Song.
Keyboard tracks
8
While listening to the Song, switch from Normal view to Track 1-8 and Track 9-16 view, to see which tracks are playing.
To see if a track is playing, look at the label with its name, and see if it is changing color.
60 Song Play
Turning the Song tracks on/off
•
Touch each track’s channel strip, to see each track’s detail in the Track Info line.
Selected track Assigned Sound. Touch it to open the Sound Select window.
Sound bank Program Change
•
Also, you can see which type of Sound is assigned to each track in the Sound area of the
Track 1-8 and Track 9-16 views.
Octave Transpose
Sound bank icons. Touch to open the
Sound Select window.
Turning the Song tracks on/off
While playing back a Standard MIDI File, you may wish to mute one or more tracks, for example to sing along with the Song, or play an instrumental part live on the keyboard.
To mute/unmute Song tracks you simply touch the Play/Mute icon in the Volume panel.
Soloing a track
Opposite to the above, you may want to make a single track of a Standard MIDI File play alone. This is called the Solo function.
1
While the Song is playing, keep the SHIFT button pressed and touch the track you want to listen to in Solo mode.
2
To set all tracks back to the Play status, keep the SHIFT button pressed again, and touch the track that is currently in Solo mode.
Please remember that you can also use the Solo function in Style Play and Sequencer mode. The
Solo command can also be selected from the page menu.
Song Play
Soloing a track
61
62 The SongBook
Selecting the desired Entry from the Main List
The SongBook
One of the most powerful features of Pa300 is the onboard music database, that allows you to organize your Styles and Songs for easy retrieving. Each Entry of this database may include the artist, title, genre, number, key, tempo, and meter (time signature) of a specified song. When selecting one of the
Entries, the associated Style, Standard MIDI File or MP3 file – as well as the Style Play or Song Play mode – is automatically recalled.
In addition to helping you organize your shows, the SongBook allows you to assign up to four Pads, and up to four STSs to each Entry. Also, you can link a text file to any Entry, to be used as the Lyrics of a song, even if there are no Lyrics events in the associated Standard MIDI File or MP3 file, or if you prefer to play the song live with the backing of the Styles.
You can add your own Entries to the SongBook, as well as edit the existing ones. Korg already supplies some hundred Entries as standard. Furthermore, the SongBook allows you to create various custom lists, that may suit your different types of show.
The SONGBOOK button
Selecting the desired Entry from the Main List
A large database is already included with the instrument, and you can later customize it. You may browse through this database in a variety of ways.
1
While you are in Style Play or Song Play mode, press the SONGBOOK button to open the SongBook window.
Style, Standard MIDI File(s) or MP3 file(s) currently assigned to the arranger or player(s)
Use the scroll bar or the
VALUE DIAL to see all the
Songs in the list. Keep SHIFT pressed and touch the Up/
Down arrow to jump to the next/previous alphabetic section.
SongBook Main List
Touch this checkbox to turn the view filter on.
Touch this button to edit the view filter.
Adds the selected Entry to the Custom List (if acti-
Touch this button to select the current Entry to play.
2
Browse through the Entries.
Icons in the Type column will help you identify the type of the Entry. The Genre column is
shown by default, but you can switch to the Artist column (see “Displaying Artist or Genre”
below).
3
When the Entry you are looking for becomes visible in the display, select it and touch the Select button in the display.
After selecting an Entry, the corresponding Style, MID, KAR or MP3 file will be recalled, together with the relevant operating mode (Style Play or Song Play). Up to four STSs and four
Pads will also be recalled. Any TXT file associated with the Entry can be seen in the Lyrics page.
The selected Style, MID, KAR or MP3 file will be shown in the top area of the screen.
The SongBook
Displaying Artist or Genre
63
Displaying Artist or Genre
For space matters, either the Genre or Artist column can be seen in the display. You cannot see both at the same time.
1
Touch the page menu icon to open the page menu.
i
Note: The Artist and Key fields of all supplied Entries have been intentionally left empty.
2
Choose Show Artist (now Genre) to switch from Genre to Artist in the List view. The Artist column will be shown.
3
Open the page menu again, and choose the Show Genre (now Artist) item. The Genre column will be shown again.
64 The SongBook
Sorting Entries
Sorting Entries
You can change the order of the Entries shown in the display.
1
You can change the sorting order by touching one of the labels in a list of names.
Touch the Name label…
…to alphabetically reorder the names in the list.
You can do the same by touching the Type, Name, Genre, Artist, Key, Number, Tempo or Meter label.
2
Each time you touch the same label again, the order changes between ascending and descending.
Searching for Entries
The SongBook database may be really huge. You can, however, look for (say) specific artists or song titles, using the filtering functions.
1
Touch the Filter button in the display, to open the Filter dialog box.
Available search criteria. “Genre” and “Artist” are both considered, even though only one of them may be shown in the List
2
Touch the (Text Edit) button next to the search criteria (even more than one) you want to enter.
For example, you may want to find all songs containing the word “love” in the title (in any position in the string). If so, select the ‘Name’ criterion, and enter the word ‘love’. Capitals are not relevant for the search.
The SongBook
Searching for Entries
65
3
Touch OK in the display, and close the Text Edit dialog box. The entered text is now the search criteria.
4
Touch OK to close the Filter dialog box and return to the SongBook page.
Once the Filter dialog box has been closed by touching OK, the Filtered check box is automatically checked, and the filter is activated. Only Entries matching the entered criterion are seen in the Main List.
5
To see the whole SongBook database again, touch the Filtered check box again, to make the check mark disappear.
66 The SongBook
Adding Entries
Adding Entries
You can add your own Entries to the SongBook database.
1
Go to the Style Play or Song Play mode, depending on the type of Entry you want to add to the SongBook database.
2
Select the Style, Standard MIDI File or MP3 file to be added to the SongBook.
3
Edit the Keyboard and Style tracks the way you prefer, by selecting different Sounds and Effects, or editing any other relevant parameter.
Please note that changes to Standard MIDI File tracks will not be saved as SongBook data. Only the data included in the Standard MIDI File will be used.
4
When ready, keep the SONGBOOK button pressed for about one second to create a new SongBook Entry with the current settings.
5
Touch the (Text Edit) button to assign a name to the Entry, then touch OK to save the Entry to the SongBook database.
The SongBook
Editing the Entries
67
Editing the Entries
You can edit any SongBook Entry and customize it according to your taste. When done, you can overwrite the current Entry or save it as a new Entry.
1
Press the SONGBOOK button to access the SongBook pages.
2
Touch the Book Edit 1 tab to see the Book Edit 1 page and see the linked Musical
Resources.
While in the Book Edit 1 page, you will be able to see the name of the selected Style or Song, and choose whether to replace them or not.
Name of the Style or Song file linked to the Entry.
Name of the Entry
If checked, the current Style track settings, or the path of the
Song file (shown on the right), are saved with the Entry. If unchecked, current settings are left unchanged.
This parameter is automatically checked when touching the
New Song button to create a new Entry.
If checked, you can either save all the current STSs into the
Entry, or choose a single STS where to save the current Keyboard track settings.
Song Selection number (ID number for numeric selection)
3
When done with this page, touch the Book Edit 2 tab to see the Book Edit 2 page and edit the SongBook database details.
Database Entry’s parameters
4
Touch the (Text Edit) button next to the field(s) you want to edit. Set all the other parameters.
You can write the Genre and Artist name. Select the Meter (Time Signature) and Key of the
Song. You can specify a Tempo value matching the Song’s Tempo by using the TEMPO controls, and a Master Transpose value by using the TRANSPOSE controls on the control panel.
i
Note: The Master Transpose might not change, if a
Lock is preventing it. See
Global > General Controls >
Locks.
68 The SongBook
Editing the Entries
5
When done with this page, touch the Book Edit 3 tab to go to the Book Edit 3 page, where you can and set the Synchro and Memory parameters, and link a text file to the
Entry.
Synchro (for Style) and Memory (for Style and Songs) On/Off status
Text file linked to the Entry
(or loaded in the Lyrics page). This text will be seen in the same way of ordinary
Lyrics in the display.
6
After having filled up all the desired fields (be as comprehensive as you can), touch the
Write button in the display to open the Write dialog box.
7
Touch the (Text Edit) button to assign a name to the Entry, then touch OK to save the Entry to the SongBook database.
Select Rename/Overwrite to replace an existing Entry. This option is automatically selected when editing an existing
Entry; it cannot be selected when saving a new Entry. Warning: the older Entry
will be deleted!
Entry’s name. By default it is the same name of the associated Style, Standard MIDI File of MP3 file. The name can be up to 16 characters long.
Select New Song to add a new Entry to the SongBook database. This option is automatically selected when a new Entry has been created (by touching the New
Song button).
Creating a Custom List
You can create several Custom Lists in the SongBook, to make a set of Entries suitable for your various shows. Before starting a new Custom List, be sure you have added all needed Entries to the Song-
Book main database (see “Adding Entries” above).
1
While in SongBook mode, open the page menu and check the ‘Enable List Edit’ item.
The SongBook
Creating a Custom List
69
After you check the
‘Enable List Edit’ item, the List Edit page becomes available.
2
Select a Custom List to be edited.
To edit an existing list, touch the Custom List tab to open the Custom List page, and select one of the available Custom Lists. To create a new list, touch the List Edit tab to open the List Edit page, and touch the New List button to create a new, blank list.
3
Touch the Book tab to open the Book page and see the full database. Use the various sorting, searching and filtering options (seen above) to find the Entries you are looking for. Touch the Add to List button when the desired Entry has been selected.
SongBook list
Touch this checkbox to turn the view filter on (if any).
Use the scroll bar or the VALUE DIAL to see all the Songs in the list. Keep SHIFT pressed and touch the
Up/Down arrow to jump to the next/previous alphabetic section.
Touch this button to edit the view filter.
Adds the highlighted Entry to the
Custom List.
70 The SongBook
Creating a Custom List
4
When finished adding Entries to the Custom List, touch the List Edit tab to go to the List
Edit page, and use the various commands to edit the list.
List name
Scrollbar
Select an Entry to be edited from the list
Use the vertical arrows to move the selected
Entry up or down in the list.
Touch Write to save the current
Custom List.
Touch Del Song to delete the selected Entry.
Touch New List to create a new Custom List. Touch
Del List to delete the current Custom List. Warning:
Del List will delete the current Custom List.
5
When the Custom List is ready, touch the Write button in the display to save it to memory. Assign a new name to the Custom List.
Use the arrows or the VALUE DIAL to move the cursor.
Touch Delete to delete just a single character, Clear to delete the whole string.
Use alphabetic characters to enter text.
Touch the (Text Edit) symbol to open the
Text Edit dialog box.
Touch the Shift key to switch between capitals and small characters.
When done, touch OK to confirm the new name, or Cancel to abandon all changes.
6
When finished editing the Custom List, open the page menu and uncheck the ‘Enable
List Edit’ item.
The SongBook
Selecting and using a Custom List
71
Selecting and using a Custom List
After having created one or more Custom Lists, you can select one and use it for your show.
1
Touch the Custom List tab to select the Custom List page.
2
Use the List pop-up menu to select one of the available Custom Lists.
Use the List pop-up menu to select one of the available Custom Lists.
Entry in play. To select a different one, highlight it and touch the Select button in the display.
Touch Select to set the highlighted Entry to play (if different than the one automatically selected).
Touch Next to select the next Entry in the list.
(This command can also be assigned to a footswitch).
3
Select one of the Entries in the list (it turns blue), then touch the Select button in the display to confirm selection (the selected Entry turns green). Press the PLAY button to start playing back the selected Song.
72 Recording a new Song (Standard MIDI File)
Preparing the Style and Sounds
Recording a new Song (Standard MIDI File)
There are several ways to create a Song on the Pa300. The easiest and fastest is to use the Styles to record what you are playing the keyboard, while the arranger gives you the accompaniment tracks.
SEQUENCER button Player controls
Style Elements Style Controls
Preparing the Style and Sounds
Before accessing the Record mode, we suggest you prepare the Style and Sounds with which to record your Song.
1
Select a Style with which you want to record.
2
Select the Sounds by choosing a Performance or STS.
That’s all! You are ready to access Record mode.
Accessing the Backing Sequence (Quick Record) mode
1
Press the SEQUENCER button to switch to the Sequencer mode.
After pressing the
SEQUENCER button, the main page of the Sequencer mode appears.
Recording a new Song (Standard MIDI File)
Accessing the Backing Sequence (Quick Record) mode
73
2
Press the RECORD button to open the Song Record Mode Select dialog box.
Press the RECORD button, to open the Song Record Mode
Select dialog box
3
Select the Backing Sequence (Quick Record) option and touch OK to enter the Backing
Sequence Record mode.
After having chosen the Backing Sequence
(Quick Record) option, the Backing
Sequence Record page appears.
74 Recording a new Song (Standard MIDI File)
Setting the Record parameters
Setting the Record parameters
When you enter Backing Sequence Record, the latest selected Style and Sounds are already selected, and all tracks are ready to record. You could simply start recording as if you were playing with the
Styles. However, there are some further settings that you may want to do.
•
If you like, adjust any editable parameter in the display.
Track(s) status. ‘Rec’ means they are ready to record. ‘Play’ means they are recorded and you can hear them. ‘Mute’ means they cannot be heard.
Touch the Style parameter (or the STYLE button) to open the Style Select window, and select a different Style.
Measure counter. The negative number (-1) is the precount, after which you can start recording.
Style’s Tempo. Change it, if you like.
Style’s Meter (or Time
Signature). It’s just an indicator, you cannot change it.
Touch the Perf/STS parameter to open the
Performance Select window, and select a different Performance (as seen
native, you use the PER-
FORMANCE or STS buttons.
Grouped tracks. During Quick Record, you cannot access each separate Song track. For ease of use, just two ‘master’ tracks are provided: Kbd/Pad (Keyboard/Pads) and Ch/Acc (Chord/Accompaniment).
Recording
1
Select the Style Element you wish to use before starting to play.
Select any of the Variations before starting to record.
Select one of the Intros to start with an introduction.
2
Start recording, by pressing the START/STOP button.
3
Play as if you were performing live with the Styles.
During recording, select any Style Element (Intro, Variation, Break, Ending…) you like.
Please remember that, while recording in Backing Sequence Record mode, you cannot use the
SYNCHRO, TAP TEMPO/RESET, BALANCE controls.
Recording a new Song (Standard MIDI File)
Recording
75
4
When finished recording your Song, press the (START/STOP) button to exit recording, and return to the main page of the Sequencer mode.
After pressing the START/STOP button, the main page of the Sequencer mode will appear again.
5
While in the main page of the Sequencer mode, press the (START/STOP) button in the PLAYER section to listen to the recorded Song.
The Backing Sequence Song has been converted to an ordinary Song (in Standard MIDI File, or
“MID”, format). If you like it, you can save it. You can then read it in Song Play mode, or transfer it to any external sequencer.
6
If you want to edit the Song, press MENU to access Edit mode.
76 Recording a new Song (Standard MIDI File)
Second-take recording (Overdubbing)
Second-take recording (Overdubbing)
You may want to record an additional “grouped” track, or replace a previously-recorded track. A good idea may be to record all chords and Style Element changes during the first take, then record Keyboard tracks and Pads during the second take.
1
Press the RECORD button to enter Record mode again. When the Song Record Mode
Select dialog box appears, select Backing Sequence (Quick Record) again.
2
If you are recording just one of the “grouped” tracks, set to Play the track to be preserved.
For example, if you only want to record the Keyboard tracks again, set the Kbd/Pad track to Rec, and the Ch/Acc track to Play.
3
Press the START/STOP button to start recording the selected track.
With the above example, chords will play as recorded; you can record what you play on the keyboard (and the Pads).
4
Repeat the recording procedure, and press the (START/STOP) button in the
PLAYER section to stop recording and return to the main page of the Sequencer mode.
5
While in the main page of the Sequencer mode, press the (START/STOP) button in the PLAYER section to listen to the recorded Song.
Again, the Backing Sequence Song has been converted to an ordinary Song.
Saving a Song
After having recorded a Song that you like, it is a good idea to save it, to avoid losing it when the instrument is turned off (or put in standby).
1
While in the main page of the Sequencer mode, touch the page menu icon to open the page menu.
Recording a new Song (Standard MIDI File)
Saving a Song
77
2
Select the Save Song command to open the Save Song window.
This window is very similar to the one you can see when pressing the MEDIA button on the control panel, and touch the Save tab to see the Save page. This page is, however, “filtered” to only see Song files.
After you select the Save song command, the Save Song page appears.
3
Select a device and folder where you want to save your Song.
If a Song is selected (highlighted) it will be overwritten. If no Song is selected, a new Song file will be created on the target device.
To deselect a Song, select the same storage device again.
Use the Device pop-up menu to select one of the available storage devices
Use the Open and Close buttons to browse through the folders.
4
Touch the Save button in the display to open the Save Song dialog box.
Touch the Text Edit icon to edit the Song’s name.
Use the scroll bar to see all Songs in the list. Keep SHIFT pressed and touch the
Up/Down arrow to scroll to the next/previous alphabetic section. As an alternative, you can use the VALUE DIAL.
Touch the Save button to save the Song to the current folder.
In case you prefer to exit this page without saving the Song, press the EXIT button.
5
Touch OK in the display to save the Song, or Cancel to stop the Save operation.
78 Searching files and musical resources
How to use the Search function
Searching files and musical resources
With Pa300, you can press the SEARCH button to search for files or musical resources.
How to use the Search function
Depending on the page you are in, you can search for different types of data. For example, while in
Media mode you can only search for files, while in Style Play or Song Play mode you can search for several different types of data (Styles, Songs, Lyrics…).
There are some pages where the Search function is not available, since there are no relevant data to search for that page (for example, the pages of the Global mode).
Here is the general procedure.
1
Press the SEARCH button to open the Search window.
2
If needed, touch the “Type” pop-up menu, and choose the type of item you are looking for.
When choosing Files, Songs or Lyrics, the “Browse” button will be activated, to allow for searching files in the storage devices.
Searching files and musical resources
How to use the Search function
79
3
In case you are searching for a file in a storage device, touch the “Browse” button to open the Media window.
When you see the folder containing the file you are looking for, touch it, then touch the Select button to close the Media window. The name of the selected folder will be shown in the title bar of the Search window.
Use the Device pop-up menu to select one of the available storage devices
Use the Open and Close buttons to browse through the folders
In case you are lost among the directories, touch the “Root” button to go to the root of the selected device
4
Type the name of the file to be searched.
There is no difference between upper and lower cases (“LOVE” is the same as “Love” or “love”).
5
When finished entering the name, touch the “Search” button.
After a while, the list of files found begins to appear in the display.
i
Note: Only one search at a time can be carried on.
Please wait for the current search to be completed, or touch the Stop button in the display to stop the current search and do a new one.
After you have touched the “Search” button, its name changes to “Stop”. If needed, touch this button to stop the ongoing search. The name of the button reverts to “Search”. Any file found will remain in the display, until you do a new search.
The time needed to complete a search depends on the size of the device(s) and the number of files.
i
Hint: You can touch the
Cancel button in the display, or press the EXIT button in the control panel, to exit from this window and carry on other operations. The search will continue in the background.
80 Searching files and musical resources
Notes about searching
6
You can touch one of the found items to select it, and then touch the “Info” button to see information on it.
Touch OK to close the Info dialog box.
7
If you want to return to the main Search page and type a search string again, touch the
icon. Otherwise,
8
If you have found what you were looking for, touch its name and then touch the
“Select” or “Locate” command.
9
You can exit from the Search window at any time, by pressing the EXIT or SEARCH button.
Notes about searching
Wildcards
During search, the string entered will be search as a whole word or as part of a word. For example, if you entered “love”, Pa300 will find “Love” and “LoveSong”, or any other word containing the string
“love”.
You can use the wildcards “?” (any single character) and “*” (any sequence of characters) to search exactly that string. For example, “*love” will find “MyLove”, but not “LoveSong”. “??love” will find
“MyLove” but not “TrueLove”.
Also, if you are looking for words that can be spelled in a slightly different way, you can use the “?” wildcard to find all occurrences; “gr?y” will find out both “gray” and “grey”.
82 Selecting elements
Style Select window
Selecting elements
The following windows are shown in the various operating modes, whenever you try to select a Sound, Performance, Style or Song.
Style Select page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Style Select window
To open the Style Select window, touch the Style area whereas it appears in the display, or the STYLE button in the SELECTION section on the control panel.
Press EXIT to exit from this page and go back to the previous page without selecting any Style.
Style sets Side tabs (banks)
Lower tabs (pages) Styles
Note:
of the side tabs. The latest selected Style for that bank will be selected.
Style sets
Selected set of Styles. Factory Styles are Styles supplied as standard. Fav/User are Favorite Styles (locations for custom-made
Styles with editable names) and User Styles (locations for custom-made Styles with fixed names).
Side tabs (banks)
Use these tabs to select a bank of Styles. Favorite tabs can be
renamed (see “Renaming the Favorite banks” on page 110).
Lower tabs (pages)
Use these tabs to select one of the available pages in the selected bank.
Styles
Touch one of these buttons in the display to select a Style. Unless
the “Display Hold” parameter (see page 148) is turned on, the
window automatically closes shortly after you select a Style.
After selecting a Style from this window, and another Style is playing, the name of the new Style begins to flash, meaning it is ready to start playing at the beginning of the next measure.
Copy and Paste
Use this command to copy the selected Style to a different selection,
1.
2.
Select the Style to be copied. To select more items, keep the
SHIFT button pressed and touch all the item to be selected for copying. Hint: You can deselect one of the selected items by touching it while still keeping the SHIFT button pressed.
You can deselect all by touching a single item.
Choose the Copy and Paste command.
3.
Select the target location. In case you are copying more than a single item, all subsequent items will sequentially follow the first one. If there aren’t enough locations available, the procedure will be cancelled. Warning: If you confirm, any Style already existing at the target location will be overwritten!
Rename
Use this command to edit the name of the selected item. Please keep in mind that you can only rename non-protected items.
1.
Select the Style to be renamed,
2.
3.
Choose the Rename command, and use the virtual keyboard to edit the name.
When done, touch OK to confirm.
Delete
Choose this command to delete the selected item. Please keep in mind that you can only delete non-protected items.
1.
2.
Select the Style to be deleted. To select more items, keep the
SHIFT button pressed and touch all the item to be selected for deleting. Hint: You can deselect one of the selected items by touching it while still keeping the SHIFT button pressed.
You can deselect all by touching a single item.
Choose the Delete command, and confirm deletion. Warn-
ing:
Unless you have a copy of it, the deleted item will be gone forever!
Selecting elements
Sound Select window
83
Rename Favorite
Choose this command to edit the name of the Favorite Style banks.
3.
4.
The assigned name can be spanned over two lines, by separating them with the paragraph character (¶). For example, to write
“World Music” on two lines, enter “World¶Music”.
Be careful not to write words exceeding the width of the side tabs of the Style Select window.
1.
Choose the Rename Favorite command.
2.
Touch the (Text Edit) symbol next to the bank to be renamed.
Use the virtual keyboard to edit the name.
When done, touch OK to confirm.
Select All (Bank)
Choose this command to select all items in the current bank.
You can deselect one of the selected items by touching it while keeping the SHIFT button pressed. You can delete all by touching any single item.
Sound sets
Selected set of Sounds. Factory Sounds are the Sounds supplied as standard. Legacy Sounds are Sounds compatible with older
Pa-Series models. GM are Drum Kits mapped according to the
General MIDI 2 or XG standards. User Sounds are custom-created or edited Sounds.
Side tabs (banks)
Use these tabs to select a bank of Sounds.
Lower tabs (pages)
Use these tabs to select one of the available pages in the selected bank.
Previous/Next tabs
Scroll the lower tabs to the left or the right, when additional tabs are available but cannot be seen in the display.
Sounds
Touch one of these buttons in the display to select a Sound.
Unless the “Display Hold” parameter (see page 148) is turned
on, the window automatically closes shortly after you select a
Sound.
Program Change
Sound Select page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Sound Select window
To open the Sound Select window, touch the Sound area whereas it appears in the display, or the SOUND button in the SELEC-
TION section of the control panel.
Press EXIT to exit from this page and go back to the previous page without choosing any Sound.
Sound sets Side tabs (banks)
Lower tabs (pages)
If more than five pages are available, the Previous/Next tabs are shown in this area
Sounds
The commands are the same seen for the Style Select window’s page menu, apart for a difference with the Delete command and the “Edit Sound” command.
Delete
Choose this command to delete the selected Sound.
1.
Select the Sound to be deleted. To select more items, keep the SHIFT button pressed and touch all the item to be selected for deleting. Hint: You can deselect one of the selected items by touching it while still keeping the SHIFT button pressed. You can deselect all by touching a single item.
2.
Choose the Delete command, and confirm deletion. Warn-
ing:
Unless you have a copy of it, the deleted item will be gone forever!
Edit Sound
Choose this command to edit the selected Sound (see detailed
information in the “Sound Edit” chapter).
84 Selecting elements
Performance Select window
1.
2.
Select the Sound to be edited. Edited Sounds can only be saved to User Sound locations.
Choose the Edit Sound command to access editing.
Performance Select window
To open the Performance Select window, touch the Performance area whereas it appears in the display, or one of the PERFOR-
MANCE buttons on the control panel. Use the PERFOR-
MANCE buttons to go directly to the selected bank.
Press EXIT to exit from this page and go back to the previous page without selecting any Performance.
Side tabs (banks)
Lower tabs (pages) Performances
Note:
pressing one of the PERFORMANCE buttons. The latest selected
Performance for that bank will be selected.
Side tabs (banks)
Use these tabs to select a bank of Performance. Each tab corresponds to one of the PERFORMANCE buttons on the control panel.
Lower tabs (pages)
Use these tabs to select one of the available pages in the selected bank.
If you press again the same PERFORMANCE button on the control panel, the next page in the same bank is selected. This way, you do not need to touch one of the corresponding tabs in the display in order to select a different page.
Performances
Touch one of these buttons in the display to select a Perfor-
mance. Unless the “Display Hold” parameter (see page 148) is
turned on, the window automatically closes shortly after you select a Performance.
Selecting elements
Pad Select window
85
Performance Select page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Pad Select page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
The commands are the same seen for the Style Select window’s page menu.
The commands are the same seen for the Style Select window’s page menu.
Pad Select window
Touch the Pad area whereas it appears in the display, to open the
Pad Select window.
Press EXIT to exit from this page and go back to the previous page without selecting any Pad.
Pad sets Side tabs (banks)
STS Select
To select one of the four STS associated with the current Style or the selected SongBook Entry, use the four STS buttons on the control panel.
As an alternative, touch the STS name tab in the main page of the Style Play or Song Play mode, where you can see the name of the available STSs.
The STS’s name can also be seen in the Lyrics page:
Lower tabs (pages) Pads
Pad sets
Selected set of Pads. Hit are single-note, pre-programmed factory Pads. Sequence are sequence-based, pre-programmed factory Pads. Local are like Factory Pads, but contain Pads customized for the music of your Country. User can be either single-note or sequence-based Pads, and can be user-created or modified.
Side tabs (banks)
Use these tabs to select a bank of Pads.
Lower tabs (pages)
Use these tabs to select one of the available pages in the selected bank.
Pad
Touch one of these buttons in the display to select a Pad. Unless
the “Display Hold” parameter (see page page 148) is turned on,
the window automatically closes short after you select a Pad.
Song Select window
This page appears when you touch the Song name in the display, or press the SONG button in the SELECTION sections on the control panel.
Press EXIT to exit from this page and go back to the main page of the Song Play operating mode without selecting a Song.
Directory
Page menu
Storage device
Song path
While in this page, you can select a Standard MIDI File, Karaoke, MP3 or Jukebox file.
86 Selecting elements
Song Select window
Directory
This is the list of the selected device content.
File status
Type of the file or folder
File or folder name
Use the scrollbar to scroll the items in the list. As an alternative, you can scroll the list using the VALUE dial.
When the Name label is selected on top of the list, keep the
SHIFT button pressed and touch one of the arrows to jump to the previous or next alphabetical section.
You can touch one of the labels on top of the list, to reorder the items accordingly. By touching the label again, the order of the files will switch between ascending and descending.
A list can contain several different types of files or folders.
Type icon File/folder type
Standard MIDI File (MID)
Karaoke file (KAR)
MPEG Layer 3 (MP3)
Jukebox file (JBX)
Folder
change the file status).
Status icon File/folder status
Protected
– Unprotected
Page menu icon
Storage device
Use this menu to select one of the available storage devices.
Device
DISK
USB
Type
Internal memory
Optional device connected to the USB Host port
The actual name (label) of the device appears within square brackets ([]).
Song path
This line shows the current device path.
Open
Opens the selected folder (item whose icon looks like this one:
).
Close
Closes the current folder, returning to the parent (“upper”) folder.
Locate
Touch this button to go back to the folder containing the selected
Song. This is useful to quickly locate it, after you have browsed through long directories and “dug” into different folders.
Select
Selects the highlighted item in the display. If a Song is already playing, it stops, and the new Song is ready to play. You will return to the main page.
Play All
When you touch this button, all Standard MIDI Files and MP3 files contained in the current directory are added to a new Jukebox list, that is automatically assigned to the Player. The order in which they are played depends on the current sorting method, i.e., how the files are shown in the display.
You can use this Jukebox list as any other list of this type (i.e., start the playback with START/STOP, jump to the next Song in the list with SHIFT + >>, edit it in the Jukebox page…).
Note:
A Jukebox list can include up to 127 Songs. If your folder contains more items, only the first 127 will be considered.
Hint:
If you don’t want the list to be deleted when setting the instrument to standby, go to the Jukebox page and save it as a
“.JBX” file.
Selecting a Song by its ID number
Each Song in a folder on a device (up to 9,999) has a progressive
ID number assigned. When the “Show Song Number” option is selected in the Song Select page menu (see below), you can see this number before the Song’s name in the Song Select window.
You can use this number to select the Song by composing the corresponding number, speeding up the Song retrieval when you are using an hard disk filled with Standard MIDI Files.
Selecting elements
Song Select window
87
While in the Song Select window, press the SONG button in the
SELECTION section to open the keypad, and enter the number corresponding to the Song to be selected.
While in any page of the Song Play mode, press the SONG button in the SELECTION section twice to open the keypad.
Note:
If no Song corresponds to the dialed number, the “Song not available” message will appear.
Note:
While the directory may contain more than 9999 files, you can’t select Songs outside the 0001-9999 range when using the numeric keypad.
Song Select page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Show Song Number
Check this option to make the Song’s progressive ID number appear in the list, next to each Song.
Show Song Extension
Check this option to make the file extension (“*.mid”, “*.kar”,
“*.jbx”, “*.mp3”) appear in the list, at the end of each Song’s name.
Create New Folder
This command will let you create a new generic folder in the root of any device, or inside any other generic folder. You can’t create a “.SET” folder with this command, since this type of folder is reserved to the Save operations (and can be created with the New SET button in any Save page).
Export Song List
Select this command to save the current list as a text file. This way, you will be able to print a list of Songs, to see which number matches each Song.
1.
2.
While in the Song Select window, select the folder whose
Song list you wish to save as a text file.
Select the Export Song List command from the page menu.
3.
A dialog box will appear, asking you to select one of the available storage devices.
By touching the (Text Edit) button you can open the Text
Edit window. Enter the name, then touch OK to confirm and close the Text Edit window.
Rename
(Only available when an item is selected in a list) Use this function to change the name of an existing file or folder. You cannot change the 3-character extension of files and “.SET” folders, since they are used to identify the type of file or folder.
4.
Select one of the options, and touch OK to confirm.
Note:
The text file will contain a list of “*.mid”, “*.kar”, “.mp3” and “*.jbx” files only. Folders and other types of files will not be included.
When saved, the text file will be named after the selected folder.
For example, a folder named “Dummy” will generate a
“Dummy.txt” file. If a file with the same name already exists in the target, it will be overwritten without waiting for any confirmation.
A file containing the list of all valid files contained into the root of the disk will generate a “Root.txt” file.
The list will include the progressive number assigned to each Song, the file names, the total number of files in the list.
To correctly display and print the list on a personal computer, use a fixed size (i.e., non-proportional) character in your text editor.
Touch the (Text Edit) button to open the Text Edit window.
Enter the new name, then touch OK to confirm and close the
Text Edit window.
Delete
(Only available when an item is selected in a list) Use this command to delete the selected file or folder.
88 Style Play
Start-up settings
Style Play
The Style Play mode is the boot-up operating mode. When in this mode, you can play along with the Styles (i.e. automatic accompaniments), using up to four tracks (Upper 1-3 and
Lower) to play on the keyboard. You can choose different
Sounds and Effects by selecting Performances and STSs. Four
Pads will provide single-shot sounds or repeating patterns in sync with the Style. You can also use the SongBook to automatically select Styles suited for a particular song.
Styles and Pads
Each Style includes four Pads. Each time you select a Style, the four Pads it contains are assigned to the four PAD buttons. The
Style and the Pads will play using the same Tempo value.
Start-up settings
Since the “My Setting” Performance is automatically selected when turning the instrument on, you can save your preferred start-up settings to it.
Select the Sounds, Effects, and other settings you would like to see automatically selected when turning the instrument on.
Then keep the MY SETTING button pressed for about one second. When the Write Startup Settings window appears, confirm by touching OK.
Note:
If you like some settings to be preserved even when choosing different Performances, STSs and Styles, turn on the desired
“locks” to avoid changes to the selected parameters (see “General
Master Volume and Balance
While the MASTER VOLUME knob controls the general volume of the instrument, you can use the BALANCE knob to balance the Style’s Accompaniment and Pad tracks against the
Keyboard tracks.
Overall instrument’s volume
Balance of Style and
Pad tracks against the
Keyboard tracks
Factory, Favorite and User Styles
There are three different types of Style locations:
• Factory Style banks are the preloaded Styles, that you can’t usually edit (unless you want to do so by turning off the
protection, see “Factory Style and Pad Protect” on page 154).
• Favorite Style banks are Styles that can be loaded from an external device. You can rename the tabs in the Style Select window to create places for custom banks, or for additional music genres that are not already included among the sup-
plied banks. See “The Favorite banks” on page 110 for
information on how to manage these Styles.
• User Style banks are, like the Favorite banks, Styles loaded from an external device. These are banks conceived as a
‘workbench’ – a place where to manage Styles and banks before saving them to a final location.
Style Play
Main page
89
Main page
This is the page you see when you turn the instrument on.
To access this page from another operating mode, press the
STYLE PLAY button.
To return to this page from one of the Style Play edit pages, press the EXIT button.
Keyboard tracks area
Style area Page header Page menu icon
Recognized chord
Displays the recognized chord, when you play a chord on the keyboard. If no chord abbreviation is shown, check if the
ACCOMP LED is turned on.
You can choose how chords are recognized by using the “Chord
Recognition” parameter in the Global > Style page (see page 152).
Page menu icon
Touch the page menu icon to open the menu. See “Page menu” on page 108 for more information.
Song area
Performance/
STS area
Panels
Details on individual tracks can be seen by pressing the Volume tab. Use the TRACK SELECT button to switch between
Normal view (Keyboard tracks, grouped Style tracks) and
Style view (individual Style tracks). (See “Volume panel” starting from page 91).
Page header
This line shows the current operating mode, transposition and recognized chord.
Operating mode Master Transpose (in semitones)
Recognized chord
Operating mode name
Name of the current operating mode.
Master transpose
Master transpose value in semitones. This value can be changed by using the TRANSPOSE buttons on the control panel.
Note:
Transpose may automatically change when selecting a different Performance or Style. It may also change when loading a Standard MIDI File generated with an instrument of the Korg Pa-
Series.
To avoid transposition, the Master Transpose is “locked” by default. If you want to unlock it, change the Master Transpose
Lock parameter’s status (see “General Controls: Lock” on page 149).
Style area
This is where the Style name is shown, together with its Tempo and Meter (Time Signature) parameters.
Style name
Current beat
Style bank
Style Element meter Measure length/number
Current
Tempo
Style name
Currently selected Style. Touch the Style name (or press the
STYLE button in the SELECTION section) to open the Style
Select window.
Style bank
Bank the current Style belongs to.
Style Element meter
Meter (time signature) of the current Style Element.
Measure length/number
While the Style is playing, an ‘M’ appears, to show the current measure number of the current Style Element playing. While it is in stop, an ‘L’ appears, to show the length (total number of measures) of the current Style Element.
Current beat
Beat number currently playing.
Current Tempo
Metronome Tempo (from 30 to 250). Use the TEMPO buttons to change the Tempo value.
As an alternative, keep the SHIFT button pressed and use the
VALUE DIAL to change the Tempo. Also, you can touch the
Tempo field and drag it with your finger, or change it with the
VALUE DIAL.
To recall the Tempo stored in the current Style, press the
TEMPO buttons together.
90 Style Play
Main page
You can prevent Tempo from changing by turning the TEMPO
LOCK LED on.
Note:
Since Style Elements may contain Tempo Change data,
Tempo may change while a Style Element is playing.
Songs area
This is where the Song assigned to the onboard Player is shown.
Song name
Song name
Name of the Song assigned to the Player. You can select Songs while playing Styles, to have them ready when switching to Song
Play mode.
Performance/STS area
This is where the latest selected Performance or STS name is shown.
Selected Performance or STS
Selected Performance or STS
This is the latest selected Performance (Perf) or Single Touch
Setting (STS#).
Touch the name to open the Performance Select window (see
“Performance Select window” on page 84). As an alternative, use
the PERFORMANCE section to select a different Performance.
To select a different STS, use the four STS buttons under the display, or the STS panel in the display.
Keyboard tracks area
This is where Keyboard tracks are shown.
Sound name Track name
Sound bank’s icon
• If the track is already selected (white background), touch the
Sound name to open the Sound Select window.
• If the track is not selected (dark background), first select it, then touch the Sound name to open the Sound Select window.
You can also open the Sound Select window by pressing the
SOUND button in the SELECTION section on the control panel.
For more information about the Sound Select window, see
“Sound Select window” on page 83.
Keyboard track octave transpose
Non editable. Octave transpose of the corresponding track. To individually edit the octave transpose for each track, go to the
“Mixer/Tuning: Tuning” edit page (see page 98).
You can also transpose all Upper tracks by using the UPPER
OCTAVE buttons on the control panel.
Bass & Lower Backing icon
When the Bass & Lower Backing function is active, the Backing icon appears in the Lower
track Sound area (see “Bass & Lower Backing” on page 153).
Keyboard track name
Non editable. Name of the corresponding track:
Abbreviation
UP1
UP2
UP3
LOW
Track
Upper 1
Upper 2
Upper 3
Lower
Hand
Right hand (or both when in Full Keyboard mode)
Left hand
Sound bank’s icon
This picture illustrates the bank the current Sound belongs to.
Keyboard track status
Play/mute status of the current track. Select the track, then touch this area to change the track status.
No icon Play status. The track can be heard.
Mute status. The track cannot be heard.
Panels
The lower half of the main page contains the various panels, you can select by touching the corresponding tabs. See more infor-
mation in the relevant sections, starting from page 91.
Volume panel
Track status
Track’s octave transpose
Sound name
Name of the Sound assigned to the corresponding Keyboard track.
Tabs
Style Play
STS Name panel
91
STS Name panel
Touch the STS Name tab to select this panel. Single Touch Settings (STS) are memory locations intended for quickly choosing
Keyboard Sounds, contained in each Style or SongBook Entry.
While in this panel, you can see the name of the four STSs belonging to the latest selected Style or SongBook Entry. Touch one of the names to select the corresponding STS.
Volume panel
Touch the Volume tab to select this panel. This is where you can set the volume of each track, and mute/unmute them.
Changing the tracks’ volume
You can change the volume of each track by dragging the sliders in the display. You can also change the volume by touching a track’s slider, then using the VALUE DIAL.
Note:
You cannot edit the STS names in this panel. To edit a name, select the STS to be renamed, then select the Write Single Touch
Setting command from the page menu (see “Write Single Touch
Setting dialog box” on page 109).
Sliders
Changing the Play/Mute status
Play/mute status of the current track. Select the track, then touch this area to change its status.
Track status icons
Play status. The track can be heard.
Mute status. The track cannot be heard.
Saving the track’s volume and play/mute status
Each set of tracks can be saved into a different memory. This allows for a great flexibility when mixing Keyboard and Accompaniment tracks through the use of Performances, STSs and
Styles.
• The volume and play/mute status of the Keyboard tracks can be saved to a Performance or STS (see “Write Performance” on page 108 and “Write Single Touch Setting” on page 108).
• The volume and play/mute status of the separate Style tracks can be saved to the current Style Settings (see “Write Current
Style Settings” on page 108).
• The offset volume of the grouped Style tracks is automatically saved to the Global.
92 Style Play
Volume panel
Track names
Under the sliders, a label for each track is shown. Use the TRACK SELECT button to switch between the
Normal
(grouped Style tracks, Keyboard tracks) and the Style Tracks view (separate Style tracks).
Track Description
Normal View
DR/PERC
(*)
ACCOMP
(*)
BASS
(*)
LOWER
UPPER1…3
Grouped Drum and Percussion tracks.
Grouped Accompaniment tracks (Acc1-5).
Grouped Bass Style track.
Lower track.
Upper tracks.
Style Tracks View
DRUM
PERC
BASS
ACC1…5
Drum Style track.
Percussion Style track.
Bass Style track.
Accompaniment Style tracks.
(*).Volume for these grouped tracks is a global offset, that can be adjusted in the Global > Mode Preferences > Style page.
Normal view
In Normal view you can see the grouped Style tracks (Play/Mute only), and the separate controls for the Keyboard tracks:
Grouped Style tracks Keyboard tracks
Grouped Style tracks
In the Normal view, Style tracks are grouped together (Dr/Perc,
Accomp, Bass groups), to allow for instant play/mute of several tracks at the same time.
Grouped Style Tracks
Changing the volume of the grouped Style tracks can be done (as a general control) in the Global mode > Mode Preferences >
Style page (see “Style Tracks Global Volume” on page 153).
Keyboard tracks
Here you can separately control the volume and play/mute status of each Keyboard track.
Style Tracks view
Press the TRACK SELECT button to switch from the Normal view to the Style Tracks view. In this view, individual Style tracks are shown in the lower half of the display, while the upper half of the main page changes to show parameters for the selected Style track.
Selected track info area
Sounds area
Style tracks Volume
Press TRACK SELECT again to return to the Normal view (Keyboard tracks, grouped Style tracks, Mic/In controls).
Style tracks Volume
Here you can change the volume and play/mute status of each one of the individual Style tracks.
Original Style Sounds
This parameter lets you decide if the Style has to play the Sounds saved in the Performance or Style Settings, or the ones saved in each Style Element.
Note:
When assigning a Sound to a Style track, the “Original Style
Sounds” parameter is automatically turned off to allow its use.
Note:
This parameter can be saved with the Performance or Style
Settings.
On Style tracks always use the original Sounds recorded inside each Style Element. If you assign a different Sound to a Style track, this parameter is automatically set to Off.
Off You can assign different Sounds to each Style track, and save them in a Performance or Style
Settings. The selected Sounds remain the same for all Style Elements. These Sounds can be saved into a Performance or Style Settings with the
“Write Performance” or “Write Current Style Settings” commands (see page 108). Assigned
Sounds are shown in the Sounds area of this page.
Selected Track Info area
This line lets you see the Sound assigned to the selected track. It appears both in the main page, and in several edit pages.
Track name
Sound name
Sound bank
Program Change sequence
Style Play
Pad panel
93
Track name
Name of the selected track.
Sound name
Sound assigned to the selected track. Touch anywhere in this area to open the Sound Select window, and select a different
Sound.
Sound bank
Bank of the selected Sound.
Program Change
Program Change number sequence (Bank Select MSB, Bank
Select LSB, Program Change).
Sounds area
This area lets you see the Sound bank’s icon and octave transposition for the eight Style tracks.
Style track’s octave transpose icon
Pad panel
Touch the Pad tab to select this panel. This is where you can assign a different Hit or Sequence Pad to each of the four pads, and see at a glance how pads are programmed. For more options,
go to the “Pads: Pad” page (see page 106).
Pad assignment
Name of the Hit or Sequence assigned to each Pad. Touch the
box to make the Pad Select window appear (see “Pad Select window” on page 85).
When the lock is open, Pads could automatically change when choosing a Style or SongBook Entry.
Pads lock icon ( )
Close this lock to prevent Pads from changing when choosing a different Style or SongBook Entry.
Sound bank’s icon
Style track’s octave transpose icon
Non editable. Octave transpose of the corresponding track. To change the octave transpose, use the UPPER OCTAVE buttons,
or go to the “Mixer/Tuning: Tuning” edit page (see page 98).
Sound bank’s icon
This picture illustrates the bank the current Sound belongs to.
Touch an icon a first time to select the corresponding track
(detailed information are shown on the Selected Track Info area, see above). Touch it a second time to open the Sound Select window.
94 Style Play
Split panel
Split panel
Touch the Split tab to select this panel. This is where you can set the split point and activate the Bass Inversion.
Sub-Scale panel
Touch the Sub-Scale tab to select this panel. This panel replicates
the “Mixer/Tuning: Sub Scale” edit page (see page 98). .
Split Point
Use this parameter to select a different split point. A full-range piano keyboard is shown in the display, divided at the selected split point. Upper tracks play on the right of this point, while the
Lower track plays on the left.
Keyboard diagram
Touch anywhere on the keyboard diagram. A message will appear, asking you to press the new split point on the keyboard of your Pa300 (or to press the EXIT button to close the message with no changes).
Global
There is a global split point, and a “local” one, that can be memorized into the Performances and STSs.
On You are editing the global split point. The global split point is considered when selecting a Performance or STS that does not contain a “local” split point.
Off You are editing the “local” split point memorized in the current Performance or STS.
Bass Inversion
Use this parameter to turn the Bass Inversion function on or off.
On The lowest note of a chord played in inverted form will always be detected as the root note of the chord. Thus, you can specify to the arranger composite chords such as “Am7/G” or “F/C”.
Off The lowest note is scanned together with the other chord notes, and is not always considered as the root note.
With the “Quarter Tone” button not pressed
With the “Quarter Tone” button pressed
Style Play
Edit menu
95
Edit menu
From any page, press the MENU button to open the Style Play edit menu. This menu gives access to the various Style Play edit sections.
When in the menu, select an edit section, or press EXIT or
STYLE PLAY to exit the menu and return to the main page. To return to the main page, you can also select the Main Page menu item.
When in an edit page, press EXIT or the STYLE PLAY button to return to the main page of the Style Play operating mode.
Page menu icon
Touch this icon to open the page menu (see “Page menu” on page 108).
Parameters area
Each page contains various parameters. Use the tabs to select one of the available pages. For detailed information on the various types of parameters, see sections starting below.
Tabs
Use tabs to select one of the edit pages of the current edit section.
Mixer/Tuning: Volume/Pan
This page lets you set the volume and pan for each of the Keyboard or Style tracks. Volume settings are the same as in the Volume panel of the main page.
Use the TRACK SELECT button to switch from the Keyboard to the Style tracks, and vice versa.
Each item in this menu corresponds to an edit section. Each edit section groups various edit pages, that may be selected by touching the corresponding tab on the lower part of the display.
Edit page structure
All edit pages share some basic elements.
Operating mode Edit section
Selected track info
Page menu icon
Upper Volume Link
With this parameter, you define if changing the volume of one of the Upper tracks proportionally changes the volume of the other
Upper tracks.
On When changing the volume of one of the Upper tracks, volume for the other Upper tracks changes proportionally.
Off When changing the volume of one of the Upper tracks, only that track’s volume is changed. The other Upper tracks are left unchanged.
Tabs
Parameters area
Operating mode
This indicates that the instrument is in Style Play mode.
Edit section
This identifies the current edit section, corresponding to one of
the items of the edit menu (see “Edit menu” on page 95).
96 Style Play
Mixer/Tuning: FX Send
Dry
Use this checkbox to turn the dry (direct) track signal on or off from the outputs.
On When checked, the direct signal coming from the track is sent to the output, mixed with the Master
FXs.
Track L/R Out
Off
Master FX
When unchecked, the direct signal coming from the track is removed from the audio output, and only sent to the Master FXs. The effected signal will still be panned (in stereo FXs only) according to the Pan value.
Track L/R Out
Master FX
Pan
Track position in the stereo field.
L-64…L-1 Left stereo channel.
C 00 Center.
R+1…R+63 Right stereo channel.
Volume
Track’s volume. This is the volume of each track, as saved in the
Style (Style Settings), Performance or STS. It may change when choosing a different Style, Performance or STS.
0…127 MIDI value of the track’s volume.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Mixer/Tuning: FX Send
Pa300 includes two groups of effects (FX A and FX B). While in
Style Play mode, the A group is reserved to the Style and Pad tracks, the B group to the Keyboard tracks.
Choosing and editing the effects is done in the dedicated Effect
section (see “Effects: A/B FX Configuration” on page 100).
This page lets you set the level of the track’s signal going to the
Master FX processors. The Master FX processors are connected in parallel with the dry/direct signal, so you can decide the amount of direct signal that will be sent to the Master FX processors.
In case you do not want to hear the direct signal, just set the Dry parameter to Off (see “Dry” above).
You can assign to the Master FXs any kind of available effects, but we found it convenient to arrange them in the following way, for most of the Styles, STS and Performances included with the
Pa300:
A-Master 1 Reverb processor for the Style and Pad tracks.
A-Master 2 Modulating FX processor for the Style and Pad tracks.
B-Master 1 Reverb processor for the Keyboard tracks.
B-Master Modulating FX processor for the Keyboard tracks.
Use the TRACK SELECT button to switch from Keyboard to
Style tracks, and vice-versa.
FX Group
This indicates the FX group (A or B) assigned to the group of tracks shown.
Send level (Master 1, Master 2)
0…127 Level of the track (direct) signal sent to the corresponding Master FX effect processor.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Style Play
Mixer/Tuning: EQ Gain
97
Mixer/Tuning: EQ Gain
In this page you can set the three-band equalization (EQ) for each individual track.
Use the TRACK SELECT button to switch from the Keyboard to the Style tracks, and vice-versa.
Mixer/Tuning: EQ Control
This page lets you reset or bypass the track’s equalization, programmed in the previous page.
Use the TRACK SELECT button to switch from the Keyboard to the Style tracks, and vice-versa.
Track
Reset buttons
Hi (High) Gain
This parameter lets you adjust the high frequencies equalization on each individual track. This is a shelving curve filter. Values are shown in decibels (dB).
-18…+18dB High gain value in decibels.
Mid (Middle) Gain
This parameter lets you adjust the middle frequencies equalization on each individual track. This is a bell curve filter. Values are shown in decibels (dB).
-18…+18dB Middle gain value in decibels.
Low Gain
This parameter lets you adjust the low frequencies equalization on each individual track. This is a shelving curve filter. Values are shown in decibels (dB).
-18…+18dB Low gain value in decibels.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Reset All Tracks button
Touch this button to reset (i.e., “flatten”) equalization for all tracks (both Keyboard and Style tracks).
Track Reset buttons
Use these buttons to reset (i.e., “flatten”) equalization for the corresponding track.
Bypass
Check any of these checkboxes to bypass the equalization for the corresponding track. When bypassed, equalization has no effect on the track, but all parameters are preserved. When the box is unchecked, equalization is activated again.
On
Off
The bypass function is engaged, so no equalization is active on the corresponding track.
The bypass function is not engaged, so the equalization is active on the corresponding track.
Input Trim
This knob allows you to limit the level of the signal passing through the equalizer. Extreme equalization values can overload the audio circuits and lead to distortion. This control lets you set equalization as desired, and at the same time avoid overloading.
0…99 Limiting value. The higher, the most effective it is.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
98 Style Play
Mixer/Tuning: Tuning
Mixer/Tuning: Tuning
This page is where you can set the octave transpose and fine tuning for each track. Plus, you can program the Pitch Bend range for each track.
Use the TRACK SELECT button to switch from the Keyboard to the Style tracks, and vice-versa.
Mixer/Tuning: Sub Scale
You can assign a different scale (a sub-scale) to the Keyboard tracks, the Upper tracks or all tracks. This will allow, for example, to play a solo with a particular Quarter Tone tuning, while the backing tracks play in the Equal tuning.
This page is where you can program the sub-scale for the selected tracks; a different sub-scale can be associated to each
Performance or STS. Track selection is general, and can be done
with the “Scale Mode” parameter of the Global > Mode Preferences > Style page (see page 153).
The remaining tracks will use the basic scale set in the Global
> Tuning > Scale page (see “Main Scale” on page 157). This is
the “standard” scale of the instrument.
PB Sensitivity
These parameters show the Pitch Bend range for each track, in semitones.
1…12 Maximum up/down pitch bend range (in semitones). 12 = ±1 octave.
0 No pitch bend allowed.
Oct(ave) Transpose
This is the octave transpose value.
-3 Lowest octave.
0
+3
Standard tuning.
Highest octave.
Detune
This is the fine tuning value.
-64
00
+63
Lowest pitch.
Standard tuning.
Highest pitch.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
With the “Quarter Tone” button not pressed
With the “Quarter Tone” button pressed
Note:
Quarter Tone selection can be received via USB as MIDIdata (i.e., from an external sequencer or controller). Conversely, selection of Quarter Tone settings can be sent by the Pa300 to an external MIDI recorder as System Exclusive data.
Scale
Selected scale. See “Scales” on page 355 for a list of the available
scales. When selecting the User scale, the keyboard diagram
below).
Key
This parameter is needed by some scales to set the preferred
key (see “Scales” on page 355).
Style Play
Mixer/Tuning: Sub Scale
99
Quarter Tone
Press the Quarter Tone button in the display to make the keyboard diagram active In the display, touch any note you want to lower a quarter tone, making a big dot appear on the note diagram. Touch the note again to make the dot disappear.
Touch one of the four SC Preset buttons to recall the corresponding preset, and touch any note you want to lower a quarter tone down, making a big dot appear on the detuned note in the diagram. Touch the note again to make the dot disappear.
Scale alteration made in this page is momentary and is not memorised. It is only meant to allow for fast scale alteration while playing.
To make changes faster, you can also assign the Quarter Tone
function to the footswitch (see below “How to use the Quarter
Tone function with a footswitch” for more information).
The use of SC Presets allows for immediate recall of previously
programmed Quarter Tone scales (see below “How to use the
Quarter Tone function with the SC Presets” for more informa-
tion).
SC Preset buttons
These buttons only appear when the “Quarter Tone” parameter is checked. Use these buttons to recall the corresponding custom
Keyboard diagram
When “Quarter Tone” is checked, this diagram allows for lowering each note of a quarter tone. When a User scale is selected, it allows you to fine-tune each note’s pitch.
Scale lock icon
When locked, Scale parameters remain unchanged when selecting a different Performance or STS.
For more information on parameter locks, see “General Controls: Lock” on page 149.
How to create a custom scale by fine-tuning each note of the User scale
When the User scale is selected, the keyboard diagram becomes active. You can then change each note tuning in cents of a semitone (within a range of ±99 cents, referred to Equal tuning). This way, you can create a custom scale, that you can save to a Performance or STS.
After having selected the User scale, touch a note in the keyboard diagram, and use VALUE DIAL to adjust the selected note tuning in cents.
Note:
These settings can be saved to a Performance or STS, as described below.
How to use the Quarter Tone function with the SC Presets
When the “Quarter Tone” button is pressed, four “SC Preset” buttons appear, and you can select one of four SC Presets to recall a preset custom scale.
1.
Program and save a custom scale into an SC Preset.
To do so, go to the Global mode, and reach the “Tuning:
Scale” page. When programming is done, choose the
“Write SC Preset” command from the page menu, then select one of the preset locations where to save the current
settings (see “Write Quarter Tone SC Preset dialog box” on page 163).
2.
3.
Return to this page, and touch the “Quarter Tone” button to make the “SC Preset” buttons appear.
Touch one of the “SC Preset” buttons to recall a preset custom scale.
4.
5.
Each preset contains custom detuning of each note of the scale, and memorizes the selected degree(s) of the scale.
When no preset is selected, the default scale is automatically recalled. This scale assigns a -50 cent value to all notes, and turns all scale degrees off.
You can also select an SC Preset by assigning the relevant
function to a footswitch (see “Controllers: Foot Controllers” on page 155).
Use the keyboard diagram to turn the note detuning on or off.
Make a big dot appear to detune the corresponding note, or make it disappear to reset tuning.
Reset the original scale.
Touch the “Quarter Tone button again, to deselect it and recall the main scale.
Fine tuning values
100 Style Play
Effects: A/B FX Configuration
How to use the Quarter Tone function with a footswitch
You can assign the “Quarter Tone” function to a footswitch, to program a custom scale in realtime, for example to allow for those sudden scale changes typical of the Arabic music. These changes are not saved anywhere, so the scale is easily “wipedout” when selecting a different Performance or STS, or when pressing the Quarter Tone pedal again.
Note:
While in Style Play mode, you can create a custom scale, to be assigned to a Performance or STS, simply by selecting and editing a User scale, and saving any change to a Performance or STS.
See “How to create a custom scale by fine-tuning each note of the
While in Global mode, you can create a custom scale and save it to one of the four SC Presets, and recall it by touching one of the SC
Preset buttons in the display. Then, you can start your scale editing
from the selected preset. See “How to use the Quarter Tone function with the SC Presets” above.
1.
Program the footswitch to be the Quarter Tone switch.
2.
3.
4.
Simply go to the Global mode, and reach the “Controllers:
Foot Controllers” page. There, you will find the “Pedal/
Footswitch” parameter, to which you can assign the Quar-
ter Tone function.
Lower some note pitches.
Keep the Quarter Tone pedal pressed. The keyboard will not play at this time. Press the notes you want to lower a quarter tone. Release the pedal.
Play with your new scale.
Notes you pressed on step 2 are now lowered of a quarter tone.
Reset the original scale.
Press and release the Quarter Tone pedal again, without playing any note. All pitches will be reset, and the scale selected by the Performance or STS will be recalled.
Effects: A/B FX Configuration
This page allows you to select the A (Style and Pads) and B (Keyboard) groups of effects. Please use the “FX A” and “FX B” side tabs to switch from one group to the other one.
FX group
FX Groups (FX A, FX B)
Pa300 includes two groups of effects (FX A and FX B). There are two master FXs for group. In Style Play mode, the A group is reserved to the Style and Pad tracks, the B group to the Keyboard tracks.
Master FX 1, 2
Effects assigned to the corresponding effect processors. Usually,
FX1 are reverbs, while FX2 are modulating effects (chorus, flanger, delay…). For a list of the available effects, see in the
Appendix.
Effects assigned to both FX groups can be saved to a Performance. Effect assigned to the FX A group (Style and Pad tracks) can be saved to the Style Settings. Effects assigned to the FX B group (Keyboard tracks) can be saved to an STS.
W/D
Use this parameter to set the amount of the effect (Wet) against the non-effected (Dry) signal coming from the track.
MFX2 to MFX1
Amount of the MFX2 effect going back to the input of the MFX1 effect.
M.T. (Modulating Track)
Source track for modulating MIDI messages. You can modulate an effect parameter (for example, distortion’s low-cut filter frequency) with a MIDI message generated by an internal physical controller (for example, pushing the Joystick forward).
Style Play
Effects: Master 1, 2
101
Effects: Master 1, 2
These pages contain the editing parameters for the four effect processors. Here is an example of the FX A page, with the Reverb
Wet Plate effect assigned.
Selected effect
FX group
Track Controls: Mode
This page lets you connect each track to the internal sound generator and to external devices. This is very useful to play, for example, a software synthesizer with one of Pa300’s Keyboard or
Style tracks. In addition, here you can set the polyphony mode for each track.
FX parameters
Selected effect
Select one of the available effects from this pop-up menu.
FX parameters
Parameters may be different, depending on the selected effect.
See the relevant chapter in the Appendix for a list of the available parameters for each effect type.
Wet/Dry
Use this parameter to set the amount of the effect (Wet) against the non-effected (Dry) signal coming from the track.
Src (Source)
Modulation source. To select the track generating this message, see the “M.T. (Modulating Track)” parameters found in the
“Effects: A/B FX Configuration” page (see above). See the rele-
vant chapter in the Appendix for a list of the modulation sources.
Int./Ext. (Internal/External)
Internal The track plays the sounds generated by the internal sound engine. It does not play an external (hardware or software) instrument connected to the USB Device port.
External The track plays an external (hardware or software) instrument connected to the USB Device port. The connected device must receive on the
MIDI channel associated with this track on the
Pa300 (see “MIDI: MIDI Out Channels” on page 160).
A track set to this status cannot play the internal sounds.
Instead of the assigned Sound name, the
<E: aaa.bbb.ccc> indicator is shown on a track’s
area in the Main page:
Control Change/Program Change area
This indicator begins with a remark saying the track is in External (”E”) mode, and continues with a strings of transmitted Control Change and
Program Change data. This will let you know what the track is transmitting to the USB Device port. In the following example, CC#0 is the Control Change 0 (Bank Select MSB), CC#32 is the
Control Change 32 (Bank Select LSB), PC is the
Program Change:
CC#0 value CC#32 value PC value
When touching the Sound area, the numeric keypad appears, instead of the Sound Select window.
You can enter the Control Change/Program
102 Style Play
Track Controls: Drum Edit
Both
Change bundle shown above, separating the three parts with a dot (.).
The track plays both the internal sounds and an external instrument connected to the USB Device port.
Type
Drum Drum/Percussion track. Set a track to Drum mode if you wish to separately adjust the volume and set a different output for each percussive family of the assigned Drum Kit Sound. (See
“Track Controls: Drum Edit” on page 102).
Note:
Drum Kits are not affected by transpose whichever the type of track they are assigned to.
Hint:
Set a track to Drum mode if you don’t want the assigned Sound to be transposed (it will behave as a Drum Kit).
Poly
Mono
Note:
Tracks set to Drum mode in Style Record (see
“Track Type” on page 219) cannot be edited here.
This option appears in grey. Other Style tracks cannot be set to Drum mode here.
Tracks of this kind are polyphonic, i.e. they can play more than one note at the same time.
Tracks of this kind are monophonic, i.e. each new note stops the previous note.
Mono Right A Mono track, but with priority assigned to the rightmost (highest) note.
Mono Left A Mono track, but with priority assigned to the leftmost (lowest) note.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Track Controls: Drum Edit
In this page you can adjust the volume and edit the main parameters for each family of Drum and Percussion instrument for the selected track. A list of families is shown below.
These parameters can be accessed only on tracks set to the Drum mode (see above). Use them on tracks with a Drum Kit assigned, or you will not be able to hear any change.
Hint:
Use the TRACK SELECT button to cycle between the track groups. After selecting a track, choose the “Solo Track” command from the page menu to avoid listening to the other tracks during editing.
Note:
All values are offsets referred to the value of the original
Sounds.
Family Select
Use these icons/buttons to select the drum family you want to edit. These buttons are only accessible when you select a Drum track.
Drum family icon Drum family
Kick drums
Snare drums
Toms
Hi-Hat cymbals
Ride, Crash and other cymbals
Low-pitched percussions
High-pitched percussions
Special effects
Overview of the current parameter
Under the icons of the Drum families you can see the value of the selected parameter for all the families. This will let you compare the value of the selected family with all the others. The values are shown in grey (non editable).
Style Play
Track Controls: Easy Edit
103
Drum Edit parameters
Use these parameters to adjust the offset value.
Sound parameters Meaning
Volume
EQ Hi
EQ Mid
EQ Low
Attack
Decay
Cutoff
Resonance
Fine Tune
Coarse Tune
MFX 1 Send
MFX 2 Send
Instrument’s Volume.
Equalization, High band.
Equalization, Middle band.
Equalization, Low band.
Attack time. This is the time during which the sound goes from zero (at the moment when you strike a key) to it’s maximum level.
Decay time. Time to go from the final Attack level to the minimum level.
Filter cutoff. This sets the sound brightness.
Use the Filter Resonance to boost the cutoff frequency.
Fine instrument tuning.
Coarse instrument tuning.
Scales the Send level to the Master FX1.
Scales the Send level to the Master FX2.
0…127 Volume (see above).
-64…0…+63 Offset value for all sound generation parameters. ‘0’ means no change to the original value memorized in the Drum or Percussive instrument, while any other value means a decrease or increase to the original value.
Select
Use these buttons to select the track to edit. The button corresponding to the selected track turns green.
Reset Family
Touch this button to reset all changes to the selected family.
Reset Track
Touch this button to reset all changes to percussive instrument volumes in the selected track.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
How to edit a single Drum Family
Here is a quick example of the use of the Drum Volume function.
1.
While in this page, press TRACK SELECT to see individual
Style tracks.
2.
3.
Touch the “Select” button, in the display, corresponding to the Drum track to edit.
Press START/STOP to let the Style go.
4.
If you like, choose the “Solo Track” command from the page menu to solo the Drum track.
5.
6.
While listening to the Style, select the Snare family, then select the Volume parameter, and use the VALUE DIAL to turn the volume completely off.
You’ll notice how all snares stops sounding.
Touch the Reset Track button in the display to recall the original Snare’s volume.
Track Controls: Easy Edit
In this page you can edit the main parameters of the Sounds assigned to each track.
Hint:
Use the TRACK SELECT button to cycle between the track groups. After selecting a track, choose the “Solo Track” command from the page menu to avoid listening to the other tracks during editing.
Note:
All values are offsets referred to the value of the original
Sound.
Easy Sound Edit parameters
Use these knobs to adjust the offset value.
Sound parameters Meaning
Attack
Decay
Release
Cutoff
Resonance
LFO Depth
LFO Speed
LFO Delay
Attack time. This is the time during which the sound goes from zero (at the moment when you strike a key) to it’s maximum level.
Decay time. Time to go from the final Attack level to the beginning of the Sustain.
Release time. This is the time during which the sound goes from the sustaining phase, to zero. The
Release is triggered by releasing a key.
Filter cutoff. This sets the sound brightness.
Use the Filter Resonance to boost the cutoff frequency.
Intensity of the Vibrato (LFO).
Speed of the Vibrato (LFO).
Delay time before the Vibrato (LFO) begins, after the sound starts.
-64…0…+63 Offset value. ‘0’ means no change to the original value memorized in the Sound, while any other value means a decrease or increase to the original value.
Portamento knob and switch
Use the Time knob to adjust the speed of the portamento (a slide between notes). Check the box to turn portamento on, or uncheck it to turn portamento off.
104 Style Play
Keyboard/Ensemble: Key/Velocity Range
Select
Use these buttons to select the track to edit. The button corresponding to the selected track turns green.
Reset Track
Touch this button to reset all changes to Sound parameters in the selected track.
Reset All Tracks
Touch this button to reset all changes to Sound parameters in all tracks.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
How to adjust sound parameters for a single
Sound
Here is a quick example of the use of the Easy Sound Edit function.
1.
If needed, while in this page press TRACK SELECT to see
Keyboard tracks.
2.
3.
Touch the “Select” button, in the display, corresponding to the Upper 1 track.
While playing on the keyboard to hear the Sound, select the Cutoff knob, and use the VALUE DIAL to turn its value completely off.
4.
You’ll notice how the filter progressively cuts out high frequencies, making the sound darker and mellower.
Touch the Reset Track button in the display to recall the original Cutoff value.
Keyboard/Ensemble: Key/Velocity Range
This page lets you program a key and dynamic (velocity) range for each of the Keyboard tracks.
Key range is useful to create a set of Keyboard tracks playing in different zones of the keyboard. For example, you may have
French Horns and Woodwinds playing in the center range of the keyboard, while only Woodwinds play on the higher range.
Velocity range is useful to create a sound made of up to three dynamic layers, assigning each of the Upper tracks to a different dynamic range.
As an example, you may assign the El.Piano 1 Sound to the
Upper 1, and the El.Piano 2 Sound to the Upper 2 track. Then, set Upper 1 to [Bottom=0, Top=80], and Upper 2 to [Bottom=81, Top=127]. The El.Piano 1 will play when playing softer, the El.Piano 2 when playing louder.
Top/Bottom Key (Key Range)
This parameter pair sets the Top and Bottom key range for the track.
C-1…G9 Selected key.
Top/Bottom Vel. (Velocity Range)
This parameter pair sets the Top and Bottom dynamic range for the track.
0
127
Lowest velocity value.
Highest velocity value.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Style Play
Keyboard/Ensemble: Ensemble
105
Keyboard/Ensemble: Ensemble
This page lets you program the Ensemble function. This function harmonizes the right-hand melody by using the recognized chords played by the left hand.
The Ensemble works both in the Style Play and the Song Play modes. Chords are always recognized in the Lower Chord Scan area.
Note:
The Ensemble function only works when the keyboard is in
Split mode.
Ensemble
Harmonization type.
Duet Adds a single note to the melody.
Close
Open 1
Adds a closed-position chord to the melody.
Adds an open-position chord to the melody.
Open 2
Block
As the above, but with a different chord shape.
Block harmonization – very typical of jazz music.
Power Ensemble
Adds a fifth and an octave to the melody, as heard in hard rock.
Third Up This option adds a third over the melody note
(depending on the recognized chord).
Fourths LO Typical of jazz, this option adds two perfect fourths under the melody.
Fourths UP As the above, but with notes added over the melody.
Fifths This adds two fifths below the original note.
Octave
Dual
Brass
Reed
Adds an octave to the melody.
This option adds to the melody line a second note, at a fixed interval set with the “Note” parameter. When selecting this option, a transposition value appears (-24…+24 semitones to the original note).
Typical Brass section harmonization.
Typical Reed section harmonization.
Trill
Repeat
Echo
When two notes are played on the keyboard, this option trills them. If three or more notes are played, only the last two are trilled. You can set the trill speed by using the Tempo parameter (see below).
The played note is repeated in sync with the
Tempo parameter (see below). When playing a chord, only the last note is repeated.
As the Repeat option, but with the repeated notes fading away after the time set with the Feedback parameter (see below).
AutoSplit1 If more than a single Upper track is in play, the
Upper 1 track plays the melody in mono, while the other Upper tracks play the chord notes.
If only the Upper 1 track is in play, it plays polyphonically all the chord notes.
AutoSplit2 Similar to AutoSplit1, but the Upper 1 track always plays the uppermost note.
Note Velocity
This parameter sets the velocity difference between the righthand melody and the added harmonization notes.
-10…0 Subtracted velocity value.
Tempo
Note:
This parameter only appears when the Trill, Repeat or Echo options are selected.
Note value for the Trill, Repeat or Echo Ensemble options. This is in sync with the Metronome Tempo.
Feedback
Note:
This parameter only appears when the Echo option is selected.
This parameter sets how many times the original note/chord is repeated by the Echo option.
Ensemble Track Assign
Use these parameters to separately set Upper tracks for the
Ensemble function.
Off
Normal
Mute
There is no harmonization on this track.
This track is included in the harmonization.
This track only plays the Ensemble notes, but not the original note.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
106 Style Play
Keyboard/Ensemble: Keyboard Control
Keyboard/Ensemble: Keyboard Control
This page lets you enable/disable the Damper and Expression pedals, plus the Joystick, for each of the Upper Keyboard tracks.
Pads: Pad
This page lets you select a different hit sound or sequence for each of the four PAD buttons.
Damper
On
Off
When you press the Damper pedal and release the keys, the track’s sound is kept sustained.
The Damper pedal is not active on any track set to this status.
Joystick X
This enables/disables the left/right movement of the Joystick
(Pitch Bend, and sometimes a Sound parameter control; for
Pitch Bend settings, see “Mixer/Tuning: Tuning” on page 98).
Joystick Y
This enables/disables the front/rear movement of the Joystick
(Y+: Modulation, and sometimes a different Sound parameter control; Y-: Various controls, or non-active).
Expression
This parameter allows you to switch the Expression control on/ off on each individual Keyboard track. The Expression control is a relative level control, always subtracted from the Volume value of the track.
As an example, imagine you have a Piano sound assigned to
Upper 1, and a Strings sound assigned to Upper 2. If you turn the Expression switch on on Upper 2, and off on Upper 1, you can use a continuous pedal to control only the Strings’ volume, while the Piano remains unchanged.
function to a volume-type pedal, not to a switch-type one.
Assign the “KB Expression” option to the pedal.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Assignments can be saved into the current Style Settings or
SongBook Entry.
Note:
Each Style or SongBook Entry can change the Pad assignment.
Pad assignment
Name of the Hit or Sequence assigned to each Pad. Touch the
box to make the Pad Select window appear (see “Pad Select window” on page 85).
Note:
You can also choose Hits or Sequences from the Pad panel of the main page.
Volume
Volume for each of the four Pad tracks.
0…127 Volume level.
Pan
Pan for each of the four Pad tracks.
-64…-1
0
+1…+63
Left stereo channel.
Center.
Right stereo channel.
FX Send (Master 1, 2)
Send level to the Master FX processors for each of the four Pad tracks. The Pads share the FX A group with the Style tracks.
0…127 Level of the Pad track (direct) signal sent to the effect processor.
EQ Gain [dB] (Hi, Mid, Low)
Equalization for each of the four Pad tracks.
-18.0…+0.0…18.0
Gain value of the High, Middle, or Low band.
Pad lock icon
This lock avoids selecting a different Style or SongBook Entry changes also the Hit or Sequence Pads assigned to the Pads.
For more information on parameter locks, see “General Controls: Lock” on page 149.
Style Play
Style Controls: Drum Map
107
Style Controls: Drum Map
In this page you can select various general parameters for the
Style.
Style Controls: Keyboard Range On/Off /
Wrap Around
In this page you can program the Wrap Around point, and turn on/off the Keyboard Range included in each Style tracks.
Drum Mapping (Var.1…Var.4)
The Drum Mapping lets you select an alternative arrangement of percussive instruments for the selected Drum Kit, without any additional programming. Just select a Drum Map, and some percussive instruments will be replaced with different instruments.
Off Standard mapping.
Drum Mapping 1…7
Drum Map number. Mapping 1 is “soft-sounding”, while mapping 7 is “loud-sounding”.
Kick and Snare Designation
The Kick Designation replaces the original Kick (Bass Drum) sound with a different Kick of the same Drum Kit, while the
Snare Designation replaces the original Snare Drum sound with a different Snare of the same Drum Kit.
Hint:
Select different Designations while listening to the Style, and see how they affect the Style. When you like the result, save your setting to a Performance or Style Settings.
Off Original Kick or Snare.
Type 1…3 Kick or Snare replacing the original one.
Track status
Track play/mute status. Touch these icons to change it.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Keyboard Range On/Off
This parameter is an on/off switch for the Key Range parameter memorized inside each Style Element track.
On
The Keyboard Range is considered (see “Style
Element Track Controls: Keyboard Range” on page 218 in Style Record mode). When a track
goes over the lower or higher Keyboard Range point, it is automatically transposed, to stay in the programmed range.
Off No Keyboard Range used.
Wrap Around
The wrap-around point is the highest key range limit for the backing track. The accompaniment patterns will be transposed according to the detected chord. If the chord is too high, the
Style tracks might play in a range that is too high, and therefore unnatural. If, however, it reaches the wrap-around point, it will be automatically transposed an octave lower.
The wrap-around point can be individually set for each track in semitone steps up to a maximum of 12 semitones, relative to the
chord root set in Style Record mode (see “Key/Chord” on page 199).
It is advisable to set different Wrap Around points for each track, to avoid all tracks “jump” to a different octave at the same time.
We suggest to consider the actual range of the real instrument.
1…12 Maximum transposition (in semitones) of the track, referred to the original key of the Style pattern.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
108 Style Play
Page menu
Page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Write Performance
Select this command to open the Write Performance dialog box, and save most of the current control panel settings to a Performance.
See “Write Performance dialog box” on page 109 for more infor-
mation.
Write Single Touch Setting
Select this command to open the Write Single Touch Setting
(STS) dialog box, and save Keyboard track settings to one of the
Single Touch Settings (STS) of the current Style.
See “Write Single Touch Setting dialog box” on page 109 for
more information.
Write Current Style Settings
Select this command to open the Write Current Style Settings dialog box, and save Style track settings to the current Style.
See “Write Single Touch Setting dialog box” on page 109 for
more information.
Solo Track
Select the track to be soloed, and check this item. You will hear only the selected track, and the ‘Solo’ warning will flash on the page header.
Uncheck this item to exit the Solo function.
The Solo function works in a slightly different way, depending on the selected track:
• Keyboard track: The selected Keyboard track is the only track you can hear when playing on the keyboard. All other Keyboard tracks are muted. The status of the Style tracks is unaffected.
• Style track: The selected track is the only Style track you can hear. All other Style tracks are muted. The status of the Keyboard tracks is unaffected.
• Grouped Style tracks:
The Solo function does not work on these special tracks.
Keep the SHIFT button pressed and touch one of the tracks to solo it. Do the same on a soloed track to deactivate the
Solo function.
Copy/Paste FX
You can copy a single effect (Master 1, Master 2), or both effects of an FX group (A or B). You can copy them between different elements (for example, between Styles and Performances, or
STSs and Songs).
Note:
This operation only copies the parameters of the “Effects” section. Parameters contained in other sections, like “Dry” or “FX
Send”, are not copied. Please note that these parameters are relevant in the overall sound of the effect, so please fine-tune them.
To copy a single effect:
1.
Select the source Performance, STS, Style or Song.
2.
3.
Choose the source FX group (A or B) by touching the corresponding side tab.
Go to the page of the single effect you want to copy (Master
1, Master 2).
4.
5.
6.
7.
Choose the “Copy FX” command from the page menu.
Select the target Performance, STS, Style or Song,
Choose the same FX group (A or B) as the target by touching the corresponding side tab.
Go to the page of the single effect you want to paste (Master
1, Master 2).
8.
Choose the “Paste FX” command from the page menu.
To copy all the effects in an FX group:
1.
2.
Select the source Performance, STS, Style or Song, then go to the Effects > A/B FX Config page, to copy all the effects.
Choose the source FX group (A or B) by touching the corresponding side tab.
3.
4.
5.
6.
Choose the “Copy FX” command from the page menu.
Select the target Performance, STS, Style or Song, then go to the page of the Effects > A/B FX Config page.
Choose the FX group (A or B) as the target by touching the corresponding side tab.
Choose the “Paste FX” command from the page menu.
Easy Mode
Easy Mode allows you to use the Style Play and Song Play modes with an easier-to-use user interface. It is recommended to beginners, and to professionals alike that do not want to deal with the extra parameters of the Advanced mode.
At any time, you can manually turn the Easy Mode on/off with the Easy Mode command in the page menu of the Style Play and
Song Play modes.
Style Play
Write Performance dialog box
109
Write Performance dialog box
Open this window by keeping one of the PERFORMANCE buttons pressed for about one second, or by choosing the Write Performance item from the page menu. Here, you can save all track settings, the selected Style, and various Style settings to a Performance.
Name
Name of the STS to be saved. Touch the (Text Edit) button next to the name to open the Text Edit window.
Current Style
Non editable. Settings are saved in one of the four STSs belonging to the current Style. This parameter displays the name of the
“parent” Style.
STS
Target STS location. The name of the STS currently saved at the target location is shown. Use the VALUE DIAL to select a different location.
Name
Name of the Performance to be saved. Touch the (Text Edit) button next to the name to open the Text Edit window.
Perf Bank
Target bank of Performances. Each bank corresponds to one of the PERFORMANCE buttons. Use the VALUE DIAL to select a different bank.
Performance
Target Performance location in the selected bank. Use the
VALUE DIAL to select a different location.
Select… button
Touch this button to open the Performance Select window, and select a target location.
Write Single Touch Setting dialog box
Open this window by keeping one of the STS buttons pressed for about one second, or by choosing the Write Single Touch Setting item from the page menu. Here, you can save the Keyboard track settings to one of the four single Touch Settings (STS) belonging to the current Style.
Write Current Style Settings dialog box
Open this window by keeping the STYLE button in the SELEC-
TION section pressed for about one second, or by selecting the
Write Style Settings item from the page menu. Here, you can save Style track settings to the Style Settings of the current Style.
Note:
When the “Factory Style and Pad Protect” option is checked in the Global > Mode Preferences > Media page, you cannot write any Style Settings onto Factory Styles. The “Write Current Style
Settings” command in the page menu is greyed out and cannot be selected. All original settings of the Factory Styles will be left untouched.
Style bank
Non editable. Bank of Styles the current Style belongs to.
Current Style
Non editable. Name of the current Style.
Note:
When the “Factory Style and Pad Protect” option is checked in the Global > Mode Preferences > Media page, you cannot write an STS over a Factory Style. The “Write Single Touch Setting” command in the page menu is greyed out and cannot be selected.
All original settings of the Factory Styles will be left untouched.
110 Style Play
The Favorite banks
The Favorite banks
You can create a custom set of Styles, made of up to eight Favorite banks. You can assign a different name to the tabs that appear in the Style Select window, in order to add musical genres not included among the Factory Styles.
The Favorite Styles are contained in eight files, automatically created by the Pa300 inside the Style folder in the SYS area of the internal storage memory. Even if different bank names can appear in the display, these files have fixed names:
File Name
FAVORITE01…8.STY
FAVORITE Banks
Bank 1…8
Creating the Favorite banks
There are various ways to create the Favorite banks:
• While in Style Play mode, you can copy & paste any Style into the Favorite banks, as an alternative to the User Style banks. See the “Selecting” chapter for more information on the Copy & Paste operations.
• While in Style Record mode, you can write the new or edited Style in the Favorite banks, as an alternative to the
User Style banks. See the “Style Record” chapter for more information on saving a Style.
• While in Media mode, you can load any Style into the
Favorite banks, as an alternative to the User Style banks.
See the “Media” chapter for more information on the Load operations.
Renaming the Favorite banks
While the Style Select window is in the display, you can choose
the “Rename Favorite” command from the page menu, and
assign the Favorite Style tabs any name you like.
The assigned name can be spanned over two lines, by separating them with the paragraph character (¶). For example, to write
“World Music” on two lines, enter “World¶Music”.
Be careful not to write words exceeding the width of the side tabs of the Style Select window.
Song Play
MIDI Clock
111
Song Play
The Song Play operating mode is where you can listen to Songs, while reading Lyrics and Chords (where available). An automatically-generated Score can also be seen for Standard MIDI Files.
Songs can be in Standard MIDI File, Karaoke™ or MP3 format.
The MID+G and MP3+G formats are also supported.
You can play along with the Song with up to four Keyboard tracks (Upper 1-3, Lower) and four Pads. You can select different
Sounds and Effects for Keyboard tracks by selecting Performances and STSs.
While in Song Play mode, you can use the SongBook to automatically select Songs for a desired music genre. With each Song entry in the SongBook, up to four STSs are also made available.
Song Play mode can also be used in Easy Mode.
Track parameters
Changes to Keyboard tracks can be saved to a Performance. You can then recall different settings by just selecting a single Performance.
Settings for Song tracks, like Pan, Volume and FX Sends, depend on each individual Standard MIDI File. Changes to Song tracks made in Song Play mode cannot be saved to a Standard MIDI
File, and are only intended for realtime control.
To make permanent changes Song tracks, edit and save the Standard MIDI File in Sequencer mode.
MIDI Clock
In Song Play mode the MIDI Clock is always generated by the internal Player, even if the Clock parameter is set to External
USB mode in the Global > MIDI > General Controls page (see
“Clock Source” on page 158). While in this mode, Pa300 cannot
receive MIDI Clock messages from the USB port.
Pa300 only transmits to the USB port the MIDI Clock messages generated by the Player. For MIDI Clock messages to be sent, the
“Clock Send” parameter must be activated in the Global > MIDI
> General Controls page (see “Clock Send” on page 158).
Tempo Lock
If you don’t want the Tempo value to change when selecting a new Song, turn on the Tempo Lock function by using the
TEMPO LOCK button on the control panel. When this button’s
LED is turned on, you can still manually change the Tempo with the TEMPO +/– buttons, or by touching the Tempo field and using the VALUE DIAL.
Standard MIDI Files and Sounds
The native Song file format of Pa300 is the Standard MIDI File
(SMF), an universal standard set by all manufacturers. Filename extension is .MID, but Pa300 can also read files with the .KAR
extension. You can read these files with any musical instrument or computer.
Even if the Standard MIDI File format is standard, differences may appear in sounds when playing the various files. If you recorded a Song on the Pa300 in Sequencer mode using only
General MIDI sounds (i.e., those of the “GM” type), you can be confident you can play the same Song on virtually any other musical instrument or computer. If you used Korg native sounds, you may not find the same sounds on instruments from other manufacturers.
When you read Standard MIDI Files in Song Play mode, there is no problem reading files made using only General MIDI sounds.
Sounds could be different when playing a Song made on a different instrument: despite the wide compatibility of Pa300 with other standards (like GS or XG), differences may arise.
Should this happen, load the Standard MIDI File in Sequencer mode, then manually reassign the non-matching Sounds, replacing them with similar Sounds on the Pa300. Finally, save the
Standard MIDI File again, and you will be able to play it in Song
Play mode with the correct Sounds.
Master Volume, Balance
While the MASTER VOLUME knob controls the general volume of the instrument, you can use the BALANCE knob to balance the Song and Pad tracks against the Keyboard tracks.
Overall instrument’s volume
Balance of Songs and Pads against the Keyboard tracks
112 Song Play
Keyboard, Pad and Player tracks
Keyboard, Pad and Player tracks
Pa300 is equipped with a Player that can play up to a maximum of 16 Song tracks. In addition, you can play the keyboard with four additional Keyboard tracks (Upper 1-3 and Lower).
When the Volume panel is shown in the main page of the Song
Play mode (see illustration below), you can adjust the Volume and Play/Mute status of these tracks, but please keep in mind that these changes will not be saved in the Standard MIDI File.
Main page (Normal view)
Press the SONG PLAY button to access this page from another operating mode.
Note:
When switching from Style Play to Song Play mode, various track parameters and settings may change.
To return to this page from one of the Song Play edit pages, press the EXIT or SONG PLAY button.
Song area Page header
Keyboard tracks area
Page menu icon
Style area
Perf./
STS area
Keyboard tracks
While in Song Play mode, you can select Performances or STSs.
STSs are from the latest selected Style; choose a different Style to select a different set of STSs. You can see the name of the available STSs when the STS Name panel is shown in the main page of the Song Play mode (see illustration):
Panels
Details on individual tracks can be seen by touching the Volume tab. To switch between Keyboard tracks (Normal view) and Song tracks (Song Tracks views), use the TRACK SELECT button.
Pressed a first time, you will see tracks 1-8; a second press will show tracks 9-16; pressed again will go back to Keyboard tracks.
Page header
This line shows the current operating mode, transposition and recognized chord.
STS names
Selecting a different Style or SongBook Entry may also change the Pads.
When entering Song Play mode from the Style Play mode, Keyboard and Pad tracks remain the same they were in Style Play mode.
Operating mode Master Transpose (in semitones)
Recognized chord
Operating mode name
Name of the current operating mode.
Master Transpose
Master Transpose value in semitones. This value can be changed using the TRANSPOSE buttons on the control panel.
Note:
You can also transpose MP3 files. Keep in mind, however, that transposition always remains inside the -5…+6 semitones range. This is enough to cover all keys, while avoiding excessive audio degradation. Any further transposing will be reversed to fit the range. So, you might see a +7 transpose value (Just Fifth Up) shown in the display, but the MP3 will actually play 5 semitones lower (Just Fourth Down).
Note:
Transpose may automatically change when selecting a different Performance. It may also change when loading a Standard
MIDI File generated with an instrument of the Korg Pa-Series.
To avoid transposing, “lock” the Master Transpose parameter in
the Global (see “General Controls: Lock” on page 149).
Song Play
Main page (Normal view)
113
Recognized chord
This displays the recognized chord when you play a chord on the keyboard.
Page menu icon
Touch the page menu icon to open the menu. See “Page menu” on page 121 for more information.
Song area
This is where the Song name is shown, together with parameters depending on the selected type of Song.
This is how a Song’s area appears when a Standard MIDI File or
Karaoke
file has been selected:
Song type icon Song name
Meter
Current measure Tempo
And this is how it appears when an MP3 File has been selected:
Song type icon Song name
Total time
Elapsed time Tempo variation
Song type icon
Songs of different types can be assigned to the Player. This icon shows the file type.
Standard MIDI File, often abbreviated as SMF
(file extension: *.MID or *.KAR). The SMF
(*.MID) is the industry standard song format, used by Pa300 as its basic Song format when recording a new Song. A MIDI Karaoke File
(*.KAR) is an extension of the SMF format.
MPEG Layer-3 format, or MP3 (file extension:
*.MP3). This is a compressed audio file, that may be generated on any personal computer, or by the
Pa300 itself.
A Jukebox file (file extension: *.JBX) can be assigned to the Player, but its name will not be shown in this area. The JBX icon will appear instead, together with the name of the currently selected Song, in the Jukebox list.
Note:
To create or edit a Jukebox file, go to the
Jukebox Edit page (see page 120).
Song name
Displays the name of the Song assigned to the Player.
Touch the Song name to open the Song Select window. When the Song Select window appears, you can select a single Song or
a Jukebox file (see “Song Select window” on page 85).
If you select another Song while a Song is playing, the previous
Song will stop, and the new Song will be selected and be ready to play.
To select a Song, you can also press the SONG button in the
SELECTION section of the control panel. Press it a second time
to select a Song by dialing in its ID number (see “Selecting a
Song by its ID number” on page 86).
Meter
This parameter only appears when a Standard MIDI File or Karaoke file has been selected.
Current Song’s meter (time signature).
Measure number
This parameter only appears when a Standard MIDI File or Karaoke file has been selected.
Current measure number.
Tempo
This parameter only appears when a Standard MIDI File or Karaoke file has been selected.
Metronome Tempo. Select this parameter and use the TEMPO+ and TEMPO– buttons to change the Tempo. As an alternative, touch this parameter and drag with your finger.
Total time
This parameter only appears when an MP3 file has been selected.
Total length (in minutes:seconds) of the selected MP3 file.
Elapsed time
This parameter only appears when an MP3 file has been selected.
Elapsed time (in minutes:seconds) of the MP3 file currently in play.
Tempo variation
This parameter only appears when an MP3 file has been selected.
Variation of the original MP3 file’s tempo, inside a range of
±30% of the original tempo. When Tempo is changed, MP3 files are smoothly accelerated or slowed down (inside a range of
±30% of the original tempo). This may seem trivial, but it is really rocket-science instead, and it is made possible by Korg sophisticated time-stretching algorithms.
Style area
Currently selected Style. You can select a Style while playing
Songs, to have it ready when switching to Style Play mode. Also, this lets you change the Pads and STSs (both are recalled by selecting a Style).
114 Song Play
Main page (Normal view)
Touch the Style name to open the Style Select window. As an alternative, use the STYLE button in the SELECTION section of the control panel.
Selected Style
Performance/STS area
This is where the Performance or STS name is shown.
Selected Performance or STS
Selected Performance or STS
This is the latest selected Performance or Single Touch Setting.
Touch the name to open the Performance Select window. As an alternative, use the PERFORMANCE section to select a different
Performance.
To select a different STS from the latest selected Style, use the four STS buttons under the display.
Keyboard tracks area
This is where Keyboard tracks are shown.
Sound name
Track name
Sound bank’s icon
Keyboard track octave transpose
Non editable. Octave transpose of the corresponding track. To individually edit the octave transpose for each track, go to the
“Mixer/Tuning: Tuning” edit page of the Song Play mode (see
“Mixer/Tuning: Tuning” on page 98 for more details).
You can also transpose all Upper tracks by using the UPPER
OCTAVE buttons on the control panel.
Keyboard track name
Non editable. Name of the corresponding track:
Abbreviation
UP1
UP2
UP3
LOW
Track
Upper 1
Upper 2
Upper 3
Lower
Hand
Right hand
Left hand
Sound bank’s icon
This icon shows the bank the current Sound belongs to.
Keyboard track status
Play/mute status of the current track. Touch this icon to change the status.
No icon Play status. The track can be heard.
Mute status. The track cannot be heard.
Panels
The lower half of the main page contains the various panels, you can select by touching the corresponding tabs. See more infor-
mation in the relevant sections, starting from page 115.
Volume panel
Track status
Track’s octave transpose
Sound name
Name of the Sound assigned to the corresponding Keyboard track.
• If the track is already selected (white background), touch the
Sound name to open the Sound Select window.
• If the track is not selected (dark background), first select it, then touch the Sound name to open the Sound Select window.
You can also open the Sound Select window by using the
SOUND button in the SELECTION section of the control panel.
For more information about the Sound Select window, see
“Sound Select window” on page 83.
Tabs
Song Play
STS Name panel
115
STS Name panel
Select this panel to see the name of the four available STSs. See
“STS Name panel” on page 91 for details.
Volume panel
Touch the Volume tab to select this panel. This is where you can set the volume of each track, and mute/unmute tracks.
Changing the tracks’ volume and play/mute status
You can change the volume and play/mute status of each track in
the same way seen for the Style (see “Volume panel” on page 91
for details).
This allows for leaving the track status unchanged even when playing a different Standard MIDI File. You can leave, for example, the bass track in mute, and let your bassist play it live for the whole show.
However, an exception to the above is when reading a Standard
MIDI File created with a Pa-Series instrument. These files do include special commands to force the Play/Mute status of each track.
Track names
Under the sliders, a label for each track is shown. Use the
TRACK SELECT button to switch between the Keyboard Traks and the Song Tracks 1-8 and Song Tracks 9-16 views.
Abbreviation
UPPER1…3
LOWER
T01…T16
Track
Upper tracks. Volume and play/mute status memorized into a Performance or STS.
Lower track. Volume and play/mute status memorized into a Performance or STS.
Song tracks. Volume memorized into a Standard MIDI
File. Play/mute status memorized as a general setting.
Pad panel
Select this panel to see which Hit or Sequence Pads are assigned
to the four Pads. See “Pad panel” on page 93 for details.
Virtual sliders
Track status icons
Saving the tracks’ volume and play/mute status
Each set of tracks can be saved into a different structure. This allows for a great flexibility when mixing Keyboard and Song tracks through the use of Performances, STSs and Standard
MIDI Files.
• The status of Keyboard tracks can be saved to a Performance
or STS (see “Write Performance” on page 108 and “Write Single
• The status of the Song tracks can saved as a general setting in the Global > Mode Preferences > Song & Sequencer page (see
Split panel
Select this panel to adjust the split point for the Keyboard tracks.
See “Split panel” on page 94 for details.
116 Song Play
Sub-Scale panel
Sub-Scale panel
Select this panel to select a secondary scale for the Keyboard
tracks. See “Mixer/Tuning: Sub Scale” on page 98 for details.
Jukebox panel
When a Jukebox (JBX) file is assigned to the Player, you can use the list shown in this panel to browse the Jukebox list, and touch the Select button in the display to select a Song to play. This way, you can select any Song in the list as your starting Song, and manually change the order of the Songs to play.
Note:
This panel is only available after loading a Jukebox file.
Hint:
To create or edit a Jukebox file, go to the Jukebox Edit page
(see page 120). A quick way to create a Jukebox list is to touch the
“Play All” button in the Song Select window (see page 86).
Warning:
If you delete a Song included in the Jukebox list currently in play, the Player will stop, and the “No Song” message will appear. At this point, you can select the JukeBox tab to open the
Jukebox panel, and select a different Song.
As an alternative, you can select the next Song by pressing SHIFT
+ >> (FAST FORWARD) in the PLAYER section of the control panel, then press again.
(START/STOP) in the PLAYER section
Song list Selected Song Jukebox file
Song list
Use this list to browse through the Songs in the Jukebox list. Use the scrollbar to scroll the list.
Selected Song
Name of the Song currently in play. You can select a different
Song from the list, and touch the Select button in the display to select it for playback.
Select button
Touch this button to select the Song highlighted in the list, and assign it to the player. If a Song is already playing, it will be stopped, and the selected Song will start playing back.
Jukebox file
Name of the selected Jukebox file. To edit this file, see “Jukebox
Transport controls for the Jukebox
When you select a Jukebox file, the Player’s transport controls behave in a slightly different way than with single Songs.
<< and >>
Pressed alone, these buttons are the Rewind and
Fast Forward commands.
Keep the SHIFT button pressed, and press these buttons to scroll to the previous or next
Song in the Jukebox list.
(HOME)
Returns to measure 1 of the current Song.
(START/STOP)
Starts or stops the current Song. When you stop the Song, it is stopped at the current position.
Press HOME to go back to measure 1 of the current Song.
If the Jukebox panel is open, you can select the
Song from which to start. See “Jukebox panel”
above.
Song Play
Edit menu
117
Edit menu
From any page, press the MENU button to open the Song Play edit menu. This menu gives access to the various Song Play edit sections.
When in the menu, select an edit section, or press EXIT or
SONG PLAY to exit the menu.
When in an edit page, press the EXIT or SONG PLAY button to go back to the main page of the Song Play operating mode.
Mixer/Tuning: Volume/Pan
This page lets you set the volume and pan for each of the Keyboard or Song tracks.
Note:
The play/mute status of a Song track may be reset when selecting a Song created on a Pa-Series instrument.
Use the TRACK SELECT button to switch from the Keyboard to the Song tracks, and vice versa.
Each item in this menu corresponds to an edit section. Each edit section groups various edit pages, that may be selected by touching the corresponding tab on the lower part of the display.
Note:
Some of the edit parameters are only meant for realtime use.
As a general rule, Keyboard track parameters can be saved to a
Performance or SongBook STS, while Song track’s Play/Mute status and FX settings can be saved as a general setting in the Global
> Mode Preferences > Song & Sequencer page (see “Save Trk &
Edit page structure
All edit pages share some basic elements, already described for
the Style Play mode (see “Edit page structure” on page 95 for
details).
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Mixer/Tuning: Volume/Pan” on page 95 for details.
Mixer/Tuning: FX Send
Pa300 is equipped with two groups of effect processors (A and
B). In Song Play mode, these groups can be used to process Keyboard, Pad and MIDI tracks.
• Keyboard tracks always use the effects of the FX B group.
• Pad tracks always use the effects of the FX A group.
• Standard MIDI Files and Karaoke files can only use the effects of the FX A group.
• Standard MIDI Files created on a Pa-Series instrument (in
Sequencer mode) can use effects of the FX A and B groups.
Choosing and editing the effects is done in the dedicated Effect
section (see “Effects: A/B FX Configuration” on page 119).
In case you do not want to hear the direct signal, just set the Dry parameter to Off (see the “Dry” parameter above).
You can assign to the Master FXs any kind of available effects, but we suggest you assign the effects based on this scheme:
A-Master 1 Reverb processor for the Song tracks.
A-Master 2 Modulating FX processor for the Song tracks.
B-Master 1 Reverb processor for the Keyboard tracks.
B-Master Modulating FX processor for the Keyboard tracks.
118 Song Play
Mixer/Tuning: EQ Gain
Use the TRACK SELECT button to switch from Keyboard to
Song tracks, and vice-versa.
Mixer/Tuning: EQ Control
This page lets you reset or bypass track equalization, programmed in the previous page.
Use the TRACK SELECT button to switch from the Keyboard to the Song tracks, and vice-versa.
Note:
When you stop, then start the Song again, or select a different Song, the default Song track settings are selected again. You can, however, pause the Song, change the effects, then exit from pause and start the Song again. Edit the Song in Sequencer mode to permanently change the effects.
Note:
Track FX setting can be saved as a general setting in the
Global > Mode Preferences > Song & Sequencer page (see “Save
Trk & FX” on page 154). This will help adapting the Pa300’s sound
to personal taste for any Standard MIDI File (excluding those saved by a Pa-Series instrument, that may override the general preferences).
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Mixer/Tuning: FX Send” on page 96
for details.
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Mixer/Tuning: EQ Control” on page 97
for details.
Mixer/Tuning: Tuning
Parameters in this page let you set various tuning settings. All parameters in this page are the same found in Global mode. See
“Mixer/Tuning: Tuning” on page 98 for details.
Mixer/Tuning: EQ Gain
In this page you can set the three-band equalization (EQ) for each individual track.
Use the TRACK SELECT button to switch from the Keyboard to the Song tracks, and vice-versa.
Hint:
Track EQ can be saved as a general setting in the Global >
taste for any Standard MIDI File you will ever play (excluding those saved by a Pa-Series instrument, that may override the general preferences). Need a lighter Bass track? Save the right equalization, and the Bass will stay light with all the subsequent Songs.
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Mixer/Tuning: EQ Gain” on page 97
for details.
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Mixer/Tuning: Tuning” on page 98 for
details.
Note:
Song track values edited in this page are not saved, and are only intended for realtime use.
Song Play
Effects: A/B FX Configuration
119
Effects: A/B FX Configuration
This page allows you to select the effects for the A (Song) and B
(Keyboard) FX groups. You can use the “FX A” and “FX B” side tabs to switch from one group to the other one. (Songs created in
Sequencer mode on a Pa-Series instrument can also use the B FX group).
The effect types and the FX matrix are the same seen for the
Style Play mode (see “Effects: A/B FX Configuration” on page 100),
Effects: Master 1, 2
These pages contain the editing parameters for the effect processors. Here is an example of the FX A page, with the Reverb Hall effect assigned.
Selected effect
FX group
FX group
Note:
The default effect settings can be saved as a general setting in the Global > Mode Preferences > Song & Sequencer page (see
Note:
When you stop the Song, or select a different Song, the default effects are selected again. You can, however, stop the Song, change the effects, then start the Song again with the new effects.
Edit the Song in Sequencer mode to permanently change the effects.
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Effects: A/B FX Configuration” on page 100 for details.
M.T. (Modulating Track)
Source track for modulating MIDI messages. You can modulate an effect parameter with a MIDI message generated by an internal physical controller, or a MIDI message coming from a Song track.
FX parameters
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Effects: Master 1, 2” on page 101 for
details.
Track Controls: Mode
These parameters let you set the Internal/External, and the Poly/
Mono status of Song tracks.
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Track Controls: Mode” on page 101 for
details.
Note:
These parameters can be saved as a general setting in the
Global > Mode Preferences > Song & Sequencer page (see “Save
Track Controls: Drum Edit
These parameters let you adjust the volume and edit the main parameters for each percussive instrument family.
Drum Edit parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Track Controls: Drum Edit” on page 102 for details.
Note:
Song track values edited in this page are not saved, and are only intended for realtime use.
120 Song Play
Track Controls: Easy Edit
Track Controls: Easy Edit
These parameters let you “fine-tune” edit parameters for Sounds assigned to the tracks.
Easy Sound Edit parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Track Controls: Easy Edit” on page 103
for details.
Note:
Song track values edited in this page are not saved, and are only intended for realtime use.
Jukebox Editor
The Jukebox function lets you play a list of Songs (127 max), at the touch of a button. You can play a Jukebox file by assigning it to the Player, after having selected it in the Song Select page, just
as if it was an ordinary Song (see “Jukebox panel” on page 116).
Keyboard/Ensemble: Key/Velocity Range
These parameters let you select a note and velocity range for the
Keyboard tracks.
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Keyboard/Ensemble: Key/Velocity
Range” on page 104 for details.
Keyboard/Ensemble: Ensemble
This page lets you program the Ensemble function.
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Keyboard/Ensemble: Ensemble” on page 105 for details.
Keyboard/Ensemble: Keyboard Control
These parameters let you set parameters for the Keyboard tracks.
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Keyboard/Ensemble: Keyboard Control” on page 106 for details.
Pads: Pad
This page lets you select a different hit sound or sequence for each of the four PAD buttons.
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Pads: Pad” on page 106 for details.
In this page you can create, edit and save a Jukebox file. A Jukebox list can contain Standard MIDI Files, Karaoke™ files, and
MP3 files.
If a Jukebox file is already selected, you will enter this page with that file ready to be edited. Otherwise, you will enter this page with an empty list.
To create a new Jukebox file, touch Del All to remove all Songs from the current list. Add new Songs, then touch Save and enter a different name before confirming. A new Jukebox file will be saved to the storage device.
Move Up/Down
Use these button to move the selected item up or down in the list.
Add
Adds a Song at the end of the current list. You can add up to 127
Songs to a list. When this button is pressed, a standard file selector opens up in the display.
Note:
A Jukebox list can include only Songs contained in the same folder.
Hint:
Instead of a single Song, you can select a Jukebox file, and add its whole content to the current Jukebox list.
Insert
Inserts a Song at the current position (i.e., between the selected item and the preceding one). All subsequent Songs are moved to the next higher-numbered slot. You can add up to 127 Songs to a list.
Note:
A Jukebox list can include only Songs contained in the same folder.
Hint:
Instead of a single Song, you can select a Jukebox file, and insert its whole content to the current Jukebox list.
Delete
This command lets you delete the selected Song from the list.
Del All
Select this command to delete the whole Jukebox list.
Song Play
Page menu
121
Save
Touch this button to save the Jukebox file. The Save Jukebox File dialog box appears, allowing you to edit the name and save your file.
Page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Touch the (Text Edit) button to open the Text Edit window, and edit the name.
If you are editing an existing list, and do not change its name, the old file is overwritten. If you change it, a new file will be created in the storage device.
If you are saving a new list, the “NEWNAME.JBX” name is automatically assigned, and you can edit it.
Note:
You can save your “.JBX” file only in the same folder as the
Song files included in the list.
Write Performance
Select this command to open the Write Performance dialog box, and save most of the current control panel settings to a Performance.
See “Write Performance dialog box” on page 109 for more infor-
mation.
Export Jukebox List
Only available when a Jukebox list is selected. Select this command to save the current Jukebox list as a text file to a storage device. Here is how it works.
1.
2.
While a Jukebox file is assigned to the player, select the
Export Jukebox List command from the page menu.
A dialog box will appear, asking you to select either the internal memory or a storage device connected to the USB
Host port.
3.
Select an option, and touch OK to confirm.
Note:
When saved, the text file will be named after the selected
Jukebox file. For example, a Jukebox file named “Dummy.jbx” will generate a “Dummy.txt” file. A new, unnamed Jukebox file will generate a “New_name.txt” file. If a file with the same name already exists on the target device, it will be overwritten without waiting for any confirmation.
The list will include the progressive number assigned to each Song, the file names, the total number of files in the list.
For the correct display and printing of the list on a personal computer, use a fixed size (i.e., non-proportional) character in your text editor.
Solo Track
Select the track to be soloed, and check this item. You will hear only the selected track, and the ‘Solo’ warning will flash on the page header.
122 Song Play
Page menu
Uncheck this item to exit the Solo function.
The Solo functions works in a slightly different way, depending on the selected track:
• Keyboard track: The selected Keyboard track is the only track you can hear when playing on the keyboard. All other Keyboard tracks are muted. Song tracks are left in play status.
• Song track: The selected track is the only Song track you can hear. All other Song tracks are muted. Keyboard tracks are left in play status.
Keep the SHIFT button pressed and touch one of the tracks to solo it. Do the same on a soloed track to deactivate the
Solo function.
Copy/Paste FX
Use this command to copy a single effect, or both effects of an
FX group (A or B). See “Copy/Paste FX” on page 108 for detailed
instructions.
Easy Mode
Easy Mode allows you to use the Style Play and Song Play modes with an easier-to-use user interface. It is recommended to beginners, and to professionals alike that do not want to deal with the extra parameters of the Advanced mode.
At any time, you can manually turn the Easy Mode on/off with the Easy Mode command in the page menu of the Style Play and
Song Play modes.
Sequencer
Standard MIDI Files and MP3
123
Sequencer
The Sequencer operating mode is the full-featured onboard sequencer, where you can create a Song from scratch, or edit it.
You can also use this mode to edit the initial parameters of a
Standard MIDI File, either made with an external sequencer or with Pa300’s own sequencer.
You can save the new or edited Song as a Standard MIDI File
(SMF, i.e., a file with the “.MID” extension), and play it back either in Song Play or Sequencer mode – or on any external sequencer.
Standard MIDI Files and MP3
The Songs and the Standard MIDI File format
The native Song format for Pa300 is the Standard MIDI File
(“.MID” file).
When saving a Song as a SMF, a setup measure is automatically inserted at the beginning of the Song. This measure contains various Song initialization parameters.
When an SMF is loaded, the setup measure is automatically skipped.
Sequencer mode and the MP3
While in Sequencer mode, you cannot load nor record MP3 files. This mode only allows for editing of the Standard MIDI
Files.
Selected track info area
Sounds area
Sequencer Play - Main page
Press the SEQUENCER button to access this page from another operating mode. In this page you can load a Song, and play it back using the PLAYER transport controls.
Note:
When switching from Style Play to Sequencer mode, the
Sequencer Setup is automatically selected, and various track parameters may change.
To return to this page from any of the Sequencer edit pages, press the EXIT or SEQUENCER button.
To switch between Song tracks 1-8 and 9-16, use the TRACK
SELECT button.
Song area Page header
Page menu icon
Track volume/status area
Page header
This line shows the current operating mode and transposition.
Operating mode Master Transpose (in semitones)
Operating mode name
Name of the current operating mode.
Master Transpose
Master transpose value in semitones. This value can be changed using the TRANSPOSE buttons on the control panel.
Note:
Transpose may be automatically changed when loading a
Standard MIDI File generated with an instrument of the Korg Pa-
Series.
Page menu icon
Touch the page menu icon to open the menu. See “Page menu” on page 144 for more information.
124 Sequencer
Sequencer Play - Main page
Song area
This is where the Song name is shown, together with its tempo and meter (time signature) parameters, and the current measure.
Song name
Beat counter
Measure number
Tempo
Selected track info area
This line lets you see the Sound assigned to the selected track.
Not only it is shown on the main page, but also in several edit pages.
Track name
Sound name
Sound bank
Program Change sequence
Song name
Displays the name of the selected Song. “NEWSONG” means that a new (blank) Song is selected, and you can record it.
Touch the Song name to make the Song Select window appear,
allowing for selection of a different Song (see “Song Select window” on page 85).
To select a Song, you can also press the SONG button in the
SELECTION section of the control panel. Press it a second time
to select a Song by dialing in its ID number (see “Selecting a
Song by its ID number” on page 86).
Note:
Only Standard MIDI Files can be loaded. MP3 files cannot be loaded in Sequencer mode.
Meter
Current meter (time signature).
Measure number
Current measure number.
Tempo
Metronome Tempo. Select this parameter and use the TEMPO buttons to change Tempo. As an alternative, when a different parameter is selected, or you are in a different page, keep the
SHIFT button pressed and use the DIAL to change Tempo for the sequencer.
Start from
When checked, the measure shown by this parameter is a temporary start point of the song, instead of measure 1. When you press the (HOME) button, or use the << (REWIND) button to go back to the beginning, the Song returns to this point.
Tempo (Tempo mode)
Use this menu to select the Tempo change mode.
Manual In this mode, you can change Tempo by using the
TEMPO buttons. The Song will be played back using the manually selected tempo.
Auto Tempo recorded in the Song will be used.
Track name
Name of the selected track.
Sound name
Sound assigned to the selected track. Touch anywhere in this area to open the Sound Select window, and select a different
Sound.
Sound bank
Bank the selected Sound belongs to.
Program Change
Program Change number sequence (Bank Select MSB, Bank
Select LSB, Program Change).
Sounds area
This area lets you see Sounds and octave transposition for the eight tracks currently displayed.
Song track octave transpose icon
Sound bank’s icon
Song track octave transpose
Non editable. Octave transpose of the corresponding track. To
edit the octave transpose, go to the “Mixer/Tuning: Tuning” edit
page (see page 98 for programming information).
Sound bank’s icon
This picture illustrates the bank the current Sound belongs to.
Touch an icon a first time to select the corresponding track
(detailed information are shown on the Selected Track Info area, see above). Touch it a second time to open the Sound Select window.
Sequencer
Entering Record mode
125
Track volume/status area
This area is where you can set the volume of each Song track, and mute/unmute tracks.
Volume and virtual sliders
Each track’s volume is memorized into the Standard MIDI File.
Drag the sliders to adjust the volume of the corresponding tracks. You can also change the volume by touching a slider and using the VALUE DIAL.
Entering Record mode
To enter Record mode, press the RECORD button while you are in Sequencer mode. The following dialog box will appear:
Virtual sliders
Use the TRACK SELECT button to switch between Song Tracks
1-8
and Song Tracks 9-16,
Track status icon
The Play/Mute status of each track is memorized into the Standard MIDI File. Select the track, then touch this area to change the track status. The status of Song tracks is saved when saving the Song.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Track names
Under the sliders, a label for each track is shown. Use the
TRACK SELECT button to switch between tracks 1-8 and 9-16.
Select one of the three available recording options and touch OK
(or Cancel if you don’t want to enter Record mode).
Multitrack Sequencer
Full-featured sequencer. Select this option for
classic multitrack recording. (See “Record mode:
Multitrack Sequencer page” on page 126).
Backing Sequence (Quick Record)
Easy way of recording. Just play with Styles, and record your performance.
Step Backing Sequence
Step-record. Edit chords and controls for the
Style. Very useful if you are not a keyboard player.
126 Sequencer
Record mode: Multitrack Sequencer page
Record mode: Multitrack Sequencer page
While in Sequencer mode, press the RECORD button and select the “Multitrack Sequencer” option. The Multitrack Sequencer page appears.
Recording parameters area
Page sub-header Page header Page menu icon
Selected track info area
Sounds area
Tracks volume/status area
See “Multitrack recording procedure” on page 127 for informa-
tion on the record procedure.
Page header
See “Page header” on page 123.
Page menu icon
See “Page menu icon” on page 123.
Page sub-header
This area shows some performing info on the Song.
Overdub
Overwrite
The newly recorded events will be mixed to any existing events.
The newly recorded events will replace any existing events.
Auto Punch Recording will automatically begin at the “Start” position, and stop at the “End” position.
Note:
The Auto Punch function will not work on an empty Song. At least one track must already be recorded.
PedalPunch Recording will begin when pressing a pedal set to the “Punch In/Out” function, and will finish when pressing the same pedal again.
Note:
The Pedal Punch function will not work on an empty Song. At least one track must already be recorded.
Start from
When checked, the measure shown by this parameter is a temporary start point of the song, instead of measure 1. When you press the (START/STOP) button to stop recording, or use the << (REWIND) button to go back to the beginning, the Song returns to this point.
Resolution
Use this parameter to set the quantization during recording.
Quantization is a way of correcting timing errors; notes played too soon or too late are moved to the nearest axis of a rhythmic
“grid”, set with this parameter, thus playing perfectly in time.
High No quantization applied.
(1/32)… (1/8)
Grid resolution, in musical values. For example, when you select 1/16, all notes are moved to the nearest 1/16 division. When you select 1/8, all notes are moved to the nearest 1/8 division.
No quantization
Song name Free memory % Beat counter Measure number
1/16
Song name
Name of the Song in record.
Free memory %
Percentage of remaining memory available for recording.
Beat counter
This indicator shows the current beat inside the current measure.
Measure number
Current measure you are recording.
Recording parameters area
Rec mode (Recording mode)
Set this parameter before starting record, to select a recording mode.
1/8
Start/End
Start and End locators. These parameters area available only when the “Auto Punch” recording mode is selected. They set the starting and ending points of the Punch recording.
Tempo
Select this parameter, and use the TEMPO controls to set the
Tempo value.
Meter
This is the basic meter (or time signature) of the Song. You can edit this parameter only when the Song is empty, i.e., before you begin recording anything. To insert a meter change in the middle of the Song, use the “Insert Measure” function (see
Sequencer
Record mode: Multitrack Sequencer page
127
Tempo (Tempo mode)
This parameter sets the way tempo events are read or recorded.
Manual Manual reading. The latest manual Tempo setting
(made using the TEMPO buttons) is considered the current Tempo value. No Tempo change events will be recorded. This is very useful when you want to record the Song at a much slower speed than the actual Tempo.
Auto Auto reading. The Sequencer plays back all recorded Tempo events. No Tempo change events are recorded.
Record All Tempo changes made during recording will be recorded to the Master Track.
Note:
Tempo is always recorded in overwrite mode
(old data is replaced by the new data).
Selected track info area
This line lets you see the Sound assigned to the selected track.
See “Selected track info area” on page 124 for more information.
Sounds area
This area lets you see Sounds and octave transposition for the
eight tracks currently displayed. See “Sounds area” on page 124
for more information.
Track volume/status area
This area is where you can set the volume of each Song track,
and change track status. See “Track volume/status area” on page 125.
Track status icons
Play/mute/record status of the current track. Select the track, then touch this area to change its status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Record status. After pressing (START/
STOP) to start recording, the track will receive notes from the keyboard and the USB Device connector.
Multitrack recording procedure
Here is the general procedure to follow for the Multitrack
Recording.
1.
Press the SEQUENCER button to enter Sequence mode.
2.
Press the RECORD button, and select the “Multitrack
Sequencer” option to enter the Multitrack Record mode.
Now you can prepare your recording parameters. (For
more details, see “Record mode: Multitrack Sequencer page” on page 126).
3.
4.
5.
Be sure the Overdub or Overwrite recording options is selected (see “Rec mode (Recording mode)” on page 126).
Set the Tempo. There are two ways of changing Tempo:
• Use the TEMPO buttons to change the tempo
• Touch the “Tempo” parameter, and use the VALUE DIAL to change Tempo.
Use the TRACK SELECT button to switch between Song
Tracks 1-8 and Song Tracks 9-16, and assign the desired
Sound to each track (see “Sound bank’s icon” on page 124).
6.
7.
8.
Select the track to be recorded. Its status icon will automatically change to Record (see “Track status icons” above).
If this is a second-pass recording, use the “Start from” parameter to enter a measure where you want to start recording.
Press the METRO button to turn the metronome on, and start practicing.
9.
Press (START/STOP) to start recording. After a 1-bar precount, the recording actually begins. After the precount, play freely.
• If you selected the Auto Punch recording mode, the recording will begin only when reaching the Start point.
• If you selected the Pedal Punch recording mode, press the pedal when you want to begin recording. Press it again to finish recording.
Note:
The Punch functions will not work on an empty Song.
At least one track must already be recorded.
10.
11.
12.
When finished recording, press (START/STOP) to stop the sequencer. Select a different track, and go on recording the whole Song.
When finished recording the new Song, either press the
RECORD button, or select the “Exit from Record” command from the page menu (see page 145).
Warning:
Save the Song to a storage device, to avoid losing it when the instrument enters standby.
Note:
When exiting the Record mode, the Octave Transpose is automatically reset to “0”.
If you wish, edit the new Song, by pressing the MENU button, and selecting the various edit pages.
128 Sequencer
Record mode: Step Record page
Record mode: Step Record page
The Step Record allows you to create a new Song by entering single notes or chords to each track. This is very useful when transcribing an existing score, or needing a higher grade of detail, and is particularly suitable to create drum and percussion tracks.
To access this page, select the “Overdub Step Recording” or
“Overwrite Step Recording” command from the page menu.
In Overdub Step Recording mode you will add to existing events, while in Overwrite Step Recording mode you will overwrite all existing events.
Page sub-header Page header Note parameters
Step time
Buttons Event list
See “Step Record procedure” below, for information on the
record procedure.
Page header
This line shows the current operating mode.
Page sub-header
Track
Name of the selected track in record.
Tr01…Tr16 Song track.
Pos (Position)
This is the position of the event (note, rest or chord) to be inserted.
Step Time area
Step Time
Length of the event to be inserted.
… Note value.
Standard (–) Standard value of the selected note.
Dot (.)
Triplet (3)
Augments the selected note length by one half of its value.
Triplet value of the selected note.
Note parameter area
Meter
Meter (Time Signature) of the current measure. This parameter cannot be edited. You can set a Meter change by using the Insert function of the Edit menu, and inserting a new series of mea-
sures with a different Meter (see “Song Edit: Cut/Insert Measures” on page 142).
Free Memory
Available memory for recording.
Duration
Relative duration of the inserted note. The percentage is always referred to the step value.
50%
85%
100%
Staccato.
Ordinary articulation.
Legato.
Velocity
Set this parameter before entering a note or chord. This will be the playing strength (i.e., velocity value) of the event to be inserted.
Kbd Keyboard. You can select this parameter, by turning the VALUE DIAL all counter-clockwise.
When this option is selected, the playing strength of the note played on the keyboard is recognized and recorded.
1…127 Velocity value. The event will be inserted with this velocity value, and the actual playing strength of the note played on the keyboard will be ignored.
Event list area
List of inserted events
Previously inserted events. You may delete the last of these events, and make it ready for a new event, by touching the Back button in the display.
Position
Note/RX Noise
Position where the event has been inserted. The value is shown in the “measure.beat.tick” format.
Vel.
Dur.%
Name of the inserted Note or RX Noise. When entering a chord, a series of dots is shown after the name of the root note.
Velocity of the inserted event.
Percentage duration of the inserted event.
Buttons
Rest
Touch this button to insert a rest.
Sequencer
Record mode: Step Record page
129
Tie
Touch this button to tie the note to be inserted to the previous one. A note with the same pitch, and the specified length, will be created, and tied to the previous one.
Back
Goes to the previous step, erasing the inserted event.
Next M. (Next Measure)
Goes to the next measure, and fills the remaining space with rests.
Done
Exits the Step Record mode.
Step Record procedure
Here is the general procedure to follow for the Step Recording.
1.
Press the SEQUENCER button to enter Sequencer mode.
2.
Press the RECORD button, and select the “Multitrack
Sequencer” option to enter the Multitrack Record mode.
Step Record window will appear in the display.
3.
4.
5.
The next event will be entered at the position shown by the
Pos indicator in the upper right corner of the display.
• If you don’t want to insert a note at this position, insert a rest instead, as shown in step 5.
• To jump to the next measure, filling the remaining beats with rests, touch the Next M. button in the display.
To change the step value, use the Step Time parameters.
Insert a note, rest or chord at the current position.
• To insert a single note, just play it on the keyboard. The inserted note length will match the step length. You may change the velocity and relative duration of the note, by editing the Velocity and Duration parameters. See “Velocity” and “Duration” on page 128.
6.
7.
• To insert a rest, just touch the Rest button in the display.
Its length will match the step value.
• To tie the note to be inserted to the previous one, touch the Tie button in the display. A note will be inserted, tied to the previous one, with exactly the same pitch. You don’t need to play it on the keyboard again.
After inserting a new event, you may go back by touching the Back button in the display. This will delete the previously inserted event, and set the step in edit again.
When finished recording, touch the Done button in the display. A dialog box appears, asking you to either cancel, discard or save the changes.
8.
9.
If you touch Cancel, exit is canceled, and you can continue editing. If you choose No, changes are not saved, and the
Step Record window is closed. If you choose Yes, changes are saved, and the Step Record window is closed.
From the main page of the Multitrack Recording mode,
either select the “Exit from Record” command from the
page menu, or press the RECORD button to exit the Record mode.
While in the main page of the Sequencer mode, you may press the (START/STOP) button in the PLAYER section to listen to the Song, or select the Save Song command from the page menu to save the Song to a storage device
(see “Save Song window” on page 145).
Chords and second voices in Step Record mode
You are not obliged to insert single notes in a track. There are several ways to insert chords and double voices. Lets look at some.
Entering a chord. Simply play a chord instead of a single note.
The event name will be the first note of the chord you pressed, followed by the “…” abbreviation.
Entering a chord made of notes with different velocity values.
You can make the upper or lower note of a chord, for example, louder than the remaining ones, to let the most important stand out from the chord. Here is how to insert a three-note chord:
1.
Edit the first note’s Velocity value.
2.
Press the first note and keep it pressed.
3.
Edit the second note’s Velocity value.
4.
Press the second note and keep it pressed.
5.
Edit the third note’s Velocity value.
6.
Press the third note, then release all notes.
Entering a second voice. You can insert passages where one
note is kept pressed, while another voice moves freely.
Ex. 1:
Step Time =
On
Press E and C
Off
Release E (continue holding C)
Step Time =
On
Press G
Off
Release G and C
130 Sequencer
Record mode: Backing Sequence (Quick Record) page
Ex.2:
Step Time = Step Time = Step Time =
On
Press F and C
Off
Release F
(continue holding C)
Step Time = Step Time =
On
Press G
(continue holding C)
Step Time =
Off
Release G
(continue holding C)
On
Press D
(continue holding C)
Off
Release D
(continue holding C)
Step Time = Step Time =
Ex.3:
On
Press E
(continue holding C)
Off
Release E and C
Record mode: Backing Sequence (Quick
Record) page
Backing Sequence (Quick Record) mode allows you to quickly record your live performance with the backing of the Styles. To make things easier, just two grouped tracks are provided: Kbd/
Pad
(Keyboard and Pads) to record keyboard and pads, and Ch/
Acc
(Chords/Accompaniment) to record chords and the accompaniment provided by the Style.
While in Sequencer mode, press the RECORD button and select the “Backing Sequence (Quick Record)” option. The Backing
Sequence (Quick Record) page appears.
Page sub-header
Recording parameters area
Page header Page menu icon
Step Time =
On
Press C
Step Time =
Tie
On
Press G (continue holding C)
Off
Release G and C
Selected track info area
B.S.
grouped tracks area
Track volume/status area
Page header
See “Page header” on page 123. Here, this line also shows the
recognized chord.
Page menu icon
See “Page menu icon” on page 123.
Page sub-header
See “Page sub-header” on page 126.
Recording parameters area
Style
This parameter shows the selected Style. Either touch it, or press the STYLE button in the SELECTION section to open the Style
Select window and select a different Style (see “Style Select window” on page 82).
Free memory
Percentage of remaining memory for recording.
Sequencer
Record mode: Backing Sequence (Quick Record) page
131
Resolution
Use this parameter to set the quantization during recording.
Quantization is a way of correcting timing errors; notes played too soon or too late are moved to the nearest axis of a rhythmic
“grid”, set with this parameter, thus playing perfectly in time.
High No quantization applied.
(1/32)… (1/8)
Grid resolution, in musical values. For example, when you select 1/8, all notes are moved to the nearest 1/8 division. When you select 1/4, all notes are moved to the nearest 1/4 division.
High (no quantization)
1/16
1/8
Chord/Acc Track, Kbd/Pad Track
These parameters let you define grouped track status during recording. This status is reflected by the big status indicator above the track sliders.
Play The Backing Sequence track is set to play. If there are recorded data, they will be heard while recording the other Backing Sequence track.
Mute
Rec
The Backing Sequence track is muted. If this tracks has already been recorded, it will not be heard during recording of the other Backing
Sequence track.
The Backing Sequence track is in record. All previously recorded data will be deleted. After pressing (START/STOP) to start recording, the track will receive notes from the keyboard or the
USB Device connector.
Chord/Acc: This Backing Sequence track groups all Style tracks,
together with recognized chords and Style controls and Style
Elements selection. After finishing recording, they will be saved as Song tracks 9-16, as in the following table:.
Chord/Acc track
Bass
Drum
Percussion
Accompaniment 1
Accompaniment 2
Accompaniment 3
Accompaniment 4
Accompaniment 5
Song track/Channel
9
10
11
12
13
14
15
16
Kbd/Pad: This Backing Sequence track includes the four Key-
board tracks and the four Pads. After finishing recording, they will be saved as Song tracks 1-8, as in the following table:
Kbd/Pad track
Upper 1
Upper 2
Upper 3
Lower
Pad 1
Pad 2
Pad 3
Pad 4
Song track/Channel
1
4
5
2
3
6
7
8
Tempo
Metronome Tempo. Select this parameter and use the VALUE
DIAL to change Tempo. You can always change Tempo using the
TEMPO buttons.
Meter
(Non Editable). This parameter shows the meter (or time signature) of the selected Style for reference.
PERF or STS (Performance or STS)
This parameter shows the selected Performance or STS (depending on the latest item selected).
To select a Performance, either touch it, or press one of the PER-
FORMANCE buttons to open the Performance Select window
and select a different Performance (see “Performance Select window” on page 84).
To select an STS (Single Touch Setting), use the four STS buttons under the display.
Backing Sequence tracks area
Backing Sequence tracks status indicators
The grouped track indicators show the status of the Backing
Sequence tracks. They reflect the status of the Kbd/Pad and Ch/
Acc parameters (see “Chord/Acc Track, Kbd/Pad Track” above).
Selected track info area
This line lets you see the Sound assigned to the selected track.
See “Selected track info area” on page 124 for more information.
Track volume/status area
This area is where you can set the volume and mute/play status of each single Keyboard track.
Sliders (track volume)
Graphical display of each track’s volume.
132 Sequencer
Record mode: Backing Sequence (Quick Record) page
Individual track status icons
While you can use the Kbd/Pad Backing Sequence track to change the status of all Keyboard tracks at once, you can also change the status of each separate track. Touch this icon to change the status of the corresponding individual track.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Track names
Under the sliders, a label for each track is shown.
Abbreviation
UPPER1…3
LOWER
Track
Upper tracks.
Lower track.
Backing Sequence (Quick Record) recording procedure
Here is the general procedure to follow for the Backing Sequence
(Quick) Recording.
1.
2.
3.
Press the SEQUENCER button to enter the Song mode.
Press the RECORD button, and select the “Backing
Sequence (Quick Record)” option to enter the Backing
Sequence (Quick Record) mode. Now you can prepare your
The latest selected Style is currently selected. If it is not the right one, select a different Style to start recording with.
(See “Style Select window” on page 82).
4.
The latest selected Performance or STS is currently selected. If you prefer, select a different Performance or
STS. (See “Performance Select window” on page 84, and
5.
6.
7.
8.
9.
Select the status of the Backing Sequence tracks, by using the Kbd/Pad and Ch/Acc parameters. (Kbd/Pad stays for
Keyboard and Pads; Ch/Acc stays for Chord and Accompaniment, i.e. the Style tracks). To record all you play on the keyboard, plus the automatic accompaniment, leave their status to Rec (see “Track status icons” on page 127).
Warning:
Tracks set to REC are automatically overwritten when starting recording. Set a track to the PLAY or MUTE status, when you don’t want to delete it. For example, if you are recording a keyboard part on an existing Style track, set the Ch/Acc parameter to PLAY, and the Kbd/Pad track to
REC.
Start recording by pressing the START/STOP button.
Since you can use any Style control, you could start with the usual combinations (INTRO, ENDING…).
Note:
While in Backing Sequence mode, you can’t record the
SYNCHRO, TAP TEMPO/RESET, MANUAL BASS, BAL-
ANCE controls.
Play your music. While recording you can even change the
Style.
When finished recording your performance, press the
START/STOP button or one of the ENDING buttons. You will go back to the Sequencer Play Main page (see
“Sequencer Play - Main page” on page 123).
At this point, you may press the (START/STOP) button in the PLAYER section to listen to the new Song.
You may also edit the Song by pressing the MENU button
(see “Edit menu” on page 135).
Save the song to a storage device (see “Save Song window” on page 145).
Warning:
The recorded Song will be deleted when the instrument enters standby, switching to the Style Play or Song Play mode, or entering Record again. If you wish to preserve it, save the Song to a storage device.
Sequencer
Record mode: Step Backing Sequence page
133
Record mode: Step Backing Sequence page
The Step Backing Sequence mode allows you to enter single chords, to create or edit the Style (Chord/Acc) part of a Song.
This mode lets you enter chords even if you are not a keyboard player, or fix any error made playing chords or selecting Style controls, during a Backing Sequence (Quick Record) recording.
In this mode, you can only edit Songs created using the Backing
Sequence (Quick Record) recording mode. When saving a Song created using the Backing Sequence (Quick Record) recording mode, all Chord/Acc data is preserved, and can be loaded later, to be edited again by using the Step Backing Sequence mode.
While in Sequencer mode, press the RECORD button and select the “Step Backing Sequence” option. The Step Backing Sequence window appears.
Page menu icon
“Soft” transport buttons Parameters area
See “Step Backing Sequence procedure” on page 135 for infor-
mation on the record procedure.
Page menu icon
Touch the page menu icon to open the menu. See “Step Backing
Sequence page menu” on page 134 for more information.
Parameters area
Side arrow ( )
The small arrow next to a parameter means that its value is effective at the current position. For example, if you are at the
“003.01.000” position, and an arrow lights up next to the Chord parameter, this means that a chord change happens at the
“003.01.000” position.
Measure
This parameter shows the current position of the Step Editor. To go to a different position within the Song, use one of the following systems:
• Select this parameter, then use the VALUE DIAL to go to a different measure.
• Use the Measure buttons in the display to move to a different measure. Use the Step buttons in the display to move in steps of 1/8 (192 ticks). Use the Event buttons in the display to jump to the next event.
The locator value is shown in the “measure.beat.tick” format.
Measure Measure or bar number.
Beat
Tick
Divider in the Time Signature ratio (e.g., a quarter in a 3/4 time).
Smallest position value. The internal Player feature a resolution of 384 ticks per quarter.
Style
This is the latest selected Style. To insert a Style change at the current position, touch the Style name to open the Style Select window, or follow the standard selecting procedure using the
STYLE button in the SELECTION section.
Note:
Any Style Change inserted after the beginning of the measure (i.e., to a position other than Mxxx.01.000) will be effective at the following measure. For example, if a Style Change event has been inserted at M004.03.000, the selected Style will be effectively selected at M005.01.000. (This works exactly as in Style Play mode).
Note:
When inserting a Style Change, you may also insert a
Tempo Change at the same position. A Style Change will not automatically insert the Style’s Tempo.
Performance
This is the latest selected Performance. Select a Performance to recall the Style it links to. To insert a Performance change at the current position, touch the Performance name to open the Performance Select window, or follow the standard selecting procedure using the PERFORMANCE section.
Tempo
This is the Tempo Change parameter. To insert a Tempo Change event at the current position, select this parameter and use the
VALUE DIAL to change its value.
Chord
The chord parameter is divided in four separate parts:
Name Type Extension
Select one of the parts, then use the VALUE DIAL to modify it.
As an alternative, you can play a chord, and it will be automatically recognized. While recognizing a chord, the status of the
Bass Inversion parameter will be considered.
The lack of a chord (--) means that the accompaniment will not play at the current position (apart for the Drum and Percussion tracks). To select the “--” option, select the Name part of the
Chord parameter, then use VALUE DIAL to select the very last value (C…B, Off).
Note:
If you replace a chord with a different one, please remember that the Lower track (if recorded) will not be automatically changed, and may cause a dissonance against the accompaniment.
Style Element
This is the Style Element (i.e., a Variation, Fill, Intro, or Ending).
The length of the selected Style Element is always shown by the
“Length” parameter (see below).
134 Sequencer
Record mode: Step Backing Sequence page
“Off ” means that the accompaniment will not play at the selected position – only Keyboard and Pad tracks will play.
Hint:
Insert a Style Element Off event exactly where the automatic accompaniment must stop (at the end of the Song).
Length
This parameter will let you know where to place the following
Style Element Change. For example, if you inserted an Intro event lasting for 4 measures, you can insert 4 empty measure after this event, and a Variation event at the end of the Intro, beginning at the 4th empty measure.
Del (Delete) button
When a side arrow ( ) is shown next to a parameter, there is an event at the current position. You can touch the Del button next to it, to delete the event at the current position.
Hint:
To delete all events starting from the current position, select the “Delete All from Selected” command from the page menu (see below).
“Soft” transport buttons
Done button
Done
Touch this button to exit the Step Backing Sequence mode. All changes will be saved to memory.
Hint:
Save the Song to a storage device, by selecting the “Save
Song” command from the page menu, to avoid losing it when the
instrument enters standby.
Step Backing Sequence page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Previous or Next Event
Use these buttons to move to the previous or next recorded event.
Previous or Next Step
Use these buttons to go to the previous or next step (1/8, or 192 ticks). If an event is located before the previous or next step, the locator stops on that event. For example, if you are positioned on
M001.01.000, and no event exists before M001.01.192, the > button moves to the M001.01.192 location. If an event exists on
M001.01.010, the > button stops to the M001.01.010 location.
These commands are effective even if the Measure parameter is not selected.
Previous or Next Measure
Use these buttons to move to the previous or following measure.
These commands are effective even if the Measure parameter is not selected.
Insert Measure
Use this command to insert an empty measure starting from the current measure. All Chord/Acc events contained in the current measure will be moved to the following measure. The event at the Mxxx.01.000 position (i.e., exactly at the beginning of the measure, like a Time Signature or Style change) will not be moved.
Cut Measure
Use this command to delete the current measure. All Chord/Acc event contained in the following measures will be moved one measure back.
Delete All from Selected
Use this command to delete events of all types, starting from the current position.
Note:
All events on the very first tick (M001.01.000), like Perf,
Style, Tempo, Chord, Style Element selection, cannot be deleted.
Delete All Styles/Perfs from Selected
Delete All Styles Elements from Selected
Delete All Chords from Selected
Delete All Tempos from Selected
Select one of these commands to delete all events of the corresponding type, starting from the current position to the end of the Song. To delete all events of the same type from the whole
Song, go back to the M001.01.000 position, and select one of
these commands.
Note:
All events on the very first tick (M001.01.000), like Perf,
Style, Tempo, Chord, Style Element selection, cannot be deleted.
Sequencer
Edit menu
135
Step Backing Sequence procedure
Here is the general Step Backing Sequence recording procedure.
Hint:
Before entering Step Backing Sequence mode to edit an exist-
ing Song, select the “Save Song” command from the page menu,
and save the Song to a storage device. This way, you will have a copy of the Song, in case you don’t like the results of your editing.
1.
2.
While in Sequencer mode, press the RECORD button, and choose the “Step Backing Sequence” recording option.
Select the Measure parameter, and go to the desired position in the Song, by using the VALUE DIAL. Alternatively, you can move the locator using the “soft” transport buttons
in the display. See ““Soft” transport buttons” on page 134.
3.
Select the parameter type (Style, Performance, Tempo…) to insert, edit or delete at the current position. If an arrow ( ) appears next to a parameter, the shown event has been inserted at the current position.
4.
5.
Use the VALUE DIAL to modify the selected event. Delete it by touching the Del button next to the event. When editing a parameter without the arrow ( ) next to it, a new event is inserted at the current position.
Exit the Step Backing Sequence recording mode, by touching the Done button in the display.
6.
Press (START/STOP) in the PLAYER section to listen to the result of your editing. If it is fine, save the Song to a storage device.
Edit menu
From any page, press the MENU button to open the Sequencer edit menu. This menu gives access to the various Sequencer edit sections.
When in the menu, select an edit section, or press EXIT to exit the menu.
When in an edit page, press EXIT or the SEQUENCER button to go back to the main page of the Sequencer operating mode.
Each item in this menu corresponds to an edit section. Each edit section groups various edit pages, that may be selected by touching the corresponding tab on the lower part of the display.
Edit page structure
All edit pages share some basic elements.
Operating mode Edit section
Page menu icon
Selected track info
Parameters area
Tabs
Operating mode
This indicates that the instrument is in Sequencer mode.
Edit section
This identifies the current edit section, corresponding to one of
the items of the edit menu (see “Edit menu” on page 135).
Page menu icon
Touch this icon to open the page menu (see “Page menu” on page 144).
Parameters area
Each page contains various parameters. Use the tabs to select one of the pages. For detailed information on the various types of parameters, see sections starting below.
136 Sequencer
Mixer/Tuning: Volume/Pan
Tabs
Use tabs to select one of the edit pages of the current edit section.
Parameters
All parameters in this page are the same found in the same page
of the Style Play mode (see “Mixer/Tuning: FX Send” on page 117).
Mixer/Tuning: Volume/Pan
This page lets you set the volume and pan for each Song track.
Use the TRACK SELECT button to switch between Song tracks
1-8 and 9-16.
Mixer/Tuning: EQ Gain
In this page you can set the three-band equalization (EQ) for each individual track.
Use the TRACK SELECT button to switch between Song tracks
1-8 and 9-16, and vice-versa.
Parameters
All parameters in this page are the same found in the same page
of the Song Play mode (see “Mixer/Tuning: Volume/Pan” on page 117).
Parameters
All parameters in this page are the same found in the same page
of the Song Play mode (see “Mixer/Tuning: EQ Gain” on page 118).
Mixer/Tuning: FX Send
This page lets you set the level of the track’s direct (uneffected) signal going to the Internal FX processors.
Use the TRACK SELECT button to switch between Song tracks
1-8 and 9-16, and vice-versa.
Mixer/Tuning: EQ Control
This page lets you reset or bypass track equalization, programmed in the previous page.
Use the TRACK SELECT button to switch between Song tracks
1-8 and 9-16, and vice-versa.
FX Groups
Use this pop-up menu to select one of the two FX groups (A or
B).
Pa300 includes two groups of effects (FX A and FX B). While in
Song Play mode, the A group is reserved to the Song and Pad tracks, the B group to the Keyboard tracks.
However, Songs created in Sequencer mode could also assign the
B group to the Song tracks.
Parameters
All parameters in this page are the same found in the same page
of the Song Play mode (see “Mixer/Tuning: EQ Control” on page 118).
Sequencer
Mixer/Tuning: Tuning
137
Mixer/Tuning: Tuning
Parameters
All parameters in this page are the same found in Global mode.
See “Mixer/Tuning: Tuning” on page 98).
Effects: A/B FX Configuration
This page allows you to select the effects for the A (Song) and B
(Keyboard) FX groups. You can use the “FX A” and “FX B” side tabs to switch from one group to the other one. Songs created in
Sequencer mode on a Pa-Series instrument can also use the B FX group.
The effect types and the FX matrix are the same seen for the
Style Play mode (see “Effects: A/B FX Configuration” on page 100).
Mixer/Tuning: Sub Scale
This page lets you program an alternative scale for the selected
tracks (via the “Track Assign” parameter). The remaining tracks
(if any) use the basic scale set in Global mode (see “Main Scale” on page 157).
Note:
Quarter Tone selection and activation of the Sub-Scale on each track of a Song, can be received by MIDI (i.e., by an external sequencer or controller). Conversely, selection of Quarter Tone settings, or activation of the Sub-Scale on each track of the Song, can be sent by the Pa300 to an external MIDI recorder as System
Exclusive data.
Parameters
All parameters in this page are the same found in Global mode.
See “Mixer/Tuning: Sub Scale” on page 98.
Track Assign
Check the parameter corresponding to each track where the
Sub-Scale must be used.
Play/Mute icon
Track’s play/mute status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Note:
When you stop the Song, or select a different Song, the default effects are selected again. You can, however, stop the Song, change the effects, then start the Song again. Save the Song to permanently change the effects.
FX Group
Use these side tabs to choose the FX group (A or B) for the corresponding track.
Pa300 includes two groups of effects (FX A and FX B). While in
Song Play mode, the A group is reserved to the Song and Pad tracks, the B group to the Keyboard tracks.
However, Songs created in Sequencer mode could also assign the
B group to the Song tracks.
Parameters
All parameters in this page are the same found in the same page
of the Song Play mode (see “Effects: A/B FX Configuration” on page 119).
138 Sequencer
Effects: Master 1, 2
Effects: Master 1, 2
These pages contain the editing parameters for the effect processors. Here is an example of the FX A page, with the Reverb Hall effect assigned.
Event Edit: Event Edit
The Event Edit is the page where you can edit each single MIDI event of the selected track. You can, for example, replace a note with a different one, or change its playing strength. See also
“Event Edit procedure” on page 139 for more information on the
event editing procedure.
Scroll bar
Selected effect
Select one of the available effects from this pop-up menu. This is
equivalent to the “FX Group” parameters found in the “Effects:
A/B FX Configuration” page (see above).
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Effects: Master 1, 2” on page 101 for
details.
Track Controls: Mode
Parameter
See “Track Controls: Mode” on page 101.
Track Controls: Drum Edit
Parameter
See “Track Controls: Drum Edit” on page 102.
Track Controls: Easy Edit
Parameter
See “Track Controls: Easy Edit” on page 103.
Position
Position of the event, expressed in the form ‘aaa.bb.ccc’:
• ‘aaa’ is the measure
• ‘bb’ is the beat
• ‘ccc’ is the tick (each quarter beat = 384 ticks)
You can edit this parameter to move the event to a different position. You can edit a position in either of the following ways:
(a) select the parameter, and use the VALUE DIAL to change the value, or
(b) select the parameter, then touch it again; the numeric keypad will appear. Enter the new position by dialing in the three parts of the number, separated by a dot. Zeroes at the beginning can be omitted, as well as the least important parts of the number. For example, to enter position
002.02.193, dial “2.2.193”; to enter position 002.04.000 dial
“2.4”; to enter position 002.01.000, simply dial “2”.
Type
Type of the event shown in the display. To edit it, select the parameter and use the VALUE DIAL to change its value.
This parameter also shows the (non editable) “End Of Track” marking, when the end of the track is reached.
Value 1 and 2
Values of the event shown in the display. Depending on the selected event, the meaning may change.
Here are the events contained in ordinary tracks (1-16).
Type First value
Note Note name
RX Noise Note name
Prog
Ctrl
Bend
Aftt
PAft
Program Change number
Control Change number
Bending value
Mono (Channel) Aftertouch value
Note to which the Aftertouch is applied
Second value
Velocity
Velocity
–
–
–
Control Change value
Poly Aftertouch value
Sequencer
Event Edit: Event Edit
139
And here are the events contained in the Master track.
Type First value Second value
Tempo
Volume
Meter
KeySign
Scale
UScale (User Scale)
QT (Quarter Tone)
Tempo change
Master Volume value
Meter (time signature) change
(*)
Key Signature
(†)
One of the available preset
Scales
Altered note
Altered note
–
–
–
–
Root note for the selected Scale
Note alteration
(‡)
Note alteration (0,
50)
(b)
– QT Clear (Quarter
Tone Clearing)
Reset of all Quarter Tone (QT) changes
(*). Meter changes can’t be edited or inserted separately from a measure. To insert a Meter change, use the Insert function in the Edit section and insert a series of measures with the new meter. Existing data can then be copied or entered to these measures
(†). This is the key signature shown in the Score. If this event is missing, the Score will be shown as if it was in the key of C Major.
(‡). To edit User Scale and Quarter Tone settings, select the first value, then select the scale’s degree to edit. Edit the second value to change the tuning of the selected note of the scale.
To edit the event Type and Values, select the parameter and use the VALUE DIAL to change their value. In case of numeric values, you can also press them twice to open the numeric keypad.
Length
Length of the selected Note event. The value format is the same as the Position value. Edit it in the same way.
Note:
If you change a length of “000.00.000” to a different value, you can’t go back to the original value. This rather uncommon zero-length value may be found in the drum and percussion tracks of Songs made in Backing Sequence mode.
Track
Use this pop-up menu to select the track to edit.
Track 1…16 One of the ordinary tracks of the Song. These tracks contains musical data, like notes and controllers.
Master This is a special track, containing Tempo changes, Meter changes, Scale and Transpose data, and the effect parameters.
Scrollbar
Use the scrollbar to browse the event through the list. You can also scroll by using the SHIFT + DIAL combination.
Go/Catch
This is a dual-function command.
• While the sequencer is not running, it works as a Go to Measure command. Touch it to open the Go to Measure dialog box:
When in this dialog box, select a target measure, and touch OK.
The first event available in the target measure will be selected.
• While the sequencer is running, it works as a Catch Locator command. Touch it to show the event that is currently playing.
Insert
Touch the Insert button in the display to insert a new event at the current shown Position. The default values are Type = Note,
Pitch = C4, Velocity = 100, Length = 192.
Note:
You can’t insert new events in an empty, non-recorded Song.
To insert an event, you must first insert some empty measures by
using the Insert Measure function (see “Song Edit: Cut/Insert Measures” on page 142).
Delete
Touch the Delete button in the display to delete the event selected in the display.
Note:
The “End of Track” event cannot be deleted.
Event Edit procedure
Here is the general event editing procedure.
3.
4.
1.
2.
5.
6.
While in the Event Edit page, press (START/STOP) in the PLAYER section to listen to the Song. Press it again to stop the Song.
Select the Filter page, and turn “Off ” the filter for the event
types you wish to see in the display (see “Event Edit: Filter” on page 140 for more information).
Return to the Event Edit page.
Use the “Track” pop-up menu to select the track to edit.
The list of events contained in the selected track will appear in the display.
For more information on the event types and their values, see above.
Select the “Position” parameter. Use the VALUE DIAL (or touch the parameter again to open the numeric keypad) to change the event’s position.
ters and use the VALUE DIAL (or touch the parameter again to open the numeric keypad) to modify the selected value.
140 Sequencer
Event Edit: Filter
7.
In the case of a Note event, select the Length parameter, and use the VALUE DIAL (or touch the parameter again to open the numeric keypad) to change the event’s length.
• While the sequencer is not running, you may touch the
Go/Catch button in the display to go to a different measure
• While the sequencer is running, you may use the Go/
Catch button in the display to see the currently playing
event in the display (see “Go/Catch” above).
• Use the PLAYER transport controls to listen to the Song.
8.
9.
10.
Touch the Insert button in the display to insert an event at the Position shown in the display (a Note event with default values will be inserted). Touch the Delete button in the display to delete the selected event.
When the editing is complete, you may select a different
When finished editing the whole Song, select the Save Song command from the page menu to save the Song to a storage
device. See “Save Song window” on page 145 for more
information on saving a Song.
Pa Controls Controls exclusive to Pa300, like the Scale settings. These controls are recorded to the Master
Track, and saved as System Exclusive data.
Song Edit: Quantize
The quantize function corrects any rhythm error after recording.
Event Edit: Filter
This page is where you can select the event types to be shown in the Event Edit page.
After setting the various parameters, touch Execute to start the operation.
Track
Use this parameter to select a track.
All Quantize will apply to all tracks.
Track 1…16 Quantize will apply only to the selected track.
Resolution
This parameter sets the quantization value. For example, when you select a 1/8-note, all notes are moved to the nearest 1/8 division. When you select 1/4, all notes are moved to the nearest 1/4 division.
No quantization
1/8
Turn On the filter for all event types you do not wish to see in the Event Edit page.
Note/RX Noise Notes and RX Noises.
Program
Control
Program Change events.
Control Change events.
Tempo/Meter Tempo and Meter (time signature) changes (Master Track only).
After Touch Mono (Channel) Aftertouch events.
Poly After Touch
Poly Aftertouch events.
Pitch Bend Pitch Bend events.
1/4
(1/32)… (1/4)
Grid resolution, in musical values. A “b…f ” character added after the value means swing-quantization. A “3” means triplet.
Start / End Tick
Use these parameters to set the starting and ending points of the range to be quantized.
If you wish to select a four-measure sequence starting at the beginning of the Song, the Start will be positioned at 1.01.000, and the End at 5.01.000.
Sequencer
Song Edit: Transpose
141
Bottom / Top Note
Use these parameters to set the bottom and top note of the keyboard range to quantize. If you select the same note as the Bottom and Top parameters, you can select a single percussive instrument in a Drum track.
Note:
These parameters are available only when a Drum track is selected.
Song Edit: Velocity
Here you can change the Velocity value for the notes. An
Advanced mode is available, allowing you to select a velocity curve for the selected range. This is useful to create fade-ins or fade-outs.
Song Edit: Transpose
Here you can transpose the Song, a track or a part of a track.
After setting the various parameters, touch Execute to start the operation.
Track
Use this parameter to select a track.
All All tracks selected (apart for Drum tracks).
Track 1…16 Selected track.
Value
Transpose value (±127 semitones).
Start / End Tick
Use these parameters to set the starting and ending points of the range to transpose.
If you wish to select a four-measure sequence starting at the beginning of the Song, the Start will be positioned at 1.01.000, and the End at 5.01.000.
Bottom / Top Note
Use these parameters to set the bottom and top of the keyboard range to transpose. If you select the same note as the Bottom and
Top parameters, you can select a single note, or a single percussive instrument in a Drum track.
After setting the various parameters, touch Execute to start the operation.
Track
Use this parameter to select a track.
All All tracks selected.
Track 1…16 Selected track.
Value
Velocity change value.
Start / End Tick
Use these parameters to set the starting and ending points of the range to edit.
If you wish to select a four-measure sequence starting at the beginning of the Song, the Start will be positioned at 1.01.000, and the End at 5.01.000.
Bottom / Top Note
Use these parameters to set the bottom and top of the keyboard range to edit. If you select the same note as the Bottom and Top parameters, you can select a single percussive instrument in a
Drum track.
Advanced
When this checkbox is checked, the “Intensity”, “Curve”, “Start
Velocity Value” and “End Velocity Value” parameters can be edited.
Intensity
(Only available in Advanced mode). Use this parameter to specify the degree to which the velocity data will be adjusted toward the
0…100% Intensity value. With a setting of 0 [%], the velocity will not change. With a setting of 100 [%], the velocity will be changed the most.
142 Sequencer
Song Edit: Cut/Insert Measures
Curve
(Only available in Advanced mode). Use this parameter to select one of the six curves, and to specify how the velocity will change over time.
Start Value = 0%, End Value = 100%
Curve 1
127 127
Velocity Velocity
Curve 2
127
Velocity
Curve 3
1
Start
Value
End
Value
1
Start
Value
End
Value
1
Start
Value
End
Value
127
Velocity
1
Start
Value
Curve 4
End
Value
127
Velocity
1
Start
Value
Curve 5
End
Value
Curve 6
127
Velocity
RANDOM
1
Start
Value
End
Value
Start / End Vel. Value
(Only available in Advanced mode). Velocity change at the starting and ending ticks of the selected range.
0…100 Velocity change in percentage.
Song Edit: Cut/Insert Measures
In this page you can cut or insert measures from the Song.
Song Edit: Delete
This page is where you can delete MIDI events from the Song.
After selecting the Start and Length parameters, touch Execute to start the operation.
After the Cut, the following measures are moved back, to fill the cut measures.
After the Insert, the following measures are pushed forward to accommodate the inserted measures.
Start
First measure where to begin cutting/inserting.
Length
Number of measures to be cut/inserted.
Meter
Meter (time signature) of the measures to be inserted.
After setting the various parameters, touch Execute to start the operation.
Track
Use this parameter to select a track.
All All tracks selected.
Track 1…16 Selected track.
Master Master track. This is where the Tempo, Scale and
Effect events are recorded.
Event
Type of MIDI event to delete.
All All events. Measures will not be removed from the Song, and will remain empty.
Note
Dup.Note
All notes in the selected range.
All duplicate notes. When two notes with the same pitch are encountered on the same tick, the one with the lowest velocity is deleted.
After Touch After Touch events.
Pitch Bend Pitch Bend events.
Prog.Change Program Change events, excluding the bundled
Control Change #00 (Bank Select MSB) and #32
(Bank Select LSB).
Ctl.Change
All Control Change events, for example Bank
Select, Modulation, Damper, Soft Pedal…
CC00/32…CC127
Single Control Change events. Double Control
Change numbers (like 00/32) are MSB/LSB bundles.
Start / End Tick
Use these parameters to set the starting and ending points of the range to edit.
If you wish to select a four-measure sequence starting at the beginning of the Song, the Start will be positioned at 1.01.000, and the End at 5.01.000.
Bottom / Top Note
Use these parameters to set the bottom and top of the keyboard range to delete. If you select the same note as the Bottom and
Sequencer
Song Edit: Copy
143
Top parameters, you can select a single note, or a single percussive instrument in a Drum track.
Note:
These parameters are available only when the All or Note options are selected.
Song Edit: Move
Here you can shift a track forward or backward by just a few ticks or whole measures.
Song Edit: Copy
Here you can copy tracks or phrases.
After setting the various parameters, touch Execute to start the operation.
Note:
If you copy too many events on the same “tick”, the “Too many events!” message appears, and the copy operation is aborted.
Mode
Use this parameter to select the Copy mode.
Merge Copied data are merged with the data at the target position.
Overwrite Copied data replace all data at the target position.
Warning:
Deleted data cannot be recovered!
From Track… To Track
Use these parameters to select the source and target track to copy.
All All tracks. The target track cannot be selected.
Track 1…16 Selected source and target tracks.
Start Measure… End Measure
These parameters are the starting and ending measure to copy.
For example, if From Measure=1 and To Measure=4, the first four measures are copied.
To Measure
This parameter is the first of the target measures.
Repeat Times
Number of times the copy must be executed. Copies will be consecutive.
After setting the various parameters, touch Execute to complete the operation.
Track
Use these parameters to select the track you want to move.
Track 1…16 Selected track.
Start / End Tick
These parameters set the starting and ending point of the range to move.
To Tick
This parameter allows you to set the target starting point of the moved track.
Song Edit: RX Convert
You can use the RX Convert page to convert notes of the Standard MIDI File into RX Noises, and vice-versa. This will help programming Songs on an external sequencer.
After having chosen a track to convert, touch Execute to complete the operation.
Track
Use these parameters to select the track containing the notes or
RX Noises you want to convert.
RX Note Velocity
Use this parameter to adjust the volume level of the RX Noises in the selected track(s).
144 Sequencer
Page menu
Add RX Noises to Guitar track
Use this parameter to automatically analyze the Standard MIDI
File, and add RX Noises to Guitar tracks. This command scans a single track or the whole Standard MIDI File, looking for guitar strumming played by nylon, steel or electric guitars.
After scanning, a suitable Guitar sound will be automatically assigned to the relevant tracks, and RX Noises automatically added where needed.
Convert RX Noises to MIDI Notes
Use this parameter to convert the RX Noises contained in the selected track to ordinary MIDI Notes.
Convert MIDI Notes to RX Noises
With Sounds containing Use this parameter to convert all the relevant MIDI Notes in the selected track to RX Noises.
Page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Load Song
Select this command to open the Song Select window, and load a
Song to the sequencer. (See “Song Select window” on page 145).
Save Song
Select this command to save the new or edited Song to a storage device as a Standard MIDI File. The file is automatically added the “.MID” extension. After selecting this command, the Save
Song page appears (see “Save Song window” on page 145).
Warning:
Turning the instrument off will delete the Song from memory. Save your Song to a storage device to avoid losing it.
Warning:
The Song is also lost when switching from Sequencer to
Style Play or Song Play mode, without previously saving the Song to a storage device.
Undo
When selecting this command, the latest operation is canceled, and data are reverted to the previous situation.
Overdub Step Recording
Only available in Record mode. Select this command to enter
Overdub Step Record mode. This recording mode lets you enter events one at a time, adding events to the existing events. (See
“Record mode: Step Record page” on page 128).
Overwrite Step Recording
Only available in Record mode. Select this command to enter
Overwrite Step Record mode. This recording mode lets you enter events one at a time, overwriting all existing events. (See
“Record mode: Step Record page” on page 128).
Sequencer
Song Select window
145
Delete Song
Select this command to delete the Song and create a new, blank
Song.
Delete Current Track
Select this command to delete the track currently selected in the
Track area (see “Track volume/status area” on page 127).
Solo Track
Select the track to be soloed, and check this item. You will hear only the selected track, and the ‘Solo’ warning will flash on the page header.
Uncheck this item to exit the Solo function.
Keep the SHIFT button pressed and touch one of the tracks to solo it. Do the same on a soloed track to deactivate the
Solo function.
Copy/Paste FX
Use this command to copy a single effect, or both effects of an
FX group (A or B). See “Copy/Paste FX” on page 108 for detailed
instructions.
Exit from Record
Only available in Record mode. Select this command to exit the
Record mode, and go back to the Main page of the Sequencer
Play mode (see “Sequencer Play - Main page” on page 123).
Press EXIT to cancel saving and go back to the main page of the
Sequencer operating mode.
Directory
Song path
Storage device
Song path
This line shows the path of the location where you are saving the
Song.
Directory
This is the list of the selected device’s content.
File status File size
Song Select window
This window appears when you select the “Load Song” com-
mand from the page menu, or press the SONG button in the
SELECTION section of the control panel. See “Song Select window” on page 85 for details.
Save Song window
The recorded Song is lost when the instrument enters standby.
The Song is also lost when you overwrite it in Record mode, or if you confirm the warning message when switching to the
Style Play or Song Play mode. You must save to a storage device
any Song you wish to preserve.
This window appears when you select the “Save Song” command
from the page menu.
Type of the file or folder
File or folder name
Modification date
Detailed information about this type of page can be read in
“Song Select window” on page 85.
Storage device
Use this menu to select one of the available storage devices.
Device
DISK
USB
Type
Internal memory
Optional device connected to the USB Host port
The actual name (label) of the device appears within square brackets ([]).
Open
Opens the selected folder (item whose icon looks like this: ).
Close
Closes the current folder, returning to the parent (“upper”) folder.
146 Sequencer
Save Song window
Locate
Touch this button to see the Song assigned to the Sequencer.
This is useful to quickly locate it, after you have browsed through long directories and “dug” into different folders.
Save
Touch this button to open the Save Song dialog box, and save the
Song to the current directory.
Master Transpose saved with the Song
When saving a Song, the Master Transpose value is saved with the Song. Since this value is saved as System Exclusive data, it is preserved also when playing back the Song in Song Play mode.
Hint:
Since the Master Transpose is a global parameter, loading a
Song with a non-standard transposition may result in unwanted transposing when loading other Songs that do not contain their own transposition data. To transpose a Song it is advisable to use the Transpose function in the Edit section of the Sequencer mode
(see “Song Edit: Transpose” on page 141).
You may also lock the Master Transpose, to avoid unwanted trans-
position. See “General Controls: Lock” on page 149 of the Global
chapter.
As a general rule, you should use the Master Transpose (TRANS-
POSE buttons on the control panel) when you need to transpose
Keyboard tracks together with the Song. You should use the Edit
mode Transpose function (see “Song Edit: Transpose” on page 141)
when only the Song has to be transposed.
Note:
The Master Transpose value is always shown on the page header:
• If no file has been selected in the display, prior to touching
Save, the “NewSong” default name will be automatically assigned to the Song.
Note:
If a file is selected, just touch the storage device name to deselect it.
• If a file has been selected in the display, prior to touching Save, the name of the selected file will be automatically assigned to the
Song.
In any of the above situations, touch the (Text Edit) button to edit the Song name.
Warning:
If a file with the same name is already in the current directory, a message will warn you. If you confirm, the existing file will be overwritten. Select a file before saving only if you want to overwrite it (i.e., in case you are saving changes to an existing file).
Empty measure at the beginning of the Standard MIDI File
When saving a Song as a Standard MIDI File, an empty measure is automatically inserted to the beginning of the Song. This measure contains various Song initialization parameters.
Play/Mute status saved with the Song
When saving a Song, the Play/Mute status is saved with the
Song. This status is preserved also when playing back the same
Song in Song Play mode.
Save Song procedure
1.
2.
3.
4.
5.
If you are in Record mode, stop the sequencer and exit from the Record mode. Then go back to the main page of
the Sequencer Play mode (see “Sequencer Play - Main page” on page 123).
Select the Save Song command from the page menu. The
Save Song page appears.
Select the folder where you want to save the Song into. Use the Open and Close commands to browse open or close folders. Use the scrollbar to browse through the files.
When you are in the directory where you want to save your
Song to, touch the Save button in the display.
• To overwrite an existing file, select it before touching
Save.
• To create a new file, do not select any file before touching
Save. The “NewSong” (“NEWSONG.MID” on a storage device) name will be automatically assigned to the Song.
After touching the Save button, the Save Song dialog box will appear.
6.
7.
If you like, touch the (Text Edit) button to edit the name.
Touch OK to confirm saving, or Cancel to stop the Save operation.
Global
Overview on the Global mode
147
Global
The Global mode is where you can set global functions. This mode overlaps the current operating mode (Style Play, Song
Play, Sequencer).
When in a page, press EXIT to go back to current operating mode in the background (Style Play, Song Play, Sequencer).
Overview on the Global mode
The Global mostly contains a series of global parameters applied to the whole instrument (or to each separate operating mode) as a whole, that are automatically written to memory after editing.
Examples of global parameters are the Master Tuning or the
Power Management.
Global mode also contains parameters that are applied to the instrument as a whole, but can be saved as a “preset”, that can later be loaded to change all parameters at once. Examples of this kind of parameters are the MIDI channel assignment, saved into the MIDI Presets, or the Master EQ settings, saved into the Master EQ Presets.
Parameters in the Global mode, either automatically memorized or saved to a preset, are opposed to “local” parameters that you can access in the other operating modes. Examples of local parameters are the Sounds assigned to a track or the Easy Edit values, both saved into a Performance or STS (two types of preset containing musical data relevant to the selected operating mode).
Note:
Saving or loading a “.SET” folder may also save or load the
Global file. Parameter changing may be avoided by turning the
Lock on for any single parameter (or groups of parameters in the
Lock page of the Global mode, see “General Controls: Lock” on page 149).
Each item in this menu corresponds to an edit section. Each edit section groups various edit pages, that may be selected by touching the corresponding tab on the lower part of the display.
Note:
The Global mode is not available while in Song Record mode.
Edit page structure
All editing pages share some basic elements.
Edit mode Edit section
Page menu icon
Parameters area
Main page
There is no main page in the Global edit mode. When pressing
EXIT, you exit the Global mode, and the underlying operating mode in the background is recalled.
Edit menu
From any page of the Global mode, press the MENU button to open the Global edit menu. This menu gives access to the various Global edit sections.
When in the menu, select an edit section, or press EXIT to exit the Global mode.
Tabs
Edit mode
This indicates that the instrument is in Global mode.
Edit section
This identifies the current edit section, corresponding to one of the items of the edit menu (see below).
Page menu icon
Touch this icon to open the page menu (see below).
Parameters area
Each page contains various parameters. Use the tabs to select one of the available pages. For detailed information on the various types of parameters, see sections starting below.
Tabs
Use tabs to select one of the edit pages of the current edit section.
148 Global
General Controls: Basic
General Controls: Basic
This page contains various general parameters concerning the
Metronome and Reverb.
General Controls: Interface
This page contains parameters related to user interface.
Metronome
Mode
Use this parameter to activate the metronome’s type of accent.
Normal No accent can be heard.
Accent
Bell
The first beat of each measure is accented.
A bell sound is heard at the first beat of each measure.
Volume
Use this parameter to set the volume of the metronome.
0…127 Volume level.
Meter
Use this parameter to choose the meter (time signature) of the
Metronome.
1/1…16/16 Selected Meter.
Global Reverb
Reverb Offset
This is the master offset for all reverbs. Use it to adjust reverb tails to the room where you are playing. Use negative values when you are in a very reverberant room, positive values if the room is too dry.
By using this global control, you are not obliged to change the reverb time in each single Performance, STS, Style Settings, or
Song.
-50
0
+50
Less reverb.
Standard reverb.
More reverb.
Language
Language
Use this pop-up menu to select one of the available languages for the on-screen keyboard.
Note:
Some of the characters can only be used when editing Song-
Book Entry names.
Change button
To apply the selected language to the onscreen keyboard, touch this button and restart the instrument as described below.
3.
4.
How to select a language
1.
2.
5.
Since Pa300 must be restarted at the end of this procedure, be sure to first save all unsaved data.
While in this page, select a language from the pop-up menu.
The “Change” word will start flashing. Touch it.
A message will ask you to reboot the Pa300. Touch OK to close the message window.
Set Pa300 to standby, then turn it on again.
Background Color
Color
Use this parameter to choose a different color scheme for the display.
Display Hold
On/Off
When this parameter is checked, if you open a temporary windows (like the Sound Select window), it remains in the display until you press EXIT or an operating mode button. When it is not checked, any temporary window closes after a certain time.
Global
General Controls: Lock
149
Program Change
Show
Check this parameter to show Program Change numbers next to
Sound names in the Sound Select window. By default, this parameter is turned on.
Note:
Program Change numbers are always shown in the various
Track Info areas.
Track Activity
Show
Use this parameter to turn on/off the Track Activity display.
When it is turned on, you can monitor MIDI events coming from the tracks or the USB Device port. Incoming events are shown by the color changing on each track’s label.
General Controls: Lock
This page, split in more panes that can be selected by means of the corresponding side tabs, contains all the available locks.
Locks prevent parameter values to be changed when choosing a different Performance, Style or STS.
Locks
All the available locks, listed below. Lock them to prevent changes due to selecting different elements. These locks are also found in various other pages, next to the locked parameter.
Hint:
To save the status of parameters that have to remain unchanged, set them and save the MY SETTING Performance
(automatically selected when turning the instrument on). After having saved the startup Performance, go to these pages and lock the parameters that must remain unchanged.
Tuning pane
Auto Select
Style
When this parameter is checked, the latest selected Style is immediately selected when touching the name of a bank in the
Style Select window.
Performance
When this parameter is checked, the latest selected Performance selected in a bank is immediately selected when pressing the
PERFORMANCE button corresponding to the bank.
This way, you can assign your preferred Performance to each control panel’s button, and select it just with a single press.
However, the Performance Select window still appears when you press one of the PERFORMANCE buttons corresponding to the bank, so you can select a different item if desired.
Save
Touch this button to save the current Style and Performance assignment. You will find the saved assignment when turning the instrument on again.
Master Transpose
When this lock is closed, Master Transpose is not automatically changed when selecting a different
Performance or Style, or a different SongBook
Entry. Also, this lock prevents a Standard MIDI
File generated with an instrument of the Korg Pa-
Series to change the Master Transpose.
(See “Master transpose” on page 89).
Sub Scale/Quarter Tone
When locked, selecting a Performance or STS, or a SongBook Entry, will not change the Sub-Scale or Quarter Tone value.
(See “Sub-Scale panel” on page 94).
SubScale/Quarter Tone from STS
When locked, selecting an STS will not change the Sub-Scale or Quarter Tone settings. The STS will change sounds and effects but not the scale.
(See “Sub-Scale panel” on page 94).
Auto Octave Depending on the status of this lock, the Upper tracks can be automatically transposed when turning the SPLIT on and off.
• If locked, turning the SPLIT on or off will not change the Upper tracks transposition.
• If unlocked, when turning the SPLIT button off
(Full keyboard mode) the Upper tracks Octave
Transpose will be automatically set to “0”. When
150 Global
General Controls: Lock turning the SPLIT button on (Split keyboard mode) the Upper tracks Octave Transpose will be automatically set to “-1”.
Control pane
Upper 1 FXs When you assign a new Sound to the Upper 1 track, the FX B settings and Master FX send levels saved with that Sound can be automatically selected, overriding Performance/STS settings for this track. Whether Sound or Performance/STS effect parameters will be considered, it depends on the status of this lock.
• If the Upper 1 FX Lock is turned on, when assigning a new Sound to the Upper 1 track, Performance/STS parameters are left untouched; selected effects, and FX Send values, are not changed.
• If the Upper 1 FX Lock is turned off, when assigning a new Sound to the Upper 1 track,
Sound parameters are considered; selected effects, and FX Send values, are changed according to the Sound’s stored data.
Note:
If the effects associated to the selected Sound are not compatible with the effects already assigned to the FX B block, the Master FX Send values on the other Keyboard tracks will be automatically set to zero.
For example, assume a chorus effect is assigned to the Master 2 FX processor. If the new Sound assigns a distortion effect to the Master 2 FX processor, the Master 2 FX Send value on the Upper 2,
Upper 3, and Lower tracks will be set to zero, to avoid these tracks sound in the wrong way. This way, the Upper 1 track (usually the most important one for solo playing) will sound with the needed effect, while the other Keyboard tracks will just sound dry.
Pad
Lower
When locked, selecting a Style or SongBook
Entry will not change the Pad assignment.
(See “Pads: Pad” on page 106).
When this lock is closed, the Lower track remains unchanged when a different Style, Performance or STS is selected.
This is useful if, for example, you prefer to always play with the left hand muted and reserved only to the chords.
Hint:
If you want the same Lower settings to be used during all your shows, save your preferred
Lower settings to the MY SETTING Performance
(automatically selected on startup).
Keyboard Mode (Split)/Accompaniment
When this lock is closed, the status of the SPLIT button (therefore of the keyboard mode) and the
ACCOMP. button remains unchanged when a different Performance or STS is selected.
This is useful if, for example, you prefer to always play in Full Keyboard, with chords recognized on the whole keyboard range.
Hint:
If you want the same Keyboard Mode and
Lower Scanning settings to be used during all your shows, save your preferred settings to the MY SET-
TING Performance (automatically selected on startup), then close this lock.
Style pane
Global
General Controls: Date & Power
151
General Controls: Date & Power
This page is where you can set a time stamp and turn the Auto
Power function on or off.
Style Tracks Volume
When this lock is closed, the Style tracks’ volume do not change when a different Style is selected.
Style Tracks Play/Mute Lock
Style Element When this lock is closed, the selected Style Element (Variation, Intro…) will not change when choosing a different Style.
This lock has no effect on the Styles automatically selected when choosing a SongBook Entry. The
Style Element memorized in the SongBook Entry is always selected.
Bass Inversion
When this lock is closed, selecting a Style does not cause the Play/Mute status of the Style tracks to be changed. This way, you can, for example, turn the bass track off during a whole show, to allow your bassist to play the part live. Also, you could mute all Acc tracks, to only play with the
Drum and Bass tracks.
When locked, selecting a Performance or STS will not change the Bass Inversion status. Bass
Inversion can also be assigned to a footswitch.
(See “Bass Inversion” on page 94).
Manual Bass When locked, selecting a Performance or STS will not change the Manual Bass status.
Set Date & Time for Save
This function lets you specify a date to be recorded as the date stamp for the files being saved. This is useful for keeping track of when you created and saved your data.
File date stamps are shown when you use the Media functions, or when reading data with a personal computer.
Since Pa300 does not include an internal clock, the date is not automatically updated. If it’s important for your files to be stamped with the correct date, be sure to check this setting at the start of every programming session.
Note:
When you edit a resource file (Performances, Styles...), all items in the same bank have their modification date changed. For example, if you edit a single Style in the “Pop” bank, all Styles in that bank will take the new modification date.
Month
Use this pop-up menu to choose a month.
Day
Use this numeric field to input the day of the month.
Year
Use this numeric field to input the year.
Time
Use these numeric fields to input the time, in the “hour:minute:second” format.
Apply
After having edited all calendar and time fields, touch this button to apply the changes.
152 Global
Mode Preferences: Style
Auto Power Off
Pa300 can automatically enter standby after two hours of being unused, to save power and help preserving the environment.
On
When this parameter is checked, a few minutes before automatic standby a message will warn you that the instrument is going to be put in standby. All unsaved data currently in editing or recording will be lost.
Mode Preferences: Style
In this page you can set various general parameters for the Style
Play mode.
At this message, you can let the instrument enter standby, or you can touch the display, press any button on the display, or play the keyboard to leave it turned on and continue using it.
Split Point
Use this parameter to select the global split point. This point is independent of any Performance or STS.
See “Split panel” on page 94 for more information.
Chord Recognition
This parameter allows you to choose how chords are recognized by the auto-accompaniment engine.
When switching to Full Keyboard mode (SPLIT LED turned off) the Chord Recognition mode is automatically set as in the following table:
Chord Recognition Mode / Minimum number of notes
SPLIT LED On
(Split Mode)
One Finger
Fingered
Expert
Notes
(min.)
1
1
1
SPLIT LED Off
(Full Keyboard Mode)
becomes Fingered
Fingered
Expert
Notes
(min.)
3
3
3
One Finger You can compose a chord using a simplified chord playing technique:
• Play a single note for a Major chord to be recognized.
Fingered
• Play the root note, plus a white key on the left, for a 7th. For example, play C3 + B2 for a C7.
• Play the root note, plus a black key on the left, for a Minor chord. For example, play C3 + Bb2 for a C minor.
• Play the root note, plus a white and a black key on the left, for a Minor 7th. For example, play C3
+ B2 + Bb2 for a C min 7.
When in Split mode, play one or more notes to compose a chord. A full Major chord will be recognized when a single note is played.
Expert
When in Full Keyboard mode, play at least three notes to compose a chord.
When in Split mode, play two or more notes for a chord to be recognized. When in Full Keyboard mode, play at least three notes.
Global
Mode Preferences: Song & Sequencer
153
If you play just one note, a unison will be played.
If you play a fifth, a “root+5th” chord will be played.
With this mode, you can play rootless and slashed chords, often used in jazz, fusion, modern pop and light music. This type of chord recognition is very useful to play piano chords typical of jazz piano players. You don’t always need to play the root note, doubling the note already played by the bass track.
Scale Mode
This parameter defines which tracks are affected by the selected
alternative scale (see “Scales” on page 355).
Keyboard Tracks
The scale will affect all Keyboard tracks.
Upper Tracks The scale will only affect Upper 1-3 Keyboard tracks.
All Tracks The scale will affect all tracks (Keyboard, Style,
Pads).
Memory Mode
This parameter sets the way the MEMORY button works.
Chord When the MEMORY LED is on, recognized chords are kept in memory even when raising your hand from the keyboard. When the LED is off, chords are reset when raising your hand.
Chord + Lower
When the MEMORY LED is on, recognized chords are kept in memory, and the Lower sound is held until the next note or chord is played.
When the LED is off, both the chord (and therefore the accompaniment) and Lower sound are cut when raising the hand from the keyboard.
Fixed Arr. + Lower
When the MEMORY LED is on, recognized chords are kept in memory, and the Lower sound is held until the next note or chord is played.
When the MEMORY LED is off, the Lower sound is cut when raising the hand from the keyboard; on the contrary, the chord is kept in memory (so that the accompaniment can continue to play).
Bass & Lower Backing
With this function, you can play a simple accompaniment with your left hand. For this to work, the SPLIT LED must be turned on, and the Style must not be running. By default, this function is turned on.
On When the Style is not running, and you play a chord with your left hand, the chord is played by the Lower Sound (even if it is muted), while the chord root is played by the Bass Sound. When you start the Style, the normal behavior is restored.
When the Bass & Lower Backing function is active, the Backing icon appears in the Lower track Sound’s area.
Off No Bass Sound is added when the Style is not running. The Lower track can be heard only if it is not muted.
Style Tracks Global Volume
In Style Play mode, the volume of the grouped Style tracks is a global offset of the values memorized in the Style. When you choose a different Style, this offset will not change, and the average volume of the Style tracks remains the same.
These controls allows you to globally set the balance between the
Drum/Percussion, Bass and Accompaniment tracks. For example, if you prefer Drums and Bass to be prominent to make them have more ‘punch’, you can lower the grouped Accompaniment tracks.
Changes are not memorized to a Performance or to the current
Style Settings. Instead, they are memorized as a global parameter.
0…127 Volume level.
Mode Preferences: Song & Sequencer
In this page, you can set various general parameters for the Song
Play and Sequencer modes.
SMF Melody Track
This parameter lets you select the Song’s Melody track for Standard MIDI Files. This track can then be muted by using the
“Song Melody - Mute” function, assignable to the footswitch.
Drum & Bass Mode - Drum
This parameter lets you select the Song’s Drum track. This track is left set to play (together with the Bass track) when selecting the “Drum&Bass” function, assignable to the footswitch.
Drum & Bass Mode - Bass
This parameter selects the Song’s Bass track. This track is left set to play (together with the Drum track) when selecting the
“Drum&Bass” function, assignable to the footswitch.
Fast Play
When checked, this function allows to skip any empty setup beats at the beginning of a Standard MIDI File, and immediately start from the first note. While the beats are skipped, setup data they may contain are read and considered.
Please note that, being audio data, any empty space at the beginning of an MP3 file cannot be skipped.
154 Global
Mode Preferences: Media
Save Trk & FX
Touch this button to save the global parameters for the Song Play mode.
When touching this button, you are saving the following parameters:
• Play/Mute status of the Song tracks
• Default effect settings
• EQ settings for the Song tracks
• Internal/External status of the Song tracks
Mode Preferences: Media
This page includes various settings for the Media mode.
Media Preferences
Media Protect
When on, this parameter protects the internal “KORG [KORG
DISK]” disk unit from writing.
Global Protect
When on, this parameter protects the global parameters from changes when loading data from disk.
Note:
Global data from other Pa-Series models are not loaded even without protection.
Factory Style and Pad Protect
When On, this parameter protects the Factory Styles and Factory Pads (named “Hit”, “Sequence” and “Local” in the Pad Select window) from being overwritten when loading data from a device. In addition, you cannot access these banks when saving data.
Also, when this option is checked, you cannot write any STS
(Single Touch Setting) or Style Settings onto the Factory Styles.
The “Write Single Touch Setting” and “Write Current Style Settings” command in the page menu are greyed out and cannot be selected. All original settings of the Factory Styles will be left untouched.
When Off, you can load User Styles or Pads into the Factory
Style banks and Factory Pad banks. This way, you can customize your Factory Style and Pad banks. A Save All procedure also saves the Favorite and User Style, and the User Pad banks.
Note:
This parameter is automatically set to On when the instrument enters standby.
Note:
Should you accidentally delete some Factory Data, reload the Backup data or use the Factory Restore procedure (Media >
Utility).
Hide Unknown Files
When this option is checked, non-proprietary files are hidden when using Media operations, therefore making browsing directories easier.
Show Columns
Size
When checked, the Size column is shown in the File Selector when using Media operations.
Date
When checked, the Date column is shown in the File Selector when using Media operations.
Global
Controllers: Hand Controllers
155
Controllers: Hand Controllers
In this page you can program the keyboard’s velocity curve.
Pedal/Footswitch
Function
Function assigned to a continuous (i.e., volume/expression) pedal, or to a footswitch, connected to the PEDAL/DAMPER
connector. See page 354 for a list of the assignable functions. The
first functions are switch-type functions, while the remaining
(starting from Master Volume) are continuous-like functions.
Calibration
Use this button to calibrate and choose the polarity of the pedal/ footswitch.
1.
Connect the pedal or footswitch to the PEDAL/DAMPER connector on the back of the instrument.
2.
Go to this page, and touch the “Calibration” button in the display. The following dialog box appears:
Keyboard Settings
Velocity Curve
This parameter sets the sensitivity of the keyboard to your touch.
Fix No dynamic control available. Dynamic values are fixed, as in a classic organ.
Soft1 … Hard3
Curves, from the lightest one to the hardest one.
Controllers: Foot Controllers
This page lets you select a function to the Pedal/Footswitch, and select its polarity and calibrate its action.
3.
4.
You are asked to set the pedal to the maximum value. Press the footswitch, or press the pedal to the maximum position
(usually front pressed).
Touch the “Push” button in the display to confirm the maximum value. The following dialog box appears:
The following (optional) Korg pedals are compatible with Pa300:
Type
Continuous
(Volume/Expression)
Switch
Damper
Model
EXP2, XVP10
PS1, PS3
DS1H
5.
6.
7.
You are now asked to set the pedal to the minimum value.
Release the footswitch, or press the pedal to the minimum position (usually back pressed).
Touch the “Push” button in the display to confirm the minimum value.
Check if the pedal or footswitch is working properly, and assign it a function.
Note:
After loading a new Operating System, an older Global file, a “SET” folder containing a Global file, or a Backup file, you might need to re-calibrate the pedal/footswitch.
156 Global
Tuning: Basic
Tuning: Basic
This is the general tuning of the instrument.
Global Tuning
Master Tuning
This is the master tuning of the instrument (in cents of a semitone). Use it to adapt your keyboard tuning to an acoustic instrument, for example an acoustic piano.
-100
0
+100
Lowest pitch (half-semitone down).
Standard pitch (A4=440Hz).
Highest pitch (half-semitone up).
Tuning: Transpose Control
This page is where you can select to which tracks the Master
Transpose is applied to, and adjust some related parameter.
In Realtime When you press either the TRANSPOSE [ ] or
[ ] buttons, the new transpose setting will occur when the next note is played for both the Style and Keyboard tracks individually.
The next key or chord you press will sound with the new transpose setting applied. (Note that if you play a Keyboard track prior to a new chord, the Keyboard track will play in the new key as the
Style will continue to play in the old key until a new chord is entered).
Transpose applies to Player
This checkbox lets you turn the Master Transpose on or off for the onboard Player.
Transpose applies to Midi In notes
This checkbox lets you turn the Master Transpose on or off for
Note messages received from the USB Device port.
Position
Scale and Transpose position
The Scale and Transpose Position allows you to define the relation between the Scale and the Master Transpose.
Post-KB/Pre-Scale
When this option is selected, notes will be transposed immediately after they leave the keyboard.
The Scale will be applied to the transposed notes.
For example, if you altered an E, and then set the
Master Transpose to +1, the E key will play F, and the altered key will be E (that will play an altered E).
Transpose
Scale
Tone generator
Transpose Control
Transpose applies to Style and Kbd tracks
Use this parameter to turn the Master Transpose on or off, and define the way it is applied, to Style and Keyboard tracks.
Off No Master Transpose is applied to Style and Keyboard tracks. Chords shown in the Lyrics page are, however, transposed.
In Sync When you press either the TRANSPOSE [ ] or
[ ] buttons, the new transpose setting will not take effect until the first beat of the next measure is reached.
Post-KB & Scale
When this option is selected, all notes are transposed immediately before they enter the internal tone generator, or are sent to the USB Device port, but after the Scale. For example, if you altered an E, and set the Master Transpose to +1, the altered key will still be E (that will play an altered F).
Scale Transpose
Tone generator
Global
Tuning: Scale
157
Standard MIDI File and chord transpose
When changing the Master Transpose, chord abbreviations contained in a Standard MIDI File are transposed and correctly shown in the display. Master Transpose must be activated on the
Player, but not on the Keyboard.
Note:
Chords contained in a linked TXT file or shown when loading a CDG file are not transposed.
Drum Kits and transpose
Drum Kits are never transposed. If you want that any Sound is not transposed as well, assign them to a track set to the Drum mode in Style Play/Song Play > Track Control > Mode (see
Tuning: Scale
This page lets you select the main scale of the instrument.
User Quarter Tone SubScale
This section is where you can program the Quarter Tone scale, and save up to four Quarter Tone Scale (SC) Presets.
SC Preset buttons
Touch these buttons to recall the corresponding presets. Each preset contains a custom detuning of each note of the scale (shown in the upper scale diagram). It also memorizes the selected degree(s) of the scale (shown in the lower scale diagram).
When no preset is selected, the default scale is automatically recalled. This scale assigns a -50 cent value to all notes, and turns all scale degrees off.
You can also select an SC Preset by assigning the relevant function to the footswitch.
To save the current scale programming to a preset, while in this
page choose the “Write Quarter Tone SC Preset” command from
the page menu, then select one of the preset locations where to
save the current settings (see “Write Quarter Tone SC Preset” on page 163).
Upper scale diagram
Use this diagram to set the detuning of each note of the scale.
-99…0…+99 Note detuning in cents. Zero is no detuning, ±50 is a full quarter tone up or down, ±99 is nearly one whole semitone up or down.
Lower scale diagram
Use this scale to turn detuning on or off. Applied detuning will depend on the programming set with the Upper scale diagram, or recalled by selecting one of the SC Presets.
When a note is detuned, a black dot appears in the corresponding note of the diagram.
Main Scale
Main Scale
This parameter lets you set the main scale for the whole instrument, apart for those tracks where a different sub-scale has been
selected by a Performance or STS (see “Scale” on page 98, Style
Play mode).
See “Scales” on page 355 for a list of the available scales.
Note:
You cannot select a User scale in Global mode.
Key
This parameter is needed by some scales to set the preferred key.
158 Global
MIDI: General Controls
MIDI: General Controls
This page allows you to select a MIDI Preset and set global parameters for the MIDI communication.
Clock Source
This parameter selects the MIDI Clock source for the Style Play and Sequencer modes.
Note:
In Song Play mode, the Internal clock is always used.
Note:
This parameter is always set to “Internal” when the instrument enters standby.
Internal Internal, i.e. the clock generated by the Pa300
Arranger and Player internal metronome.
MIDI Preset
Preset
MIDI channels can be automatically configured by selecting a
MIDI Preset. Each of them lets you automatically assign a value to various MIDI parameters, to allow an easier connection with a particular device.
For detailed information about the preloaded MIDI Presets, see
After selecting a MIDI Preset, you can apply any changes to each channel’s settings. To store the changes in memory, select the
Hint:
“Utility” of the Media mode, see page 179). Please consider this
will reset all the Global data.
General Controls
Use these parameters to set MIDI Clock and Local Off.
Clock Send
Use this parameter to turn the clock information on the USB
Device port on or off.
Note:
This parameter is automatically set to On when the instrument enters standby.
Off The Pa300 does not send the MIDI Clock signal.
You cannot slave another instrument to the
Pa300, even when connected to the USB Device port.
On The Pa300 sends the MIDI Clock signal. You can slave another instrument to the Pa300 Tempo and
Start/Stop commands. Connect the other instrument to the Pa300 USB Device port.
External USB External from the USB Device port. In Style Play or Sequencer mode, the Pa300 is slaved to an external device connected to its USB Device port.
The Start/Stop command, as well as the metronome tempo, cannot be selected from the control panel of the Pa300. Use the external device to set the tempo and start or stop the sequencer or arranger.
See “Installing the Korg USB MIDI Driver” on page 362 for information on how to configure
your computer for MIDI Over USB communication.
Local Control On
The Local parameter turns the keyboard on or off.
Note:
This parameter is automatically set to On when the instrument enters standby.
On When you play the keyboard, MIDI data is sent to the internal sound generator. If tracks are assigned to a MIDI OUT channel, data is also sent to the USB Device port.
Off The keyboard is connected to the USB Device port, but cannot play the internal sound generator.
This is very useful when working with an external sequencer, to send notes and various MIDI messages from the integrated keyboard and controllers to the external sequencer, and then let the sequencer send them back to the sound generator, without overlapping. See the “MIDI” chapter.
Note to RX Noise
RX Noises are special sounds that allow Sounds to be more realistic. They are usually located above C7, depending on the
Sound.
When this parameter is turned on, notes received from the USB
Device port, or performed by the internal Player, in the RX
Noises range, are recognized and converted to RX Noises. When off, notes are not recognized.
Note:
This parameter is automatically turned on when the instrument is set to standby.
Global
MIDI: MIDI In Controls
159
MIDI: MIDI In Controls
This page lets you program parameters for the USB Device port.
All these parameters can be saved into a MIDI Preset.
MIDI: MIDI In Channels
In this page, you can assign Pa300 tracks to any of the MIDI channels received on the USB Device port. All these parameters can be saved into a MIDI Preset.
Midi In Controls
Midi In Octave Transpose
Use this parameter to determine if notes received on the USB
Device ports have to be transposed.
On Notes received on the USB Device port are transposed according to the Octave Transpose setting for each track.
Off Data received on the USB Device port are not transposed.
Track Mute Active
Use this parameter to determine if data received on the USB
Device port can be played by muted tracks.
On No data received on the USB Device port can play on a muted track.
Off Data received on the USB Device port can play on a muted track.
Midi In Velocity Value
Use this parameter to set a fixed velocity (dynamics) value for all received MIDI notes. This is useful when playing the Pa300 with an organ or a MIDI Accordion.
Normal Received velocity values are left unchanged.
40…127 All received velocity values are converted to the selected value.
Channels
You can assign to each channel one of the following tracks:
Off
Lower
No track assigned.
Keyboard’s Lower track.
Upper 1…3 One of the Keyboard’s Upper tracks.
Pad 1…4 One of the Pad tracks.
Drum Style’s Drum track.
Percussion Style’s Percussion track.
Bass
Acc 1…5
Style’s Bass track.
One of the Style’s Auto-accompaniment tracks.
Ply Tr 01…16 One of the Player tracks.
Global Special channel to simulate the Pa300’s integrated controls (keyboard, pedals, joystick) with an external keyboard or controller. MIDI messages coming on this channel are seen as if they were generated by Pa300’s integrated controllers.
Control On this special channel, the Pa300 receives MIDI messages to remotely select Styles, Performances,
STS, Style Elements and SongBook Entries. See
tables on page 358 and following for more infor-
mation on the received data.
160 Global
MIDI: MIDI Out Channels
MIDI: MIDI Out Channels
In this page, you can assign Pa300 tracks to any of the MIDI channels sent to the USB Device port. All these parameters can be saved into a MIDI Preset.
MIDI: Filters
Use this page to set up to 8 filters for the MIDI data received or sent by the Pa300 on the USB Device port. All these parameters can be saved into a MIDI Preset.
Channels
You can assign to each channel one of the following tracks:
Off
Lower
No track assigned.
Keyboard’s Lower track.
Upper 1…3 One of the Keyboard’s Upper tracks.
Pad 1…4 One of the Pad tracks.
Drum Style’s Drum track.
Percussion Style’s Percussion track.
Bass
Acc 1…5
Style’s Bass track.
One of the Style’s Auto-accompaniment tracks.
Ply Tr 01…16 One of the Player tracks.
Chord Use this channel to send notes recognized by the
Chord Recognition engine to the USB Device port. This is useful, for example, to control an external Harmonizer from the Pa300, using the
Lower track to play chords, even if the track is muted.
Control On this special channel, the Pa300 sends messages corresponding to the selected SongBook
Entry.
Midi In Filters
Selected MIDI IN filters. Filters are applied to all MIDI channels at the same time.
Off No filter.
Pitch Bend Pitch Bend.
MonoTouch Mono (or Channel) After Touch.
PolyTouch Poly After Touch.
PrgChange Program Change.
SysExcl
All CC
0…127
Notes
System Exclusive.
All Control Change messages.
Control Change message #0…127. See “MIDI
Data” on page 358 for a list of available Control
Change messages.
Note events.
Midi Out Filters
Selected MIDI OUT filters. See above for information on each filter type.
Audio & EQ: MP3 / Output
This page lets you define various parameters for the MP3 player.
Global
Audio & EQ: MP3 / Output
161
All these parameters can be saved into a Master EQ Preset.
MP3 Player
Volume
Use this parameter to set the maximum volume for the MP3
Player. This control lets you balance MP3 files against SMF
Songs and Styles.
0…100 Max volume in percentage.
Phones/Audio Out
Level
Use this parameter to choose the output level of the PHONES/
AUDIO OUT connector on the back panel.
Headphones Choose this option to connect headphones. Do not connect line-level devices whit this option selected, or the audio signal will be distorted.
Line Out Choose this option to connect a line-level audio device, like an audio recorder, a mixer or a pair or powered audio monitors.
Audio & EQ: Master EQ
In this page you can access the fully parametric Master EQ. This
EQ is placed at the end of the audio path, just before the audio outputs. Both MIDI tracks (Styles and Songs) and MP3 files are equalized.
This is a full spectrum frequency equalization, positioned at the end of the signal chain, just before the Left & Right audio outputs. It gives you the power to design EQ curves and shape your sound. Master EQ features four fully programmable bands with fully adjustable gain, frequency, and Q parameters.
EQ Preset
Use this pop-up menu to choose one of the available EQ Presets, and automatically reconfigure the EQ parameters.
On/Off
This is the on/off switch for the EQ section.
Diagram
Use these indicators to check the EQ curve, and the level of the audio entering and coming out of the Master EQ.
• If the input level is too high, decrease the level of the “Input
• If the output level is too high, decrease the level of the “Gain” controls.
• Keep in mind that boosting the Gain is not always the best way of making your sound appear louder; cutting the Gain of some band may make the other bands appear louder.
Input Trim
Use this knob to adjust the level of the signal entering the EQ.
Excessive amount of signal may cause distortion when boosting the EQ bands.
Q
‘Quality’ of the EQ filter; higher values correspond to narrower, more accurate filters. Use higher values for near-surgical correction on isolated frequencies, lower values for more musical, softer equalization.
Band
All Bands
Value
0.5…10
Freq
Center frequency of the corresponding band. Center it on the problematic frequency, or the harmonics you want to emphasize or attenuate.
Band
Low
Mid-Low
Mid-High
High
Type
Low-shelf
Bell
Bell
High-shelf
Value
20Hz…1kHz
50Hz…10kHz
300Hz…10kHz
500Hz…20kHz
162 Global
Touch Panel Calibration
Gain
Gain of the corresponding band. Use it to make the frequencies stronger or weaker.
Band
All Bands
Value
-18…0…+18dB
Touch Panel Calibration
From time to time (for example, after loading a new operating system), calibrating your Color TouchView™ display may be necessary to make pointing more precise. If so, use this page.
1.
2.
3.
When in this page, first touch exactly inside the set of arrows in the upper left corner of the display.
Hint:
To be more accurate, you can use a pen cap or a tablet stylus. Do not use anything sharp (like a pencil), or you
will risk to damage the display!
The arrows will subsequently move to the other corners of the display. Touch exactly inside them.
Finally, touch Save to confirm the new calibration.
• In case you want to exit and cancel the calibration, press
EXIT before completing the procedure.
Hint:
To quickly reach this page from any other page, keep the
GLOBAL button pressed until this page appears.
Global
Page menu
163
Page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Write Quarter Tone SC Preset dialog box
Open this dialog box by selecting the Write Quarter Tone SC
Preset item from the page menu. Here, you can save the current scale settings in one of the four available SC Presets.
Note:
In each Global page, the only available Write Global options from the page menu are the ones relevant to the content of the current page. All other Write Global options are greyed out.
Write Quarter Tone SC Preset
Choose this command to open the Write SC Preset dialog box, and save the current scale settings in one of the four available SC
Presets.
See “Write Quarter Tone SC Preset dialog box” on page 163 for
more information.
Write Midi Preset
Select this command to open the Write Midi Preset dialog box, and save the current MIDI settings into one of the available
MIDI Presets.
See “Write Midi Preset dialog box” on page 163 for more infor-
mation.
Write Master EQ Preset
Choose this command to save the Master EQ settings to one of the available Master EQ Presets.
See “Write Master EQ Preset dialog box” on page 164 for more
information.
To
One of the four available SC Preset locations, where to save current scale settings.
Write Midi Preset dialog box
Open this dialog box by selecting the Write Midi Preset item from the page menu. Here, you can save all MIDI settings to a
MIDI Preset.
Name
Name of the MIDI Preset to be saved. Touch the (Text Edit) button next to the name to open the Text Edit window and modify the name.
Midi Preset
One of the available MIDI Preset locations, where to save current MIDI settings.
164 Global
Write Master EQ Preset dialog box
Write Master EQ Preset dialog box
Open this dialog box by selecting the Write Master EQ Preset item from the page menu. Here, you can save current settings for
the Master EQ edit section (see starting from page 161).
Name
Name of the Master EQ Preset to be saved. Touch the (Text
Edit) button next to the name to open the Text Edit window and modify the name.
Master EQ Preset
One of the available locations, where to save current Master EQ settings.
Media
Storage devices and internal memory
165
Media
The Media mode is where you can manage files. This mode overlaps the current operating mode (Style Play, Song Play,
Sequencer).
Storage devices and internal memory
Supported device
Pa300 supports external devices, like hard disks or USB memory sticks, formatted in FAT16 or FAT32 with long file names. NTSF
(Windows NT/2000/XP/Vista/7/8), HFS (Mac OS 9) and HFS+
(Mac OS X) formats are not supported.
User-accessible storage devices
During a Media operation, files are usually exchanged between a storage device and the internal memory. You can access the following mass storage device types:
Name
DISK [KORG DISK]
USB
Media type
User-accessible area of the internal memory. This is where you can store Songs and other files.
USB memory device (for example, a memory stick) connected to the USB Host port.
A device can be selected by using the Device pop-up menu, shown in the lower left corner of most Media pages:
Device popup menu
Selecting and deselecting files
While a file list is shown in the display, you can select any item by touching it. The selected item is highlighted.
You can deselect all items in any of the following ways:
• Touch an empty area in the file list (if available).
• Touch the Device pop-up icon, and select the current device again.
Searching files
By using the Search function, you can search files and musical resources in all internal and external devices. For more information, see the relevant chapter.
Device name
Preferences
You can change some global preferences of the Media mode in
the Global > Mode Preferences > Media page (see page 154).
166 Media
File types
File types
The following tables describe all the file and folder types the
Pa300 can manage. Here are the files you can read or write with the Pa300.
Extension
SET
BKP
JBX
MID
MP3
TXT
STY
PAD
SBD
SBL
GBL
QTP
MPR
AUD
PRF
PCG
File/folder type
All the User data. (This is a folder containing other folders)
Backup file, created with the “Full Resource Backup” func-
tion of the Media > Utility page
Global Setup
Quarter Tone Scale Presets
MIDI Presets
Master EQ Presets
Performance
Sound (Korg Pa-Series)
Style
Pad
SongBook
SongBook’s Custom List
Jukebox
Standard MIDI File, SMF
MP3 file
Plain text file
Pa300 can also read (but not write) the following types of data.
Extension
PKG
KAR
CDG
PCG
File type
Operating System and Musical Resource files
Karaoke file
CD+Graphics file
Korg Triton Programs
Media
Media structure
167
Media structure
Each device (and the internal memory) can contain files and folders. Data in the Pa300 is slightly more rigidly structured than in a computer, due to the pre-configured type of data inside the instrument’s memory. The diagram below shows the global structure of a Pa300 device.
Note:
MYDIR.SET
GLOBAL
SETUP.GBL
MASTEREQ.AUD
MIDI.MPR
QTPRESET.QTP
PERFORM
BANK01.PRF
1-1 Grand Piano
…
1-40 Full Strings
BANK….PRF
BANK8.PRF
8-1 Rock Brass
…
8-40 Rock Strings
STYLE
BANK01.STY
1-1 Pop 1
…
1-40 Pop 40
BANK….STY
BANK15.STY
15-1 Contemp. 1
…
15-40 Contemp. 40
FAVORITE01.STY
1 Favorite 1
…
40 Favorite 40
FAVORITE….STY
PAD
BANK01(…10).PAD (Hit)
1 Cowbell 1
…
32 Drumkit F
BANK11(…20).PAD (Sequence)
1 Military 1
…
32 Circus 2
LOCAL01.PAD
L1-1 Local 1
…
L1-32 Local 32
LOCAL….PAD
SONGBOOK
SONGDB.SBD
LISTDB.SBL
FAVORITE08.STY
1 Favorite 1
…
40 Favorite 40
LOCAL08.PAD
L8-1 Local 1
…
L8-32 Local 32
SOUND
USER01.PCG
1 Piano 1
…
128 SynBrass22
USER02.PCG
1 SopranoSax
…
128 Noise
USERDK.PCG
1 Standard Kit
…
128 Orchestral Kit
USER01.STY
U1-1 User 1
…
U1-40 User 40
USER02.STY
U2-1 User 1
…
U2-40 User 40
USER03.STY
U3-1 User 1
…
U3-40 User 40
USER01.PAD
U1-1 User 1
…
U1-32 User 32
USER….PAD
USER08.PAD
…
U10-32 User 32
168 Media
Main page
Main page
There is no main page in the Media mode. When pressing EXIT, you exit the Media mode, and the underlying operating mode in the background is recalled.
Page structure
All pages share some basic elements.
Mode
Page menu icon
Scrollbar
Use the scrollbar to scroll the list. Touching the arrows will scroll one step at a time, while touching the bar will scroll one page at a time.
Touching the arrows while SHIFT is kept pressed jumps to the previous or next alphabetical section, or file/folder type
(depending on the selected display order).
Device pop-up menu
Use this menu to select one of the available storage devices.
Commands
Commands may be different depending on the shown page.
They are detailed in each relevant section.
Tabs
Use tabs to select one of the pages of the current section.
Device menu
Mode
This indicates that the instrument is in Media mode.
Page menu icon
Touch this icon to open the page menu (see “Page menu” on page 180).
Path
Full path of the directory currently shown in the display.
List of files
This area shows the files and folder contained in the selected device.
You can touch one of the heading labels above the list to change the order in which files are shown. For example, by touching the
“Name” label, the list is alphabetically re-ordered according to the file names. The selected label appears highlighted, showing the currently selected ordering.
List of files
Scrollbar
Path
Commands
Tabs
Navigation tools
When in a Media page, you can use any of the following commands to browse through the files and folders.
Scrollbar
See “Scrollbar” above.
VALUE DIAL
Use the VALUE DIAL to scroll the list up or down.
Device pop-up menu
See “Device pop-up menu” above.
Load/Save/Copy/Delete button
Executes the media operation.
Open button
Opens the selected folder or directory (whose name begins with the “ ” icon).
Close button
Closes the current folder or directory, returning to the parent
(“upper”) level.
If you touch the highlighted label again, the alphabetic order changes from ascending to descending, or vice-versa. The small arrow next to the label name shows the selected order.
Media
Load
169
Load
In this page you can load User data files (Performances, User
Sounds, User Styles, the SongBook, the Global) from an internal or external storage device to the internal memory.
Note:
While in this page, only data allowed for loading are shown.
All other files are hidden.
Merging data
When loading all User data, or all data of a specified type, most data loaded from a storage device are merged with data already existing in memory. For example, if there is data in all three
USER Style banks in memory (USER01, USER02, USER03), and there is only the USER01 Style bank in the storage device, the
USER01 bank will be overwritten, while USER02 and USER03 banks will be left unchanged.
As a result, there will be a STYLE folder in memory containing the USER01 bank you just loaded, and the old USER02 and
USER03 banks.
Loading all the User data
You can load all the User data with a single operation.
1.
If loading from an external device, connect the device to the USB Host port.
2.
3.
4.
Use the Device pop-up menu to select the source device.
When the device is selected, its content will appear in the display.
If the folder you are looking for is inside another folder, select this latter and touch the Open button to open it.
Touch the Close button to go back to the parent folder.
Select the “.SET” folder containing the data you wish to load, and touch Load to confirm the selection.
Loading all data of a specified type
You can load all data of a specified type with a single operation.
1.
If loading from an external device, connect the device to the USB Host port.
2.
Use the Device pop-up menu to select the source device.
When the device is selected, its content will appear in the display.
3.
4.
If the folder you are looking for is inside another folder, select the latter and touch the Open button to open it.
Touch the Close button to go back to the parent folder.
Select the “.SET” folder containing the data you wish to load, and touch Open to open the “.SET” folder. A list of
User data appears (Global, Performance, SongBook,
Sounds, Style…).
5.
Select the folder containing the type of data you are looking for, and touch Load to confirm your selection.
170 Media
Load
Loading a single bank
You can load a single bank of data (Sounds, Styles, Performances) with a single operation. Each bank corresponds to each of the side tabs in the various Select windows (Style Select, Performance Select…).
1.
2.
If loading from an external device, connect the device to the USB Host port.
Use the Device pop-up menu to select the source device.
When the device is selected, its content will appear in the display.
3.
4.
If the folder you are looking for is inside another folder, select this latter and touch the Open button to open it.
Touch the Close button to go back to the parent folder.
Select the “.SET” folder containing the data you wish to load, and touch Open to open the “.SET” folder. A list of
User data appears (Global, Performance, SongBook,
Sounds, Style…).
7.
Select the target bank, and touch OK to load the source bank.
Warning:
After confirming, all User data contained in memory are deleted.
Loading a single item
You can load a single item with a single operation.
1.
If loading from an external device, connect the device to the USB Host port.
2.
3.
4.
Use the Device pop-up menu to select the source device.
When the device is selected, its content will appear in the display.
If the folder you are looking for is inside another folder, select this latter and touch the Open button to open it.
Touch the Close button to go back to the parent folder.
Select the “.SET” folder containing the data you wish to load, and touch Open to open the “.SET” folder. A list of
User data appears (Global, Performance, SongBook,
Sounds, Style…).
5.
Select the folder containing the type of data you are looking for, and touch Open to open the selected folder. A list of
Favorite/User banks appears.
5.
Select the folder containing the type of data you are looking for, and touch Open to open the selected folder. A list of banks appears.
6.
Select the bank file you are looking for, and touch Load to confirm the selection. A dialog box appears, asking you to select one of the available User (or Favorite/User Style) banks in memory.
6.
Select the bank file you are looking for, and touch Open to open it. A list of items appears.
In the example above, the previously selected Style bank will be loaded into the bank USER 1 in memory. The Styles already existing in memory will be deleted and overwritten.
Media
Load
171
7.
Select the item you are looking for, and touch Load to confirm the load. A dialog box appears, asking you to select one of the available locations in memory.
8.
In the dialog box above, the Style you select from disk will be loaded into location 01 of the bank Usr01 in memory.
Any existing Style at the same location will be deleted and overwritten.
Empty locations are named “- - - “.
Select the target location, and touch OK to load the source file.
Warning:
After confirming, the item you are overwriting in memory will be deleted.
Loading Global data from other Pa-Series instruments
Global data (Global, EQ, etc.) cannot be loaded from other Pa-
Series instruments.
Loading Pa3X data
You can load Pa3X data exactly as if they were Pa300 data, apart for the Global data. Sounds and Effects can be a bit different.
User Sounds based on User Samples will not be loaded. Due to the different order in memory, Styles must be reassigned to
SongBook Entries by using the SongBook Editor software (freely available on www.korg.com
).
Loading Pa900/Pa600 data
You can load Pa900/Pa600 data exactly as if they were Pa300 data, apart for the Global data. User Sounds based on User Samples will not be loaded. Due to the different order in memory,
Styles must be reassigned to SongBook Entries by using the
SongBook Editor software (freely available on www.korg.com
).
Loading Pa2X, Pa800, Pa1X, Pa800, Pa588 data
You can load Pa2X/Pa800 data exactly as if they were Pa300 data, apart for the Global data. User Sounds based on User Samples will not be loaded. Due to the different order in memory, Styles must be reassigned to SongBook Entries by using the SongBook
Editor software (freely available on www.korg.com
).
It is not possible to load Pa300 data into a Pa2X, Pa800, Pa1X,
Pa500 or Pa588.
Loading Pa80/60/50/50SD data
You can load Pa80/60/50/50SD data exactly as if they were Pa300 data, apart for the Global data. The only difference is that the
“SOUND” folder of Pa300 is called “PROGRAM” in the Pa80/
60/50/50SD. Therefore, to load Sounds from Pa80/60/50/50SD disks, you must accomplish one of the following operations, either:
• Rename the “PROGRAM” folder “SOUND” (by using a personal computer) before loading a “.SET” folder; or
• First load the “.SET” folder, then separately load the “.PCG” file from the “PROGRAM” folder.
Loading i-Series data
Pa300 is compatible with the Styles of the older i-Series instruments. You can load them as if they were ordinary Pa300 data.
1.
Copy the old i-Series data into an USB device, or transfer them to the internal storage memory of the Pa300.
2.
3.
Press MEDIA to go to the Media mode. Select the Load page if needed.
While in the Load page, select the device containing the i-
Series data from the Device pop-up menu.
4.
5.
6.
If you are reading an i30 file, select the “.SET” folder and touch the Open button in the display.
Select the “.STY” folder.
At this point, you can load the whole “.STY” folder, or open it and select a single Style.
• To load the whole folder, touch the Load button in the display. If it contains more than 40 Styles, they will be loaded into the USER banks sequentially, otherwise you will be prompted to select one of the USER Style banks or the FAVORITE Style banks in memory. Once the target bank is selected, touch Load to load the bank. The “Are you sure?” message will appear. Touch OK to confirm, or Cancel to abort.
• To load a single Style, touch Open in the display to open the “.STY” folder. Since a conversion will be started at this point, please wait some seconds for the operation to be completed.
Select the Style to load, then touch Load. You will be prompted to select a target location in memory. Once the target location is selected, touch Load to load the Style. The
“Are you sure?” message will appear. Touch OK to confirm, or Cancel to abort.
7.
8.
9.
10.
Note:
Loading a whole “.SET” folder from an i30 file may take some time due to format conversion.
Go to the Style Play mode, and select (one of) the loaded
Style. Adjust the Tempo value, then select the “Write Current Style Settings” to write changes. Touch OK twice to confirm.
Due to the difference in Sounds, you will probably want to make some adjustments to the old Styles, once they are loaded in Pa300 (changing the Sound, Volume, Pan,
Tempo, Drum Mapping, Wrap Around…).
To make the Sound assignment to the Style tracks effective,
be sure the “Original Style Sounds” parameter is not checked (see page 92).
Save the Style Settings again. Select the “Write Current
Style Settings” to write changes. Touch OK to confirm.
172 Media
Save
Save
In this page, you can save User data from the internal memory to a mass storage device (like an hard disk or an USB memory stick). You can save single files, banks, or all the User and Favorite Style files of the internal memory.
Creating a new “.SET” folder
Pa300 proprietary data must be saved in special folders with the
“.SET” extension. These special folders can be saved inside ordinary folders.
When saving, you can save onto existing “.SET” folders, or you can create a new folder of this type. Here is how to do it.
1.
When the directory of the target device is shown in the display, the “New SET” button appears among the buttons below the file list.
2.
Touch the New SET button. A dialog box appears, asking you to enter a name for the new “.SET” folder.
Note:
While in this page, only data allowed for saving are shown.
All other files are hidden.
Here are the various types of files contained in the internal memory:
The file/folder type…
All
Style
Sound
Pad
Perform (Performances)
SongBook
Global
…contains…
…and will create on the target device…
All the User data in memory A .SET folder
The FAVORITE 01-08 Styles and the USER 01-03 Styles
A STYLE folder inside a
.SET folder
The USER Sounds and Drum
Kits
The USER Pads
A SOUND folder inside a
.SET folder
A PAD folder inside the
.SET folder
The Performances
The SongBook database
All global parameters. MIDI
Presets, SC Presets, Master
EQ Presets are also saved.
A PERFORM folder inside a .SET folder
A SONGBOOK folder inside a .SET folder
A GLOBAL folder inside a
.SET folder. Inside the
GLOBAL folder other folders will be created, to contain the MIDI, SC,
Master EQ Presets.
3.
4.
Touch the (Text Edit) button to open the Text Edit window. Enter the name, then touch OK to confirm and close the Text Edit window. Note: The “.SET” file name extension is added automatically.
Touch OK to create the new folder and exit the dialog box.
Media
Save
173
Saving the full memory content
You can save the full memory content with a single operation.
Depending on the status of the “Factory Style and Pad Protect”
parameter, you may or may not see the Factory Style and Pad
banks (see “Factory Style and Pad Protect” on page 154).
1.
2.
If saving to an external device, connect the device to the
USB Host port.
The full content (“All”) of the internal memory is already shown. Select it, and touch Save to confirm the selection.
The list of files in the target device is shown.
Warning:
After confirming, all data of the selected type in the target folder is deleted.
Saving all data of a specified type
In addition to the above, you can save all data of a specified type by selecting the corresponding folder.
1.
If saving to an external device, connect the device to the
USB Host port.
2.
The full content (“All”) of the internal memory is already shown. Select it, and touch Open to open it. A list of User data types appear (each type is a separate folder).
3.
4.
5.
If needed, use the Device pop-up menu to select a different target device. When the target device is selected, its content will appear in the display.
At this point, you can:
• Touch the New SET button and create a new “.SET” folder
(see “Creating a new “.SET” folder” on page 172), or
• Select an existing “.SET” folder.
Touch Save to confirm. A dialog box appears, asking you to select the type of data to save:
3.
Select the folder containing the type of data you wish to save, and touch Save To to confirm the selection. The list of files of the target device is shown.
Save All dialog with the Factory Style and
Pad Protect option turned on
4.
5.
If needed, use the Device pop-up menu to select a different target device. When the target device is selected, its content will appear in the display.
At this point, you can:
• Touch the New SET button and create a new “.SET” folder
(see “Creating a new “.SET” folder” on page 172), or
• Select an existing “.SET” folder, and touch Save to confirm.
Warning:
After confirming, all data of the selected type in the target folder is deleted.
Save All dialog with the Factory Style and
Pad Protect option turned off
6.
In the dialog box above, check all data type you wish to save to a storage device.
Touch OK to confirm, or Cancel to abort.
174 Media
Save
Saving a single bank
You can save a single User bank with a single operation. Each bank corresponds to each of the side tabs in the various Select windows (Style Select, Performance Select…).
1.
2.
If saving to an external device, connect the device to the
USB Host port.
The full content (“All”) of the internal memory is already shown. Select it, and touch Open to open it. A list of User data types appear (each type is a separate folder).
7.
A dialog box appears, asking you to select one of the available User (or Favorite/User Style) locations inside the folder:
3.
Select the folder containing the type of data you wish to save, and touch Open to open it. The list of contained bank files is shown.
8.
In the above dialog box, the previously selected bank of
Styles will be saved to bank User 01 inside the selected folder. Three User banks are available.
Touch OK to confirm, or Cancel to abort.
Warning:
After confirming, the same bank in the target folder is deleted.
Saving a single item
You can save a single User item with a single operation.
1.
If saving to an external device, connect the device to the
USB Host port.
2.
The full content (“All”) of the internal memory is already shown. Select it, and touch Open to open it. A list of User data types appear (each type is a separate folder).
4.
Select the bank file to be saved, and touch Save To to confirm the selection. The list of files of the target device is shown.
3.
Select the folder containing the type of data you wish to save, and touch Open to open it. The list of contained bank files is shown.
5.
6.
If needed, use the Device pop-up menu to select a different target device. When the target device is selected, its content will appear in the display.
At this point, you can:
• Touch the New SET button and create a new “.SET” folder
(see “Creating a new “.SET” folder” on page 172), or
• Select an existing “.SET” folder, and touch Save to confirm.
Media
Copy
175
4.
Select the desired bank file, and touch Open to gain access to the single items.
Copy
In this page you can copy files and folders. Folders can be generic or “.SET” folders. In addition, you can copy the content of the generic folder you are in. You can copy inside the same device, or from a device to a different one (both devices must be connected to the Pa300 during the copy operation).
To preserve data structure integrity, during Copy operations you can’t open “.SET” folders and copy only one of the files it contains. You can only open and go inside generic folders.
5.
Once you have selected the file that you want to save, touch
Save To to confirm the selection. The list of files of the target device is shown.
6.
7.
8.
If needed, use the Device pop-up menu to select a different target device. When the target device is selected, its content will appear in the display.
At this point, you can:
• Touch the New SET button and create a new “.SET” folder
(see “Creating a new “.SET” folder” on page 172), or
• Select an existing “.SET” folder, and touch Save to confirm.
A dialog box appears, asking you to select one of the available User (or Favorite Style) locations inside the selected folder.
9.
In the above dialog box, the previously selected Style will be saved to location 01 inside the bank Usr01 inside the selected folder.
Touch OK to confirm, or Cancel to abort.
Warning:
After confirming, the same item in the target folder is deleted.
Contrary to the Load and Save pages, in this page you may see all types of files, and not only Pa-Series supported files (assuming
the “Hide Unknown Files” option is turned off, see page 154).
Copying a folder’s content
If nothing is selected while a folder is open in the display, you can copy the folder’s content, without copying the folder itself.
Note:
During the Copy procedure, you can’t open a “.SET” folder.
You can, however, open any generic folder.
1.
If copying from or to an external device, connect the device to the USB Host port.
2.
3.
4.
Select the source device, by using the Device pop-up menu.
If the folder you are looking for is inside another folder, select this latter and touch the Open button to open it.
Touch the Close button to go back to the parent folder.
To copy the current folder’s content, without copying the folder itself, do not select anything in the display.
5.
6.
7.
Touch Copy To to confirm. The target device appears.
Note:
If the selected device is not available, the “Device not found, or unknown format” message will appear. A different device will be automatically selected.
If needed, select the target device, by using the Device popup menu.
If you want to select a different folder, use the Open and
Close buttons to move through the directories.
8.
• To copy into an existing generic folder (not a “.SET” folder), select that folder.
• To copy into the current folder, do not select anything.
Once the target is selected, touch Copy.
If a file or folder with the same name of the source data already exists at the target location, the “Overwrite” dialog
box will appear (see “Overwriting existing files or folders” on page 176).
176 Media
Copy
During Copy, a dialog box shows the progress of the operation.
Copying a single file or folder
2.
3.
You can copy a single file or folder, from the root or a generic folder to a different one. You can’t copy single files or folders from inside a “.SET” folder.
1.
4.
5.
If copying from or to an external device, connect the device to the USB Host port.
Select the source device, by using the Device pop-up menu.
Select the folder containing the file or folder you wish to copy. If it is contained in another folder, touch the Open button to open it. Touch Close to go back to the previous hierarchic level.
Touch Open to open the folder containing the file or folder to be copied.
Select the file or folder to be copied, then touch Copy To to confirm its selection. The target device appears.
Note:
If the selected device is not available, the “Device not found, or unknown format” message will appear. A different device will be automatically selected.
6.
7.
8.
If needed, select the target device, by using the Device popup menu.
When the target device content appears in the display, select the target folder. Touch Open to open a folder, or
Close to close it.
Once the target is selected, touch Copy.
If a file or folder with the same name of the source data already exists at the target location, the “Overwrite” dialog
box will appear (see “Overwriting existing files or folders”
below).
Multiple file selection
While in the Copy and Delete pages of the Media mode, you can select several files or folders at the same time before executing the operation. Files or folders can be selected consecutively (i.e., in a row), or discontinuously (i.e., with other files or folders in the middle).
To choose either to select files in a consecutive or discontinue way, use the Mode button on the right of the page command buttons, to choose an option for the SHIFT button:
Choose this option to select files or folders consecutively (i.e., in a row).
Choose this option to select files or folders discontinuously (i.e., with other files or folders in the middle).
To select more files or folders consecutively:
2.
3.
4.
5.
1.
Touch the Mode button to choose the
SHIFT button.
Select the first file or folder to be selected.
Press and keep the SHIFT button pressed.
Select the last file or folder to be selected.
Release the SHIFT button.
option for the
To select more files or folders discontinuously:
4.
5.
2.
3.
1.
6.
Touch the Mode button to choose the
SHIFT button.
Select the first file or folder to be selected.
Press and keep the SHIFT button pressed.
option for the
Select a second file or folder to be selected.
While keeping the SHIFT button pressed, continue selecting the other files or folders to be selected.
Release the SHIFT button.
To deselect the files or folders:
• To deselect one or more file or folder, without deselecting everything, keep SHIFT pressed and touch the file or folder to be deselected.
• To deselect everything, select any other file or folder. All selected files and folders will be deselected.
Overwriting existing files or folders
When copying files, a file or folder with the same name of a source element might be found in the target device. In this case,
Pa300 asks you if you want to overwrite it.
When a duplicate file or folder is met, the following dialog box appears:
Cancel
No
The procedure is interrupted.
The file or folder is not overwritten. The source file or folder is not copied. The procedure will continue with the other files and folders.
Yes The file or folder is overwritten. The procedure will continue with the other files and folders.
Yes (to) All The file or folder is overwritten. Any following duplicate file or folders will be overwritten as well, without this dialog box appearing again.
The procedure will continue with the other files and folders.
Media
Delete
177
Delete
The Delete function lets you delete files and folders from the devices.
Format
The Format function lets you initialize a device. Pa300 uses a
PC-compliant device format (DOS FAT16 and FAT32):
Contrary to the Load and Save pages, in this page you may see all types of files, and not only Pa-Series supported files (assuming
the “Hide Unknown Files” option is turned off, see page 154).
Delete procedure
4.
5.
1.
2.
3.
If erasing from an external device, connect the device to one of the USB Host ports.
If needed, select a different device, by using the Device pop-up menu.
If the file or folder you are looking for is inside another folder, select this latter and touch the Open button to open it. Touch the Close button to go back to the parent folder.
Select the file or folder to erase.
Touch Delete to delete the selected item.
During erase, a dialog box shows the progress of the operation.
Multiple file selection
See “Multiple file selection” on page 176 for information on how
to select more files or folders to be erased at the same time.
Warning:
When formatting a device, all data it contains is lost forever!
Volume Label
Use this parameter to assign a name to an external device to be formatted.
Note:
You cannot rename the label (name) of the internal volume.
When formatting the internal disk, the label cannot be edited.
Touch the (Text Edit) button to open the Text Edit window.
Enter the name, then touch OK to confirm and close the Text
Edit window.
Note:
When changing the name to a device containing Standard
MIDI Files or MP3 files used in the SongBook, the links are broken. We suggest to give the device the same name it had before formatting. In case you changed the name, please use SongBook
Editor (freely available on www.korg.com
) to edit the links.
Warning:
It is not possible to change the label (name) of the internal disk when Pa300 is connected to a PC through the USB port. If you try to do it, the original name is restored by Pa300.
Execute button
Touch this button, after having assigned a name to the volume, to execute the Format command.
Format procedure
Here is how to format a device.
1.
If formatting an external device, connect the device to the
USB Host port.
2.
3.
Choose the device to be formatted by using the Device pop-up menu in the lower-left corner of the display.
Touch the Execute button in the display to confirm formatting.
4.
The “If you confirm, all data in the media will be lost. Are you sure?” message appears in the display. Touch Yes to confirm, or No to cancel.
Note:
When formatting the internal memory or an external
USB device, an additional warning appears, to avoid accidental data loss.
178 Media
Utility
Utility
This page includes a set of backup and restore utilities. The
Backup command should be used for archiving purpose only, since you will not be able to load individual data from a backup file. To save data that must remain accessible with the normal
Media > Load operations, for example to load User data after updating the Musical Resources, use the Media > Save operations instead.
After touching Backup, a dialog box will appear, asking you to assign a name to the backup file.
Full Resource Backup
This command allows you to make a full backup of all the internal data on a target device. A “.BKP” file will be created.
Hint:
This command cannot be used to save single items (like a single Style, a bank of Performances…). To do that, use the Save operations instead.
1.
2.
In case you are making the backup on an external USB device, connect the device to one of the USB Host ports.
Be sure there is enough free space in your target device, or the Backup procedure will not be completed.
Select the “Full Resource Backup” command, then touch
the Execute button in the display. The target device appears.
6.
7.
Touch the (Text Edit) button to open the Text Edit window. Enter the name, and confirm by touching OK.
Touch OK to start the backup.
When finished, save the (removable) storage device in a safe place.
Resource Restore
This command restores data from a backup of the internal Fac-
tory and User data, created with the “Full Resource Backup”
command.
Hint:
This command cannot be used to load single items (like a single Style, a bank of Performances…). You can only load all data, or full data types. Backups are compact archives, that can only be restored as a full package.
Note:
Loading a backup file created with other Pa-Series and i-Series instruments is not allowed.
Warning:
Don’t play the keyboard while restoring data, and stay in the Media mode. Wait until the “Wait” message disappears.
1.
In case you are restoring from an external USB device, connect the device to the USB Host port.
2.
3.
4.
Select the Restore Resources command, then touch Execute. The source device appears.
If needed, select a different device, by using the Device pop-up menu.
Browse through the files to find the backup file.
5.
6.
When the backup file (“.BKP” file) is in the display, select it and touch the Restore command.
A dialog box will appear, with a list of types of data to be restored. Only check the types of data you want to restore.
3.
4.
5.
If needed, select a different device, by using the Device pop-up menu.
If you wish to save data inside another folder, select this latter and touch the Open button to open it. Touch the Close button to go back to the parent folder.
Select the folder where to save data, and touch Backup to save it. If nothing is selected, data will be saved to the current directory.
7.
Warning:
This command will delete from the internal memory all types of data selected in this dialog box (including your custom data).
When done, a message appears asking you to restart the instrument (“Data Restored. Please switch off ”). Set the instrument to standby mode, then turn it on again.
Media
USB
179
Factory Restore
In case you want to erase all changes to your Factory and User data, and restore your Pa300 to the same condition it was when it was new, you can use the Factory Restore procedure.
Warning:
This command deletes all data from memory (including your custom data).
1.
Select the Factory Restore command, then touch Execute.
2.
A dialog box will appear, with a list of types of data to be restored. Only check the types of data you want to restore.
USB
Use this page to enable or disable the USB Device port for file transfer.
3.
Warning:
This command will delete from the internal memory all types of data selected in this dialog box (including your custom data).
When done, a message appears asking you to restart the instrument (“Data Restored. Please switch off ”). Set the instrument to standby mode, then turn it on again.
OS Version Number
This line shows the installed Operating System version. From time to time, check our web site ( www.korg.com
), to see if a newer, free version has been released.
The USB Device port allows you to access the internal storage memory from a personal computer, by just connecting the Pa300 to the computer’s USB interface. This way, you can exchange files between the user-accessible area of the internal storage memory of the Pa300 (DISK device) and a personal computer.
Note:
The drivers supplied in the Accessory Disc are only for MIDI
Over USB connection.
Note:
While USB file transfer is enabled, you cannot access other functions on the Pa300. MIDI Over USB is also disabled.
Warning:
It is not possible to change the label (name) of the internal disk when Pa300 is connected to a PC through the USB port. If you try to do it, the original name is restored by Pa300.
180 Media
Page menu
KORG DISK Connection
Usually, the USB Device port is not enabled for file transfer on the Pa300 (it is always on, however, for MIDI connection).
Touch the Enable button to turn it on, or the Disable button
(with all the caveats) to turn it off.
1.
2.
Connect Pa300 to a personal computer by using a standard
USB cable
Touch the “Enable” button to enable file transfer. Pa300 becomes the B USB device (called Device or Slave), while the personal computer becomes the A USB device (called the Host or Master).
When finished, the icon of the internal memory of Pa300 will appear among the other storage devices connected to the computer.
Caveat:
Do not modify the structure of the “.SET” folders, or you will no longer be able to use them on the Pa300. Only use the USB connection for data exchange purpose, or to modify ordinary folders.
3.
4.
Note:
After starting the USB connection, accessing Pa300 data from the computer may take some time, depending on the size of the internal memory and the data it contains.
When all data has been transferred, disconnect USB communication from the computer. On a PC, you usually select the dedicated command by clicking on the USB device icon with the right mouse button. On the Mac, select the USB device icon, then select the Eject command or drag it to the eject icon in the Dock.
When the Pa300 icon disappears from the computer’s desktop, touch the “Disable” button on the display of Pa300.
Caveat:
Do not disconnect the USB communication before the personal computer has really finished transferring files.
Sometimes, the on-screen indicator tells the procedure has been completed BEFORE it has really finished.
Disconnecting USB communication (or disconnecting the
USB cable) before data transfer has been completed may cause data loss.
Page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Create New Folder
This command lets you create a new generic folder. You can’t create a “.SET” folder with this command, since this type of folder is reserved to the Save operations (and can be created with the New SET button in any Save page).
By touching the (Text Edit) button you can open the Text
Edit window. Enter the name, then touch OK to confirm and close the Text Edit window.
Rename
Available only when an item is selected in a file list.
Use this function to change the name of an existing generic file or folder. To preserve consistency through the data structure, you cannot rename folders and files inside a “.SET” folder. Also, you cannot change the 3-character extension of files and “.SET” folders, since they are used to identify the type of file or folder.
Touch the (Text Edit) button to open the Text Edit window.
Enter the new name, then touch OK to confirm and close the
Text Edit window.
Media
Care of mass storage devices
181
Object(s) info
Select this command to see the size of any selected file or folder.
Also, the number of files and directories (folders) it contains are shown.
Note:
The single file size is always shown to the right of the file
name in any file list (assuming the “Size” parameter is turned on, see page 154):
Device Info
Select this command to see various info on the selected device.
To select a different device, use the Device pop-up menu on the lower left corner of most Media pages.
By touching the (Text Edit) button you can open the Text
Edit window. Enter the name (label) of the selected device, then touch OK to confirm and close the Text Edit window.
Warning:
If you change the name of a device connected to the USB
Host port, and it contains files used by some SongBook Entries, these entries will no longer be able to find the linked resources contained in the device. In this case, either restore the original device name, or use the SongBook Editor software (freely available on www.korg.com
) to edit the links.
Note:
You cannot change the name of the internal storage memory.
Protect
Select this command to protect the selected file or folder from writing/erasing. The lock icon will appear next to the file or folder name.
Care of mass storage devices
The Pa300 can save most of the data contained in memory to the internal memory, or to external devices (like hard drives or USB memory sticks) connected to the USB Host port. Here are some precautions when handling these devices.
Internal memory write protection
You can protect your internal memory from writing, by using
the software protection found in Global mode (see “Media Protect” on page 154).
Precautions
• Do not remove a device or move the instrument while the device is operating.
• In order to avoid losing data in case of damage, make a backup copy of the data contained in a device. You can backup your data to a personal computer, and from there to a backup unit. You can transfer data from the internal memory of Pa300 (DISK unit) to a personal computer by using the USB Device connection.
• Do not leave an USB device connected to the USB ports while carrying the instrument, or it may be damaged.
• Keep the memory devices or the instrument away from sources of magnetic fields, for example televisions, refrigerators, computers, monitors, speakers, cellular phones and transformers. Magnetic fields can alter the contents of the devices.
• Do not keep memory devices in very hot or wet places, do not expose them to direct sunlight and do not store them without use in dusty or dirty places.
• Do not place heavy objects on top of the devices.
• Regular care is recommended with your devices. Defragmenting and repairing internal devices can be made with any computer utility while the Pa300 is connected via USB.
Possible problems
• Magnetic fields, dirt, humidity and usage can damage data in a device. You can try to recover the data with disk repair utilities for personal computers. It is, however, advisable to always make a backup copy of your data.
Unprotect
Select this command to unprotect the selected file or folder – if protected.
182 SongBook
Book
SongBook
The SongBook is a musical database that allows you to organize songs and automatically recall the associated “musical resources”
(Style, Standard MIDI Files, KAR files, and MP3 files).
The SongBook overlaps the Style Play and Song Play operating modes. When you select an entry from the full database or a custom list, the Style Play or Song Play mode is automatically selected, depending on the type of file associated with the entry.
In addition to helping you organize your shows, the SongBook allows you to associate four Pads, and up to four STSs to each
Style, Standard MIDI File or MP3 file, to recall a complete set of
Keyboard tracks for playing over a Song. You can also link a separate text file containing lyrics to an entry.
Note:
SongBook Entries do not include actual data; they are just pointers to a Style, a Standard MIDI File an MP3 or a TXT file.
When you copy a SongBook file, referenced files are not copied with it.
Hint:
Use the SongBook Editor software (freely available from our web site, www.korg.com
) to edit your SongBook on a PC.
Warning:
If you load a SongBook file from a storage device, the existing one in memory (including the custom lists) is deleted. Save your old SongBook file before loading a new one.
List Header
The List Header shows the selected entry’s name on the left
(“N:”), and the associated Style, Standard MIDI File or MP3 file on the right (“Style:” or “Player:”):
Note:
If you select a different Style or Standard MIDI File or MP3 file, the entry’s name field (“N:”) returns blank (---), meaning the entry has been modified.
Full list
This is the full list of the SongBook database. Use the scrollbar
(or the VALUE DIAL) to browse through the list.
You can touch one of the heading labels above the list to change the order in which entries are shown. For example, by touching the “Name” label, the list is alphabetically re-ordered according to the entry names. The selected label become highlighted, showing the currently selected ordering.
Book
The Book page contains the full database of song entries. While in this page, you can select an entry, and touch the Select button in the display to load it. Then, press the PLAY/START button to start the Song or Style.
List Header
Full list
Scrollbar
Commands
Each entry of this database may include the song’s author, name, genre, original key, tempo and meter (time signature). When selecting one of the entries, the associated Style, Standard MIDI
File or MP3 file is automatically recalled, together with any TXT lined to the entry. Also, the STSs and Pads may be recalled.
By touching the label again, the order of the files switches between ascending and descending. The small arrow next to the label name shows the selected order.
Scrollbar
Use the scrollbar (or the VALUE DIAL) to scroll the entries. You can keep the SHIFT button pressed while touching the scrollbar, to quickly jump to the next/previous section.
Commands
Filtered
When this box is checked, only entries matching the selected filter criteria are shown in the full list. The box is automatically checked when you exit from the Filter dialog box by touching
OK (see below).
SongBook
Book
183
Filter…
Touch this button to open the Filter dialog box, and select one or more filter criteria, to show a restricted set of entries in the main list.
Numeric selection of entries
When in SongBook mode, you can select a SongBook Entry by means of an unique number. Numbers associated with each
entry can be programmed in the Book Edit 2 page (see “Book
To see the numbers while in the Book page, select the “Show
Song Numbers (now Key)” command from the page menu:
Touch the (Text Edit) button next to the search criteria you want to edit (Name, Genre, or Artist). You can also select a
Meter, or a range of Tempo values.
Touch the Clear button next to the search criterion you want to delete or set to a default value.
Touch Clear All to reset all search criteria.
Note:
You can also find items in the SongBook database by pressing the SEARCH button, and using the Search function. However, the Filter function allow for a more refined search.
Add to list
If the “Enable List Edit” command is selected in the page menu,
the “Add to list” button becomes available, to let you add entries to the selected Custom List.
Select an entry, then touch this button to add the selected entry
to the current Custom List (see “Custom List” on page 185).
Select
Touch this button to confirm selection of the highlighted entry in the full list. After touching this button, the name of the selected entry appears in the left upper side of the display (“N:”).
When you highlight a song in any of the SongBook lists, its name appears in reversed text, over a green-blue background. While in this situation, the song is highlighted, but not yet loaded.
When you touch the Select button in the display, the song will be loaded. The background turns to light green, and the text is turned to boldface, to show the Song has been loaded and ready to play.
To start playback of the Song or Style, press the PLAY/START button.
After you select this command, the “Num” column appears:
To see the “Key” column again, select the “Show Key (now Song
Numbers)” command from the page menu.
To select a SongBook Entry by entering its number, press the
SONGBOOK button again while you are in any page of the
SongBook mode. The numeric keypad will appear, allowing you to enter the number corresponding to the desired entry.
Hint:
You can export a list of SongBook Entries as a TXT file, including the assigned selection number. You can print this list on
paper as a memo. (See “Export as text file” on page 190).
Selecting SongBook Entries via MIDI
SongBook Entries can be selected via MIDI messages (through the special Control channel), by using the dedicated NRPN Control Change messages #99 (MSB, with value 2) and #98 (LSB,
with value 64). See “Selecting SongBook Entries via MIDI” on
next page.
Setting the special Control MIDI IN channel
A special MIDI channel used as the “Control” channel is needed to send MIDI messages to select the SongBook Entries.
First of all, choose a MIDI Preset to quickly configure the Control channel. Go to the Global > MIDI > General Controls page and choose a MIDI Preset where to save your settings.
Then, choose a MIDI channel as the “Control” channel. Go to the Global > MIDI > Midi In Channel page, and assign the Control option to one of the sixteen available MIDI channels (usually one of the higher-numbered ones, for example 16).
When done, save this setting to the current MIDI Preset by
choosing the “Write Midi Preset” command from the page
menu.
184 SongBook
Book
Selecting SongBook Entries via MIDI
When you are ready to remotely select SongBook Entries, switch to the Style Play or Song Play mode.
At this point, Pa300 must receive on the special Control channel the NRPN Control Change messages #99 (MSB, with value 2) and #98 (LSB, with value 64) in fast succession, as an initialization string. This string must be sent only once, unless another
NRPN control is sent on the same MIDI channel before selecting a different SongBook Entry.
After the initialization string has been sent, you must send the selection string, made of two Control Change messages: CC#06
(Data Entry MSB) for the thousands and hundreds, and CC#38
(Data Entry LSB) for the tens and units. The range of the Data
Entry controls, in this case, is 0~99 (instead of the typical
0~127).
The following examples show some typical situations.
• Send the following string to select SongBook Entry #77:
Initialization string (CC#99, 98)
Thousands and hundreds (00xx)
Tens and units (xx77)
• Send the following string to select SongBook Entry #100:
Initialization string (CC#99, 98)
Thousands and hundreds (01xx)
Tens and units (xx00)
• Send the following string to select SongBook Entry #2563:
Initialization string (CC#99, 98)
Thousands and hundreds (25xx)
Tens and units (xx63)
MIDI messages sent when selecting
SongBook Entries
When a SongBook Entry is selected, a set of corresponding
MIDI messages can be sent through the special “Control” channel.
Setting the special Control MIDI OUT channel
A special MIDI channel used as the “Control” channel is needed to send MIDI messages when selecting the SongBook Entries.
First of all, choose a MIDI Preset to quickly configure the Control channel. Go to the Global > MIDI > General Controls page and choose a MIDI Preset where to save your settings.
Then, choose a MIDI channel as the “Control” channel. Go to the Global > MIDI > Midi Out Channel page, and assign the
Control option to one of the sixteen available MIDI channels
(usually one of the higher-numbered ones, for example 16).
When done, save this setting to the current MIDI Preset by
choosing the “Write Midi Preset” command from the page
menu.
Sending MIDI messages when selecting SongBook Entries
When this special “Control” channel is assigned to one of the
MIDI OUT channels, MIDI messages are sent on this channel when choosing a SongBook Entry.
The messages sent when selecting a SongBook Entry are the following:
• An initialization strings, made of the NRPN Control Change messages #99 (MSB, with value 2) and #98 (LSB, with value 64) in fast succession.
• A selection string, made of the two Control Change messages
CC#06 (Data Entry MSB) for the thousands and hundreds, and
CC#38 (Data Entry LSB) for the tens and units. The range of the
Data Entry controls, in this case, is 0~99 (instead of the typical
0~127).
This type of data can be used by external editors to receive informations from the SongBook.
SongBook
Custom List
185
Custom List
Use this page to select and use one of the available Custom Lists.
Custom Lists are lists made of entries extracted from the full
SongBook list (as seen in the Book page). They allow the use of smaller, customized SongBook lists, suitable for a single gig or your own music tastes.
List Header
Custom list
Scrollbar
List Edit
Use this page to edit the available Custom Lists. A Custom List is a set of SongBook Entries, created by selecting items from the full list in the Book page.
To add entries to a Custom List, first create or select the list to be edited in this page. Then, go to the Book page, select the entry to
be added, and touch the “Add to list” button. When finished add-
ing entries, return to this page and edit the selected list.
List Name
Commands
Custom list
Scrollbar
Hint:
You can jump to this page by keeping SHIFT pressed, and pressing the SONGBOOK button.
List header
See “List Header” on page 182.
Custom list
List of files contained in the selected Custom List. Use the scrollbar to browse through the list. As an alternative, use the VALUE
DIAL.
Scrollbar
Use the scrollbar (or the VALUE DIAL) to scroll the entries.
Commands
List pop-up menu
Use this pop-up menu to select one of the available lists.
Next
Touch this button to select the next entry in the list.
Hint:
You can assign this command to the footswitch.
Select
Touch this button to confirm selection of the highlighted entry in the list. After touching this button, the name of the selected entry appears on the left upper side of the display (“N:”).
Hint:
This command is useful to browse through the list, and select an entry different than the one following in the list.
Commands
List Name
Custom list
List of songs contained in the selected Custom List. Use the scrollbar or the VALUE DIAL to browse through the list.
Scrollbar
Use the scrollbar (or the VALUE DIAL) to scroll the entries.
186 SongBook
Book Edit 1
Commands
Move
Use these buttons to move the selected song entry up or down in the list.
Del Song
Touch this button to delete the selected song entry from the list.
New List
Touch this button to create a new, empty Custom List.
Note:
The maximum number of Custom Lists in a SongBook file is
256 lists.
Warning:
Any unsaved Custom List is lost when creating a new list using this command.
Del List
Touch this button to delete the current list.
Write
Touch this button to save changes to the selected Custom List.
Book Edit 1
The Book Edit 1 page is where you link a “musical resource”
(Style or Song) to the SongBook Entry, and choose to save STSs to the Entry.
Hint:
Use the Filter in the Book page, to quickly find an entry to be edited.
The Book Edit 1 page with a Style-based entry:
The Book Edit 1 page with a Song-based entry:
To assign a different name to the selected list, touch the
(Text Edit) button to open the Text Edit window.
Select an option to save the edited Custom List:
• Select Rename/Overwrite to overwrite an existing list, optionally changing its name. Warning: The older list will be deleted!
• Select New List to save a new Custom List in memory. This
list will be available in the “Custom List” page.
Header
Name
Name of the selected entry. The name is assigned after you touch the Write button to save the entry to the SongBook list.
Number (Song Selection Number)
Here you can select a unique number (up to 9,999) to be associated to the current SongBook Entry. By typing this number (by using the Numeric Keypad) after pressing the SONGBOOK button again, you will be able to quickly recall an entry from the
Book page (see “Numeric selection of entries” on page 183).
Assigning a number is not mandatory, but may help you to organize your entries. For example, you can use the different 100s to create a different way of categorizing your entries by genre or age.
Resource
Entry
Style, Standard MIDI File or MP3 file associated with the saved entry.
Warning:
If you replace this resource with a different one, using the same Style location number or Song file path, the SongBook
SongBook
Book Edit 1
187
Entry will no longer point to the right data. Be careful not to delete or move a Style or a file associated with a SongBook Entry from the original location.
Write Current
When checked, the currently selected musical resource (whose type and name is shown on the right) is saved to the entry.
You can select a different resource by returning to the Style Play or Song Play mode, and selecting a different Style or Song from there. Then, press the SONGBOOK button to return to the Book
Edit 1 page.
What is saved when touching Write depends on the type of associated resource:
• When you are saving a Style-based entry, a reference to the latest selected Style, whose name is shown on the right of this parameter, is saved.
A reference to the selected Pads (whose name you can see by touching the Pad tab in the main page of the Style Play mode) is also saved. Unless changed, Pads are contained into the selected Style.
The Style Settings and the Pad Settings for the referenced
Style and Pads are saved. If you edited these Settings (by changing Sounds, Effects, Transpose…), the modified data will be saved instead of the original.
• When you are saving a Song-based entry, a reference to the
MID, KAR or MP3 file assigned to the Player, whose name is shown on the right of this parameter, is saved.
A reference to the selected Pads (whose name you can see by touching the Pad tab in the main page of the Song Play mode) is also saved.
The Pad Settings for the referenced Pads are saved. If you edited these Settings, the modified data will be saved instead of the original.
When this parameter is left unchecked, no new resource will be saved with the entry. The original resources associated with the entry will be preserved when touching Write.
When touching New Song, or keeping the SONGBOOK button pressed for about one second to create a new entry, this parameter is automatically checked and cannot be modified. A reference to the associated resource will be saved with the new entry.
STS
Write Current
When saving a SongBook Entry, and this parameter is checked, you can save the STSs of the associated Style into the entry, or the current Keyboard track settings into a new STS.
All STS All four STSs are saved to the current SongBook
Entry. The source STSs are those contained in the
Style currently selected in Style Play mode. If you selected a Performance, its Keyboard track settings will be saved as STS #1.
When you touch Write and choose the Rename/
Overwrite option, all STSs are overwritten at once.
Single STS The current Keyboard track settings are saved to the chosen SongBook STS.
When you touch Write and choose the Rename/
Overwrite option, only the new STS is overwritten, while the others are left untouched.
• STS Name:
Name of the current STS. Touch the
(Text Edit) button to open the Text Edit window, and modify the name.
• To STS Location:
One of the four STS available for each entry, where you can save the current
Keyboard track settings.
Buttons
New Song
Touch this button to create a new entry with the current settings.
Settings are copied from the selected Style, Standard MIDI File or MP3 file. Also, the selected Pads, STSs and Split Point will be saved. The current Keyboard track settings will be saved as STS
#1. Any TXT file loaded in the Lyrics pages will be saved as a linked file.
Del Song
Touch this button to delete the current entry.
Write
Touch this button to open the Write Song dialog box, and save the current entry to the main list of the SongBook.
Note:
The maximum number of entries in a SongBook file is 3,000 entries.
To assign a different name to the entry, touch the (Text
Edit) button to open the Text Edit window.
Select an option to add the new entry to the SongBook:
• Select Rename/Overwrite to overwrite an existing entry, optionally changing its name. Warning: The older entry will be deleted!
• Select New Song to save a new entry to the SongBook database.
188 SongBook
Book Edit 2
Book Edit 2
The Book Edit 2 page is where you enter information on the
Genre, Artist, Key, etc. to the SongBook Entry.
The Book Edit 2 page with a Style-based entry:
Meter Info
Basic meter (time signature) of the Style, or starting meter of the
Standard MIDI File associated with the entry. This may change, if a Meter Change event is included with the associated resource.
M.Transp. (Master Transpose)
Master Transpose. When the entry is selected, the Master Transpose of the whole instrument is automatically changed. The
Master Transpose value saved in the SongBook Entry overrides any Master Transpose setting contained in the referenced Song.
You can change this value by using the TRANSPOSE buttons on the control panel. Any change will be shown after saving the
Entry.
Note:
If the Master Transpose is locked (Global > General Controls
> Lock), the Master Transpose will not change.
The Book Edit 2 page with a Song-based entry:
Book Edit 3
This page is where you select the Synchro and Memory options to be memorized, link a “.TXT” file.
The Book Edit 3 page with a Style-based entry:
Header
This area includes the same Name, Number and Entry Resource
fields found in the “Book Edit 1” page (see above).
Database
Genre
Music genre associated with the entry.
Artist
Name of the artist of the song associated with the entry.
Key Info
Original key of the entry. The first field is the key name, the second one is the mode (major or minor).
Tempo/BPM
Basic tempo of the Style, or starting tempo of the Standard MIDI
File associated with the entry. This may change, if a Tempo
Change event is included with the associated resource.
You can change this value by using the TEMPO buttons on the control panel. Any change will be shown after saving the Entry.
Note:
The starting value of a Standard MIDI Files is always considered, and overrides this value.
Note:
You can edit this value even if an MP3 is associated to the
SongBook Entry. However, this is just an indicative value.
The Book Edit 3 page with a Song-based entry:
SongBook
Info
189
Synchro Start / Synchro Stop / Memory
The status of these functions can be memorized in a SongBook
Entry.
Note:
If the SongBook Entry is based on a Song, Synchro Start and
Synchro Stop are greyed out and cannot be modified, since they have no effect on a Song.
Unchanged When selecting this SongBook Entry, the status of the corresponding function is left unchanged.
Off When selecting this SongBook Entry, the status of the corresponding function is turned off.
On When selecting this SongBook Entry, the status of the corresponding function is turned on.
Linked .TXT
You can select a text (.TXT) file, and link it to the Style or Song associated with the current SongBook Entry. When you select this entry, the text file will be automatically loaded.
Text files can be seen on the display. Since there is no automatic synchronization between this kind of lyrics and the associated songs, you must scroll them manually. This can be accomplished in either of two ways:
• When a “.TXT” file is selected, a special vertical scrollbar appears in the “Lyrics” page. Touch it to scroll through the
text during the performance. See the “Lyrics, Score” chapter on page 191.
• Scrolling is also possible by means of the Text Page Down/
Up command, that can be assigned to the footswitch.
This section of the Book Edit 3 page contains two buttons:
Reset Touch this buttons to unlink the text file from the entry.
Browse Touch this button to open a standard File Selector, and select a “.TXT” file to be linked to the current SongBook Entry.
After selection, the name of the linked text file appears above the two buttons.
Linked text file
Info
Use the Info page to see the name of the selected entry, the associated resource(s), the total number of Songs in the SongBook, the number of filtered entries, the number of available Custom
Lists, and the number of Songs in the current list.
• In case of an entry based on a Style:
Selected entry Associated resource
• In case of an entry based on a Song in Standard MIDI File or MP3 format:
Selected entry
Associated resource
Selected entry
This parameter shows the currently selected entry. If it is blank
(---), the latest selected entry has been modified, or no entry has been selected.
Associated resource
Style, Standard MIDI File or MP3 file associated to the selected entry.
Songs
Total number of entries in the SongBook list.
Songs after filtering
This parameter shows the number of entries shown in the
“Book” page, after applying the selected filter. If no filter is
selected, this matches the total number of entries in the Song-
Book list (see previous parameter).
Custom Lists
This parameter shows the number of available Custom Lists.
Songs in the Current List
Number of entries in the selected Custom List.
190 SongBook
Page menu
Page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Touch the (Text Edit) button to open the Text Edit window and assign a name to the text file to be saved to a storage device.
Then, select either the internal storage memory to save the file.
• Touch OK to confirm.
Init SongBook
Select this command to erase the SongBook list and start with a new, blank list.
Warning:
Before initializing the SongBook list, save the older one with one of the Media > Save operations.
Show Artist/Genre
Select this command to toggle between the Artist and Genre col-
umn on the SongBook list, appearing in the “Book” and “Custom List” pages.
Show Number/Key
Select this command to toggle between the Number and Key col-
umn on the SongBook list, appearing in the “Book” and “Custom List” pages.
Enable List Edit
Select this command, and make the checkmark appear, to make the List Edit page available.
Export as text file
Only available when the Book or Custom List pages are selected. Select this command to open the Export dialog box, and save the Song-
Book or Custom List as a text file. The selected filtering will be applied to the exported list, assuming the Filter button is checked.
The dialog box is a little different, depending on the page where you selected this command.
•
Selected from the “Book” page:
•
Selected from the “Custom List” page:
Lyrics, Score
Lyrics page
191
Lyrics, Score
By pressing the LYRICS/SCORE button a first time, you can see the song’s lyrics in Style Play mode, lyrics and chord abbreviations in the Style Play and Song Play modes. By pressing it a second time, you can see a traditional score in the Song Play mode.
Lyrics page
Open the Lyrics page by pressing the LYRICS/SCORE button once. This page shows the lyrics in Style Play mode, lyrics and chord abbreviations in the Song Play mode.
Viewing lyrics and chords with Songs
You can see the following types of lyrics and chords:
• Lyrics contained in a Standard MIDI File or Karaoke™ file as Lyrics events, or in an MP3 file with Lyrics (in ID3 format – see www.id3.org
).
• Lyrics contained in a “.CDG” file, loaded with an MP3 file with the same name. When a “.CDG” file exists in the same directory as an MP3 file, and shares exactly the same name, it will be loaded with the “MP3” file.
• Lyrics contained in a “.TXT” file, loaded with a Standard
MIDI File, Karaoke or MP3 file with the same name. When a “.TXT” file exists in the same directory as a Standard
MIDI File or MP3 file, and shares exactly the same name, it
• Lyrics contained in a “.TXT” file linked to the latest-
selected SongBook Entry (see “Linked .TXT” on page 189).
• When no lyrics data is contained in the Song, or linked to a
SongBook Entry, you can see lyrics contained in a “.TXT”
file loaded at any time after selecting a Song (see “On-thefly TXT loading” below).
This is the priority of lyrics data shown in the display: i) CDG file contained in the same folder as the MP3 file, overriding… ii) TXT file linked to a SongBook Entry, overriding… iii) TXT file contained in the same folder as the Standard
MIDI File or MP3 file, recalled by a SongBook Entry, overriding… iv) Lyrics events contained in the Standard MIDI File or MP3 file.
Hint:
If you do not want to see the TXT file or the CDG file, and prefer to see the Lyrics data, rename or delete the TXT or CDG file, or move it to a different folder.
Viewing lyrics with the Styles
Lyrics can be associated to a Style as a “.TXT” file. When in this page, you can see:
• Lyrics contained in a “.TXT” file linked to the latest-selected
Style-based SongBook Entry (see “Linked .TXT” on page 189).
• Lyrics contained in a “.TXT” file loaded after selecting a Style
(see “On-the-fly TXT loading” below).
The Lyrics page in detail
Lyrics will be shown only if they are compatible with a standard format that Pa300 can understand.
Song name
Song chords
Master Transpose
Current beat
Current measure
Display option
STS
While the Song is playing, Lyrics contained in a Standard MIDI
File or MP3 file scroll in the display. Chord abbreviations (if any) will appear above the lyrics, in time with the music (depending
on the status of the “Chord” button). Lyrics at the current posi-
tion are highlighted.
If the text has been loaded as a “.TXT’ file, it will not scroll automatically while the Song is playing back. You must scroll it with the VALUE DIAL or the vertical scrollbar. As an alternative, you can use the footswitch, with the Text Page Up or Text Page Down functions assigned, to scroll (respectively) to the previous or next text page.
To exit from this page, either press the LYRICS/SCORE button two times, or press the EXIT button.
Song chords
Chords contained in the Standard MIDI File (if any). This indicator may be easier to read than chords shown within the lyrics.
When changing the Master Transpose, chord abbreviations contained in a Standard MIDI File are transposed, and correctly shown in the display. Master Transpose must be activated on the
Player, but not on the Keyboard (this can be done in the Global >
Tuning > Transpose Control page).
192 Lyrics, Score
Lyrics page
Master Transpose
Master transpose value in semitones. This value can be changed using the TRANSPOSE buttons on the control panel.
Current beat
Standard MIDI Files only. Currently playing beat.
Current measure
Standard MIDI Files only. Current measure number.
STS
Name of the four selected Single Touch Settings (STS). Touch one of them to select it.
Chord
If this button is depressed, chords are shown above lyrics in the display – provided the Standard MIDI File contains them.
ABC
Size of the fonts. You can choose between a smaller and a bigger font.
CGD
Touch this button to show the lyrics contained in the associated
CDG file.
Text in MP3+CGD files
When a “.CDG” file with the same name exists in the same directory as an MP3 file, it will be loaded with the “MP3” file, and can be seen in the Lyrics page.
As an example, if the file “MYSONG.CDG” exists in the same directory as the “MYSONG.MP3” file, it is loaded together with the matching “.MP3” file.
Text will scroll automatically while the Song is playing back.
Note:
When a “.CDG” file is loaded with the Song, it overrides any included Lyrics data.
Text files loaded with Standard MIDI Files and
MP3 files
When a “.TXT” file with the same name exists in the same directory as a Standard MIDI File or MP3 file, it will be loaded with the “.MID” or “MP3” file, and can be seen in the Lyrics page.
As an example, if the file “MYSONG.TXT” exists in the same directory as the “MYSONG.MID” or “MYSONG.MP3” file, it is loaded together with the matching “.MID” or “.MP3” file.
However, unlike ordinary Lyrics, the text will not scroll automatically while the Song is playing back. You must scroll it with the scrollbar or the VALUE DIAL. As an alternative, you can use the footswitch, with the Text Page Up or Text Page Down functions assigned, to scroll (respectively) to the previous or next text page. You can also mix between advancing with the pedal and going back with the scrollbar.
Text files must be formatted with non-proportional fonts (like
Courier, Courier New, Monaco, or any other “monospaced” font). Up to 24 characters can fit a single line of text when using the bigger font size, 41 when using the smaller font size (see
Note:
When a “.TXT” file is loaded with the Song, it overrides any included Lyrics data.
On-the-fly TXT loading
When a Song does not contain any Lyrics metadata or isn’t linked to any “.TXT” file, the “No lyrics. Press SHIFT and touch here to load a TXT file” message appears in the display when you press the LYRICS button.
The same happens while in Style Play mode.
When this message appears, and you want to load a “.TXT” file, keep the SHIFT button pressed and touch the center of the display. A standard file selector will appear, and will let you look for a “.TXT” file to be loaded.
Hint:
You can use the Search function to search a “.TXT” file in the various storage devices. See the relevant chapter.
Lyrics, Score
Score page
193
Score page
When you are in Song Play mode, and you are playing a Standard MIDI File, you can open the Score page by pressing the
LYRICS/SCORE button a second time.
Song title
Chord symbols
Tempo
Measure number
Currently selected staff (in red)
Current measure indicator
Lyrics
Touch here to turn lyrics on/off
Touch here to turn chord symbols on/ off
Clef
Touch here to turn note names on/off
Play/Mute
Selected track
To exit from this page, press either the LYRICS/SCORE or the
EXIT button.
Note:
Master or Track Transpose do not affect the Score display.
Song title
Name of the Song.
Tempo
Current Tempo of the Song (in BPM, Beats Per Minute).
Staff
The selected track is shown as traditional music notation.
Depending on the content of the track, either notes or chords are shown. Pa300 takes care for you of ‘cleaning-up’ the score, so that it is always easy to read.
Several automatic operations are carried on to clean-up the score: Pa300 automatically quantizes to 1/16 notes, detects triplets, avoids note overlaps, correctly notates syncopation, and draws beams according to the time signature. In addition, spacing and measure length are dynamic, and single, double and end measure bars are automatically added.
If a KeySign (Key Signature) event is found at position
‘001.01.000’ of the Song’s Master track, the correct key signature is also shown.
Currently selected staff marker
This red vertical line shows the approximate position of the playback, by indicating the current staff in play.
Current measure indicator
This red triangle shows the current measure in play.
Lyrics button
Touch this button to make the lyrics (if available) appear or disappear.
Chord button
Touch this button to make the chord symbols (if available) appear or disappear. Chords are shown either according to the
English (“A-B-C”) or Italian (“Do-Re-Mi”) system, depending
on the selected language (see “General Controls: Interface” on page 148).
Note button
Touch this button to make the note name appear or disappear next to each note. Note names are shown either according to the
English (“A-B-C”) or Italian (“Do-Re-Mi”) system, depending
on the selected language (see “General Controls: Interface” on page 148).
Clef
Touch here to open a pop-up menu, where to choose a clef from.
Available clefs are:
Treble
Treble+8
Treble-8
Bass
Bass-8
Standard Treble clef ( ).
Treble clef with transposition one octave upper.
Treble clef with transposition one octave lower.
Standard Bass clef ( ).
Bass clef with transposition one octave lower.
Play/Mute
Use this button to let the selected track play, or to mute it. If the track is muted, the score is still shown, so that you can play or sing it.
Hint:
The “Melody Mute” function, that can be assigned to the footswitch, allows for muting the melody track of a Song (default:
Track 4, see “SMF Melody Track” on page 153). If your song has
the melody part assigned to the same track, you can mute or unmute it by using the footswitch.
Selected track
Touch here to open a pop-up menu where to chose the track to be shown from.
Hint:
The backing vocals are often assigned to Track 5.
194 Style/Pad Record
Recording Styles and Pads
Style/Pad Record
By entering the Style/Pad Record mode, you can create your own
Styles or Pads, or edit an existing Style or Pad.
Recording Styles and Pads
Styles and Pads share most of the same structure and recording/ editing operations. Here is how they are made.
The Style’s structure
The term “Style” relates with music sequences automatically played by the arranger of the Pa300. A Style consists of a predefined number of Style Elements (E) (Pa300 features fifteen different Style Elements: Variation 1-4, Intro 1-3, Fill 1-4, Break,
Ending 1-3). When playing, most of these Style Elements can be directly selected by using the corresponding buttons on the control panel.
To explain the Style structure, we can use a tree structure, as shown in the following diagram:
P op Balla d
Va ri ation 1
CV1
Dr um
P erc
Bass
Acc1
Acc2
Acc3
Acc4
Acc5
CV2
CV3
CV4
CV5
CV6
Va ri ation 2
Va ri ation 3
Va ri ation 4
Intro1
CV1
CV2
Intro 2
Intro 3/C.In
Fill 1
Fill 2
Fill 3
Fill 4
Break
Ending 1
Ending 2
Ending 3
Each Style Element is made up of smaller units, called Chord
Variations (CV), but not all of them have the same number of
CVs. Variations 1-4 have up to 6 CVs each, while the other Style
Elements have only up to 2 CVs.
When you play in the chord recognition area (Lower or Full, depending on the On or Off status of the SPLIT button), the arranger scans the keyboard and determines which chord you are playing. Then, depending on the selected Style Element, it determines which Chord Variation (CV) should be played for the scanned chord. Which Chord Variation corresponds to each scanned chord is a setting of the Style: the Chord Variation
Table. Each Style Element contains a Chord Variation Table,
whose prototype is the following:
Chord
Variation 1-4
Chord Variations (CVs)
Intro 1-2, Count-In, Fill 1-4, Break,
Ending 1-3
7
(#5)
M7
(#5)
1+5
1+8 b5 dim7 m(
(M7)
7
7
(b5)
7sus4 dim dim
(M7)
#5
Major
6
M7
M7
(b5) sus sus2
M7sus m m6 m7 m7
(b5)
CV1 – CV6 CV1 – CV2
After deciding what CV to play, the arranger triggers the right sequence for each track. Since each sequence is written in a particular key (for example, CMajor, GMajor or Emin), the arranger transposes it according to the scanned chord. Notes in the sequence are carefully transposed, to make them work fine with all recognized chords.
Going deeper into the Style structure, we can see that each
Chord Variation is made up of Track Sequences, and the Pa300 supports 8 different tracks. DRUM and PERC are used for drum and percussion sequences, BASS for bass and ACC1-5 are for
Style/Pad Record
Recording Styles and Pads
195
accompaniment sequences (string, guitar, piano or other accompaniment instruments).
Just to summarize, when you play a chord on the chord recognition area, the arranger determines which Style Element is used, then determines which Chord Variation should be used for the played chord, then Style sequences for every track of that Chord
Variation are transposed from the original chord to the recognized chord, and so on every time you play a chord.
The Pad’s structure
A Pad is basically a single-track Style. Most of what applies to
Style recording also applies to Pad recording.
There are two different categories of Pads:
• “Hit” Pads. While they are mostly used as non-transposing events, they can also be transposing notes or chords.
Basically, they are single-note or single-chord Sequences
(see below).
• “Sequence” Pads, i.e., complex single-track patterns, that can be transposed by playing different chords on the keyboard
– exactly as a Style track. They are roughly equivalent to single-element, single-track, multi-chord variation Styles
(see illustration).
Pad
CV1
Pad Track
CV2
CV3
CV4
CV5
CV6
Each Pad is made up of up to six smaller units, called Chord
Variations (CV). Each Chord Variation is made of a single track
(the Pad track).
Exactly as with the Styles, when playing a chord in the chord recognition area, the corresponding Chord Variation is recalled.
Recognized chords are associated to a Chord Variation by means of the Chord Variation Table. Each Pad contains a Chord Variation Table.
As with the Styles, the Note Transposition Tables (NTT) applies to the Pads.
The same differences between the different types of tracks applies (see “Track Type” on page 219).
Ordinary, Guitar and Drum tracks
arranger;
• Acc (Accompaniment) and Bass tracks: When a chord is recognized, the programmed chord notes are transposed to a suitable scale, according to the Note Transposition
Tables (NTT) The NTT allows you to record just some
Chord Variations, and have all the notes play in the right place, avoiding dissonances and transposing the pattern notes to the notes of the recognized chord.
• Drum & and Perc (Percussion) tracks: No transposition is applied.The original pattern plays always.
• Gtr (Guitar) tracks: When a chord is recognized, the arranger triggers single notes, strumming and arpeggios on a “virtual guitar”, keeping care of the way notes are played on the guitar keyboard. Note that inside a Guitar track you can also have some parts typical of an Acc track - a useful addition for short “free-form” passages.
What to record in a Style
Recording a Style means recording tracks, inside a series of
Chord Variations, inside a series of Style Elements, inside the
Style itself.
You don’t have to record all Chord Variations for all Style Elements. It is often only needed to record a single Chord Variation for each Style Element. Exceptions are the Intro 1 and Ending 1, where we suggest to record both a Major and minor Chord Variations.
What to record in a Pad
Recording a Pad is a matter of recording a single track, inside a series of Chord Variations, inside the Pad itself.
You don’t need to record all Chord Variations. It is often only needed to record just a Chord Variation.
Pattern data vs. track data
While the Style/Pad Record mode is where you can create or edit the music patterns, track parameters (like Volume, Pan, Octave
Transpose, FX settings…) are to be edited in Style Play mode.
• After having created or edited music patterns in Style/Pad
Record mode, save them by selecting the “Write Style” or
“Write Pad” command from the page menu of the Style
Record mode (see “Write Style/Pad dialog box” on page 226).
• After having edited track parameters in Style Play mode,
Style Play mode (see “Write Current Style Settings dialog box” on page 109).
Sounds
There are two ways of assigning Sounds to the Style tracks.
• While in Style Record mode you can assign different
Sounds to each Style Element in the “Style Element Track
page of the Pad Record mode.
• While in Style Play mode, you can assign a single Sound to the Style Settings (together with the other track parameters), that remains the same for all Style Elements.
Which Sounds are used by the Style tracks depends on the status
of the “Original Style Sounds” parameter (see page 92).
Note:
When assigning a Sound in Style Play mode, the “Original
Style Sounds” parameter is automatically turned off.
196 Style/Pad Record
Style/Pad Import/Export
Style/Pad Import/Export
As an alternative to creating Styles on Pa300, you can import a
Standard MIDI Files (SMF) from your computer to a Pa300’s
Style. See “Import: Import SMF” on page 221 and “Export SMF” on page 224.
a delay before you can actually listen to the Style. This delay is higher with a Style containing more MIDI events.
Note:
While in Record mode, the footswitch is disabled. On the contrary, volume/expression-type pedals can be used.
Entering the Style/Pad Record mode
While in the Style Play operating mode, press the RECORD button. The following page will appear in the display:
Exit by saving or deleting changes
When finished editing, you can save your Style or Pad in memory, or abort any change.
• To save changes, select the “Write Style/Pad” command from
the page menu (see “Write Style/Pad dialog box” on page 226).
• To abort all changes, select the “Exit from Record” command from the page menu, or press the RECORD button, to exit from record and return to the main page of the Style Play mode.
Hint:
Save often while recording, to avoid accidentally losing your changes to the Style/Pad.
You can edit Factory Styles or Pads, assuming the status of the
“Factory Style and Pad Protect” parameter in the Global > Mode
Preferences > Media page is set to Off (see page 154)
• Select Record/Edit Current Style to edit the current Style.
• Select Record New Style to start from a new, empty Style.
Default Style Settings will be recalled. When finished recording, you will save the new Style onto a Favorite or
User Style location. (Styles may also be saved onto Factory
Style locations only when the “Factory Style and Pad Protect” parameter is set to Off).
• Select Record/Edit Pad to select an existing Pad to edit.
• Select Record New Pad to start from a new, empty Pad.
When finished recording, you will save the new Pad into a
User Pad location. (Pads can be saved into Factory Pad locations only when the “Factory Style and Pad Protect” parameter is set to Off).
mode.
Then, edit the Style or Pad track settings.
• With a Style: Go to the Style Play mode, edit the Style Settings to adjust track settings (Tempo, Volume, Pan, FX Send… see
page 95 and following in the “Style Play” chapter) and save it by
selecting the “Write Current Style Settings” from the page menu
(see “Write Current Style Settings dialog box” on page 109).
• With a Pad: Go to the Pad page of the Style Play or Song Play mode, assign the new Hit or Sequence to a Pad button, and adjust the various Pad settings (Volume, Pan, and FX Send… see
“Pads: Pad” on page 106). Finally, save the Pad settings by select-
ing the “Write Current Style Settings” command from the page
menu.
Note:
After a record or edit operation, the memory is automatically reorganized. Therefore, when you press START/STOP there is
Listening to the Style while in Edit mode
While you are in Style/Pad Record mode, you can listen to the selected Chord Variation or to the whole Style or Pad, depending on the page you are in.
To select a Chord Variation, go to the Main page of the Record/
Edit mode. For more details, see “Element (Style Element)” and
“Chord Var (Chord Variation)” on page 198.
• When you are in the Main, Event Edit, Quantize, Transpose,
Velocity, or Delete pages, you can listen to the selected Chord
Variation. Press START/STOP to check how it works. Press
START/STOP again to stop the playback.
• When you are in the Sounds/Expression, Keyboard Range,
Chord Table, Trigger/Tension, Delete All, Copy, Style/Pad
Element Controls or Style/Pad Control pages, you can listen to the whole Style or Pad. Press START/STOP and play some chords to do your tests. Select any Style/Pad Element using the control panel buttons (VARIATION 1-4, INTRO
1-3, AUTO FILL, BREAK, ENDING 1-3). Press START/
STOP again to stop the playback.
• When you are in the Guitar Mode page, you can listen to the pattern you are programming, played in the selected Key.
Note:
When entering Style Record mode, the Chord Recognition mode changes according to the mode that was selected while in
Style Play mode. For a chord to be recognized, a minimum of three notes must be played.
Chord Recognition Mode
Style Play mode
One Finger
Fingered
Expert
Style Record mode
Fingered
Fingered
Expert
Notes (min.)
3
3
3
Note:
In this mode, the pattern is always played back in loop, even if the “Pad Type” parameter is set to “One Shot” (see page 219).
Style/Pad Record
List of recorded events
197
List of recorded events
The Style/Pad Record mode filters out some events that may cause wrong operation of the Style or Pad. Here are the recorded events.
Control function
Allowed
Note On
RX Noise On
Pitch Bend
Channel After Touch
Modulation
Breath
Pan
Expression
CC#12
CC#13
Ribbon Controller
Damper (Hold 1)
Filter Resonance (Harmonic Content)
Low Pass Filter Cutoff (Brightness)
CC#80 (General Purpose #5)
CC#81 (General Purpose #6)
CC#82 (General Purpose #7)
CC#
71
74
80
81
82
12
13
16
64
10
11
1
2
Note:
Some Control Change messages cannot be recorded directly by using the integrated controls of Pa300.
All allowed controllers can be assigned to an Assignable Pedal/
Slider/Switch.
MIDI Control Change messaged inserted by using a software on an external computer are imported when using the Import func-
tion (“Import: Import SMF” on page 221).
Some controllers are reset at the end of the pattern.
Main page - Record 1
After having pressed the RECORD button, and having chosen whether you want to edit an existing Style or create a new one, the main page of the Style Record mode appears, with the tab
“Record 1” selected.
Recording parameters area
Page sub-header Page header
Selected track info area
Page menu icon
Key/Chord area
Track volume/status area
Style Record
NTT area
Recording parameters area
Page sub-header Page header
Selected track info area
Page menu icon
Track volume/status area
Key/Chord area
Pad Record
NTT area
Page header
This line shows the current operating mode and transposition.
Operating mode Master Transpose (in semitones)
Operating mode name
Name of the current operating mode.
Master Transpose
Master Transpose value in semitones. This value can be changed using the TRANSPOSE buttons on the control panel.
198 Style/Pad Record
Main page - Record 1
Page menu icon
Touch this icon to open the page menu. See “Page menu” on page 225.
Page sub-header
This area shows some performing info on the Style/Pad.
No quantization notes are moved to the nearest 1/8 division. A ‘3’ after the quantization value means triplet.
1/16
1/8
Style/Pad in record/edit Beat counter Measure number
Style in record/edit
Name of the Style currently in edit or record.
Beat counter
This indicator shows the current beat.
Measure number
Current measure you are recording.
Recording parameters area
Element (Style Element)
(Style only) This parameter lets you select a Style Element for editing. Each Style Element corresponds to a button on the control panel carrying the same name. After selecting a Style Element, select a Chord Variation for actual editing (see below).
Var1…End3 This is the selected Style Element
Chord Var (Chord Variation)
This parameter lets you select a Chord Variation for editing
(inside the selected Style Element or Pad).
Note:
When this parameter and the assigned value is in small letters (cv1…cv6), the Chord Variation is empty; when it is in capitals (CV1…CV6), it is already recorded.
• If the Style Element is Var1, Var2, Var 3 or Var4, you can select one of 6 Chord Variations to edit.
• If the Style Element is Intro1, Intro2, Intro3, Fill1, Fill2, Fill3,
Fill4, Ending1, Ending2 or Ending3, you can select one of 2
Chord Variations to edit.
• With a Pad you can choose one of the six available Chord Variations (CV1 … CV6).
Resolution
Use this parameter to set the quantization during recording.
Quantization is a way of correcting timing errors; notes played too soon or too later are moved to the nearest axis of a rhythmic
“grid”, set with this parameter, thus playing perfectly in time.
Note:
To quantize after recording, use the Quantize function in the
Edit section (see “Style/Pad Edit: Quantize” on page 212).
High No quantization applied.
(1/32)… (1/8)
Grid resolution, in musical values. For example, when you select 1/16, all notes are moved to the nearest 1/16 division. When you select 1/8, all
Pad Sync
(Pad only) This parameter allows you to set a synchronization mode for the Pad’s pattern.
Off No synchronization. The sequence will start as soon as you press the PAD button.
Continued The pattern will start immediately, in sync with the arranger’s or active player’s tempo. Depending on the current position of the beat counter, it might not start from its very beginning; instead, it will continue from the current position.
For example, if the arranger’s or player’s beat counter shows the third beat, and is playing tick
91, the Pad will start from its third beat, at tick 91.
The beat counter
Beat
This works exactly as if it was a Fill.
The sequence will start at the next beat, in sync with the arranger’s or player’s tempo. It will start from its very beginning (i.e., tick 1 or measure 1).
Rec Length (Recording Length)
This parameter sets the recording length (in measures) of the selected track. Its value is always equal to, or a divider of, the
Chord Variation Length (see next parameter).
This is not the total length of the Chord Variation, but just of the current track. For example, you may have a Chord Variation eight measures long, with a drum pattern repeating each two measures. If so, set the CV Length parameter to “8”, and the Rec
Length parameter to “2” before starting recording the Drum track. When playing back the Style, saving it or executing any edit operation on the Style, the 2-measures pattern will be extended to the full 8-measures length of the Chord Variation.
Warning:
If you assign a value lower than Rec Length to CV
Length, the value of Rec Length is not immediately updated in the display. Therefore, you are still free of changing the value of CV
Length, before the measures exceeding its value are deleted. For
more details, see the warning in “CV Length (Chord Variation
However, if you press START/STOP to begin recording, the real
Rec Length value is changed to the new one, even if the display still shows the old value.
Style/Pad Record
Main page - Record 1
199
For example, you may have CV Length = 4 and Rec Length = 4. If you set CV Length to 2, and press START/STOP to begin recording, Rec Length is still shown as 4, but it is in reality set to 2, and recording will cycle for just 2 measures. After you press START/
STOP to stop recording, Rec Length is updated to 2, and all measures after the second measure are deleted.
CV Length (Chord Variation Length)
This parameter sets the total length (up to 32 measures) for the selected Chord Variation. When playing a Style, this will be the length of the accompaniment pattern, when the chord corresponding to the Chord Variation is recognized on the keyboard.
Warning:
If you reduce the Chord Variation Length after recording, any measure after the selected length will be deleted. Be very careful when setting the CV Length to a lower value after recording! If it happens, we suggest to exit from record without saving
(see “Exit from Record” on page 225).
Tempo
Select this parameter to use the TEMPO controls to set the
Tempo value.
Hint:
You can always change the Tempo, when other parameters are selected, by keeping the SHIFT button pressed, and rotating the
DIAL.
Note:
When recording Tempo, old data is always replaced by the new data.
Note:
The actual Tempo of the Style will be the one shown when
saving the Style Settings in Style Play mode (see “Current Tempo” on page 89).
Meter
This is the meter (time signature) of the Style Element or the Pad
Sequence. You can edit this parameter only when the Style Element or Pad is empty, i.e. before you begin recording anything.
Selected track info area
This line lets you see the Sound assigned to the selected track.
Track name
Name of the selected track.
Drum…Acc5 Style track.
Sound name
Sound assigned to the selected track. You can touch the name to open the Sound Select window, and select a different Sound.
Sound bank
Bank the selected Sound belongs to.
Program Change
Program Change number sequence (Bank Select MSB, Bank
Select LSB, Program Change).
Key/Chord area
Key/Chord
This parameter pair allows you to define the track’s original key and chord type, for the current Chord Variation. When playing the pattern back, this chord will be played back exactly as it was recorded, without any NTT processing (see above).
Note:
To conform to Korg specifications, it is advisable to record both the “Major” and “minor” Chord Variations for the Intro 1 and
Ending 1 Style Elements.
When you select a track, the original key/chord assigned to the selected track will be shown. All recorded tracks will play back on that key/chord. For example, if the original key/chord for the
Acc1 track is A7th, when selecting the Acc1 track all the remaining tracks will play on the A7th key/chord.
In the example above, you will record the Acc1 track in the
AMajor key, with notes pertaining to the A7th scale. This exact pattern will be recalled, when an A7th chord will be recognized.
Note:
This does not apply to Guitar Mode, relying on a different
rule. See “Main page - Guitar Mode” on page 202 for more infor-
mation.
Track name
Sound name
Sound bank
Program Change sequence
200 Style/Pad Record
Main page - Record 1
NTT Area
NTT Type/Table
NTTs (Note Transposition Tables) are the sophisticated algorithms that allow Korg arrangers to convert recognized chords into musical patterns. The Note Transposition Table (NTT) determines how the arranger will transpose pattern notes, when a chord is recognized that does not exactly match the original chord of a Chord Variation. For example, if you only recorded a
Chord Variation for the CMaj chord, when a CMaj7 is recognized on the keyboard the arranger must transpose some notes to create the missing 7th.
Note:
These parameters cannot be selected with Drum or Percussion tracks, and are therefore greyed out.
Note:
NTT parameters are separately programmed for each track of the Style Element.
There are two general types of NTTs:
• When Parallel types are selected, notes are transposed inside the area set by the Wrap Around parameter. These tables are ideally suited to melody parts.
Parallel/Root The root note (in CMaj = C) is transposed to the missing notes.
Parallel/Fifth The 5th note (in CMaj = G) is transposed to the missing notes.
As recorded with
NTT = Root or 5t h
(Key/Chord = C)
When you play a C7 with NTT = Root
When you play a C7 with NTT = 5th
Parallel/i-Series
All original patterns must be programmed on the
“Maj7” or “min7” chords. When loading old Korg i-Series Styles, this option is automatically selected.
As recorded with
NTT = i-Series
(Key/Chord = CM7 )
When you play a C with NTT = i-Series
When you play a C7 with NTT = i-Series as written as played back
• When Fixed types are selected, the arranger moves as few notes as possible, making legato lines and chord changes more natural.
They are ideally suited to chord tracks (strings, piano etc…).
as written as played back
Note:
To conform to Korg specifications, it is advisable to set the
NTT to “No Transpose” on the Intro 1 and Ending 1.
Parallel/No Transpose
The chord is not modified, and is moved to the new key unchanged. The pattern plays exactly the recorded notes, and is moved to the new key as is.
This is the standard setting of Intro 1 and Ending
1 in Korg’s original Styles (where a chord progression is usually recorded, and should remain unchanged in any key).
Fixed/Chord This table moves as few notes as possible, making legato lines and chord changes more natural. It is ideally suited to chord tracks (strings, piano etc…). Contrary to the Parallel mode, the programmed chord is not transposed according to the Wrap Around parameter, but always stays around its original position, looking for common notes between the chords.
Fixed/No Transpose
The programmed notes can only be transposed by the Master Transpose. They are never transposed when chords are changed.
Style/Pad Record
Main page - Record 2/Cue
201
Delete Note button
3.
4.
Use this command to delete a single note or a single percussive instrument from a track. For example, to delete a snare, keep the
D2 note (corresponding to the snare) pressed.
1.
2.
Select a track.
Touch the “Delete Note” button, and keep it pressed.
5.
Press START/STOP to start the Style.
When you reach the passage containing the note to be deleted, play the note on the keyboard. Keep it pressed, up to the last note to be deleted.
When finished, release the Delete button and the note to be deleted, and press START/STOP again to stop the Style.
Note:
If the note is at the beginning of the pattern, press the note before starting the Style.
Tracks volume/status area
Virtual slider(s)
Drag a virtual sliders on the display to change the volume of the corresponding track.
As an alternative, touch a track to select it, and use VALUE DIAL to change the value.
Track status icons
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Record status. After starting recording, the track will receive notes from the keyboard and the
MIDI IN connector.
Track names
(Style only) Under the sliders, a label for each track is shown.
Drum…Acc5 Shown Style tracks.
Main page - Record 2/Cue
(Style only) While in the main page, touch the “Record 2/Cue” tab to see this page. Most parameters in this page are the same as
in “Main page - Record 1”. In addition, here you can see and
select Sounds for each Style track, and the Cue mode for the
Style Element.
Sounds area
Cue area
Sounds area
This area lets you see Sounds and octave transposition for the eight Style tracks.
Octave transpose icon
Sound bank’s icon
Octave transpose icon
Non editable. This indicator shows the track’s octave transposition. Tracks will be recorded with the selected octave transposition. To change this value, use the UPPER OCTAVE buttons, or
Sound bank’s icon
This picture illustrates the bank the current Sound belongs to.
Touch an icon a first time to select the corresponding track
(detailed information are shown on the Selected Track Info area,
see the “Main page - Record 1” page above). Touch it a second
time to open the Sound Select window.
Note:
These Sounds can be replaced by Sounds selected by a Per-
202 Style/Pad Record
Main page - Guitar Mode
Cue area
Cue mode for [Style element]
This parameter lets you decide how the current Style Element will enter after it has been selected. This setting is only available for the ‘Variation’ and ‘Fill’ Style Elements.
Immediate, first measure
The Style Element enters immediately, and begins from the first measure. Only available on Fills.
Immediate, current measure
The Style Element enters immediately, and begins from the current measure. Only available on Fills.
Next measure, first measure
The Style Element enters at the beginning of the next measure, and begins from the first measure of the new pattern. Available on both Fills and
Variations.
Next measure, current measure
The Style Element enters at the beginning of the next measure, and begins from the current measure. Only available on Variations.
Main page - Guitar Mode
While in the main page, and a Guitar track has been selected, touch the “Guitar Mode” tab to see this page. This is where you can access Guitar Mode programming:
Note:
To access this page, a Guitar track must first be selected (see
“Track Type” on page 220). The Pad track must be of Guitar type
(Pad Track Controls > Sound/Expression page, see “Track Type” on page 219). Otherwise, the Guitar Mode tab will remain grey
(not selectable).
Note:
When programming a Guitar track from an external sequencer, you must be sure the Guitar tracks is associated to the right channel. Go to the Global > MIDI > MIDI IN Channels page, and assign the corresponding Style track (usually Acc1 ~ Acc5) to the same channel of the Guitar track on the external sequencer.
Then, go to the Style Record > Style Track Controls > Type/Tension/Trigger page, and set the track as a track of type “Gtr” (see
Guitar Mode allows for easy creation of realistic rhythm guitar parts, without the artificial, unmusical playing typical of MIDI programming of guitar parts. Just record a few measures, and you will end up with realistic rhythm guitar tracks, where each chord is played according to its real position on the guitar, and not generated by simply transposing a written pattern.
Recording overview
Recording a Guitar track is unlike recording the other tracks, where you play exactly all the notes of a melody line or all the chords of an accompaniment part. With Guitar tracks you can: a) play the keys corresponding to the strumming modes, b) play an arpeggio using the six keys corresponding to the six guitar strings (and the special keys corresponding to the root and fifth notes), c) play RX Noises to add realism to the pattern, d) add regular patterns, for short melodic passages without wasting an Acc track, e) use the finest MIDI programming to select Chord Shapes, and recreate any nuance of a guitar performance.
The following sections describe the various control keys available for this guitar simulation.
Style/Pad Record
Main page - Guitar Mode
203
Recording strumming types
The octave from C1 to B1 is devoted to selecting a strumming
type.
By pressing these keys, you play fast strumming samples:
76-keys
61-keys
This octave also includes an ‘all mute’ key (F#):
76-keys
61-keys
Full Down Slow Mute
Full Up Mute
Full Down Mute
Up Mute 4-Strings
Down Mute 4-Strings
Recognized Chord
Fifth
Recognized
Chord Root
All Mute
Power Chord
Full Down/Up
Full Down
Full Up
Full Down Mute Body
Full Down
Slow
Up 4-Strings
Down 4-Strings
Full Up Slow
VI String (E)
V String (A)
I String (e)
II String (B)
IV String (D) III String (G)
Down/Up
4-Strings
Recording single strings
The octave from C2 to B2 is devoted to selecting a single string
(or more than one) for playing arpeggios or power chords. You can either play a free arpeggio with the six guitar chords assigned to the C~A keys, or play one of the faster sampled arpeggios on the higher keys. The root note is always available on the C# key, while the fifth note is always assigned to the D# key; with them, you can always play the lowest notes of an arpeggio.
Recording RX Noises
Further on, the upper octaves are used to trigger RX Noises:
76-keys
61-keys
RX Noises
Selecting a Capo
Together with strumming types, single strings and RX Noises, you can choose a Capo (“capotasto”). Note that this might prevent some single strings to sound, depending on the composed chord. You can always see which strings are playing and which are not, as described in “Diagram” on page 205.
Recording a regular pattern
Together with strums and arpeggios, you can record regular pat-
need is just to record some short melodic passages (for example, the closing of a strumming pattern).
204 Style/Pad Record
Main page - Guitar Mode
You can record the pattern by playing it in the range shown by the diagram.
76-keys
61-keys
Recording a Chord Shape
You can finely choose Chord Shapes by using MIDI messages.
When you play a C0 note with the velocity value shown in the following table, a chord is played in a particular position and on a certain number of strings.
Vel.
Range
4
5
2
3
0
1
6 Strings
6 Strings
6 Strings
6 Strings
6 Strings
6 Strings
8
9
6
7
6 Strings
5 Strings Bass
5 Strings Bass
5 Strings Bass
10 5 Strings Bass
11 5 Strings Bass
12 5 Strings Bass
13 5 Strings Treble
14 5 Strings Treble
15 5 Strings Treble
16 5 Strings Treble
17 5 Strings Treble
18 5 Strings Treble
19 4 Strings Bass
20 4 Strings Bass
21 4 Strings Bass
22 4 Strings Bass
23 4 Strings Bass
24 4 Strings Bass
25 4 Strings Middle
26 4 Strings Middle
27 4 Strings Middle
28 4 Strings Middle
29 4 Strings Middle
30 4 Strings Middle
31 4 Strings Treble
32 4 Strings Treble
33 4 Strings Treble
from Str.
II
II
II
II
III
III
III
II
II
I
I
I
I
III
III
III
I
I
I
I
II
II
II
I
I
II
II
II
I
I
I
I
I
I
to Str.
V
V
V
V
VI
V
VI
VI
IV
IV
V
IV
VI
VI
V
VI
V
V
V
V
VI
V
VI
VI
VI
VI
VI
VI
VI
VI
VI
VI
VI
VI
Position
3
4
1
2
5
0
3
4
1
2
5
0
1
2
5
0
3
4
1
2
5
0
3
4
1
2
5
0
3
4
1
2
0
0
Vel.
Range
34 4 Strings Treble
35 4 Strings Treble
36 4 Strings Treble
37 3 Strings Bass
38 3 Strings Bass
39 3 Strings Bass
40 3 Strings Bass
41 3 Strings Bass
42 3 Strings Bass
43 3 Strings MiddleBas
44 3 Strings MiddleBas
45 3 Strings MiddleBas
46 3 Strings MiddleBas
47 3 Strings MiddleBas
48 3 Strings MiddleBas
49 3 Strings MiddleTreble
50 3 Strings MiddleTreble
51 3 Strings MiddleTreble
52 3 Strings MiddleTreble
53 3 Strings MiddleTreble
54 3 Strings MiddleTreble
55 3 Strings Treble
56 3 Strings Treble
57 3 Strings Treble
58 3 Strings Treble
59 3 Strings Treble
60 3 Strings Treble
61 2 Strings Bass
62 2 Strings Bass
63 2 Strings Bass
64 2 Strings Bass
65 2 Strings Bass
66 2 Strings Bass
67 2 Strings MiddleBas
68 2 Strings MiddleBas
69 2 Strings MiddleBas
70 2 Strings MiddleBas
71 2 Strings MiddleBas
72 2 Strings MiddleBas
73 2 Strings Middle
74 2 Strings Middle
75 2 Strings Middle
76 2 Strings Middle
77 2 Strings Middle
78 2 Strings Middle
79 2 Strings MiddleTreble
80 2 Strings MiddleTreble
81 2 Strings MiddleTreble
82 2 Strings MiddleTreble
83 2 Strings MiddleTreble
84 2 Strings MiddleTreble
85 2 Strings Treble
86 2 Strings Treble
to Str.
III
III
IV
III
IV
IV
IV
IV
V
IV
V
V
V
V
VI
V
III
II
III
III
II
VI
VI
VI
VI
III
VI
III
III
III
III
IV
III
IV
IV
IV
IV
V
IV
V
V
V
V
VI
V
VI
VI
VI
VI
IV
VI
IV
IV
from Str.
III
II
II
II
III
III
III
III
IV
IV
IV
III
V
IV
IV
IV
II
II
II
I
I
V
V
V
V
I
I
I
V
II
I
I
I
II
II
II
II
III
III
III
II
IV
III
III
III
IV
IV
IV
IV
I
I
I
IV
Position
1
2
5
0
3
4
1
2
5
0
3
4
1
2
5
0
5
0
3
4
1
3
4
1
2
5
0
3
4
1
2
5
0
3
4
1
2
5
0
3
4
1
2
5
0
3
4
1
2
5
0
3
4
Style/Pad Record
Main page - Guitar Mode
205
Vel.
Range
87 2 Strings Treble
88 2 Strings Treble
89 2 Strings Treble
90 2 Strings Treble
from Str.
I
I
I
I
to Str.
II
II
II
II
Position
4
5
2
3
Choosing a Key/Chord for Intro 1 and
Ending 1
The pattern is recorded in the key indicated by the Key/Chord pair of parameters. However, this parameter is only used for playback by the Intro 1 and Ending 1 Style Elements. All other
Style Elements will be played back according to the recognized chord.
With Intro 1 and Ending 1 (both Chord Variation 1 and 2) you can also prefer to enter a chord progression, to be played on the lowest MIDI octave (C-1 ~ B-1). Chord types are inserted by using velocity values, as shown in the following table:
Vel.
Chord Type
9
11
13
15
5
7
1
3
17
19
21
23
Major
Major 7th
Suspended 4th
Major 7th suspended 4th
Minor 6th
Minor 7th flatted 5th
Dominant 7th
7th suspended 4th
Diminished major 7th
Augmented 7th
Major w/o 3rd
Flatted 5th
Vel.
Chord Type
10
12
14
16
6
8
2
4
18
20
22
24
Major 6th
Major 7th flatted 5th
Suspended 2nd
Minor
Minor 7th
Minor major 7th
7th flatted 5th
Dimished
Augmented
Augmented major 7th
Major w/o 3rd and 5th
Diminished 7th
Playing back the pattern
When in Stye Play mode, the recorded Guitar pattern is transposed according to the chord recognized on the keyboard. The way it is transposed depends on the programmed pattern, with the chosen positions, strumming mods, etc…
Guitar mode parameters
Here is a detailed description of the parameters of the Guitar
Mode page.
Key/Chord
This parameter pair allows you to define the track’s original key and chord type. This parameter works in a different way than the other tracks. While with other tracks this is always the reference key used for NTT transposition, with Guitar tracks there is a difference, whether you are recording a Chord Variation contained in an Intro 1 or Ending 1 Style Element, or any other Chord
Variation:
• With Intro 1 and Ending 1, this chord will be used as the reference key for the chord progression.
• With all the other Chord Variations, this chord will be used only for listening during recording. During playback in
Style Play mode, the chord will follow chord recognition.
Capo - Fret
A capo (from the Italian “capotasto”, “head of fingerboard”) is a movable bar attached to the fingerboard of the guitar, to uniformly raise the pitch of all the strings. Its use makes the strings shorter, therefore changing the timbre and position of the chords
(but not its shape).
0
I…X
Open string – no capo.
Position of the capo over the fingerboard (i.e., “I” corresponds to the first fret, “II” to the second one, and so on).
Strings - High/Low
Use this pair of parameters to choose the strings the pattern will be played on.
1…6 Position of the capo over the fingerboard (i.e., “I” corresponds to the first fret, “II” to the second one).
Diagram
The diagram shows how a chord would be composed on the fingerboard. Here is the meaning of the various symbols:
Red dot Fingered string (i.e., played note).
White dot
X
Fifth, playing on the D#2 key.
Non played or muted note.
Light grey bar Barré (a finger crossing all the strings, like a mobile capo).
Dark grey bar Capo.
206 Style/Pad Record
Style/Pad Record procedure
Style/Pad Record procedure
There are two different methods for recording a Style/Pad: Realtime and Step.
• Realtime Recording allows you to record Style/Pad patterns in realtime.
• Step Recording allows you to create a new Style/Pad by entering single notes or chords in each track. This is very useful when transcribing an existing score, or needing a higher grade of detail, and is particularly suitable to create drum and percussion tracks.
In addition, you can program a Style/Pad on a personal com-
puter, and then import it via the Import function (see “Import:
Preparing to record
1.
2.
3.
4.
5.
6.
If you like to edit an existing Style/Pad, select it.
Press the RECORD button to enter the Style/Pad Record mode. You are prompted to either select the Current Style or an existing Pad, or create a New Style or Pad.
Select “Record/Edit Current Style” or “Record/Edit Current
Pad” if you want to edit the current Style/Pad, or make a new Style/Pad starting from an existing one. Select “Record
New Style/Pad” if you want to start from scratch with an empty Style/Pad.
After you select your preferred option, the main page of the
Style/Pad Record mode will appear.
Use the Element (Style Element) (Style only) and Chord Var
(Chord Variation) parameters, to select the Chord Variation to be recorded/edited.
Note:
For more information on the Style Elements and Chord
Variations, and the Style/Pad structure in general, see “The
Style’s structure” on page 194 or “The Pad’s structure” on page 195.
Use the Rec Length (Recording Length) parameter to set the length (in measures) of the pattern to record.
Use the Meter parameter to set the Style Element’s or Pad’s meter (time signature).
Note:
You can edit this parameter only if you selected the
“Record New Style/Pad” option when entering the Record mode, or when editing an empty Style Element.
7.
8.
9.
Select the Tempo parameter and set the Tempo.
(Style only) Touch the Record 2 tab to see the Sounds area.
Here you can assign the right Sound to each Style track.
(Pad only) Press the SOUND button to select a Sound to be assigned to the Pad track.
If needed, set the Octave Transpose for each track. Note:
The Octave Transpose will affect only the notes coming from the keyboard, and not from the arranger.
10.
At this point, if you want to do a Realtime Recording go on
reading “Realtime Record procedure” below. Otherwise, if
you prefer to do a Step Record, jump to “Step Record procedure” on page 207.
Realtime Record procedure
1.
2.
3.
4.
5.
Select the track to record. Its status icon will turn to
‘Record’. (For more details, see “Tracks volume/status area” on page 201).
Note: When entering the Record mode, a track is already in Record status. When you press START/STOP after entering the Record mode, you can immediately start recording.
If you like, you can try your part before recording:
• Mute the track, by repeatedly touching its icon status, until the (Mute) status icon appears.
• Press START/STOP to let any recorded track play back, and practice on the keyboard.
• When you have finished practicing, press START/STOP to stop the arranger, and unmute the track by repeatedly touching its icon status, until the (Record) status icon appears again.
While the shown status icon is Record, press START/STOP to begin recording. A 1-bar precount will play before the recording actually begins. When it begins, play freely. The pattern will last for some measures, according to the Rec
Length value, then restart.
Since the recording will happen in overdub, you can add notes on any following passage. This is very useful to record different percussive instruments at any cycle on a
Drum or Percussion track.
Note:
While recording, the track’s Keyboard Range (see
page 218) is ignored, and notes can be recorded and played
back over the whole keyboard range. The Local parameter
(see “Local Control On” on page 158) is also automatically
set to On, to allow playing on the keyboard.
When finished recording, press START/STOP to stop the arranger. Select a different track, and go on recording the full Chord Variation.
Note:
You can select a different track only when the arranger is not running.
When finished recording the Chord Variation, select a different Chord Variation or Style Element (Style only) to go on recording the full Style/Pad.
When finished recording the new Style/Pad, select the
“Write Style/Pad” command from the page menu, to open
the Write Style/Pad dialog box (see “Write Style/Pad dialog box” on page 226) and save it to memory.
To exit the Style/Pad Record mode without saving any change, select the “Exit from Record” command from the page menu, or press the RECORD button.
Style/Pad Record
Style/Pad Record procedure
207
Step Record procedure
1.
2.
3.
4.
5.
6.
7.
While in the main page of the Style/Pad Record mode,
select the “Overdub Step Recording” command from the
page menu, to enter the Overdub Step Record mode.
The “Pos” parameter shows the current position.
• If you do not want to insert a note or chord at the current
position, insert a rest instead, as shown in step 4.
• To jump to the next measure, filling the remaining beats with rests, touch the Next M. button in the display.
To change the step value, use the “Step Time values” area in
the display.
Insert a note, rest or chord at the current position.
• To insert a single note, just play it on the keyboard. The inserted note length will match the step length. You may change the velocity and relative duration of the note, by
editing the “Duration” and “Velocity” parameters (see page 228).
• To insert a rest, just touch the Rest button in the display.
Its length will match the step value.
• To tie the note to be inserted to the previous one, touch the Tie button in the display. A note will be inserted, tied to the previous one, with exactly the same name. You don’t need to play it on the keyboard again.
After inserting a new event, you may go back by touching the Back button in the display. This will delete the previously inserted event, and set the step in edit again.
When the end of the pattern is reached, the “End of Loop” event is shown, and the recording restarts from the
“001.01.000” position. Any note exceeding the pattern length, inserted at its end, will be reduced to fit the total length of the pattern.
At this point, you may go on, inserting new events in overdub mode (the previously inserted events will not be deleted). This is very useful when recording a drum or percussion track, where you may want to record the bass drum on a first cycle, the snare drum on the second cycle, and the hi-hat and cymbals during the following cycles.
When finished recording, touch the Done button in the display to exit the Step Record mode.
A dialog box appears, asking you to either cancel, discard or save the changes.
8.
9.
When back to the main page of the Style Record mode, you may turn all tracks to the play status, then press START/
STOP to listen to the Style. Press START/STOP again to stop the playback.
From the main page of the Style Record mode, select the
“Write Style/Pad” command to save, or the “Exit from
Record” command to exit from the Style/Pad Record mode
(see “Write Style/Pad dialog box” on page 226), or by can-
celing any change.
Chords and second voices
With Pa300, you are not limited to inserting single notes in a track. There are several ways to also insert chords and double
voices. For more information, see “Chords and second voices in
Step Record mode” on page 129.
If you touch Cancel, exit is canceled, and you can continue editing. If you choose No, changes are not saved, and the
Step Record window is closed. If you choose Yes, changes are saved, and the Step Record window is closed.
208 Style/Pad Record
Edit menu
Edit menu
From any page (apart for Step Record), press the MENU button to open the Style Record or Pad edit menu. This menu gives access to the various Style/Pad Record edit sections.
When in the menu, select an edit section, or press EXIT to exit the menu and return to the main page. To return to the main page, you can also select the Main Page menu item.
When in an edit page, press the EXIT button to return to the main page of the Style Record mode.
Edit page structure
Most edit pages share some basic elements.
Chord
Operating mode
Edit section
Selected track info
Selected Style
Element
Page menu icon
Style Record menu
Tabs Parameters area
Other pages have a slightly different structure.
Chord
Operating mode
Edit section
Page menu icon
Pad Record menu
Note:
While the Style/Pad is in play, you cannot access the Edit
section pages from the main page (see page 197). Stop the playback
before pressing MENU.
Note:
When switching from the Edit section pages (Quantize,
Transpose, Velocity, Delete) to the other pages, or vice-versa, the
Style (if in play) is automatically stopped.
Tabs Track status
Parameters area
Operating mode
This indicates that the instrument is in Style/Pad Record mode.
Edit section
This identifies the current edit section, corresponding to one of
the items of the edit menu (see “Edit menu” on page 208).
Chord
(Style only) Chord in edit.
Selected Style Element
(Style only) In Style Record mode, edits always happen on the selected Style Element.
Page menu icon
Touch this icon to open the page menu (see “Page menu” on page 225).
Style/Pad Record
Event Edit: Event Edit
209
Parameters area
Each page contains various parameters. Use the tabs to select one of the available pages. For detailed information on the vari-
ous types of parameters, see sections starting from page 209.
Track status
Use these buttons to mute/unmute tracks while editing.
Tabs
Use tabs to select one of the edit pages of the current edit section.
Event Edit: Event Edit
The Event Edit is the page where you can edit each single MIDI event of the selected Chord Variation. You can, for example, replace a note with a different one, or change its playing strength
(i.e., velocity value). See “Event Edit procedure” on page 210 for
more information on the event editing procedure.
Page subheader
Page header
Chord
Page menu icon
Event list
Track pop-up menu
Tabs Scrollbar
Page header
See “Page header” on page 197.
Page menu icon
Touch this icon to open the page menu. See “Page menu” on page 225.
Page sub-header
This area shows some performing info on the Song.
Selected track Selected Style
Element
Selected Chord
Variation
Selected track
(Style only) Name of the track in edit. Use the Track pop-up menu to select one of the Style tracks.
SE/CV (Style Element/Chord Variation)
Selected Style Element (Style only) and Chord Variation. This parameter cannot be edited. To select a different Style Element and Chord Variation, press EXIT to go back to the main page of
the Style/Pad Record mode (see “Main page - Record 1” on page 197).
Event list
Use the Event list to see all events contained in the selected track in the selected Style Element.
Use the scrollbar to browse through the events. You can also scroll by using the SHIFT + VALUE DIAL combination.
210 Style/Pad Record
Event Edit: Event Edit
Touch the event to be selected. Selected events are highlighted and can be heard.
Position
Position of the event, expressed in the form ‘aaa.bb.ccc’:
• ‘aaa’ is the measure
• ‘bb’ is the beat
• ‘ccc’ is the tick (each quarter beat = 384 ticks)
You can edit this parameter to move the event to a different position. You can edit a position in either of the following ways:
(a) select the parameter, and use the VALUE DIAL to change the value, or
(b) select the parameter, then touch it again; the numeric keypad will appear. Enter the new position by dialing in the three parts of the number, separated by a dot. Zeroes at the beginning can be omitted, as well as the least important parts of the number. For example, to enter position
002.02.193, dial “2.2.193”; to enter position 002.04.000 dial
“2.4”; to enter position 002.01.000, simply dial “2”.
Type, Value 1, Value 2
Type and values of the event shown in the display. Depending on the selected event, the value may change. This parameter also shows the (greyed-out, so non editable) “CC#11” (Expression) event at the beginning of the pattern, and the “End Of Track” marking, when the end of a track is reached.
To change the event type, select the Type parameter, then use the
VALUE DIAL to select a different event type. A set of default values will be automatically assigned to the event.
To select and edit the event’s value, select the corresponding parameter, and use VALUE DIAL.
Length
Length of the selected Note event. The value format is the same as the Position value. This is only available for Note events.
Note:
If you change a length of “000.00.000” to a different value, you can’t go back to the original value. This rather uncommon zero-length value may be found in some drum or percussion tracks.
Scrollbar
Use the scrollbar to browse the event through the list. (As an alternative, use SHIFT + VALUE DIAL).
Other elements
Track pop-up menu
Use this pop-up menu to select the track to edit, inside the current Chord Variation.
Drum…Acc5 Style track.
Go Meas.
While the Style is not running, touch this button to open the Go to Measure dialog box:
When in this dialog box, select a target measure, and touch OK.
The first event available in the target measure will be selected.
Insert
Touch the Insert button in the display to insert a new event at the current shown Position. The default values are Type = Note,
Pitch = C4, Velocity = 100, Length = 192.
Delete
Touch the Delete button in the display to delete the event selected in the display.
Event Edit procedure
Here is the general procedure to follow for the event editing.
1.
2.
Select the Style/Pad to edit, and press the RECORD button.
Select the “Current Style/Pad” option to enter recording.
The main page of the Style/Pad Record mode will appear.
Select the “Element (Style Element)” (Style only) and
“Chord Var (Chord Variation)” parameters.
Note:
For more information on the Style Elements and Chord
Variations, and the Style structure in general, see “The Style’s structure” on page 194.
3.
4.
5.
Press MENU, and select the Event Edit section. The Event
Edit page appears (see “Event Edit: Event Edit” on page 209
for more information).
Press START/STOP to listen to the selected Chord Variation. Press START/STOP to stop it. Chord Scanning does not work, so you will listen the pattern at the original Key/
Chord.
Touch the Filter tab to select the Filter page, and uncheck the filters for the event types you wish to see in the display
(see “Event Edit: Filter” on page 211 for more information).
6.
7.
8.
Touch the Event Edit tab to go back to the Event Edit page.
(Style only) Use the Track pop-up menu to select the track
to edit (see “Track pop-up menu” on page 210).
The list of events contained in the selected track (inside the
Chord Variation selected on step 2) will appear in the dis-
play. Some events on the beginning of the Chord Variations, as well as the “EndOfTrk” event (marking its ending point) cannot be edited, therefore appearing in grey.
Style/Pad Record
Event Edit: Filter
211
9.
10.
Scroll though the various events by using the scrollbar.
Select an event to be edited by touching it in the display.
This is usually a note, that you can edit.
Event Edit: Filter
This page is where you can select the event types to be shown in the Event Edit page.
11.
12.
13.
14.
15.
16.
17.
For more information on the event types and their val-
ues, see “Event Edit: Event Edit” on page 209.
Edit the event.
• Select the “M” parameter. Use VALUE DIAL to change the event’s position.
• Select the Type parameter. You may use VALUE DIAL to change the event type, as well as its Value 1 and Value 2.
• If a Note event is selected, select the Length parameter, and use VALUE DIAL to change the event’s length.
You may use the Go Meas. command to go to a different
measure (see “Go Meas.” on page 210)
As described in step 4, you may press START/STOP to lis-
ten how the pattern sounds after your changes. Press
START/STOP again to stop the pattern running.
Touch the Insert button in the display to insert an event at the Position shown in the display (a Note event with default values will be inserted). Touch the Delete button in the display to delete the selected event.
When editing is complete, you may select a different track
When finished editing the selected Chord Variation, press
EXIT to go back to the main page of the Style Record
mode, then go to step 2 to select and edit a different Chord
Variation.
When finished editing the whole Style, select the “Write
Style/Pad” command from the page menu to open the
Write Style/Pad dialog box (see “Write Style/Pad dialog
box” on page 226), or select the “Exit from Record” com-
mand to cancel all changes.
18.
• Touch the (Text Edit) button to enter the Text Edit dialog box. Enter a name and confirm by selecting OK.
• Select a target memory location where to save the Style/
Pad. The name of the Style/Pad already existing at the selected location is shown after the Bank-Location number.
Warning:
If you select an existing Style/Pad and confirm writing, the older Style/Pad is deleted and replaced by the new one. Save the Styles/Pads you don’t want to lose to a storage device, before overwriting them.
Touch OK to save the Style/Pad to the internal memory, or
Cancel to delete any changes made in Style/Pad Record mode. When the “Are you sure?” message appears, touch
OK to confirm, or Cancel to go back to the “Write Style” or
“Write Pad” dialog box.
Turn On the filter for all event types you do not wish to see in the Event Edit page.
Note:
Some of the events are “ghosted”, and non editable, since the corresponding events are not editable in a Style/Pad.
Note/RX Noise
Control
Notes and RX Noises.
Control Change events. Only the following Control Change numbers are allowed with Styles/
Pads.
Control function
Modulation 1
Modulation 2
Pan
Expression
(a)
CC#12
CC#13
Ribbon
Damper
Filter Resonance
Low Pass Filter Cutoff
CC#80
CC#81
CC#82
CC# (Control Change Number)
1
2
10
11
64
71
74
80
12
13
16
81
82
(a). Expression events cannot be inserted at the starting Position (001.01.000). An
Expression value is already among the default “header” parameters of the Style Element or Pad Track.
Tempo/Meter Tempo and Meter (time signature) changes (Master Track only).
Pitch Bend Pitch Bend events.
212 Style/Pad Record
Style/Pad Edit: Quantize
Style/Pad Edit: Quantize
The quantize function may be used to correct any timing mistake after recording, or to give the pattern a “groovy” feeling.
After setting the various parameters, touch Execute.
Track
(Style only) Use this parameter to select a track.
All All tracks selected.
Drum…Acc5 Selected track.
E / CV (Style Element/Chord Variation)
Use these parameters to select the Style Element (Style only) and
Chord Variation for editing.
Resolution
This parameter sets the quantization after recording. For example, when you select 1/8, all notes are moved to the nearest 1/8 division. When you select 1/4, all notes are moved to the nearest
1/4 division.
No quantization
Top parameters, you can select a single percussive instrument in a Drum or Percussion track.
Note:
These parameters are available only when a Drum or Percussion track is selected.
Execute
Touch this button to execute the operation set in this page.
Track status icon
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Track names
Under the buttons, a label for each track is shown.
Style/Pad Edit: Transpose
In this page you can transpose the selected track(s).
Note:
After transposing, please don’t forget to readjust the “Key/
Chord” parameter in the main page of the Style Record mode (see page 199).
1/8
1/4
(1/32)… (1/4)
Grid resolution, in musical values. A “b…f ” character added after the value means swing-quantization. A “3” means triplet.
Start / End Tick
Use these parameters to set the starting and ending points of the range to quantize.
If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.
Bottom / Top Note
Use these parameters to set the bottom and top of the keyboard range to quantize. If you select the same note as the Bottom and
After setting the various parameters, touch Execute.
Track
(Style only) Use this parameter to select a track.
All All tracks selected, apart for tracks set in Drum mode (like the Drum and Percussion tracks). The whole selected Chord Variation will be transposed.
Drum…Acc5 Single selected track.
E / CV (Style Element/Chord Variation)
Use these parameters to select the Style Element (Style only) and
Chord Variation for editing.
Value
Transpose value (±127 semitones).
Start / End Tick
Use these parameters to set the starting and ending points of the range to be transposed.
Style/Pad Record
Style/Pad Edit: Velocity
213
If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.
Bottom / Top Note
Use these parameters to set the bottom and top of the keyboard range to be transposed. If you select the same note as the Bottom and Top parameters, you can select a single percussive instrument in a Drum or Percussion track. Since in a Drum Kit each instrument is assigned to a different note of the scale, transposing a percussive instrument means assigning the part to a different instrument.
Execute
Touch this button to execute the operation set in this page.
Track status icon
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Track names
Under the buttons, a label for each track is shown.
Style/Pad Edit: Velocity
In this page you can change the velocity (dynamics) value of notes in the selected track. An Advanced mode is available, allowing you to select a velocity curve for the selected range.
This is useful to create fade-ins or fade-outs.
After setting the various parameters, touch Execute.
Note:
When an RX Sound is assigned to the track being edited, the resulting sound may change, since this kind of Sounds is made of several different layers triggered by different velocity values.
Also, a fade-out may result in the level “jumping” up next to the zero, since a higher-level layer may be selected by low velocity values.
Track
(Style only) Use this parameter to select a track.
All All tracks selected. The velocity for all notes of the whole selected Chord Variation will be changed.
Drum…Acc5 Selected track.
E / CV (Style Element/Chord Variation)
Use these parameters to select the Style Element (Style only) and
Chord Variation for editing.
Value
Velocity change value (±127).
Start / End Tick
Use these parameters to set the starting and ending points of the range to be modified.
If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.
Bottom / Top Note
Use these parameters to set the bottom and top of the keyboard range to be modified. If you select the same note as the Bottom and Top parameters, you can select a single percussive instrument in a Drum or Percussion track.
Advanced
When this checkbox is checked, the “Intensity”, “Curve”, “Start
Velocity Value” and “End Velocity Value” parameters can be edited.
Intensity
(Only available in Advanced mode). Use this parameter to specify the degree to which the velocity data will be adjusted toward the
0…100% Intensity value. With a setting of 0 [%], the velocity will not change. With a setting of 100 [%], the velocity will be changed the most.
Curve
(Only available in Advanced mode). Use this parameter to select one of the six curves, and to specify how the velocity will change over time.
Start Value = 0%, End Value = 100%
Curve 1
127 127
Velocity Velocity
Curve 2
127
Velocity
Curve 3
1
Start
Value
End
Value
1
Start
Value
End
Value
1
Start
Value
End
Value
127
Velocity
1
Start
Value
Curve 4
End
Value
127
Velocity
1
Start
Value
Curve 5
End
Value
Curve 6
127
Velocity
RANDOM
1
Start
Value
End
Value
Start / End Vel. Value
(Only available in Advanced mode). Velocity change at the starting and ending ticks of the selected range.
0…100 Velocity change in percentage.
Execute
Touch this button to execute the operation set in this page.
214 Style/Pad Record
Style/Pad Edit: Cut
Track status icon
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Track names
Under the buttons, a label for each track is shown.
Style/Pad Edit: Delete
This page is where you can delete MIDI events out of the Style/
Pad. This function does not remove measures from the pattern.
To remove whole measure, use the Cut function (see “Style/Pad
Style/Pad Edit: Cut
This function lets you quickly delete a selected measure (or a series of measures) from the selected Chord Variation. All following events are moved back, to replace the cut measure(s).
After setting the various parameters, touch Execute.
E / CV (Style Element/Chord Variation)
Use these parameters to select the Style Element (Style only) and
Chord Variation for editing.
Start
First measure to be cut.
Length
Number of measures to be cut.
Execute
Touch this button to execute the operation set in this page.
Track status icon
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Track names
Under the buttons, a label for each track is shown.
After setting the various parameters, touch Execute.
Track
(Style only) Use this parameter to select a track.
All All tracks selected. After deletion, the selected
Chord Variation will remain empty.
Drum…Acc5 Selected track.
E / CV (Style Element/Chord Variation)
Use these parameters to select the Style Element (Style only) and
Chord Variation for editing.
Event
Type of MIDI event to delete.
All All events. The measures are not removed from the Chord Variation.
Note
Dup.Note
All notes in the selected range.
All duplicate notes. When two notes with the same pitch are encountered on the same tick, the one with the lowest velocity is deleted.
After Touch After Touch events.
Pitch Bend Pitch Bend events.
Prog.Change Program Change events, excluding the bundled
Control Change #00 (Bank Select MSB) and #32
(Bank Select LSB).
Note:
This kind of data is automatically removed during recording.
Ctl.Change
All Control Change events, for example Bank
Select, Modulation, Damper, Soft Pedal…
CC00/32…CC127
Single Control Change events. Double Control
Change numbers (like 00/32) are MSB/LSB bundles.
Note:
Some CC data are automatically removed
during recording. See the table on page 197 for
more information on the allowed data.
Style/Pad Record
Style/Pad Edit: Delete All
215
Start / End Tick
Use these parameters to set the starting and ending points of the range to delete.
If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.
Bottom / Top Note
Use these parameters to set the bottom and top of the keyboard range to delete. If you select the same note as the Bottom and
Top parameters, you can select a single percussive instrument in a Drum or Percussion track.
Note:
These parameters are available only when the All or Note option is selected.
Execute
Touch this button to execute the operation set in this page.
Track status icon
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Track names
Under the buttons, a label for each track is shown.
All All Style Elements, i.e. the whole Style. When E/
Track=All and CV=All, the whole Style is deleted, and all parameters are set to the default status.
Var1…CountIn
Single Style Element.
V1-CV1…CI-CV2
Single Chord Variation.
Execute
Touch this button to execute the operation set in this page.
Track status icon
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Track names
Under the buttons, a label for each track is shown.
Style/Pad Edit: Copy from Style
Here you can copy a track, Chord Variation or Style Element inside the same Style, or from a different one. Furthermore, you can copy a whole Style.
Warning:
The Copy operation deletes all data at the target location (overwrite).
Style/Pad Edit: Delete All
This function lets you quickly delete a selected Style Element or
Chord Variation, or the whole Style.
After setting the various parameters, touch Execute.
Track
(Style only) Use this parameter to select a track.
All All tracks of the selected Style, Style Element or
Chord Variation.
Drum-Acc5 Single track of the selected Style, Style Element or
Chord Variation.
E / CV (Style Element/Chord Variation)
Use these parameters to select the Style Element (Style only) and
Chord Variation for editing.
After setting the various parameters, touch Execute.
Note:
If you copy too many events on the same tick, the “Too many events!” message appears, and the copy operation is aborted.
Note:
When you copy over an existing Chord Variation, Program
Change data is not copied, to leave the original Sounds unchanged for that Chord Variation.
From Style
Choose this option to select the source Style to copy the track,
Chord Variation or Style Element from. Touch the Select button to open the Style Select window and select the source Style.
From… To E/CV (Style Element/Chord Variation)
Use these parameters to select the source and target Style Elements or Chord Variations.
Note:
You can’t copy from a Variation to a different Style Element
(or vice-versa), because of their different structure.
216 Style/Pad Record
Style/Pad Edit: Copy from Pad
All All Style Elements, i.e. the whole Style. You can’t change the target, that is automatically set to All.
Var1…End2 Single Style Element.
V1-CV1…E2-CV2
Single Chord Variation.
From… To Track
Use this parameter to select the source and target track to copy.
You can double a track, to strengthen a pattern.
All All tracks of the selected Style, Style Element or
Chord Variation.
Drum-Acc5 Single track of the selected Style, Style Element or
Chord Variation.
Execute
Touch this button to execute the operation set in this page.
Track status icon
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Track names
Under the buttons, a label for each track is shown.
Copying to a Chord Variation of a different length
You can copy a Chord Variation to a different one of a different length. Just keep in mind the following:
• If the source length is a divider of the target length, the source Chord Variation will be multiplied to fit the target
Chord Variation. For example, if the source is 4-measures long, and the target 8-measures, the source will be copied two times.
1 2 3 4
1 2 3 4 1 2
1 2 3 4 5 6
3 4
• If the source length is not a divider of the target length, the source Chord Variation will be copied for as many measures as can fit the target Chord Variation. For example, if the source is 6-measures long, and the target 8-measures, the source will be copied once, then the first 2 measures will be copied to fit the remaining 2 measures.
1 2 3 4 5 6 1 2
Note:
Avoid copying to a Chord Variation with a different meter
(time signature), for example a 4/4 Chord Variation onto a 3/4 one.
Style/Pad Edit: Copy from Pad
Here you can copy a Chord Variation from a Pad. Furthermore, you can copy a whole Pad.
Warning:
The Copy operation deletes all data at the target location (overwrite).
After setting the various parameters, touch Execute.
Note:
If you copy too many events on the same “tick”, the “Too many events!” message appears, and the copy operation is aborted.
Note:
When you copy over an existing Chord Variation, Program
Change data is not copied, to leave the original Sounds unchanged for that Chord Variation.
From Pad
Choose this option to select the source Pad to copy the Chord
Variation from. Touch the Select button to open the Pad Select window and select the source Pad.
From CV (Chord Variation)
Use this parameter to select the source Chord Variation.
All All Chord Variations, i.e. the whole Pad. You can’t change the target, that is automatically set to All.
CV1…CV6 Single Chord Variation.
To CV (Chord Variation)
Use this parameter to select a target Chord Variation inside the current Style/Pad.
CV1…CV6 Target Chord Variation. Automatically set to All if the “From CV” parameter is also set to All.
To Track
(Style only) Use this parameter to select the target track to copy.
All All tracks of the selected Style, Style Element or
Chord Variation.
Drum-Acc5 Single track of the selected Style, Style Element or
Chord Variation.
Execute
Touch this button to execute the operation set in this page.
Style/Pad Record
Style Element Track Controls: Sound/Expression
217
Style Element Track Controls: Sound/
Expression
In this page you can assign a different Sound to each track of the selected Style Element. Each Style Element can have different
Sound; after saving the new Style, please don’t forget to check the
tings.
In this page you can also check and modify the Expression
(CC#11) value for each of the Style Element tracks. This lets you reduce the relative level of a track in a single Style Element, without reducing the overall Volume of the Style. This is a very useful control, when you have different Sounds assigned to the same track in different Style Elements, and the internal level of these
Sounds must be different.
Expression
Use these knobs to set the Expression (CC#11) value for the corresponding track. This value can be seen at the beginning of the
Event Edit list (see “Event Edit: Event Edit” on page 209).
Different Expression values can be defined for each Style Element. This way, you can set a different volume in each Style Element, relative to the general Volume value set in the Style
Header.
Expression leveling
You can quickly and easily adjust the Expression level of all tracks in a Style Element (Variation, Intro…). This allows for a more precise control over the volume level of all Style Element.
1.
While in this page, select one of the Style Elements by pressing its button in the control panel.
Selected Style Element
When in this page, press the corresponding button on the control panel to select a Style Element (VARIATION1 …
ENDING3).
To copy the settings of this page to another Style Element, use
the “Copy Sound” and “Copy Expression” commands from the
page menu (see “Copy Sounds dialog box” and “Copy Expres-
sion dialog box” starting from page 226).
Selected Track Info area
See “Selected track info area” on page 199 for detailed informa-
tion.
Sounds area
See “Sounds area” on page 201 for detailed information.
Expression area
Expression Monitor
You can use these indicators to check if CC#11 (Expression) messages are contained in a track. Expression messages contained in a track can vary the volume of the track. It is very difficult to catch them out – unless you carefully read all the events in the Event Edit page.
This monitor should help you keeping track of them, and let you access Event Edit only on the tracks containing the messages.
Press the START/STOP button to start playback, and look at the indicators. When one of them lights up, you can enter Event Edit on the corresponding track, and edit or remove the Expression messages.
Expression level
2.
3.
Keep the SHIFT button pressed, and press the TEMPO+ button to increase the Expression value of all the Style Variation’s tracks, TEMPO- to decrease it.
Release the SHIFT button.
4.
Repeat the above operation with all the desired Style Elements.
Note:
A track’s volume may be changed by an Expression event contained in a track. To check if any of these events exist in a track, let the Style Element play and look at the Expression Monitor in this same page. If one or more Expression events are found, go to the Event Edit page and delete it (or them)
Volume area
Use these controls to set the volume and status of each track. See
page 201 for more information.
The Volume value is the same for the whole Style. Use the
Expression controls to adjust the relative balance between tracks in each Style Element.
218 Style/Pad Record
Style Element Track Controls: Keyboard Range
Style Element Track Controls: Keyboard
Range
The Keyboard Range automatically transposes any pattern note that would otherwise play too high or too low in pitch, compared to the original acoustic instrument, when transposed by the arranger. This will result in a more natural sound for each accompaniment instrument.
For example, the lower limit for a guitar is E2. If you play a chord under the E2, the transposed pattern could exceed this limit, and sound unnatural. A Bottom limit set to E2 for the guitar track will solve the problem.
Different Keyboard Range values can be set for each Style Element.
Style Element Track Controls: Noise/Guitar
The Noise/Guitar page is where you can set the RX Noise level and the ‘human feel’ of Guitar tracks.
RX Noise
Use these controls to adjust the volume of RX Noises in the corresponding tracks. This control applies to all types of tracks
(provided the Sound includes RX Noises).
Humanize GTR
Use these controls to apply a random value to the position,
Note:
The Keyboard Range is ignored while recording. The selected track can be recorded and played back on the full range of the keyboard.
When in this page, press the corresponding button on the control panel to select a Style Element (VARIATION1 …
ENDING3).
To copy the settings of this page to another Style Element, use
the “Copy Keyboard Range” command from the page menu (see
“Copy Key Range dialog box” on page 227).
Top/Bottom
Use these parameters to set the bottom and top of the keyboard range for the corresponding track of the current Style Element.
Volume area
Use these controls to set the volume and status of each track. See
page 201 for more information.
Style/Pad Record
Pad Track Controls: Sound/Expression
219
Pad Track Controls: Sound/Expression
In this page you can assign a Sound to the Pad track, adjust its
Volume (CC#07) and Expression (CC#11) values, and set various other parameters, like the Keyboard Range, Track Type,
Trigger Mode, Tension and Wrap Around.
Sound/Bank
Sound assigned to the Pad track.
Volume
Use this slider to set the Volume (CC#07) value for the Pad track.
This value is not saved with the Pad, and is only used to test the
Pad’s volume during editing or recording.
Pad Type
Use this parameter to decide if the Pad will play once or if it will loop.
Note:
While in Pad Record mode, the pattern is always played back in loop, even if this parameter is set to “One Shot”.
One Shot When you press one of the PAD buttons, the corresponding Pad is only played once. This is useful for playing Hits or Sequences that must only play once.
Loop When you press one of the PAD buttons, the corresponding Pad plays up to the end, then continues playing from the start. Press STOP in the
PAD section to stop it playing. This is useful for playing cyclic sequences.
Keyboard Range
The Keyboard Range automatically transposes any pattern note that would otherwise play too high or too low in pitch, compared to the original acoustic instrument, when transposed by the arranger. This will result in a more natural sound for the Pad instrument.
Note:
The Keyboard Range is ignored while recording. The Pad track can play on the full range of the keyboard.
Trigger Mode
(Not available if Track Type = Drum). This setting lets you define how Bass and Acc-type tracks are retriggered when the chord is changed.
Off Each time you play a new chord, current notes will be stopped. The track will remain silent until a new note will be encountered in the pattern.
Rt
Rp
(Retrigger) The sound will be stopped, and new notes matching the recognized chord will be played back.
(Repitch) New notes matching the recognized chord will be played back, by repitching notes already playing. There will be no break in the sound. This is very useful on Guitar and Bass tracks.
Track Type
Use this parameter to set the type of the Pad track.
Drum Drum track. This type of track is not transposed by the arranger, and is used for Drum Kits, or for tracks that you don’t want to be transposed when playing a different chord.
Bass
Acc
Bass track. This type of track always plays the root when changing chord.
Accompaniment track. This type of track can be used freely, for melodic or harmonic accompaniment patterns.
Expression
Use this knob to set the Expression (CC#11) value for the Pad track. This value can be seen at the beginning of the Event Edit list.
The Expression is useful to balance the Pad with the other Pads.
For example, if you want the Pad you are recording to be mellower than the average, just lower the Expression value.
Tension
Tension adds notes (a 9th, 11th and/or 13th) that have actually been played, even if they haven't been written in the Pad pattern.
This parameter specifies whether or not the Tension included in the recognized chord will be added to an Acc-type track.
On
Off
The Tension will be added.
No Tension will be added.
RX Noise
Use these controls to adjust the volume of RX Noises in the corresponding tracks. This control applies to all types of tracks
(provided the Sound includes RX Noises).
Humanize GTR
Use these controls to apply a random value to the position, velocity and length of notes of Guitar tracks (see “Track Type” on page 219). This control has no effect on other types of track.
Wrap Around
The wrap-around point is the highest register limit for the Pad track. The Pad pattern will be transposed according to the detected chord. If the chord is too high, the Pad track might play in a register that is too high, and therefore unnatural. If, however, it reaches the wrap-around point, it will be automatically transposed an octave lower.
The wrap-around point can be individually set in semitone steps up to a maximum of 12 semitones, relative to the chord root set
in the main page of the Pad Record mode (see “Key/Chord” on page 199).
220 Style/Pad Record
Style Element/Pad Chord Table: Chord Table
1…12 Maximum transposition (in semitones) of the track, referred to the original key of the Pad pattern.
Style Element/Pad Chord Table: Chord
Table
This is the page where you can assign a Chord Variation to each of the most important recognized chord. When a chord is recognized, the assigned Chord Variation will be automatically selected by the arranger to play the accompaniment.
When in this page, press the corresponding button on the control panel to select a Style Element (VARIATION1 …
ENDING3).
Chord / Chord Variation
Use these parameters to assign a Chord Variation to each of the most important chords.
Style Track Controls: Type/Trigger/Tension
In this page you can set the Mode, Trigger mode for the Style tracks, and activate/deactivate the Tension for the Accompaniment tracks.
Track Type
Use this parameter to set the type of the corresponding track.
Drum Drum track. This type of track is not transposed by the arranger, and is used for Drum Kits made of Drum sounds. It can be affected by the Drum
Mapping of the Style Play mode (see “Drum
Mapping (Var.1…Var.4)” on page 107).
Perc
Bass
Percussion track. This type of track cannot be transposed, and is used for Drum Kit made of
Percussion sounds. It is NOT affected by the
Drum Mapping.
Bass track. This type of track always plays the root when changing chord.
Acc
Gtr
Accompaniment track. This type of track can be used freely, for melodic or harmonic accompaniment patterns.
Guitar track. This type of track uses Guitar Mode
to create guitar strumming (see “Main page -
Guitar Mode” on page 202). When this type is
selected, the “Tension” parameter can no longer be edited.
Trigger Mode
This setting lets you define how Bass and Acc-type tracks are retriggered when the chord is changed.
Off Each time you play a new chord, current notes will be stopped. The track will remain silent until a new note will be encountered in the pattern.
Rt
Rp
(Retrigger) The sound will be stopped, and new notes matching the recognized chord will be played back.
(Repitch) New notes matching the recognized chord will be played back, by repitching notes already playing. There will be no break in the sound. This is very useful on Guitar and Bass tracks.
Tension
Tension adds notes (a 9th, 11th and/or 13th) that have actually been played to the accompaniment, even if they haven't been written in the Style pattern. This parameter specifies whether or not the Tension included in the recognized chord will be added to the Acc-type tracks.
On
Off
The Tension will be added.
No Tension will be added.
When in this page, press the corresponding button on the control panel to select a Style Element (VARIATION1 …
ENDING3).
Style/Pad Record
Import: Import Groove
221
Import: Import Groove
The Import Groove function allows the loading of MIDI
Grooves (“.GRV” files). By importing these data to a track, and assigning the Sound based on the sliced samples to the same track, you can play the original audio groove, and freely change its Tempo.
Import: Import SMF
The Import SMF function allows you to import MIDI data from a Standard MIDI File (SMF) created on your preferred external sequencer, and transform them in a Chord Variation.
Note:
You cannot use this function to import data from any generic Song. The Standard MIDI File to be imported must be programmed as if it was one of Pa300’s Chord Variations.
Note:
After importing a groove generated by a melody line (not by a percussive groove), the imported groove and samples will not be transposed together with the other Style tracks. Audio data cannot be transposed by the arranger.
Note:
Please execute the Import Groove operation before setting the instrument to standby. All “.GRV” files generated by a Time
Slice operation are deleted when the instrument enters standby.
From
Use this parameter to select one of the MIDI Groove patterns
(“.GRV” files) generated when saving data after a Time Slice operation.
To E/CV (Style Element/Chord Variation)
Use this parameter to select the target Style Element (Style only) and Chord Variation.
To Track
(Style only) Use this parameter to select the target track inside the selected Chord Variation. The Percussion track is usually
suggested, since the Drum track is still suitable for standard
Drum Kit sounds (count-in, break etc.). After importing the
MIDI Groove pattern, assign the Sound, to which the sliced samples are assigned, to the track playing the MIDI Groove pattern.
When importing an SMF, parameters like CV Length, Meter,
Tempo Changes, Program Changes and Expression are recognized. These parameters will be imported as the header of the
Style Element containing the Chord Variation, provided the
“Initialize” parameter is checked, or the Style Element is empty.
Hint:
It is a good idea to check the “Initialize” parameter when
importing the first Chord Variation of a Style Element, and uncheck it when importing the following Chord Variations.
• Sounds assigned to each track can be imported, provided the
Program Change, Bank Select MSB and LSB events are on the first ‘tick’ of the SMF. These data are loaded in the Style Element’s header, and not as Sounds assigned to the Style Performance.
Note:
Sounds in the Style Element header can be overridden by
Sounds assigned to the Style Settings, by checking the “Original
Style Sound” parameter in the main page of the Style Play mode
(Style Track view).
• If the above data was not found on the first tick of the imported
SMF, Sounds must be manually assigned to each track. You can do this in the “Record 1” or “Record 2”, or the “Sound/Expression” page of the Style Record mode,.
• Key/Chord, Chord Table, Expression, and any other Style Variation parameter, must be manually programmed in the relevant
Style Record pages.
• The starting Tempo, and each track’s Volume, must be programmed as Style Settings data, and then saved in the Style Settings.
• Meter (time signature) Change is not allowed, therefore not recognized.
• The Chord Variation length is the same as the imported SMF.
You can change length by changing the value of the CV Length parameter, on the main page of the Style/Pad Record mode.
222 Style/Pad Record
Import: Import SMF
Hint:
If a note extends beyond the last measure of the Chord Variation, an additional measure is appended (for example, if a note extends after the end of the fourth measure in a 4-measure pattern, a 5-measure Chord Variation will be generated). If so, change the CV Length value to reset the Chord Variation length. The exceeding note will be cut, to fit the new pattern length.
When programming a Chord Variation on an external sequencer, please assign each Style track to the correct MIDI channel, according to the following table.
Style Track
Bass
Drum/Pad
Percussion
Accompaniment 1
Accompaniment 2
Accompaniment 3
Accompaniment 4
Accompaniment 5
MIDI Channel
09
10
11
12
13
14
15
16
When programming a Chord Variation on the external sequencer, please assign the Pad track to the MIDI channel #10.
Note:
Only SMF in format 0 can be loaded.
From Song
This is the name of the Standard MIDI File to be loaded. Touch the Select button to open the file selector, and select an “.SMF” file.
Select
Touch this button to open the file selector and load the SMF.
Initialize
Check this parameter if you want all settings of the target Style
Element (i.e., Key/Chord, Chord Table, Sounds…) are reset when loading the SMF.
Hint:
It is a good idea to check the “Initialize” parameter when
importing the first Chord Variation of a Style Element, and uncheck it when importing the following Chord Variations.
To E/CV
Use this parameter to select a target Chord Variation.
Execute
After setting all parameters in this page, touch this button to import the Standard MIDI File into the target Chord Variation.
Importing an SMF separated by Markers into a Style
As an alternative to importing single Chord Variations, you can import a whole Style as an SMF separated by Markers, i.e., a single SMF containing all the Chord Variations (Variation 1, Variation 2, etc.) each one separated by a Marker (the same events used in Song Play mode).
1.
While in this page, touch the Select button, and choose the
Standard Midi File to be imported.
2.
3.
Keep the SHIFT button pressed.
Without releasing the SHIFT button, touch the Execute button in the display.
Release the SHIFT button.
4.
When creating a new Style, we suggest to check the “Initialize”
checkbox. Do not check it if the SMF you are loading was previously exported from a Style to be edited; in this case, it is very important to keep all the previous settings.
Style Tracks and MIDI Channels must be lined as in the previous table, as per Korg’s standard Style format definition.
Note:
Tracks/MIDI Channels other than the above mentioned are ignored during the import procedure.
For a list of MIDI events supported during the import opera-
tions, please see “List of recorded events” on page 197. If any, the
following events are stripped off and automatically transferred to the Style Element header during the import procedure:
• Time signature (this event is mandatory)
• Control Change bundle #00-32 (Bank Select MSB/LSB)
• Program Change
• Control Change #11 (Expression)
Control Change 00, Control Change 32 and Program Change messages must be placed at the very beginning of each Chord
Variation (tick 0).
Style/Pad Record
Import: Import SMF
223
Whenever they are not saved in the SMF, Program Change, Control Change 00, 11 and 32, can be still programmed in Style
Record mode, by using the edit features available.
Warning:
Pa300 can only handle SMF format 0 (Zero). If you are in trouble importing your file, maybe your sequencer (or DAW) is exporting using SMF format 1. Please refer to the software’s user’s manual.
The naming structure for the Markers inside the SMF is
“EnCVn”, whose single components are shown in the following table:
Component
E n
CV n
Meaning
Style Element (‘v’ = variation, ‘i’ = intro, ‘f’ = fill,
‘e’ = ending)
Style Element number (‘1’~’4’ for variations, ‘1’~’2’ for all other style elements)
Chord Variation (‘cv’ = chord variation – no other choices allowed)
Chord Variation number [1~6 for Variations, 1~2 for all others]
Warning:
It is mandatory not to use capital letters in Marker names. Some examples of valid names:
‘i1cv2’ = Intro1 – Chord Variation 2
‘v4cv3’ = Variation 4 – Chord Variation 3
Examples of non accepted names:
‘V1cv2’, ‘v1CV2’, ‘intro i1cv2’, ‘v1cv1 chorus’
The order of the Chord Variations inside the SMF is not relevant.
They can be freely placed inside the SMF.
At the end of this page you can find a screenshot of a test file created in Steinberg Cubase, just as an example of how a SMF separated by Markers can look like. Considering analogies between actual workstations, it will not look much different in other applications like Logic, Pro Tools, Digital Performer, Sonar or
Reaper.
224 Style/Pad Record
Export SMF
Export SMF
The Export SMF function allows you to export a Chord Variation as a Standard MIDI File (SMF), and edit it on your preferred external sequencer.
To Song
This (non editable) parameter shows the name of the Standard
MIDI File to be generated. The (automatically assigned) name will be the same of the exported Chord Variation.
From E/CV
Use this pop-up menu to select one of the available Chord Variations from the current Style.
Execute
After selecting a Chord Variation, touch this button to export it as a Standard MIDI File. A standard file selector will appear.
Select the target device and directory, then touch Save. After you touch Save, a dialog box appears, letting you assign a name to the file.
Exporting a Style as an SMF separated by
Markers
As an alternative to exporting single Chord Variations to individual Standard MIDI Files, you can export a whole Style as an
SMF separated by Markers, i.e., a single SMF containing all the
Chord Variations (Variation 1, Variation 2, etc.) each one separated by a Marker (the same events used in Song Play mode).
1.
2.
3.
While in this page, keep the SHIFT button pressed.
Without releasing the SHIFT button, touch the Execute button in the display.
Release the SHIFT button.
4.
Assign a name to the Standard Midi File where to save the
Style in edit.
This operation creates, in the selected device, an SMF format 0
(Zero), containing all the MIDI data included in the selected
Style, with each Chord Variation starting from a different
Marker (named as per the naming convention explained in the
Import section above).
Each Chord Variation will include, at the very beginning (tick 0), the following informations:
• Time signature
• Control Change bundle #00-32 (Bank Select MSB/LSB)
• Program Change
• Control Change #11 (Expression)
Style/Pad Record
Page menu
225
Page menu
Touch the page menu icon to open the page menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Style Record
Pad Record
Write Style/Pad
Select this command to open the Write Style or Write Pad dialog box, and save the Style/Pad to the internal memory.
See “Write Style/Pad dialog box” on page 226 for more informa-
tion.
Undo
Only available in Record mode. While in Record mode, cancels the latest recorded data and restores the previous situation.
Selected a second time, it restores recorded data again (“Redo” function).
Delete Pad Track
Only available in the Main page of the Pad Record mode. Select this command to delete the Pad track.
Copy Key/Ch (Copy Key/Chord) button
Select this command to open the Copy Key/Chord dialog box, and copy Key/Chord settings of the currently selected track to all other tracks of the same Chord Variation, or to the whole Style.
See “Copy Key/Chord dialog box” on page 226 for more infor-
mation.
Copy Sound
(Only available in some edit pages). While the Style Element
Track Control edit section is selected, use this command to open the Copy Sound dialog box and copy all Sounds assigned to the current Style Element tracks to a different Style Element.
See “Copy Sounds dialog box” on page 226 for more informa-
tion.
Copy Expression
(Only available in some edit pages). While the Style Element
Track Control edit section is selected, use this command to open the Copy Expression dialog box and copy all Expression values assigned to the current Style Element tracks to a different Style
Element.
See “Copy Expression dialog box” on page 227 for more infor-
mation.
Copy Keyboard Range
(Only available in some edit pages). While the Style Element
Track Control edit section is selected, use this command to open the Copy Keyboard Range dialog box and copy all Keyboard
Range values for the current Style Element tracks to a different
Style Element.
See “Copy Key Range dialog box” on page 227 for more informa-
tion.
Copy Chord Table
Only available while in the Style Element Chord Table page. Select this command to open the Copy Chord Table dialog box (see
“Copy Chord Table dialog box” on page 227).
Delete Current Track
(Only available in the Main Record pages). Select this command to delete the selected track.
Overdub Step Recording
(Only available in the Main Record pages). Select this command
to open the Overdub Step recording window (see “Overdub Step
Recording window” on page 228).
Solo Track
Select the track to be soloed, then check this item. You will hear only the selected track, and the ‘Solo’ warning will flash on the page header.
Uncheck this item to exit the Solo function.
Keep the SHIFT button pressed and touch one of the tracks to solo it. Do the same on a soloed track to deactivate the
Solo function.
Exit from Record
Select this command to exit from Record without saving changes to the Style.
226 Style/Pad Record
Write Style/Pad dialog box
Write Style/Pad dialog box
Open this window by choosing the Write Style or Write Pad item from the page menu. Here you can save the recorded or edited
Style/Pad to memory.
Copy Key/Chord dialog box
(Style only) Open this window by choosing the Copy Key/Chord item from the page menu. Here you can copy Key/Chord settings of the currently selected track to all other tracks of the same
Chord Variation, or to the whole Style. This function is useful to speed-up pattern programming, and to avoid having different tracks in different keys within the same Chord Variation.
Name
Name of the Style/Pad to be saved. Touch the (Text Edit) button next to the name to open the Text Edit window.
Style/Pad Bank
Target bank of Styles/Pad. Use the Select button on the display, or the VALUE DIAL to select a different bank.
Style
Target Style/Pad location in the selected bank. Use the Select button on the display, or the VALUE DIAL to select a different location.
Note:
A User or Favorite Style, or a User Pad, is usually prompted when writing a Style/Pad. However, you can overwrite a Factory
Style/Pad when the “Factory Style and Pad Protect” parameter is left unchecked (see page 154).
Select… button
Touch this button to open the Style/Pad Select window, and select a target location.
Current Chord Variation Tracks
All Style Tracks
The Key/Chord of the current track will be copied to all tracks of the current Chord Variation.
The Key/Chord of the current track will be copied to all tracks of the Style (i.e., all Chord Variations).
Copy Sounds dialog box
(Style only) Open this window by choosing the Copy Sounds item from the page menu. Here you can copy all Sounds assigned to the current Style Element tracks to a different Style
Element.
While in the Style/Pad Select window, use the buttons on top of the window to select either the User or the Favorite banks.
From Style Element
Non editable. Currently selected Style Element.
To Style Element
Target Style Element.
All Settings will be copied to all Style Element of the
Style in edit.
Var1…CountIn
Single Style Element where to copy settings to.
Style/Pad Record
Copy Expression dialog box
227
Copy Expression dialog box
(Style only) Open this window by choosing the Copy Expression item from the page menu. Here you can copy all Expression values assigned to the current Style Element tracks to a different
Style Element.
Copy Chord Table dialog box
(Style only) Open this window by choosing the Copy Chord
Table item from the page menu. Here you can copy the Chord
Table of the current Style Element to a different Style Element.
From Style Element
Non editable. Currently selected Style Element.
To Style Element
Target Style Element.
All Settings will be copied to all Style Element of the
Style in edit.
Var1…CountIn
Single Style Element where to copy settings to.
To Style Element
Target Style Element.
All Settings will be copied to all Style Element of the
Style in edit.
Var1…CountIn
Single Style Element where to copy settings to.
Copy Key Range dialog box
(Style only) Open this window by choosing the Copy Keyboard
Range item from the page menu. Here you can copy all Keyboard Range values for the current Style Element tracks to a different Style Element.
From Style Element
Non editable. Currently selected Style Element.
To Style Element
Target Style Element.
All Settings will be copied to all Style Element of the
Style in edit.
Var1…CountIn
Single Style Element where to copy settings to.
228 Style/Pad Record
Overdub Step Recording window
Overdub Step Recording window
The Step Record allows you to create a new Style/Pad by entering single notes or chords to each track, by playing them on the keyboard one at a time, with no need to play on time. This is very useful when transcribing an existing score, or needing a higher grade of detail, and is particularly suitable to create drum and percussion tracks.
To access this page, select the “Overdub Step Recording” com-
mand from the page menu.
Track (Selected track)
Name of the selected track in record.
DRUM…ACC5
Style track.
SE (Selected Style Element)
See “Element (Style Element)” on page 198.
CV (Selected Chord Variation)
See “Chord Var (Chord Variation)” on page 198.
Pos (Position)
This is the position of the event (note, rest or chord) to be inserted.
Event list
Previously inserted events. You may delete this event, and set it in edit again, by touching the Back button.
Step Time values
Length of the event to be inserted.
… Note value.
Standard (–) Standard value of the selected note.
Dot (.)
Triplet (3)
Augments the selected note by one half of its value.
Triplet value of the selected note.
Meter
Meter (time signature) of the current measure. This parameter cannot be edited. You can set the Meter in the main page of the
Style Record mode, before actually starting recording (see step 6 on page 206 for more information).
Free Memory
Remaining memory for recording.
Duration
Relative duration of the inserted note. The percentage is always referred to the step value.
25%
50%
85%
100%
Staccatissimo.
Staccato.
Ordinary articulation.
Legato.
Velocity
Set this parameter before entering a note or chord. This will be the playing strength (i.e., velocity value) of the event to be inserted.
Kbd Keyboard. You can select this parameter, by turning all counter-clockwise the dial. When this option is selected, the playing strength of the played note is recognized and recorded.
1…127 Velocity value. The event will be inserted with this velocity value, and the actual playing strength of the note played on the keyboard will be ignored.
Rest
Touch this button to insert a rest.
Tie
Touch this button to tie the note to be inserted to the previous note.
Back
Goes to the previous step, erasing the inserted event.
Next M. (Next Measure)
Goes to the next measure, and fills the remaining space with rests.
Done
Exits the Step Record mode. If you have inserted some notes, a dialog box appears, asking you to either cancel, discard or save the changes.
If you touch Cancel, exit is canceled, and you can continue editing. If you choose No, changes are not saved, and the Step
Record window is closed. If you choose Yes, changes are saved, and the Step Record window is closed.
Sound Edit
The MIDI channel
229
Sound Edit
The Sound Edit mode is where you can listen to individual
Sounds, and edit them. In this mode, the selected Sound can always be played across the full keyboard range.
You can access this mode by opening the Sound Select window, and choosing the “Edit Sound” command from the page menu
(see “Sound Select window” on page 83). Exit from this mode by
choosing the “Exit from Edit” command from the page menu
While in a different operating mode, you can easily select the
Sound to be edited when switching to the Sound mode. Just select the track the Sound to be edited is assigned to, then keep the SHIFT button pressed while pressing the SOUND button.
Hint:
This is also useful to see the Bank Select/Program Change numbers when programming a Song on an external sequencer.
Note:
Notes pointing to special Drum Kit features are marked by
Main page
Here is the main page of the Sound operating mode.
Page header
Page menu icon
Sound
Info area
Realtime
Controls area
The MIDI channel
In Sound mode, Pa300 receives and transmits on the same channel of the Upper 1 track. If the Global channel is assigned, notes
can also be received on this channel. See “MIDI: MIDI In Chan-
nels” on page 159 and “MIDI: MIDI Out Channels” on page 160
for more information.
FX area Voice Assign Mode area
How to select oscillators
While in an edit page requiring an oscillator to be selected for editing, use the vertical row of buttons on the right
(1…24 max) to select one of the available oscillators. The
number of available oscillators depends on the “Oscillators
Count” parameter (see page 232).
If you cannot see the desired oscillator, touch the scroll arrow, until the hidden oscillator is shown in the display.
When oscillators cannot be select, since the parameter contained in the current page are global and valid for the whole Sound, these buttons are greyed out, and cannot be selected.
Page header
This line shows the current operating mode and transposition.
Operating mode Master Transpose (in semitones)
Operating mode name
Name of the current operating mode.
Master transpose
Master transpose value in semitones. This value can be changed using the TRANSPOSE buttons on the control panel.
Page menu icon
Touch the page menu icon to open the menu. See “Page menu” on page 254 for more information.
Sounds, Drum Kits
Pa300 features two different types of Sounds:
• Ordinary Sounds. These are normal instrument Sounds, like pianos, strings, basses.
• Drum Kits. These are drum and percussion kits, where each note of the keyboard is a different percussive instrument. You can find Drum Kits in the Drum & SFX and
User Dk banks.
Before pressing MENU to access the edit pages, you should select a Sound of the type you wish to edit or create.
Sound Info area
This is where basic details for the Sound are shown. Touch anywhere in this area to open the Sound Select window.
Sound name
Name of the Sound assigned to the corresponding Keyboard track.
Bank
Bank the current Sound belongs to.
230 Sound Edit
Main page
Bank Select / Program Change sequence
Bank Select MSB / Bank Select LSB / Program Change numbers, in the form “CC00.CC32.PC”.
CC00
CC32
This section shows the value of the Control
Change (CC) 00 message (or Bank Select MSB) for the selected Sound.
This section shows the value of the Control
Change (CC) 32 message (a.k.a. Bank Select LSB) for the selected Sound.
PC This section shows the value of the Program
Change (PC) message for the selected Sound.
Values are in the standard 0-127 MIDI numbering format.
Note:
Some manufacturers could use the 1-128 numbering system; when connecting your Pa300 to an instrument of this kind, increment the PC value by 1 unit.
Octave Transpose icon
Octave transpose value. Use the UPPER OCTAVE buttons to change this value.
Realtime Controls area
Controls in this area allow you to edit the main parameters of the
Sounds assigned to each track. Touch one of them, and modify its value by using the VALUE DIAL controls (or moving your finger).
Note:
All values refer to the original values of the Sound.
Note:
When selecting the Write Sound command from the page menu, current parameter values, after editing the Realtime Controls, are saved with the Sound. After saving, Realtime Controls are set back to the default position.
Note:
After selecting a different Sound, Realtime Control values are automatically set to zero.
Attack Attack time. This is the time during which the sound goes from zero (at the moment when you strike a key) to it’s maximum level.
Decay
Release
Decay time. Time to go from the final Attack level to the beginning of the Sustain.
Release time. This is the time during which the sound goes from the sustaining phase, to zero.
The Release is triggered by releasing a key.
Cutoff Filter cutoff. This sets the sound brightness.
LFO Depth Intensity of the Vibrato (LFO).
LFO Speed Speed of the Vibrato (LFO).
LFO Delay Delay time before the Vibrato (LFO) begins, after the sound starts.
Resonance Use the Filter Resonance to boost the cutoff frequency.
Voice Assign Mode
Poly
The Sound will play polyphonically, allowing you play chords.
Mono
The Sound will play monophonically, producing only one note at a time.
Legato
This parameter is available when the Mono option is selected.
Note:
If “Legato” is On, certain multisamples or keyboard locations may produce an incorrect pitch.
On Legato is on. When multiple note-on’s occur, the first note-on will retrigger the sound, and the second and subsequent note-on’s will not retrigger.
Off
When legato is on, multiple note-on’s will not retrigger the voice. If one note is already on and another note is turned on, the first voice will continue sounding. The oscillator sound, envelope, and LFO will not be reset, and only the pitch of the oscillator will be updated. This setting is effective for wind instrument sounds and analog synth-type sounds.
Legato is off. Notes will always be retriggered when note-on occurs.
When legato is off, multiple note-on’s will retrigger the voice at each note-on. The oscillator sound, envelope, and LFO will be reset (and retriggered) according to the settings of the Sound.
Hold
Use this parameter to keep the notes sustained even after releasing the keys.
Note:
Please remember the Hold must be On before playing the note to be held.
FX Area
In Sound mode, two Master effect processors (MFX1 and MFX2) are available.
On/Off
Use this button to turn on or off the corresponding effect.
Selected Effect
Non editable. This shows the effect assigned to the correspond-
ing FX processor. To select a different effect, see “Effects: “B” FX
Send
Use this knob to adjust the level of the dry sound sent to the corresponding effect.
Amount
Volume of the effect that is added to the dry (non-effected) signal.
Edit menu
From any page, press the MENU button to open the Sound edit menu. This menu gives access to the various Sound edit sections.
When in the menu, select an edit section, or press EXIT or
SOUND to exit the menu and return to the main page. To return to the main page, you can also select the Main Page menu item.
When in an edit page, press EXIT or the SOUND button to return to the main page of the Sound operating mode.
• When an ordinary Sound is selected:
Edit page structure
All edit pages share some basic elements.
Operating mode Edit section
Sound Edit
Edit menu
231
Page menu icon
Selected oscillator
Parameters area
• When a Drum Kit is selected, the “Basic” section is replaced by the “DrumKit” section:
Each item in this menu corresponds to an edit section. Each edit section groups various edit pages, that may be selected by touching the corresponding tab on the lower part of the display.
Tabs
Operating mode
This indicates that the instrument is in Sound mode.
Edit section
This identifies the current edit section, corresponding to one of
the items of the edit menu (see “Edit menu” on page 231).
Page menu icon
Touch this icon to open the page menu (see “Page menu” on page 254).
Selected oscillator
Use these buttons to select the oscillator to edit.
Parameters area
Each page contains various parameters. Use the tabs to select one of the available pages. For detailed information on the vari-
ous types of parameters, see sections starting from page 231.
Tabs
Use tabs to select one of the edit pages of the current edit section.
Basic: Sound Basic
Here you can make basic settings for the Sound, such as basic oscillator settings, the oscillator count, and the polyphonic mode.
232 Sound Edit
Basic: Sound Basic
Oscillator Count
Oscillators Count
Use this box to specify the number of oscillators (up to 24) the
Sound is based on.
The total amount of polyphony varies depending on the number of oscillators used by the Sound (a maximum of 128 with only 1 oscillator per voice).
Note:
When editing the Grand Piano sound, keep in mind Oscillators 10~15 can only be heard when the Damper pedal is depressed.
Low priority
0
1
Use this parameter to decide if the highest-numbered oscillators must be turned off when more polyphony voices are needed.
Keep in mind that, with a dense polyphony, missing oscillators might not even be heard.
2
[n]…24
No oscillator will be turned off in any case.
The highest-numbered oscillator will be turned off, if needed.
The two highest-numbered oscillators can be turned off, one after the other, if needed.
The n-numbered oscillators (up to 24) can be turned off, one after the other, if needed.
Transpose Range
Top/Bottom Key
Use these parameters to set a range for transposition. Inside this range notes are transposed. Outside this range, they are not transposed. This is useful to avoid RX Sounds being transposed when transposing a Sound.
Note:
Set these (general) values so that all RX Noises assigned to any Oscillator fall out of the Transpose Range. For example, if you assigned an RX Noise to a G7 on OSC1, and an RX Noise to an A7 on OSC2, set the “Top Key” value no higher than F#7 (just below the lowest RX Noise).
Voice Assign Mode
Poly/Mono
This is the polyphonic mode of the Sound.
Poly The Sound will play polyphonically, allowing you to play chords.
Mono The Sound will play monophonically, producing only one note at a time.
Single Trigger
This parameter is available when the selected mode is Poly.
On When the same note is played repeatedly, the previous note will be silenced before the next note is sounded, so that the notes do not overlap.
Off When the same note is played repeatedly, the previous note will not be silenced before the next note is sounded.
Legato
This parameter is only available when the selected mode is
Mono. It is the same found on the main page of the Sound mode.
See “Legato” on page 230 for information on this parameter.
Priority
This parameter is available when the selected mode is Mono. It specifies which note will be given priority to play when two or more notes are played simultaneously.
Low Lowest note will take priority.
High
Last
Highest note will take priority.
Last note will take priority.
Hold
Use this parameter to keep the notes sustained even after releasing the keys.
Legato as OSC Trigger
The parameters included in this section are to be considered when a note is played ‘legato’, i.e., with no gap with the previous note. These parameters are valid for the whole Sound (all oscillators).
Max Time
This delay allows notes to be considered Legato, even if there is a small gap before them. This is useful to avoid some notes in a chord are played Legato, and some others Staccato.
1…999 ms Notes played with a small gap are still considered
Legato notes. A value of approx. 15 ms is usually considered effective when playing chords.
Max Range
This is the range (in semitones) within the Legato is considered.
If you play a wider interval, the note is considered Staccato. This is typical of some acoustic instruments, where legato is only possible within a small interval, but not on wider ones.
As an example, please try the Sound “Nylon Guitar DNC”, where the Max Range is 5 semitones. Play legato with intervals smaller than 5 semitones, and you will hear how smoother legato notes will become. Play legato with wider intervals, and legato smoothing will be lost.
1…127 st Max range in semitones.
Sound Edit
Basic: OSC Basic
233
Basic: OSC Basic
The multisample(s) on which the Sound will be based can be selected here for each of the sixteen oscillators. Each oscillator can use 1 or 2 multisamples, each one assigned to the High or
Low layer.
OSC Multisample
High/Low Bank/Num
Use these parameters to select a different multisample for each of the High and Low layers. You can use velocity to switch between the two multisamples. Offset and Level can be adjusted independently for the High and Low multisamples.
The High and Low pop-up menus is where you select the bank
(ROM or LOC), while the numeric field under it is for selecting the multisample inside the selected bank. The Sound name appears on its right.
The multisample you select for the High layer will be triggered
by velocities higher than the value of the “Velocity Multisample
Switch Low-High” parameter (see page 233). If you do not wish
to use velocity switching, set the switch to a value of 001, and select only the High multisample.
ROM
LOC
The standard Factory bank. The Factory area of the internal memory contains 560 different multisamples (preset multisamples), supplied by
Korg as standard.
“Local” multisample bank. This bank only appears in some models.
Note:
If you create a new Sound based on a Local multisample, the Sound will not play on a different instrument, unless it also includes the same Local
Samples.
Note:
Each multisample has an upper note range limit, and cannot produce sound when played above that limit.
Offset
These parameters specify the point where the multisample(s) will begin to play. For some multisamples this parameter will not be available.
Off The sound will start from the beginning of the multisample waveform.
1st…6th The sound will begin from the offset location predetermined for each sample.
No Attack The initial portion of the multisample is ignored.
AMS Activates the Alternate Modulation Source (see below).
PseudoRandom
(Only works when more than one Offset point is available in the multisample). Randomly selects one of the available Offset points (including
Attack and Off).
Level
These parameters specify the level of each multisample.
0…127 Multisample level.
Note:
Depending on the multisample, high settings of this parameter may cause the sound to distort when a chord is played. If this occurs, lower the level.
Octave
Use this parameter to adjust the pitch of the selected oscillator in octave units. The normal octave of the multisample is “0”.
-2…+1 Octave transposition.
Transpose
Use this parameter to adjust the pitch of the selected oscillator in semitone steps over a range of ±1 octave.
-12…+12 Transposition in semitones.
Tune
Use this parameter to adjust the pitch of the sample in one-cent steps (a semitone is 100 cents) over a range of ±1 octave.
-1200…+1200
Fine-tune value in cents.
Velocity Multisample Switch Low-High
This is the velocity value dividing the High and Low layers for the selected oscillator. Notes struck harder than this value will be played by the High multisample.
AMS / Offset Intensity by AMS
(Only available when the AMS option is selected in the “Offset” parameter.) Alternate Modulation Source for the Offset. See
“AMS (Alternate Modulation Source) list” on page 256.
When the “Offset Intensity by AMS” parameter has a positive value, the selected Offset point will depend on the AMS value.
For example, if the selected AMS is the Velocity, when playing softly you will select the Off or 1st Offset, when playing loudly you will select the 6th or No Attack Offset.
When the “Offset Intensity by AMS” parameter has a negative value, the selection will happen in reverse (higher-numbered
Offsets will be selected before the lowest-numbered ones).
OSC Trigger Mode
OSC Trigger parameters are used to set the condition to trigger the selected Oscillator. For example, a Normal Oscillator will always play, while a Legato Oscillator will only play when a note is played Legato.
234 Sound Edit
Basic: OSC Basic
Mode
This is the trigger that allows the selected Oscillator to play.
Normal The Oscillator always plays when a key is pressed
(unless the “OSC Off when Sound Controllers are
On” parameter is checked).
Legato The Oscillator only plays when the note is played
‘legato’. The delay and pitch interval from the previous note are also to be considered, as set in the
Sound > Basic page (see “Legato as OSC Trigger”
above).
Staccato The Oscillator only plays when the note is NOT played legato (it is the opposite of the above choice).
Sound Controller 1
The Oscillator only plays after a switch or footswitch programmed as the Sound Controller 1 has been pressed. Press and release it, and the next note will also trigger the selected Oscillator.
If you keep it pressed, the Oscillator will continue to be triggered until you release the controller.
Note:
In Sequencer and Sound mode, the Assignable Switch 1 is automatically assigned to Sound
Controller 1.
Hint:
This (like the following Sound Controllers) is especially useful to enable a different nuance to the following note(s).
Sound Controller 2
As the above, but with a switch or footswitch programmed as the Sound Controller 2.
Note:
In Sequencer and Sound mode, the Assignable Switch 2 is automatically assigned to Sound
Controller 2.
Sound Controller Y+
As the above, but with the Joystick, assigned as the Sound Controller, pushed at least half-way forward (value 64). The controller is turned off when the Joystick is released. This control is equivalent to a CC#01 (Modulation) Control
Change message.
Sound Controller Y-
Cycle 1
As the above, but with the Joystick, assigned as the Sound Controller, pulled at least half-way back (value 64). The controller is turned off when the Joystick is released. This control is equivalent to a CC#02 (Breath Controller) Control Change message.
All Oscillators with this same trigger mode assigned will play in cycle. For example, if Oscillators 1, 2 and 4 are assigned the Cycle 1 trigger mode, the following note will trigger Oscillator 1, then 2, then 4, then 1 again.
Hint:
This is especially useful to trigger different sound nuances or create vector-like sound sequences.
Cycle 2
Random
As the above, for use with a different (and parallel) group of Oscillators. Having two Cycle Trigger Modes allows for cycling stereo multisamples.
As the above, but with a random selection of
Oscillators within the assigned group.
After Touch Trigger On
The Oscillator starts playing when an After
Touch message with a value of at least 90 is received. The Velocity value is the same as the latest Note On message. The Oscillator will stop playing when the After Touch value falls back to zero.
Note:
After Touch messages can be received via
MIDI, or contained in a Standard MIDI Files.
Hint:
This (like the following Triggers) is especially useful to trigger harmonics or growls when a note is already playing.
Y+ Trigger On
As the above, but with the Joystick, assigned as the Sound Controller, pushed at least half-way forward (value 64). The controller is turned off when the Joystick is released. This control is equivalent to a CC#01 (Modulation) Control
Change message.
Y- Trigger On
As the above, but with the Joystick, assigned as the Sound Controller, pulled at least half-way back (value 64). The controller is turned off when the Joystick is released. This control is equivalent to a CC#02 (Breath Controller) Control Change message.
Legato Up Like Legato, but is only activated when the sec-
ond note is out of the “Max Range” value (see page 232) and it is higher than the first one.
Legato Down Like Legato, but is only activated when the sec-
ond note is out of the “Max Range” value (see page 232) and it is lower than the first one.
Delay
This parameter sets a delay time from the note-on to the real beginning of the sound. With a setting of KeyOff, the sound will begin when note-off occurs. This is useful to create sounds such as the “click” that is heard when a harpsichord note is released.
In this case, set the “Sustain” parameter to 0 (see page 247).
0…5000ms Delay time in milliseconds.
Key Off The sound will begin when the note is released.
The note velocity is read from the Key On Velocity.
Key Rel
Nat Rel
Key Release. The sound will begin when the note is released. The note velocity is read from the Key
Off Velocity.
Natural Release. The sound will begin when the note is released. The note starts from the current volume of the sound. If the sound’s volume is already at zero, this oscillator is not retriggered.
Sound Edit
Basic: Vel/Key Zone
235
OSC Off when Sound Controllers are On
This ‘mirrors’ the way Sound Controllers work. With this parameter checked, the current Oscillator will not play when one of the
Sound Controllers (Sound Controller 1, Sound Controller 2,
Sound Controller Y+, Sound Controller Y-) is activated. It should be applied to Oscillators with Normal, Legato, Staccato,
Cycle 1, Cycle 2, Random, After Touch Trigger On, Y+ Trigger
On, Y- Trigger On, Legato Up and Legato Down trigger modes, that can be turned off by using a switch, footswitch, or the Joystick, programmed as a Sound Controller.
Basic: Damper Mode
Here you can program how the Damper pedal works, the Resonance/Halo effect, and the range within the Note Off message is not sent to the selected Oscillator:
Basic: Vel/Key Zone
Here you can set a note and velocity range “window” for the selected oscillator.
Velocity Zone
Here you can specify the velocity range for the selected oscillator.
Note:
You cannot set the Bottom Velocity higher than the Top
Velocity, nor the Top Velocity lower than the Bottom Velocity.
0…127 Assigned velocity.
Keyboard Range
Here you can specify the note range for the selected oscillator.
Note:
You cannot set the Bottom Key higher than the Top key, nor the Top Key lower than the Bottom key.
C-1…G9 Assigned note.
Scaled Velocity
Use these parameters to scale velocity values received by the
oscillator. By using the “Velocity Zone” function (see above), an
oscillator may be limited to a restricted range (say, 10 to 20), that may result in weak dynamics when the associated sample is triggered.
By assigning a different value to these parameters, the restricted range will be converted to a wider range (for example, the lowest range value of 10 may be converted to a Scaled Velocity value of
0, and the highest range value of 20 may be converted to a Scaled
Velocity value of 127). All values included between the minimum and maximum value are scaled accordingly.
As a consequence, you can create an RX Sound of guitar, by assigning the guitar fret noise to the 10~20 velocity range. When a dynamics value between 10~20 is received, the real velocity value is scaled to the Scaled Velocity values, and plays louder.
0…127 Assigned velocity value.
Damper Mode
Here you can program the Damper Mode for each Oscillator.
Damper Mode
This parameter determines how the Damper pedal works.
Normal The Damper pedal works as usual: by keeping it pressed, the note decay is lengthened, to simulate the longer note decay of an acoustic piano.
Damper Off The Damper pedal is deactivated for the selected
Oscillator.
Hint:
Set the Damper to Damper Off, if you plan to use the selected Oscillator in the Damper Trigger page to trigger sounds. Check the Sound “Harmonica DNC”, and see how the Damper Trigger is used.
Resonance/Halo
The Damper pedal enables a multisample, normally used for the Piano Resonance/Halo effect.
If the pedal is pressed when the note is already playing, the speed at which the multisample appears and disappears, and the volume it can reach, depend on the “Resonance/Halo” parameters programmed below.
Hint:
This Damper mode is much more realistic than the Normal mode, but also ‘steals’ more notes from the overall polyphony, and is especially suggested for solo piano playing.
Note:
Half-pedaling, as well as Damper messages received via MIDI (as Control Change #64), control the level of the Resonance/Halo effect.
236 Sound Edit
Basic: Damper Trigger
Repedaling This mode acts as the Normal mode, but also enables the Damper pedal effect when the pedal is pressed after the note has been released (Note
Off). In this case, the Damper effect starts from the current Release level, and decays slowly.
Warning:
Do not use Sounds with the “Repedaling” assigned to any Oscillator in a Style, or the sustained sound could cause unwanted dissonances. The “Grand Piano RX” Sound is an example of this kind of Sounds to be avoided in a Style track.
Resonance/Halo
Here you can program the Resonance/Halo effect that is enabled by the “Resonance/Halo” Damper Mode (see above). These parameters only affect the Resonance/Halo that is enabled when pressing the Damper pedal down when a note is already playing.
Attack Time
Time needed to the Resonance/Halo to reach the maximum level after the Damper pedal has been pressed.
0…99 Attack time as a value relative to the current Amp
Env Attack value.
Release Time
Time needed to the Resonance/Halo to extinguish after the
Damper pedal has been released.
0…99 Release time as a value relative to the current
Amp Env Release value.
Volume Scaling
Volume of the Resonance/Halo effect, relative to the current level of the sound (as determined by the sum of the Multisample
Volume, Velocity value and current Amp Env value).
0%
1…100%
No volume at all.
Volume expressed as a percentage of the current sound level.
No Note Off Range
From Note
Like in an acoustic piano, the dampers can only dampen strings up to a certain pitch. Starting from that pitch, it is as if the
Damper was always pressed down.
Note:
This parameter only affects the Normal Damper mode. It has no effect on the Resonance/Halo mode.
C#-1…G9 Note starting from which the Damper is always pressed down. In an acoustic piano, this is usually set to G6.
Basic: Damper Trigger
Here you can set the notes triggered by pressing and releasing the Damper Pedal. The parameters in this page have effect on the Sound as a whole, and not on a single Oscillator.
As warned by the message on the lower area of the display, these parameters have no effect if the assigned note falls inside of the
Transpose Range programmed in the “Basic: Sound Basic” page
(see “Transpose Range” on page 232). Please either choose a note
out of that range, or modify the Transpose Range, so that the note is either higher or lower than that range.
Transpose Range
Damper Trigger Sample
Damper On Trigger
Pressing down the Damper pedal (Damper On) can play a special sample assigned to a particular note (for example, pedal down squeaking in the Sound “Grand Piano RX”, breathing in in the Sound “Harmonica DNC” …).
Note
Note where the special Damper On sample is located.
Velocity
Fixed velocity of the special Damper On sample.
Note Off on Damper Off
If checked, the special Damper On sample stops playing when the Damper pedal is released.
Damper Off Trigger
Releasing the Damper pedal (Damper Off) can play a special sample assigned to a particular note (for example, Damper pedal release noise in the Sound “Grand Piano RX”).
Note
Note where the special Damper Off sample is located.
Velocity
Fixed velocity of the special Damper Off sample.
Sound Edit
Basic: EQ
237
Basic: EQ
In this page, you can set the semi-parametric three-band equalizer for the selected oscillator.
DrumKit: Sample Setup (Drum Kits)
This page appears when you edit a Drum Kit. Here you can select a different percussive sample for each key and layer.
Drum Kits use only one oscillator.
Selected
Layer
Velocity
Switches
Enable
Check this box to activate the equalizer on the selected oscillator.
TRIM
This knob allows you to limit the level of the signal passing through the equalizer. Extreme equalization values can overload the audio circuits and lead to distortion. This control lets you set equalization as desired, and at the same time avoid overloading.
0…99 Limiting value. The higher, the most effective it is.
Low Gain
Low frequencies equalization. This is a shelving curve filter. Values are shown in decibels (dB).
-18…+18dB Low gain value in decibels.
Mid (Middle) Gain
Middle frequencies equalization. This is a bell curve filter. Values are shown in decibels (dB).
-18…+18dB Middle gain value in decibels.
Mid (Middle) Freq
Centre frequency of the middle frequencies equalization.
-0.100…+10 kHz
Centre frequency in kHz.
Hi (High) Gain
High frequencies equalization. This is a shelving curve filter.
Values are shown in decibels (dB).
-18…+18dB High gain value in decibels.
Key
Key
Key in edit. To select a key, you can press a key on the keyboard while this parameter is selected.
Layers
Number of layers assigned to the selected key. Depending on the number of selected layers, you can have a different number of velocity switches.
Assign
Use this parameter to turn the sample on/off.
On
Off
The sample is assigned to the selected key.
The sample is not assigned. The sample assigned to the next highest assigned key is used instead.
Layer Selector & Velocity Sample Switch
Selected Layer
Use these radio buttons to select the layer to edit. The available
layers depends on the “Layers” parameter.
Velocity Switches
Each of these values separates the two adjacent layers for the selected sample/key. Notes stricken harder than a velocity switch will be played by the layer on the right, while notes stricken softer are played by the layer on the left.
The first and last values are not editable, and are always 001 and
127 (respectively).
Drum Sample
Bank/Num/Name
Use these parameters to select a different Drum Sample for each layer. You can use velocity to switch between the available samples. Offset and Level can be adjusted independently for the various drum samples.
238 Sound Edit
DrumKit: Sample Setup (Drum Kits)
The pop-up menu is where you select the bank (ROM or LOC), while the numeric field under it is for selecting the sample inside the selected bank. The sample name appears on its right.
The sample you select for the current layer will be triggered by
switching, assign just one layer to the selected key, and assign a sample only to Layer 1.
ROM The standard Factory bank. The Factory area of the internal memory contains a series of different multisamples (preset multisamples), supplied by
Korg as standard.
LOC “Local” multisample bank. This bank only appears in some models.
Note:
If you create a new Sound based on a Local multisample, the Sound will not play on a different instrument, unless it also includes the same Local
Samples.
Note:
Each sample has an upper note range limit, and may not produce sound when played above that limit.
Rev (Reverse)
The sample will be played in reverse. In the case of Factory or
Local samples that were originally specified to loop, the sample will be played back in “one-shot” reverse mode. If the sample was originally set to reverse, it will playback without change.
On
Off
The sample will playback in reverse.
The sample will play back normally.
Ofs (Offset)
These parameters specify the point where the sample will begin to play. For some samples this parameter will not be available.
Off The sound will start from the beginning of the sample.
1st…6th The sound will begin from the offset location pre-determined for each sample.
The initial portion of the multisample is ignored.
NoAtk
AMS Activates the Alternate Modulation Source (see below).
PseudoRandom
(Only works when more than one Offset point is available in the multisample). Randomly selects one of the available Offset points (including
Attack and Off).
AMS / Int(ensity)
(Only available when the AMS option is selected in the “Offset” parameter.) Alternate Modulation Source for the Offset. See
“AMS (Alternate Modulation Source) list” on page 256.
When the “Intensity” parameter has a positive value, the selected
Offset point will depend on the AMS value. For example, if the selected AMS is the Velocity, when playing softly you will select the Off or 1st Offset, when playing loudly you will select the 6th or No Attack Offset.
When the “Intensity” parameter has a negative value, the selection will happen in reverse (higher-numbered Offsets will be selected before the lowest-numbered ones).
Level
This parameter specifies the level of the sample. For more information, see “Level” on page 233.
Attack
This parameter is an offset to the selected sample’s EG Attack.
Decay
This parameter is an offset to the selected sample’s EG Decay.
Cutoff
This parameter sets the cutoff frequency for the filter applied to the selected sample.
Resonance
This parameter sets the resonance for the filter applied to the selected sample.
Transpose
This parameter transposes the selected sample. Use it to change the pitch of the selected key.
0 No transposition applied.
-64…+63 Transpose value in semitones.
Tune
Use this parameter to fine-tune the assigned sample.
0 Original tuning.
-99…+99 Fine-tuning value in cents (1/100 of a semitone).
Sound Edit
DrumKit: EQ (Drum Kits)
239
DrumKit: EQ (Drum Kits)
This page appears when you edit a Drum Kit. In this page, you can set the semi-parametric three-band equalizer for the selected key, layer and Drum sample.
DrumKit: Voice Mixer (Drum Kits)
This page appears when you edit a Drum Kit. Here you can set various parameters for the different percussive sample assigned to the selected key and layer.
Key
Layer Selector & Velocity Sample Switch
See “Layer Selector & Velocity Sample Switch” on page 237.
Drum Sample Equalizer
Enable
Check this box to activate the equalizer on the selected oscillator.
TRIM
This knob allows you to limit the level of the signal passing through the equalizer. Extreme equalization values can overload the audio circuits and lead to distortion. This control lets you set equalization as desired, and at the same time avoid overloading.
0…99 Limiting value. The higher, the most effective it is.
Low Gain
Low frequencies equalization. This is a shelving curve filter. Values are shown in decibels (dB).
-18…+18dB Low gain value in decibels.
Mid (Middle) Gain
Middle frequencies equalization. This is a bell curve filter. Values are shown in decibels (dB).
-18…+18dB Middle gain value in decibels.
Mid (Middle) Freq
Centre frequency of the middle frequencies equalization.
-0.100…+10 kHz
Centre frequency in kHz.
Hi (High) Gain
High frequencies equalization. This is a shelving curve filter.
Values are shown in decibels (dB).
-18…+18dB High gain value in decibels.
Key
Voice Assign Mode
Single Trigger
Use this parameter to set the sample as a single-triggered one.
On When the same key (note) is played repeatedly, the previous note will be stopped before the new note is triggered, so that they will not overlap.
Off When the same key (note) is played repeatedly, the previous note will not be stopped before the new note is triggered.
Exclusive Group
Exclusive Groups are sets of mutually exclusive keys, stopping each other. For example, if the Open Hi-Hat and Closed Hi-Hat are assigned the same Exclusive Group, playing an Open Hi-Hat will stop the Closed Hi-Hat playing.
None No Exclusive Group assigned. The selected key will not be stopped by any other key.
1…127 Exclusive Groups assigned to the selected key.
When you play this key, all other keys assigned to the same Exclusive Group will be stopped, and this key will be stopped by other keys assigned to the same Exclusive Group.
Enable Note On Receive
Use this parameter to enable/disable the reception of the Note
On (Key On) message.
On
Off
The Note On message is normally received.
The Note On message is not received. Therefore, the corresponding key is muted.
Enable Note Off Receive
Use this parameter to enable/disable the reception of the Note
Off (Key Off) message.
On The sound will stop as soon as you release the key.
240 Sound Edit
Pitch: Pitch Mod
Off The sound will continue playing up to the end of the sample. The Note Off message is ignored.
Mixer
Pan
This parameter sets the position in the stereo panorama of the selected key.
Send to MFX1, MFX2
These parameters set the MFX1 or MFX2 send level for the selected key.
Pitch: Pitch Mod
Here you can make pitch settings for each oscillator. These settings specify how keyboard location will affect the pitch of each oscillator, and select the controllers that will affect the oscillator pitch and specify the depth of control. You can also specify the amount of pitch change produced by the Pitch EG and by LFO1 and LFO2, switch portamento on/off and specify how it will apply.
Pitch
Pitch Slope
Normally you will leave this parameter at +1.0. Positive (+) values will cause the pitch to rise as you play higher notes, and negative (–) values will cause the pitch to fall as you play higher notes.
With a value of 0, there will be no change in pitch, and the C4 pitch will sound regardless of the keyboard location you play.
The diagram shows how the Pitch Slope and pitch are related:
Pitch
+2
+1
2oct
1oct
1oct
0
–1
C4 C5 Key
-1.0…+2.0
Pitch slope value.
Pitch Bend Mode
The Pitch Bend can work in different ways, depending on the selected option.
Normal Linear bending.
Fixed Scale When this parameter is turned on on an oscillator, Pitch Bend and Sub Scale have no effect on its tuning. The relevant parameters are greyed out and non-selectable. This is useful when assigning to the oscillator a noise (like the breath noise of a reed) with a fixed frequency, that must not change on different notes and different pitches.
Highest Pitch Bend only
On this oscillator, Pitch Bend is only activated on the highest note currently playing on the keyboard.
Sound Edit
Pitch: Pitch Mod
241
Lowest Pitch Bend only
On this oscillator, Pitch Bend is only activated on the lowest note currently playing on the keyboard.
Ribbon to Pitch
Pitch Bend range assigned to the Ribbon Controller message
(CC#16). The Ribbon Controller message can be received from
MIDI or contained in a Standard MIDI File.
-12…0…+12 Maximum bending, when touching the extreme left or right of the Ribbon Controller.
JS (+X)
This parameter specifies how the pitch will change when the joystick is moved all the way to the right. A setting of 12 produces 1 octave of change.
For example if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the original pitch.
-60…+12 Maximum pitch change in semitones.
JS (–X)
This parameter specifies how the pitch will change when the joystick is moved all the way to the left. A setting of 12 produces 1 octave of change.
For example, if you set this to -60 and move the joystick all the way to the left, the pitch will fall five octaves below the original pitch. This can be used to simulate the downward swoops that a guitarist produces using the tremolo arm.
-60…+12 Maximum pitch change in semitones.
AMS (Alternate Modulation Source)
This parameter selects the source that will modulate the pitch of
the selected oscillator. See “AMS (Alternate Modulation Source) list” on page 256.
Intensity
This parameter specifies the depth and direction of the effect produced by “AMS”. With a setting of 0, no modulation will be applied. With a setting of 12.00, the pitch will change up to one octave.
For example, if you set “AMS” to JS (-Y) and move the joystick downwards, the pitch will rise if this parameter is set to a positive (+) value, or fall if this parameter is set to a negative (–) value. The range is a maximum of one octave.
-12.00…+12.00
Parameter value.
Pitch EG
The Pitch EG (Envelope Generator) is unique to all oscillators.
Velocity Intensity
This parameter specifies the depth and direction of the modula-
tion that the pitch EG specified on “Pitch: Pitch EG” will apply to
the pitch. With a setting of 12.00, the pitch will change a maximum of ±1 octave.
-12.00…+12.00
Parameter value.
Pitch EG AMS (Alternate Modulation Source)
This parameter selects the source that will modulate the pitch
EG of the selected oscillator. See “AMS (Alternate Modulation
Pitch EG Intensity
This parameter specifies the depth and direction of the effect that “AMS” will have. For example, if you set “AMS” to Velocity and set this value to +12.00, the velocity will control the range of pitch change produced by the pitch EG in a range of ±1 octave.
As you play more softly, the pitch change will draw closer to the pitch EG levels.
Pitch change (level)
Note-on
Note-off
Note-on
Note-off
Note-on
Note-off
Softly played
(Intensity (Pitch EG) setting)
Strongly played with a positive (+) value
Strongly played with a negative (–) value
Note:
“Intensity” (Pitch EG) and AMS will be added to determine the depth and direction of the pitch modulation applied by the pitch EG.
Portamento
Enabled
This parameter turns the portamento effect (smooth change in pitch from one note to the next) on/off, and specifies how it will be applied.
Note:
Portamento will also be switched when CC#65 (Portamento
SW) is received.
On
Off
Portamento will be applied.
Portamento will not be applied.
Fingered
This parameter specifies whether the portamento effect restarts or not with each note played.
On
Off
Portamento will restart with each note.
Portamento will not restart with each note.
Time
This parameter sets the portamento time. Increasing the value will produce a slower change in pitch.
000…127 Portamento time in MIDI value.
LFO 1/2
LFO1/2 Int
Intensity of the corresponding LFO.
-12…0…+12 Parameter value. Negative values invert the LFO shape.
242 Sound Edit
Pitch: Pitch EG
JS+Y
Intensity of the corresponding LFO when the joystick is pushed forward.
-12…0…+12 Parameter value. Negative values invert the LFO shape.
AMS / Intensity
Alternate Modulation Source for the LFO. See “AMS (Alternate
Modulation Source) list” on page 256. Use the “Intensity”
parameter to set the intensity of the modulation.
Pitch: Pitch EG
Here you can make settings for the pitch EG, which creates timevariant changes in the pitch of the oscillators. The depth of pitch change produced by these EG settings on the oscillators is
adjusted by the “Intensity (AMS1/2 Intensity)” parameter (see page 243).
Diagram
The diagram on top of the page shows the Pitch envelope line.
Level
These parameters specify the amount of pitch change. The actual
amount of pitch change will depend on the “Intensity (AMS1/2
Intensity)” parameter (see below). For example, with an “Inten-
sity” setting of +12.00, a “Level” setting of +99 would raise the pitch one octave, and a “Level” setting of –99 would lower the pitch one octave.
Time-varying pitch settings (when Pitch EG Intensity = +12.00)
+99 = approximately 1 octave Attack Level
Note-on Note-off
0 = pitch when key is held
(sustained)
Start Level
Attack
Time
–99 = approximately 1 octave
Decay
Time
Time
Release Level
Release Time
Start Level
Specifies the amount of pitch change at note-on.
-99…+99 Parameter value.
Attack Level
Specifies the amount of pitch change when the attack time has elapsed.
-99…+99 Parameter value.
Release Level
Specifies the amount of pitch change when the release time has elapsed.
-99…+99 Parameter value.
Time
These parameters specify the time over which the pitch change will occur.
See diagram above.
Sound Edit
Pitch: Pitch EG
243
Attack Time
Specifies the time over which the pitch will change from note-on until it reaches the pitch specified as the attack level.
0…99 Parameter value.
Decay Time
Specifies the time over which the pitch will change after reaching the attack level until it reaches the normal pitch.
0…99 Parameter value.
Release Time
Specifies the time over which the pitch will change from note-off until it reaches the pitch specified as the release level.
0…99 Parameter value.
Level Modulation
Pitch EG change (level) (AMS=JS-Y/Velocity, Intensity= positive (+) value
Note-on Note-on Note-on
Note-off Note-off Note-off
A note played softly with
Start Level Swing set at 0,
Attack Level Swing set to +, the Joystick pulled on
A note played strongly with
Start Level Swing set to 0,
Attack Level Swing set to +, the Joystick pulled on
A note played strongly with
Start Level Swing set to 0,
Attack Level Swing set to –, the Joystick pulled on
AMS1/2 (Alternate Modulation Source 1/2)
These parameters select the source that will control the pitch EG
“Level” parameters (“AMS (Alternate Modulation Source) list” on page 256).
Intensity (AMS1/2 Intensity)
These parameters specify the depth and direction of the effect applied by “AMS1”. With a setting of 0, the levels specified by
For example, if “AMS1” is Joystick Y+, moving the Joystick in the upper direction to turn it on will change the “Level” parameters of the Pitch EG. As the absolute value of “Intensity” is increased, the pitch EG levels will change more when the Joystick is released. The direction of the change is specified by “St (Start
Level Swing)” and “At (Attack Level Swing)”. When the Joystick is released, the pitch EG levels will return to their own settings.
If “AMS1” is set to Velocity, increasing the absolute value of
“Intensity” will produce increasingly wider change in pitch EG levels for strongly-played notes. The direction of the change is
specified by “St (Start Level Swing)” and “At (Attack Level
Swing)”. As you play more softly, the pitch change will draw
closer to the pitch EG levels.
-99…+99 Parameter value.
St (Start Level Swing)
This parameter specifies the direction of change in “Start Level”
caused by “AMS1/2”. If “Intensity” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it.
With a setting of 0 there will be no change.
At (Attack Level Swing)
This parameter specifies the direction of change in “Attack
Level” caused by “AMS1/2”. If “Intensity” is a positive (+) value, a
setting of + will raise the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change.
Time Modulation
Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)
Note-on
Note-on
Note-on
Note-off Note-off Note-off
A note played softly with
Attack Time Swing set to + and Decay Time Swing set to
A note played strongly with
Attack Time Swing set to + and
Decay Time Swing set to +
A note played strongly with
Attack Time Swing set to – and
Decay Time Swing set to –
AMS (Alternate Modulation Source)
This parameter selects the source that will control the “Time”
parameters of the pitch EG (see “AMS (Alternate Modulation
Intensity (AMS Intensity)
This parameter specifies the depth and direction of the effect that “AMS” will have on the “Time” parameters. With a setting of
0, the pitch EG times will be just as specified by the “Time” set-
tings.
The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time that comes next.
For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is reached.
When this parameter is set to values of 16, 33, 49, 66, 82, or 99, the specified EG times will speed up as much as 2, 4, 8, 16, 32, or
64 times respectively (or slowed down to 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 of the original time).
For example if “AMS” is set to Velocity, increasing the absolute value of “Intensity” will allow strongly-played notes to increase the changes in pitch EG “Time” values. The direction of the
change is specified by “At (Attack Time Swing)” and “Dc (Decay
Time Swing)”. As you play more softly, the pitch EG times will
more closely approach the actual settings of the pitch EG.
-99…+99 Parameter value.
At (Attack Time Swing)
This parameter specifies the direction in which “AMS” will affect
the “Attack Time” parameter. With positive (+) values of “Inten-
sity”, a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of
0 there will be no change.
Dc (Decay Time Swing)
Specify the direction in which “AMS” will affect the “Decay
Time”. With positive (+) values of “Intensity”, a setting of + will
cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.
244 Sound Edit
Filter: Filter Type
Filter: Filter Type
Here you can make settings for the filters that will be used by the oscillators. You can select either a 24 dB/octave low pass filter with resonance, or a series connection of a 12 dB/octave low pass filter and a 12 dB/octave high pass filter.
Resonance (Resonance A)
The resonance emphasizes the overtone components that lie in the region of the cutoff frequency specified by “Frequency”, producing a more distinctive sound. Increasing this value will produce a stronger effect.
00…99 Resonance value.
Res. Mod. by AMS (Resonance modulated by AMS)
Selects the source that will control the “Resonance” level. See
“AMS (Alternate Modulation Source) list” on page 256.
The effect of resonance
Low Pass
Level
Filter Type
This parameter selects the type of filter (Low Pass Resonant, Low
Pass & High Pass) for the selected oscillator.
Low Pass Resonance
When the Low Pass filter type is selected, only filter A will be activated.
Low Pass & High Pass
When the Low Pass & High Pass filter type is selected, the filter B will be activated.
Trim
Use this parameter to adjust the level at which the audio signal output from the selected oscillator is input to filter A.
Note:
If this value is raised, the sound may distort if Resonance is set to a high value or when you play a chord.
00…99 Trim level.
Filter A
Frequency (Cutoff Frequency A)
This parameter specifies the cutoff frequency of filter A.
Level
Low Pass
12dB/oct
24dB/oct
Frequency
This is a filter that cuts the high-frequency region above the cutoff frequency.
This is the most common type of filter, and is used to cut part of the overtone components, making an originally bright timbre sound more mellow (darker).
When the “Filter Type” is Low Pass
Resonance, the cutoff will have a steeper slope.
00…99 Cutoff frequency value.
Low resonance value High resonance value
Intensity (AMS Intensity)
This parameter specifies the depth and direction of the effect
For example if Velocity has been selected, changes in keyboard velocity will affect the resonance.
With positive (+) values, the resonance will increase as you play more strongly, and as you play more softly the resonance will approach the level specified by the “Resonance” setting.
With negative (–) values, the resonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level specified by the “Resonance” setting.
The resonance level is determined by adding the “Resonance” and “Intensity (AMS Intensity)” values.
-99…+99 Parameter value.
Filter B
Frequency (Cutoff Frequency B)
This parameter specifies the cutoff frequency of filter B. This
parameter will be displayed when “Filter Type” is set to Low Pass
& High Pass.
High Pass
Level
12dB/oct
This filter cuts the low-frequency range that lies below the cutoff frequency. By cutting the lower overtones, it lightens the tone.
Frequency
00…99 Cutoff frequency value.
Sound Edit
Filter: Filter Mod
245
Filter: Filter Mod
These settings let you apply modulation to the cutoff frequency
(“Frequency”) of the filter for the selected oscillator to modify the tone.
Tracking to A/B
These parameters specify the note numbers at which keyboard tracking will begin to apply, and set the “Intensity to A” and
“Intensity to B” parameters to specify the depth and direction of the change applied to filters A and B.
For the range of notes between “Key Low” and “Key High”, the cutoff frequency will change according to the keyboard location
(pitch).
-99…+99 Parameter value.
Filter EG
hanges in cutoff frequency
Note-on
Note-off
Note-on
Note-off
Note-on
Note-off
When “Filter Type” is Low Pass Resonance, parameters for filter
B will not be editable (greyed out).
Keyboard Tracking
Key Low/High
These settings specify keyboard tracking for the cutoff frequency of the filter for the selected oscillator. The way in which the cutoff frequency is affected by the keyboard location you play can be specified by the “Key Low”, “Key High”, “Ramp Low” and
“Ramp High” parameters.
Keyboard tracking will apply to the range below the specified
Low note number, and above the specified High note number.
C–1…G9 Lowest/Highest note in the range.
Ramp Low/High
These parameter specifies the angle of keyboard tracking.
If “Intensity to A” and “Intensity to B” are set to +50, “Ramp
Low” is set to –62 and “Ramp High” is set to +62, the angle of the change in cutoff frequency will correspond to the keyboard location (pitch). This means that the oscillation that occurs when
you increase the “Resonance (Resonance A)” will correspond to
the keyboard location.
If you set “Ramp Low” to +43 and “Ramp High” to –43, the cutoff frequency will not be affected by keyboard location. Use this setting when you do not want the cutoff frequency to change for each note.
-99…+99 Angle value.
Here is how cutoff frequency is affected by keyboard location and the Ramp setting (“Intensity to A” and “Intensity to B” =
+50):
Cutoff frequency
High Ramp=+99
High Ramp=+62
High Ramp=0
High Ramp=–43
High Ramp=–99
Low Ramp=+99
Low Ramp=+43
Low Ramp=0
Low Ramp=–62
Low Ramp=–99
Low Key High Key
Key oftly played Strongly played
Setting to +
Strongly played
Setting to –
Velocity to A
This parameter specifies the depth and direction of the effect that velocity will have on the time-varying changes created by
the filter EG (as set on “Filter: Filter EG”) to control the filter A
cutoff frequency.
With positive (+) values, playing more strongly will cause the filter EG to produce greater changes in cutoff frequency. With negative (–) values, playing more strongly will also cause the filter
EG to produce greater changes in cutoff frequency, but with the polarity of the EG inverted.
99…+99 Value of the Velocity to A parameter.
Velocity to B
This parameter specifies the depth and direction of the effect that velocity will have on the time-varying changes created by
the filter EG to control the filter B cutoff frequency (see “Velocity to A”).
99…+99 Value of the Velocity to B parameter.
Int to A (Intensity to A)
Specifies the depth and direction of the effect that the time-varying changes created by the filter 1 EG will have on the filter A cutoff frequency.
With positive (+) settings, the sound will become brighter when the EG levels set by Filter EG “Level” and “Time” parameters are in the “+” area, and darker when they are in the “–” area.
With negative (–) settings, the sound will become darker when the EG levels set by Filter EG “Level” and “Time” parameters are in the “+” area, and brighter when they are in the “–” area.
-99…+99 Parameter value.
Int to B (Intensity to B)
Specifies the depth and direction of the effect that the time-varying changes created by the filter EG will have on the filter B cut-
off frequency (see “Int to A (Intensity to A)”).
-99…+99 Parameter value.
246 Sound Edit
Filter: Filter LFO
AMS (EG Alternate Modulation Source)
Selects the source that will control the depth and direction of the effect that the time-varying changes produced by the filter EG
will have on the cutoff frequency of filters A and B. See “AMS
(Alternate Modulation Source) list” on page 256.
Int to A (Intensity to A)
Specifies the depth and direction of the effect that “AMS” will
have on filter A. For details on how this will apply, refer to “Int to
Int to B (Intensity to B)
Specifies the depth and direction of the effect that “AMS” will
have on filter B. For details on how this will apply, refer to “Int to
Note:
The sum of the settings for “Velocity to A/B”, “Intensity to A/
B”, and “(AMS) Intensity to A/B” will determine the depth and direction of the effect produced by the filter EG.
Filter A/B Modulation
AMS1 (Alternate Modulation Source 1 for filter A/B)
Selects the source that will control modulation of the filter A
cutoff frequency. See “AMS (Alternate Modulation Source) list” on page 256.
Note:
The filter B parameters will be displayed when “Filter Type” on page 244 is Low Pass & High Pass.
Intensity (Intensity to AMS1)
Specifies the depth and direction of the effect that “AMS1” will have.
When “AMS1” is JS X, a positive (+) value for this parameter will cause the cutoff frequency to rise when the joystick is moved toward the right, and fall when the joystick is moved toward the left. With a negative (–) value for this parameter, the opposite will occur.
This value is added to the setting of the Filter A “Frequency”.
AMS2 (Alternate Modulation Source 2 for filter A/B)
Selects the source that will control modulation of the filter A
cutoff frequency (see “AMS (Alternate Modulation Source) list” on page 256).
Intensity (Intensity to AMS2)
Specifies the depth and direction of the effect that the selected
source will have (see “Intensity (Intensity to AMS1)” on page 246).
Filter: Filter LFO
Here you can use the filter LFO to apply cyclic modulation to the cutoff frequency of the filter (for the selected oscillator) to create cyclical changes in tone.
LFO 1
Intensity to A
Specifies the depth and direction of the modulation that LFO1
(set on “LFO: LFO1”) will have on the cutoff frequency of filter
A. Negative (–) settings will invert the phase.
Change in cutoff
Low setting High setting
-99…+99 Parameter value.
Intensity to B
Specify the depth and direction of the modulation that LFO1
will have on the cutoff frequency of filter B (see “Intensity to A”).
-99…+99 Parameter value.
JS (Joystick) –Y Intensity to A
By moving the joystick in the Y direction (toward yourself), you can control the depth at which LFO1 modulates the cutoff frequency of filter A. This parameter specifies the depth and direction of the control.
Higher settings of this parameter will produce greater increases in the effect of LFO1 on the filter when the joystick is moved toward yourself.
-99…+99 Parameter value.
JS (Joystick) –Y Intensity to B
By moving the joystick in the Y direction (toward yourself), you can control the depth at which LFO1 modulates the cutoff frequency of filter B. This parameter specifies the depth and direc-
tion of the control (see “JS (Joystick) –Y Intensity to A”).
AMS (Filter LFO1 Alternate Modulation Source)
Select a source that will control the depth and direction of cutoff
frequency change for both filters A and B. See “AMS (Alternate
Sound Edit
Filter: Filter EG
247
Intensity to A
Specifies the depth and direction of the effect that “AMS” will have on filter A.
For example if “AMS” is Joystick Y+, higher settings of this parameter will allow greater change to be applied to LFO1 when you move the Joystick up in the Y axis.
-99…+99 Parameter value.
Intensity to B
Specifies the depth and direction of the effect that “AMS” will
have on filter B (see “Intensity to A”).
LFO 2
Adjusts the depth of the cyclic modulation applied by LFO2 (set
on “LFO: LFO2”) to the cutoff frequency of filters A and B. For
more information on the parameters see “LFO 1” above.
Filter: Filter EG
Here you can make settings for the EG that will produce timevarying changes in the cutoff frequency of filters A and B for the selected oscillator. The depth of the effect that these settings will have on the filter cutoff frequency is determined by the “Velocity” and “Intensity” parameters.
Diagram
The diagram on top of the page shows the Filter envelope line.
Filter envelope
The specified cutoff frequency
Start
Level
Attack Level
Note-on
Break
Point
Level
Note-off
Sustain Level
Attack
Time
Decay
Time
Slope
Time
Release
Time
Release
Level
Time
Level
These are the envelope segment levels. The result will depend on
the filter that was selected in “Filter Type”. For example, with the
Low Pass Resonance filter, positive (+) values of EG Intensity will cause the tone to be brightened by positive (+) levels, and darkened by negative (–) levels.
Start
This parameter specifies the change in cutoff frequency at the time of note-on.
-99…+99 Level value.
Attack
This parameter specifies the change in cutoff frequency after the attack time has elapsed.
-99…+99 Level value.
Break (Break Point)
This parameter specifies the change in cutoff frequency after the decay time has elapsed.
-99…+99 Level value.
Sustain
This parameter specifies the change in cutoff frequency that will be maintained from after the slope time has elapsed until noteoff occurs.
-99…+99 Level value.
Release
This parameter specifies the change in cutoff frequency that will occur when the release time has elapsed.
-99…+99 Level value.
Time
These parameters specify the time over which the filter change will occur.
Attack
This parameter specifies the time over which the level will change from note-on until the attack level is reached.
0…99 Time value.
Decay
This parameter specifies the time over which the level will change from the attack level to the break point level.
0…99 Time value.
Slope
This parameter specifies the time over which the level will change after the decay time has elapsed until the sustain level is reached.
0…99 Time value.
Release
This parameter specifies the time over which the level will change after note-on occurs until the release level is reached.
0…99 Time value.
248 Sound Edit
Filter: Filter EG
Level Modulation
Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)
Note-on
Note-on
Note-on
Note-off Note-off Note-off
Time Modulation
Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)
Note-on Note-on Note-on
Note-off
Note-off
Note-off
Softly played note with Start Level
Swing, Attack Level Swing, and
Break Level Swing set to +
Strongly played note with Start
Level Swing, Attack Level Swing, and Break Level Swing set to +
Strongly played note with Start
Level Swing, Attack Level Swing, and Break Level Swing set to –
AMS (Alternate Modulation Source)
This parameter selects the source that will control the “Level”
parameters of the filter EG (“AMS (Alternate Modulation
Intensity (AMS Intensity)
This parameter specifies the depth and direction of the effect applied by “AMS”. With a setting of 0, the levels specified by
“Frequency (Cutoff Frequency A)” will be used.
For example, if “AMS” is Velocity, and you set “St (Start Level
Swing)”, “At (Attack Level Swing)” and “Br (Break Level Swing)”
to + and set “Intensity” to a positive (+) value, the EG levels will rise as you play more strongly. If “Intensity” is set to a negative
(–) values, the EG levels will fall as you play more strongly.
-99…+99 Intensity value.
St (Start Level Swing)
This parameter specifies the direction in which “AMS” will affect
“Start”. When “Intensity” has a positive (+) value, a setting of +
for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change.
At (Attack Level Swing)
This parameter specifies the direction in which “AMS” will affect
“Attack”. When “Intensity” has a positive (+) value, a setting of +
for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change.
Br (Break Level Swing)
This parameter specifies the direction in which “AMS” will affect
“Break (Break Point)”. When “Intensity” has a positive (+) value,
a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level.
With a setting of 0 there will be no change.
Softly played note with Attack,
Decay, Slope and Release
Level Swings set to +
Strongly played note with
Attack, Decay, Slope and
Release Level Swings set to +
Strongly played note with
Attack, Decay, Slope and
Release Level Swings set to –
AMS1/2
Use this parameter to select the source that will control the
“Time” parameters of the filter EG. See “AMS (Alternate Modulation Source) list” on page 256.
Int (AMS Intensity)
This parameter specifies the depth and direction of the effect
For example, if “AMS1/2” is set to FltKTr +/+, the EG “Time”
parameters will be controlled by the Keyboard Tracking settings.
With positive (+) values of this parameter, positive (+) values of
direction of change is specified by “At (Attack Time Swing)”, “Dc
(Decay Time Swing)”, “Sl (Slope Time Swing)”, and “Rl (Release
With a setting of 0, the times specified by “Frequency (Cutoff
If “AMS1/2” is set to Velocity, positive (+) values of this parame-
ter will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly.
-99…+99 Intensity value.
At (Attack Time Swing)
This parameter specifies the direction in which “AMS1/2” will
affect the attack time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen the time, and setting this parameter to – will allow AMS to shorten the time. With a setting of 0 there will be no change.
Dc (Decay Time Swing)
This parameter specifies the direction in which “AMS1/2” will
affect the decay time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen the time, and setting this parameter to – will allow AMS to shorten the time. With a setting of 0 there will be no change.
Sl (Slope Time Swing)
This parameter specifies the direction in which “AMS1/2” will
affect the slope time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen the time, and setting this parameter to – will allow AMS to shorten the time. With a setting of 0 there will be no change.
Rl (Release Time Swing)
This parameter specifies the direction in which “AMS1/2” will
affect the release time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen the time,
Sound Edit
Amp: Amp Level/Pan
249
and setting this parameter to – will allow AMS to shorten the time. With a setting of 0 there will be no change.
as you play higher), and toward the left as the note numbers decrease (i.e., as you play lower). Negative (–) values of this parameter will have the opposite effect.
-99…+99 Parameter value.
Amp: Amp Level/Pan
These parameters control the volume and pan of the selected oscillator.
Amp: Amp Mod
These settings allow you to apply modulation to amp (for each oscillator) to modulate the volume.
Amp Level
Volume of the selected oscillator.
Note:
The volume of a Sound can be controlled by CC#7 (volume) and #11 (expression). The resulting level is determined by multiplying the values of CC#7 and #11. The Global MIDI channel is used for control.
0…127 Volume level.
Pan
Pan (stereo position) of the selected oscillator.
This parameter is not available when editing a Drum Kit.
Use the individual Pan control for each key (see “Pan” on page 240).
Random The sound will be heard from a different location at each note-on.
L001
C064
Places the sound at far left.
Places the sound in the center.
R127 Places the sound to far right.
Note:
This can be controlled by CC#10 (panpot). A CC#10 value of
0 or 1 will place the sound at the far left, a value of 64 will place the sound at the location specified by the “Pan” setting for each oscillator, and a value of 127 will place the sound at the far right. This is controlled on the global MIDI channel.
Pan modulation
AMS (Alternate Modulation Source)
Selects the source that will modify pan (see “AMS (Alternate
Modulation Source) list” on page 256). This change will be rela-
tive to the “Pan” setting.
Intensity
Specifies the depth of the effect produced by “AMS”. For example, if “Pan” is set to C064 and “AMS” is Note Number, positive
(+) values of this parameter will cause the sound to move toward the right as the note numbers increase beyond the C4 note (i.e.,
Keyboard Tracking
These parameters let you use keyboard tracking to adjust the volume of the selected oscillator. Use the “Key” and “Ramp” parameters to specify how the volume will be affected by the keyboard location that you play.
Key Low/High
These settings specify the note number at which keyboard tracking will begin to apply. The volume will not change between
“Key Low” and “Key High”.
Keyboard tracking will apply to the range below the specified
Low note number, and above the specified High note number.
C–1…G9 Lowest/Highest note in the range.
Ramp Low/High
These parameters specify the angle of keyboard tracking.
With positive (+) values of the “Ramp Low” parameter, the volume will increase as you play notes below the “Key Low” note number. With negative (–) values, the volume will decrease.
With positive (+) values of the “Ramp High” parameter, the volume will increase as you play notes above the “Key High” note number. With negative (–) values, the volume will decrease.
-99…+99 Angle value.
Here is an example of volume changes produced by keyboard location and “Ramp” settings:
Volume
Ramp Low=+99
Ramp Low=0
Ramp Low=—99
Key Low Key High
Ramp High=+99
Ramp High=0
Ramp High=—99
Key
250 Sound Edit
Amp: Amp EG
Amp Modulation
These parameters specify how the volume of the selected oscillator will be affected by velocity.
Velocity Intensity
With positive (+) values, the volume will increase as you play more strongly. With negative (–) values, the volume will decrease as you play more strongly.
Volume change (with positive (+) values of this parameter)
Note-on Note-on
Note-off Note-off
Softly played
Strongly played
-99…+99 Intensity value.
AMS (Alternate Modulation Source)
Selects the source that will control the volume of the amp for the
Intensity
This parameter specifies the depth and direction of the effect that “AMS” will have. The actual volume will be determined by multiplying the value of the changes produced by the amp EG with the values of Alternate Modulation etc., and if the levels of the amp EG are low, the modulation applied by Alternate Modulation will also be less.
For example, if “AMS” is set to Joystick Y+, positive (+) values of this parameter will cause the volume to increase when you move the Joystick up in the Y axis. However if the EG settings etc. have already raised the volume to its maximum level, the volume cannot be increased further.
With negative (–) values of this parameter, the volume will decrease when pressure is applied to the keyboard.
-99…+99 Intensity value.
Amp: Amp EG
These parameters let you create time-varying changes in the volume of the selected oscillator.
Diagram
The diagram on top of the page shows the Amplitude envelope line.
Level
These parameters are the level of the envelope segment.
Amplifier EG
Attack Level
Note-on
Break Point
Volume
Note-off
Sustain
Level
Start
Level
Time
Attack
Time
Decay
Time
Slope
Time
Release Time
Start
This parameter specifies the volume level at note-on. If you want the note to begin at a loud level, set this to a high value.
0…99 Level value.
Attack
This parameter specifies the volume level that will be reached after the attack time has elapsed.
0…99 Level value.
Break
This parameter specifies the volume level that will be reached after the decay time has elapsed.
0…99 Level value.
Sustain
This parameter specifies the volume level that will be maintained from after the slope time has elapsed until note-off occurs.
0…99 Level value.
Time
These parameters specify the time over which the volume change will occur.
Attack
This parameter specifies the time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound.
0…99 Time value.
Decay
This parameter specifies the time over which the volume will change from when it reaches the attack level until it reaches the break point level.
0…99 Time value.
Sound Edit
Amp: Amp EG
251
Slope
This parameter specifies the time over which the volume will change from when it reaches the break point level until it reaches the sustain level.
0…99 Time value.
Release
This parameter specifies the time over which the volume will change after note-off until it reaches 0.
0…99 Time value.
Level Modulation
Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)
Note-on Note-on Note-on
Note-off Note-off Note-off
Time Modulation
These parameters let you use an alternate modulation source to
modify the amp EG times that were specified in “Time” on page 250.
Amp 1 EG changes (Time)
(AMS=Amp KTrk +/+, Intensity = a positive (+) value)
(When Amp Keyboard Track “Low Ramp”= a positive (+) value, and
“High Ramp” = a positive (+) value)
Note-on Note-on Note-on
Note-off Note-off Note-off
Low-pitched note played with
Attack, Decay, Slope, and
Release Time Swing at +
High -pitched note played with
Attack, Decay, Slope, and
Release Time Swing at –
Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)
Note-on Note-on Note-on
Note-off Note-off Note-off
Softly played note when Start Level
Swing=0 and Attack Level Swing and Break Level Swing are set to +
Strongly played note when Start Level
Swing=0 and Attack Level Swing and
Break Level Swing are set to +
Strongly played note when Start Level
Swing=0 and Attack Level Swing and
Break Level Swing are set to +
AMS (Alternate Modulation Source)
This parameter specifies the source that will control the “Level”
parameters of the amp EG. See “AMS (Alternate Modulation
Intensity
This parameter specifies the depth and direction of the effect that “AMS” will have. For example, if “AMS” is Velocity, setting
“St (Start Level Swing)”, “At (Attack Level Swing)” and “Br
(Break Point Level Swing)” to + and setting “Intensity” to a posi-
tive (+) value will cause the amp EG volume levels to increase as you play more strongly. Setting “Intensity” to a negative (–) values will cause the amp EG volume levels to decrease as you play more strongly. With a setting of 0, the levels will be as specified
-99…+99 Intensity value.
St (Start Level Swing)
This parameter specifies the direction in which “AMS” will
change “Start”. If “Intensity” is set to a positive (+) value, setting
this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.
At (Attack Level Swing)
This parameter specifies the direction in which “AMS” will
change “Attack”. If “Intensity” is set to a positive (+) value, set-
ting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the
EG level. With a setting of 0, no change will occur.
Br (Break Point Level Swing)
This parameter specifies the direction in which “AMS” will
change “Break”. If “Intensity” is set to a positive (+) value, setting
this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.
Softly played note with
Attack, Decay, Slope and
Release Time Swing at +
Strongly played note with
Attack, Decay, Slope and
Release Time Swing at +
Strongly played note with
Attack, Decay, Slope and
Release Time Swing at –
AMS1 (Alternate Modulation Source 1 - Time)
This parameter specifies the source that will control the “Time”
parameters of the amp EG (see “AMS (Alternate Modulation
Source) list” on page 256). With a setting of Off, there will be no
modulation.
Intensity
This parameter specifies the depth and direction of the effect that “AMS1” will have. For example, if “AMS1(T)” is Amp KTrk
positive (+) values of this parameter, positive (+) values of
“Ramp (Ramp Setting) will cause EG times to be lengthened, and negative (–) values of “Ramp (Ramp Setting)” will cause EG times to be shortened. The direction of the change is specified by
“At (Attack Time Swing)”, “Dc (Decay Time Swing)”, “Sl (Slope
Time Swing)”, and “Rl (Release Time)”.
When “AMS1(T)” is Velocity, positive (+) values will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly.
With a setting of 0, the EG times will be as specified by the
“Level” parameters (see page 250).
At (Attack Time Swing)
This parameter specifies the direction of the effect that “AMS1”
will have on “Attack”. With positive (+) values of “Intensity”, set-
ting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.
Dc (Decay Time Swing)
This parameter specifies the direction of the effect that “AMS1”
will have on “Decay”. With positive (+) values of “Intensity”, set-
ting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.
252 Sound Edit
LFO: LFO1
Sl (Slope Time Swing)
This parameter specifies the direction of the effect that “AMS1”
will have on “Slope”. With positive (+) values of “Intensity”, set-
ting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.
Rl (Release Time)
This parameter specifies the direction of the effect that “AMS1”
will have on “Release”. With positive (+) values of “Intensity”,
setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.
AMS2 (Alternate Modulation Source 2)
This is another alternate modulation source for the Amp EG. See above “AMS1” parameters.
Frequency
Set the LFO frequency. A setting of 99 is the fastest.
00…99 Frequency rate.
Offset
This parameter specifies the central value of the LFO waveform.
For example, with a setting of 0 as shown in the following diagram, the vibrato that is applied will be centered on the note-on pitch. With a setting of +99, the vibrato will only raise the pitch above the note-on pitch, in the way in which vibrato is applied on a guitar.
When “Waveform” is set to Guitar, the modulation will occur
only in the positive (+) direction even if you set “Offset” to 0.
Here are offset settings and pitch change produced by vibrato:
Pitch offset = –99 offset = 0 offset = +99
Pitch at note-on
LFO: LFO1
In this and the next page you can make settings for the LFO that can be used to cyclically modulate the Pitch, Filter, and Amp of each oscillator. There are two LFO units for each oscillator. By setting the LFO1 or LFO2 Intensity to a negative (–) value for
Pitch, Filter, or Amp, you can invert the LFO waveform.
Waveform
This parameter selects the LFO waveform. The numbers that appear at the right of some of the LFO waveforms indicate the phase at which the waveform will begin.
Triangle 0 Step Triangle – 4
Triangle 90
Triangle
Random
Saw 0
Saw 180
Square
Sine
Guitar
Exponential
Triangle
Exponential
Saw Down
Exponential
Saw Up
Triangle wave
Step Triangle – 6
Phase will change randomly at each key-in
Step Saw – 4
Step Saw – 6
Sawtooth down Ø
Square wave
Sine wave
Guitar vibrato
Random1 (S/H):
Conventional sample & hold (S/H) in which the level changes randomly at fixed intervals of time
Random2 (S/H):
Both the levels and the time intervals will change randomly.
Random3 (S/H):
The maximum level and minimum level will alternate at random intervals of time (i.e., a square wave with random period).
Random4 (Vector)
Random5 (Vector)
Random6 (Vector)
These types cause Random 1–3 to change smoothly. They can be used to simulate the instability of acoustic instruments etc.
-99…+99 Offset value.
Key Sync
This parameter specifies if the LFO is synchronized to key strokes.
On The LFO will start each time you play a note, and an independent LFO will operate for each note.
Off The LFO effect that was started by the firstplayed note will continue to be applied to each newly-played note. (In this case, Delay and Fade will be applied only to the LFO when it is first started).
Fade
This parameter specifies the time from when the LFO begins to apply until it reaches the maximum amplitude. When “Key
Sync.” is Off, the fade will apply only when the LFO is first started.
Here is how “Fade” affects the LFO (when “Key Sync” is On):
Note-on
Fade
Note-off
Delay
00…99 Fade rate.
Delay
This parameter specifies the time from note-on until the LFO
effect begins to apply. When “Key Sync” is Off, the delay will
apply only when the LFO is first started.
0…99 Delay time.
Frequency Modulation
You can use two alternate modulation sources to adjust the speed of the LFO1 for the selected oscillator.
Sound Edit
LFO: LFO2
253
AMS1 (Alternate Modulation Source1)
Selects the source that will adjust the frequency of the selected
Intensity (AMS1 Intensity)
This parameter specifies the depth and direction of the effect that “AMS1(F)” will have. When this parameter is set to a value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively).
For example, if “AMS1(F)” is Note Number, positive (+) values of this parameter will cause the oscillator LFO to speed up as you play higher notes. Negative (–) values will cause the oscillator
LFO to slow down as you play higher notes. This change will be centered on the C4 note.
If “AMS1(F)” is set to JS +Y, raising the value of this parameter will cause the oscillator LFO1 speed to increase as the joystick is moved away from yourself. With a setting of +99, moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times.
-99…+99 Intensity value.
AMS2 (Alternate Modulation Source2)
Intensity (AMS2 Intensity)
Make settings for a second alternate modulation source that will
Frequency MIDI/Tempo Sync
MIDI/Tempo Sync
This parameter enables/disables the LFO synchronization with
Sequencer 1 Tempo.
On The LFO frequency will synchronize to the tempo (MIDI Clock) of Sequencer 1. In this case,
Base Note
When “MIDI/Tempo Sync” is On, these parameters set a note
length relative to “q (Tempo)” and the multiple (“Times”) that will be applied to it. These parameters will determine the frequency of the LFO1. For example if “Base Note” is q (quarter note) and “Times” is 04, the LFO will perform one cycle every four beats.
Even if you change the “q (Tempo)” setting of Sequencer 1, the
LFO will always perform one cycle every four beats.
This parameter is not available when editing a Drum Kit.
Note Note value.
Times
This parameter is not available when editing a Drum Kit.
1...16
Beats before restarting the cycle.
LFO: LFO2
Here you can make settings for the LFO2, which is the second
LFO that can be applied to the selected oscillator. See “LFO:
LFO1” for more information on the parameters value.
However in “Frequency Modulation”, the LFO cannot be
selected as a modulation source in “AMS1” or “AMS2.”
Effects: “B” FX Config
This page allows you to select the effects for the Sound (B
Group). The effect types and the FX matrix are the same seen for
the Style Play mode (see “Effects: A/B FX Configuration” on page 100 of the User’s Manual).
FX Name
Use this pop-up menu to choose one of the available effects. For
a list of the available effects, see “Effect list” on page 282.
FX parameters
All other parameters in this page are the same seen for the Style
Play mode (see “Effects: A/B FX Configuration” on page 100 in
the User’s Manual).
Send to Master
Use these parameters to set the level of the Sound signal going from the Insert FX to the Master FXs.
0…127 Level of the sent signal.
Dry
Use this checkbox to mix the dry, direct Sound signal to the effects.
254 Sound Edit
Effects: Master 1 / Reverb
Effects: Master 1 / Reverb
In this page you can edit the effect assigned to the Master FX 1
effect processor (usually Reverb). See “Effects” on page 282 for
more information.
Page menu
Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.
Effects: Master 2 / Chorus
In this page you can edit the effect assigned to the Master FX 2
effect processor (usually Chorus). See “Effects” on page 282 for
more information.
Write Sound
Select this command to open the Write Sound dialog box, and save all editing parameters to a Sound.
See “Write Sound dialog box” on page 255 for more information.
Solo Oscillator
Select this command to solo the selected oscillator, and mute the other oscillators. Select it again to unmute the other oscillators.
When this function is activated, the “Solo OSC [n]” indicator (n
= oscillator number) blinks on the page header. While in this situation, you can select a different oscillator to be soloed.
Swap LFO
Select this command to replace LFO1 with LFO2, and vice-versa.
Copy Oscillator
Select this command to copy all settings between oscillators. See
“Copy Oscillator dialog box” on page 255 for more information.
Copy/Paste FX
Use this command to copy a single effect, or both effects of an
FX group (A or B). See “Copy/Paste FX” on page 108 for detailed
instructions.
Copy Drum Kit
Select this command to copy the Drum Kit from a different
Drum Kit. See “Copy Drum Kit dialog box” on page 255 for
more information.
Init Sound
Select this command to delete all parameters, and set them to a default value.
Compare
When this command is checked, original Sound parameter values are temporarily recalled, to compare them with edited parameters.
You cannot edit the Sound while you are in Compare mode.
Sound Edit
Write Sound dialog box
255
While this function is on, the Compare indicator blinks on the page header.
Exit from Edit
Choose this command to exit from Sound editing.
Copy Oscillator dialog box
Open this window by selecting the Copy Oscillator item from the page menu. Here, you can copy all settings between oscillators.
Write Sound dialog box
Open this window by selecting the Write Sound item from the page menu. Here, you can save all Sound parameters to a User
Sound location in memory.
Warning:
If you write over an existing Sound, the Sound will be deleted and replaced by the one you are saving (“overwrite”).
Please save on a storage device any User Sound you don’t want to lose.
Note:
Drum Kits cannot be written over standard Sounds, nor vice versa.
information).
From Sound
Touch this button to open the Sound Select window, and select the source Sound.
From Oscillator
Select the source oscillator to copy from.
To Oscillator
Target oscillator where to copy the source settings to.
Copy Drum Kit dialog box
Open this window by selecting the Copy Drum Kit item from the page menu. Here, you can copy settings from a range of keys of a Drum Kit.
Name
Name of the Sound to be saved. Touch the (Text Edit) button next to the name to open the Text Edit window.
Sound Bank
Target bank of Sounds. Use the VALUE controls to select a different bank.
Sound
Target Sound location in the selected bank. Use the VALUE controls to select a different location.
Select…
Touch this button to open the Sound Select window, and select a target location.
From Drum Kit
Touch this button to open the Sound Select window, and select the source Drum Kit.
From Key
Select the source range of keys to copy from.
To Key
Target key. Settings are copied starting from this key, and upwards.
256 Sound Edit
AMS (Alternate Modulation Source) list
Off
Pitch EG
Filter EG
Amp EG
LFO1
LFO2
Flt KTrk +/+ (Filter Keyboard Track +/+)
Flt KTrk +/– (Filter Keyboard Track +/)
Flt KTrk 0/+ (Filter Keyboard Track 0/+)
Flt KTrk +/0 (Filter Keyboard Track +/0)
Amp KTrk +/+ (Amp Keyboard Track +/+)
Amp KTrk +/ (Amp Keyboard Track +/)
Amp KTrk 0/+ (Amp Keyboard Track 0/+)
Amp KTrk +/0 (Amp Keyboard Track +/0)
Note Number
Velocity
Poly AT (Poly After Touch)
Channel AT (Channel After Touch)
Joystick X
Joystick +Y
Joystick Y
JS+Y & AT/2 (Joy Stick +Y & After Touch/2)
JS–Y & AT/2 (Joy Stick Y & After Touch/2)
Assign. Pedal
Ribbon Ctl.
CC#18
CC#17
CC#19
CC#20
CC#21
Damper
CC#65
Sostenuto
CC#80
CC#81
CC#82
CC#83
Tempo
Velocity Plus
Velocity Exp
Velocity Log
AMS (Alternate Modulation Source) list
Do not use Alternate Modulation
Pitch EG
Filter EG within the same oscillator
Amp EG within the same oscillator
LFO1 within the same oscillator
LFO2 within the same oscillator
Filter keyboard tracking within the same oscillator
Filter keyboard tracking within the same oscillator
Filter keyboard tracking within the same oscillator
Filter keyboard tracking within the same oscillator
Amp keyboard tracking within the same oscillator
Amp keyboard tracking within the same oscillator
Amp keyboard tracking within the same oscillator
Amp keyboard tracking within the same oscillator
Note number
Velocity
Polyphonic After Touch (received/transmitted via MIDI or contained in Standard MIDI Files)
After Touch (Channel After Touch) (received/transmitted via MIDI or contained in Standard MIDI Files)
Joystick X (horizontal) axis
Joystick +Y (vertical upward) direction (CC#01)
Joystick Y (vertical downward) direction (CC#02)
Joystick +Y (vertical upward) direction and After Touch (received/transmitted via MIDI or contained in Standard MIDI Files)
Joystick Y (vertical downward) direction and After Touch (received/transmitted via MIDI or contained in
Standard MIDI Files)
Assignable foot pedal (CC#04)
Ribbon controller (CC#16) (received/transmitted via MIDI or contained in Standard MIDI Files)
CC#18
CC#17
CC#19
CC#20
CC#21
Damper pedal (CC#64)
Portamento switch (CC#65)
Sostenuto pedal (CC#66)
CC#80
CC#81
CC#82
CC#83
Tempo (tempo data from Sequencer 1 clock or external MIDI clock)
Key On and Key Off Velocity are used
Velocity with Exponential curve (higher velocity notes are even louder)
Velocity with Logarithmic curve (higher velocity notes are weaker than with the linear Velocity)
Flt KTrk +/+ (Filter Keyboard Track +/+)
Flt KTrk +/– (Filter Keyboard Track +/)
Flt KTrk 0/+ (Filter Keyboard Track 0/+)
Flt KTrk +/0 (Filter Keyboard Track +/0)
Amp KTrk +/+ (Amp Keyboard Track +/+)
Amp KTrk +/– (Amp Keyboard Track +/–)
Amp KTrk 0/+ (Amp Keyboard Track 0/+)
Amp KTrk +/0 (Amp Keyboard Track +/0)
+/+
+/–
The direction of the effect will be determined by the sign (positive or negative) of the “Ramp Low” or “Ramp High” setting.
The direction of the effect will be determined by the sign of the “Ramp Low” setting, and by the opposite sign of the “Ramp High” setting (50 for a setting of +50, and +50 for a setting of 50).
Sound Edit
AMS (Alternate Modulation Source) list
257
0/+
+/0
“Ramp Low” will have no AMS effect. The sign of the “Ramp High” setting will determine the direction of its effect.
The sign of the “Ramp Low” setting will determine the direction of its effect. “Ramp High” will have no AMS effect.
example of Amp
Keyboard Track settings
Amp
Ramp Low
= +50
Ramp High
= +50
JS +Y & AT/2 (Joy Stick +Y & After Touch/2)
The effect will be controlled by the joystick +Y (vertically upward) and by after touch. In this case, the effect of after touch will be only half of the specified intensity (received/transmitted via MIDI or contained in Standard MIDI Files).
JS Y & AT/2 (Joy Stick –Y & After Touch/2)
The effect will be controlled by the joystick Y (vertically downward) and by after touch. In this case, the effect of after touch will be only half of the specified intensity (received/transmitted via MIDI or contained in Standard MIDI Files).
Key Low Key High
Note Number
AMS = Amp KTrk +/+
+ max
AMS Intensity = positive (+) value zero
- max
Depth and direction of modulation
AMS = Amp KTrk +/—
AMS Intensity = positive (+) value
+ max zero
- max
Depth and direction of modulation
AMS = Amp KTrk 0/+
+ max
AMS Intensity = positive (+) value zero
- max
Depth and direction of modulation
AMS = Amp KTrk +/0
AMS Intensity = positive (+) value
+ max zero
- max
Depth and direction of modulation
258 MIDI
What is MIDI?
MIDI
What is MIDI?
Here is a brief overview of MIDI, as related to the Pa300. If interested, you may find more information on the general use of
MIDI in the various specialized magazines and dedicated books.
In general
MIDI stands for Musical Instruments Digital Interface. This protocol lets you connect two musical instruments, or a computer and various musical instruments.
From a software point of view, MIDI is a protocol that describes messages for playing notes and controlling them. It is sort of a grammar to let different instruments and computers speak the same language, and let the one tell the other what to do.
From a physical point of view, MIDI messages travel across the
USB Device port, a modern connector replacing the MIDI ports found in older musical instruments with a single port and cable.
To use it for MIDI connection, it is advisable to install the KORG
USB-MIDI Driver supplied in the Accessory Disc, or downloadable from our web site ( www.korg.com
).
Channels and messages
Basically, an USB cable transmits 16 channels of MIDI data.
Think to each MIDI channel as a TV channel: the receiver must be set on the same channel of the transmitter. The same happens with MIDI messages: when you send a Note On message on channel 1, it will be received on channel 1 only. This allows for multitimbricity: you can have more than one sound playing on the same MIDI instrument.
There are various messages, but here are the most commonly used:
Note On – This message instructs an instrument to play a note
on a specific channel. Notes have both a name (C4 standing for the center C) and a number (60 being the equivalent for C4). A
Note Off message is often used to say the note has been released.
In some case, a Note On with value “0” is used instead.
Together with the Note On message, a Velocity value is always sent. This value tells the instrument how loud the note must play.
Pitch Bend (PB) – You can generate this message acting on the
joystick (X direction). The pitch is translated up or down.
Program Change (PC) – When you select a Sound, a Program
Change message is generated on the channel. Use this message, together with Control Change 00 and 32, to remotely select
Pa300 data from a sequencer or a master keyboard.
Control Change (CC) – This is a wide array of messages, con-
trolling most of the instrument parameters. Some examples:
• CC00, or Bank Select MSB, and CC32, or Bank Select LSB.
This message pair is used to select a Sound Bank. Together with the Program Change message, they are used to select a
Sound.
• CC01, or Modulation. This is the equivalent of pressing up the joystick. A vibrato effect is usually triggered on.
• CC07, or Master Volume. Use this controller to set the channel’s volume.
• CC10, or Pan. This one sets the channel’s position on the stereo front.
• CC11, or Expression. Use this controller to set the relative volume of tracks, with the maximum value matching the current setting of the CC07 control.
• CC64, or Damper Pedal. Use this controller to simulate the
Damper pedal.
Tempo
Tempo is a global MIDI message, that is not tied to a particular channel. Each Song includes Tempo data.
Lyrics
Lyrics are non-standard MIDI events, intended to display text together with the music. Pa300 can read many of the available
Lyrics format on the market.
MIDI and personal computers
Most Pa300 MIDI features can be used on a Windows or Mac computer with no need of special software. However, for full and easy use of all MIDI features, we suggest that you to install the
“KORG USB MIDI Driver”, a special software that you can find in the Accessory Disc that comes with your Pa300, or download from our web site ( www.korg.com
). Relevant instructions come
with the software itself. See “Installing the Korg USB MIDI Driver” on page 362.
MIDI
Standard MIDI Files
259
Standard MIDI Files
Standard MIDI Files (a.k.a. SMF) are a practical way of exchanging songs between different instruments and computers. Pa300 uses the SMF format as its default song format, so reading a song from a computer, or saving a song that a computer software can read, is not a problem at all.
The internal Player is compatible with SMFs format 0 (all data in one track; it is the most common format) and 1 (multitrack).
Pa300 can read SMFs in Song Play mode and modify/save them in Sequencer mode. It can save a Song in SMF format 0 from
Sequencer mode.
When in Song Play mode, Pa300 can also display SMF lyrics in
Solton, M-Live (Midisoft), Tune1000, Edirol, GMX, HitBit, and
XF formats, and the chord abbreviations of SMF in Solton, M-
Live (Midisoft), GMX, and XF format.
Note:
The above trademarks are the property of their respective holders. No endorsement is intended by their inclusion in this list.
Standard MIDI Files usually have the “.MID” or “.KAR” filename extension.
The Global channel
Any channels with the Global option assigned (see “MIDI: MIDI
In Channels” on page 159) can simulate the Pa300 integrated
keyboard. When the Pa300 is connected to a master keyboard, transmission should take place over the Global channel of the
Pa300.
The MIDI messages received over a Global channel and not over a standard channel are affected by the status of the SPLIT button, as well from the split point. Therefore, if the SPLIT button’s LED is lit up, notes arriving to Pa300 over this channel will be divided by the split point into the Upper (above the split point) and
Lower (below the split point) parts.
Notes arriving to a Global channel are used for the chord recognition of the automatic accompaniment. If the SPLIT LED is turned on, only the notes below the split point will be used.
The Control channel
You can set a MIDI IN channel as the Control channel (see
page 159), to select Styles, Performance and SongBook Entries
from an external device. See the Appendix for a list of messages corresponding to Pa300 internal data.
The General MIDI standard
Some years ago, the musical instruments world felt a need for some further standardization. Then, the General MIDI Standard
(GM) was born. This extension of the basic MIDI sets new rules for compatibility between instruments:
• A minimum of 16 MIDI channels was required.
• A basic set of 128 Sounds, correctly ordered, was mandatory.
• The Drum Kit had a standard order.
• Channel 10 had to be devoted to the Drum Kit.
A most recent extension is the GM2, that further expands the
Sounds database. Pa300 is sound-compatible with the GM2 standard.
MIDI Presets
You can play Pa300 with an external controller, and use it simply as a powerful sound generator. To help you configure the MIDI channels, we have provided a set of MIDI Presets that can be accessed in the Global > MIDI > General Controls page (see
We recommend you to consider each MIDI Preset as a starting point you can freely tweak. Once you have selected the most appropriate MIDI Preset for the connection to be made, you can modify the parameters as needed and save them into a MIDI
Preset (see “Write Midi Preset dialog box” on page 163).
260 MIDI
Connecting Pa300 to a personal computer
Connecting Pa300 to a personal computer
You can program a new song on an external sequencer running on a personal computer, using Pa300 as a multi-timbral expander.
Connections and settings
In order to connect Pa300 to a computer, you need a computer with an USB port.
1.
Install the Korg USB MIDI Driver, as explained in “Installing the Korg USB MIDI Driver” on page 362.
2.
3.
4.
Connect Pa300 and the computer via the USB Device port.
Activate the “MIDI Thru” function on the external sequencer. Please refer to the sequencer’s user manual.
On Pa300, select the “Extern.Seq.” MIDI Preset. You can do
this by going to the “MIDI: General Controls” page of the
Global mode. Note that this MIDI Preset will be remain unchanged even when the instrument enters standby.
5.
6.
7.
Go to the “MIDI: General Controls” page, and uncheck the
“Local Control On” parameter (see page 158). This is called
the “Local Off status”.
Note:
Settings may change when new Global data is loaded from a storage device. To protect settings from loading, use
the Global Protect function (see “Global Protect” on page 154).
Press SEQUENCER to go to the Sequencer mode.
Play the keyboard. Notes played on the keyboard will go from the USB port of Pa300 to the USB port of the computer.
Notes generated by the computer (i.e. a song played by its sequencer) are sent from the USB port of the computer to the USB port of Pa300.
The Local Off
When Pa300 is connected to an external sequencer, we recom-
played by the keyboard and by the MIDI events sent by the external sequencer.
When Pa300 is in Local Off, the keyboard of Pa300 transmits data to the external sequencer, but not to the internal sound generation. The sequencer will receive notes played on the keyboard of Pa300 and will send them to the selected track of the song.
The track will then transmit data to the internal sound generation of Pa300.
Note:
In order to send data to the sound generation of Pa300, the
“MIDI Thru” function must be activated in the external sequencer
(normally active; the name may be different according to the type of sequencer). For more information refer to the instructions manual of the sequencer.
The Sounds
The song that is played back by the sequencer can select Pa300
Sounds through the MIDI messages Bank Select MSB, Bank
Select LSB (bank selection, two messages), and Program Change
(Sound selection). For a list of Sounds and MIDI values, see
As a hint for those who program songs on computer: even though it is not mandatory, for a wider compatibility you should set the bass on channel 2, melody on channel 4, drum kit on channel 10, controls for an harmonizer on channel 5.
262 Factory data
Styles
Factory data
Styles
The following table lists all Pa300 Factory Styles. The table also includes MIDI data used to remotely select the Styles over the
Control channel (see “MIDI: MIDI In Channels” on page 159).
Legend:
CC00: Control Change 0, or Bank Select MSB. CC32:
Control Change 32, or Bank Select LSB. PC: Program Change.
Bank:
Style Select window’s side tab.
Note:
The Program Change numbers are given according to the 0-
127 numbering system.
CC00 CC32 PC # Name
Bank: Pop
1
4
5
2
3
Guitar Pop
Guitar Beat
Standard 8 Beat
Standard 16 Beat
Modern Beat
8
9
6
7
Pop Ballad
Pop Chart 1
Pop Chart 2
Easy Pop 1
10 Easy Pop 2
11 British Pop
12 Slow Latin Pop
13 6/8 Slow Pop
14 12/8 Pop
15 Pop Shuffle 1
16 Pop Shuffle 2
17 Easy Beat 1
18 Easy Beat 2
19 Real 8 Beat
20 Real 16 Beat
21 Soft 8 Beat
22 Soft 16 Beat
23 Analog Beat 1
24 Analog Beat 2
Bank: Ballad
7
8
5
6
3
4
1
2
Modern Ballad 1
Modern Ballad 2
Moonlight Ballad
Soft Ballad
Funky Ballad
Guitar Ballad
Easy Ballad
Organ Ballad
9 Folk Ballad
10 Orchestral Bld
11 Groove Ballad
0
0
0
1
6
7
4
5
2
3
0
1
8
9
10
17
18
19
20
13
14
15
16
21
22
23
9
10
11
12
7
8
5
6
0
3
4
1
2
# Name
12 Blues Ballad
13 Analog Ballad 1
14 Analog Ballad 2
15 Rock Ballad 1
16 Rock Ballad 2
17 Waltz Ballad
18 6/8 Slow
19 6/8 Ballad 1
20 6/8 Ballad 2
Bank: Ballroom
7
8
5
6
3
4
1
2
Quick Step
Paso Dance
Jive 1
Jive 2
Argentina Tango
Modern Tango
Slow Fox
Organ Foxtrot
9 Slow Waltz 1
10 Slow Waltz 2
11 Slow Waltz 3
12 Organ Waltz
13 Foxtrot 1
14 Foxtrot 2
15 Slow Band
16 Big Band Jump
17 Big Band Fox
18 40's Big Band
19 Fox Shuffle 1
20 Fox Shuffle 2
21 Italian Tango 1
22 Italian Tango 2
23 Twist
24 Hully Gully
Bank: Dance
6
7
4
5
1
2
3
70's Disco Remix
70's Disco 1
70's Disco 2
80's Dance
90's Dance
Electro Dance
Dance Chart 1
8
9
Dance Chart 2
Funky Disco
10 Techno
11 Garage
CC00 CC32 PC
11
12
13
14
15
16
17
18
19
0 2
12
13
14
10
11
8
9
6
7
4
5
2
3
0
1
19
20
21
22
15
16
17
18
23
0 3
5
6
3
4
0
1
2
9
10
7
8
# Name
12 House
13 Club House
14 Euro Trance
15 Fashion Funk
16 Dance Fever
17 Barry Dance
18 Sister & Girl
19 Philly Disco
20 Miami Disco
21 Love Disco
Bank: Rock
1
4
5
2
3
Pop Rock
English Rock
Fire Rock
Hard Rock
Open Rock 1
8
9
6
7
Open Rock 2
Heavy Rock
Funky Rock
Rock Oldie
10 Rock & Roll
11 South Shuffle
12 Slow Latin Rock
13 Latin Rock 1
14 Latin Rock 2
15 Surf Rock
16 60's Rock
17 Slow Rock 1
18 Slow Rock 2
19 60's Slow Rock
20 6/8 Rock
21 Steely Rock
22 Abbey Rock
Bank: Unplugged
5
6
3
4
1
2
Unplugged Heaven
Sally Groove
Unplugged Ballad 1
Unplugged Ballad 2
Unplugged Ballad 3
Unplugged Slow
7
8
Desert Shuffle
Serenade
9 Unplugged
10 Meditando
11 Unplugged 8 Bt
12 Unplugged 16 Bt
13 Unplugged Gtr 1
14 Unplugged Gtr 2
15 Unplugged Gtr 3
16 Unplugged Gtr 4
17 Slide Blues
18 Unplugged Rock
CC00 CC32 PC
15
16
17
18
11
12
13
14
19
20
0 4
9
10
11
12
7
8
5
6
0
3
4
1
2
17
18
19
13
14
15
16
20
21
0 5
10
11
12
13
8
9
6
7
14
15
16
17
4
5
2
3
0
1
# Name
19 Unplugged Latin
20 Unplugged Swing
21 3/4 Acoustic Bld
Bank: Country
7
8
5
6
3
4
1
2
Easy Country
Country Blues
Country Strum
Country QuikStep
Country Beat 1
Country Beat 2
Country Ballad 1
Country Ballad 2
9 Finger Picking
10 3/4 Country
11 Modern Country
12 Country Pop
13 Bar Country
14 Bluegrass
15 Country Boogie
16 Country Shuffle
Bank: Traditional
6
7
4
5
1
2
3
German Waltz
Vienna Waltz
Italian Waltz
Musette Waltz
French Waltz
Irish Waltz
Laendler Waltz
8
9
German Polka
Italian Polka
10 Italian Mazurka
11 9/8
12 Vahde
13 2/4 Oyun
14 Ciftetelli
15 Halay
16 5/8
Bank: Latin
5
6
3
4
1
2
Samba Brazil
Bossa Nova
Classic Salsa
Classic Cha Cha
Classic Mambo
Classic Merengue
7
8
Classic Bachata
Guajira
9 6/8 Afro
10 Cumbia
11 Rhumba 1
12 Rhumba 2
13 Salsa 1
14 Salsa 2
Factory data
Styles
263
CC00 CC32 PC
18
19
20
0 6
12
13
14
15
10
11
8
9
6
7
4
5
2
3
0
1
0 7
11
12
13
14
9
10
7
8
15
5
6
3
4
0
1
2
0 8
10
11
12
13
8
9
6
7
4
5
2
3
0
1
264 Factory data
Styles
# Name
15 Cool Latin Jazz
16 Latin Big Band
17 Meditation Bossa
18 Organ Bossa
19 Orch. Bossa 1
20 Orch. Bossa 2
21 Fast Bossa
22 Cool Bossa
23 Natural Bossa
24 Pop Cha Cha
Bank: Latin Dance
1
4
5
2
3
Reggaeton
Lambada
Meneaito
Macarena
Bomba Dance
8
9
6
7
Tortura Dance
Gipsy Dance
Sambalegre
Samba Dance
10 Disco Samba
11 Mambo Party
12 Modern Bachata
13 Classic Beguine
14 Bayon
15 Modern Bossa
16 Disco Cha Cha
17 Calypso
18 Reggae
Bank: Jazz
5
6
3
4
1
2
Bigger Band
Serenade Band
Jazz Club
BeBop
Medium BigBand1
Medium BigBand2
7
8
Fast Big Band 1
Fast Big Band 2
9 Slow Swing Brush
10 Swing Ballad 1
11 Swing Ballad 2
12 Swing Ballad 3
13 Orchestral Swing
14 Jazz Brush
15 Medium JazzWaltz
16 Slow Jazz Waltz
17 Jazzy Blues
18 Organ Swing
19 Organ Blues
20 Swing Quintet
21 Medium Swing
22 Vocal Swing
CC00 CC32 PC
18
19
20
21
14
15
16
17
22
23
0 9
9
10
11
12
7
8
5
6
0
3
4
1
2
13
14
15
16
17
0 10
10
11
12
13
8
9
6
7
4
5
2
3
0
1
18
19
20
21
14
15
16
17
# Name
5
6
3
4
1
2
Funk R&B
Kool Funk
Al Funk
Elektrik Funk
Classic Funk
Urban Funk
7
8
Talkin' Jazz
Funky Sisters
9 Rhythm & Blues
10 Blues
11 Soul
12 Gospel
13 Gospel Swing
14 Gospel Shuffle
15 Modern Gospel 1
16 Modern Gospel 2
17 Al Swing
18 Groove
19 Groove Funk
20 Jazz Funk
Bank: World
1
4
5
2
3
8
9
6
7
Spanish Dance
4/4 Flamenco
3/4 Flamenco
Casatchock
Greek Rumba
Xasapiko
Sirtaki
Zouk
Hawaiian
Bank: Movie & Show
6
7
4
5
1
2
3
Orchestral Movie
Broadway
Show Time
Ritz Swing
Hollywood 1
Hollywood 2
Tap Dance
8
9
Movie Ballad
Movie Swing
10 Safari Swing
11 Western Movie
12 Mystery Man
13 Cartoon Time
14 Horror Movie
15 Love Movie
16 Artie's Theme
17 Christmas Waltz
18 Chrismas Swing
19 Theatre Swing
20 Theatre March
Bank: Funk & Soul
CC00 CC32 PC
0 12
10
11
12
13
8
9
6
7
4
5
2
3
0
1
14
15
16
17
18
19
0 11
11
12
13
14
9
10
7
8
5
6
3
4
0
1
2
15
16
17
18
19
0 13 0
3
4
1
2
7
8
5
6
# Name
10 Mexican Waltz
11 Norteno
12 Kebradita
13 Bolero Ranchero
14 Mariachi Polka
15 Mariachi Valz
16 Mariachi Cumbia
17 Alpen Schlager
18 Classic Schlager
19 Modern Schlager
20 Vienna Waltz
21 Tarantella
22 Rumba Napoletana
23 Raspa
24 Mad Ska
25 Celtic Dream
26 Celtic Waltz
27 Celtic Ballad
28 Scottish Reel
CC00 CC32 PC
21
22
23
24
17
18
19
20
25
26
27
13
14
15
16
9
10
11
12
# Name
Bank: Contemporary
6
7
4
5
1
2
3
Funky R&B
AM : PM
Contemporary Bld
Island View
Fast Smooth Jazz
Slow Smooth Jazz
Slow & Jazzy
8
9
Take Beat
Swing HipHop
10 Slow Mood
11 Hip Hindi Hop
12 Soft HipHop
13 New Age
14 Kyoto Lounge
15 Jazzy Funk
16 Slow Funk
Factory data
Styles
265
CC00 CC32 PC
0 14
11
12
13
14
9
10
7
8
15
5
6
3
4
0
1
2
266 Factory data
Sounds
Sounds
The following table lists all Pa300 Factory Sounds as they appear in the Sound Select window. The table also includes MIDI data used to remotely select the Sounds over the Control channel (see
“MIDI: MIDI In Channels” on page 159).
Legend:
CC00: Control Change 0, or Bank Select MSB. CC32:
Control Change 32, or Bank Select LSB. PC: Program Change.
Bank:
Sound Select window’s side tabs.
Note:
The Program Change numbers are given according to the 0-
127 numbering system.
CC00 CC32 PC Name
Factory: Piano
Grand Piano RX
Bright Piano RX
Classic Piano
Jazz Piano
Rock Piano
Piano Layers
G.Piano Stack 1
G.Piano Stack 2
Grand&MovingPad
Piano & Strings
Piano & Pad
Grand & FM Stack
E. Grand Phaser
Clav RX
Synth Clav RX
Clav Wah RX
Piano & Vibes
Grand RX DEMO
Factory: E. Piano
EP+Damper 1 RX
EP+Damper 2 RX
Digi E. Piano
Classic Tines
Tine E.Piano RX
Club E. Piano
Suit E.Piano 1
Suit E.Piano 2
Classic Wurly 1
Classic Wurly 2
Tremolo Wurly
R&B E. Piano
DW8000 EP
FM Pad EP
White Pad EP
Thin E. Piano
Dyno Tine EP 1
Dyno Tine EP 2
Tine E. Piano
Studio EP
7
7
2
2
0
1
2
0
7
0
0
2
2
0
0
0
1
0
5
5
4
5
4
4
4
4
4
4
5
4
4
4
5
4
4
4
4
4
5
6
7
10
7
4
9
9
2
6
11
6
8
5
8
10
5
4
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
8
11
15
13
21
17
12
16
9
18
11
20
25
26
14
9
10
22
19
7
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
Name
Pro Dyno EP
Pro Stage EP
Bell E. Piano 1
Bell E. Piano 2
Factory: Mallet & Bell
Vibraphone 1
Marimba
Marimba Key Off
Xylophone
Glockenspiel
Celesta
Music Box
Balaphon
Kalimba 1
Kalimba 2
Sistro
Orgel
Warm Steel
Vs Bell Boy
Tubular Bell
Bells
Santur
Mallet Clock
Factory: Accordion
Harmonica RX
Cassotto 16'
Cassotto
Master Accordion
Sweet Musette
French Musette
2 Voices Musette
3 Voices Musette
Accordion16,8,4'
Cassotto Or.Tune
Acc.Clarinet OT
Acc. Piccolo OT
Harmonica 1
Harmonica 2
Harmonica 3
Fisa Master
Accordion 16,8'
Acc.16,8,4' Plus
Fisa 16,8'
Accordion 16,4'
Musette 1
Musette 2
Fisa 16,4'
Fisa Tango!
Tango Accordion
Accordion
Acc.16,8' & Bass
Acc. & Acc. Bass
CC00 CC32 PC
121
121
121
121
5
6
23
24
4
4
4
4
2
4
1
1
1
1
6
2
3
1
5
1
2
1
2
2
7
2
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
10
114
98
14
12
108
108
9
14
15
12
13
9
8
10
11
12
12
7
1
3
4
6
7
2
8
4
9
10
24
2
8
3
4
3
13
19
21
11
18
16
17
5
12
9
23
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
21
21
21
23
23
23
21
23
23
21
23
23
22
22
22
21
23
21
21
21
21
21
21
21
22
21
21
21
Name
Steirisch.Akk.1
Steirisch.Akk.2
Steirisch.Akk.3
Steirisch.Akk.4
Accordion Bass
Acc.Voice Change
Factory: Organ
Jimmy Organ
Perc. Organ 1
Perc. Organ 2V.
Perc. Organ 3V.
BX3 Rock 1 V.
BX3 Rock 2 V.
BX3 Rock 3 V.
BX3 Rock 4 V.
BX3 Full V.
BX3 Jazz V.
BX3 Jazz Pc. V.
BX3 Gospel V.
Gospel Organ V.
Drawbars Slow V.
Drawbars Fast V.
Drawbars Organ
Jimmy Organ V.
Jazz Organ
Organ Hi V.
Organ LowPc V.
Organ Low 1 V.
Organ Low 2 V.
Organ Mid V.
Big Theatre Org.
Theatre Organ 1
Theatre Organ 2
Church Pipes
Full Pipes
Pipe Tutti 1
Pipe Tutti 2
Pipe Tutti 3
Pipe Tutti 4
Pipe Flute 1
Pipe Flute 2
Pipe Mixture
Flauto Pipes
Small Pipe
Positive Organ
Factory: Guitar
RealNylon Gtr ST
Real Nylon Gtr
Crunch Gtr RX
RealSteel Gtr ST
RealFolk Gtr ST1
RealFolk Gtr ST2
CC00 CC32 PC
121
121
121
121
121
121
25
26
27
28
5
6
21
21
21
21
23
23
4
5
22
23
15
16
30
4
4
8
17
19
18
14
10
3
3
4
5
2
7
9
10
6
8
20
9
21
13
12
6
1
5
13
10
9
11
10
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
16
16
19
19
16
16
16
16
16
17
16
16
16
16
18
20
20
19
20
19
19
19
19
20
19
16
18
16
16
18
18
18
16
18
17
17
17
16
121
121
121
121
121
121
16
17
3
28
29
30
24
24
29
25
25
25
Name
Clean Funk RX1
Clean Funk RX2
Dist. Guitar RX1
Dist. Guitar RX2
Vintage S. 1
Vintage S. 2
Steel Guitar 1
Steel Guitar 2
Ac.Guitar KeyOff
Clean Mute Gtr
Clean Gtr Pro 1
Clean Gtr Pro 2
Dist. Clean Gtr
Chorus Gtr Pro
Pedal Steel
'54 E. Guitar
Stra. Vel. Pro
New Stra.Guitar
Single Coil
Soft Overdrive
Chorus Guitar
Real El. Gtr ST1
Real El. Gtr ST2
Real El. Guitar1
Real El. Guitar2
JazzGtr SlidePro
Club Jazz Gtr 1
Clean Jazz 1
Clean Jazz 2
Pop Steel Gtr 1
Pop Steel Gtr 2
5th Mute Gtr
Stereo Dist.Gtr
Solid Guitar
Clean Guitar 1
Steel Slide Pro1
Steel Slide Pro2
Steel Gtr RX
Jazz Gtr RX
Soft Jazz Guitar
Single Coil Pro
Nylon Guitar RX
Natural Nylon
RealFolk Gtr RX
Real 12 Strings
Nylon Gtr Pro1
Nylon Gtr Pro2
Nylon Slide Pro
Steel Guitar Pro
12 Strings Pro
Steel 12 Strings
Real Steel Gtr
Real Folk Gtr
Factory data
Sounds
267
CC00 CC32 PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
11
18
4
24
13
15
5
6
19
4
4
20
10
11
9
10
6
2
16
7
3
21
20
13
14
21
22
21
8
22
23
6
2
28
29
30
31
17
5
31
32
8
11
14
19
18
19
34
33
35
7
5
14
30
27
26
27
24
28
27
27
27
27
25
25
28
28
30
30
27
27
27
29
27
27
27
25
25
25
25
28
30
26
26
27
27
27
27
27
27
25
25
25
25
24
24
24
25
24
24
25
25
25
26
26
27
268 Factory data
Sounds
Name
Processed E.Gtr
L&R E.Guitar 1
R&R Guitar
Power Chords
Mute Monster
Disto Mute
Vox Wah Chick RX
Funky Wah RX
12 Strings RX
Nylon Gtr RX1
Nylon Gtr RX2
Steel Guitar RX1
Steel Guitar RX2
Pop SteelGtr RX1
Pop SteelGtr RX2
Clean Guitar RX1
Clean Guitar RX2
Clean Guitar RX3
Clean Guitar RX4
Clean Guitar RX5
Clean Guitar RX6
Funk Stein RX1
Funk Stein RX2
Factory: Strings & Vocal
Viola Expr.
Violin & Viola
Slow Violin
Strings Quartet
Chamber Strings
Orchestra Tutti1
Orchestra Tutti2
Orch. & Oboe 1
Orch. & Oboe 2
Orchestra&Flute
Strings & Horns
Strings & Glock.
Octave Strings
Pizz. Ensemble
Movie Str.1 RX
Movie Str.2 RX
Scat Voices RX1
Classic Harp
Movie Strings 1
Movie Strings 2
Violin Expr. 1
Violin Expr. 2
Concert Str.RX
Strings Ens. RX
Full Strings
Ensemble & Solo
Tremolo Strings
Class.Contrabass
Cello
17
20
15
18
8
1
12
14
19
16
3
9
1
2
1
1
11
1
4
23
22
2
5
6
2
20
2
7
8
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
48
48
48
48
48
45
48
48
48
48
41
41
40
48
48
44
43
42
40
48
48
49
49
49
40
49
49
52
46
CC00 CC32 PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
16
24
25
14
18
12
13
15
3
12
5
9
4
4
5
9
20
12
13
15
16
17
18
25
25
25
28
25
24
24
25
30
28
120
27
27
27
28
30
28
28
28
28
28
28
28
Name
Pizz. Section
Spiccato Strings
Symphonic Bows
Analog Strings 1
Synth Strings 1
Scat V.& Bass1
Scat V.& Bass2
Wuuh Choir
Oh-Ah Voices
Femal&Male Scat
Take Voices 1
Ooh Slow Voice
Scat Voices RX2
Male Scat
Femal Scat
Grand Choir
Ooh Choir
Ooh Voices
Choir Light
Synth Voices
Full Vox Pad
Vocalesque
Fresh Breath
Vocalscape
Heaven
Airways
Factory: Trumpet & Trbn.
Jazz Trumpet RX
Jazz Cornet RX
Cornet Expr.
Trombone RX
Trumpet Expr.1
Trumpet Expr.2
Wah Trumpet
Mute Trumpet
Sweet FlugelHorn
Trumpet Pro 1
Trumpet Pro 2
Trumpet Pro 3
Trombone Expr. 1
Trombone Expr. 2
Cornet Pro 1
Cornet Pro 2
Trumpet Overb.
Trombone Vel. 1
Trombone Vel. 2
Trombone Vel. 3
Flugel Horn Pro
Concert Trumpet
Concert Trp. Pro
Dual Trumpets
Hard Trombone
Trombone Pro Vel
13
19
20
6
3
11
9
10
2
8
22
23
6
7
12
10
11
16
2
5
15
4
24
25
21
13
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
56
56
56
56
57
57
56
57
57
57
57
57
56
56
56
56
56
56
56
56
59
59
56
56
56
57
CC00 CC32 PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
19
16
15
11
4
3
9
14
6
17
18
8
10
5
2
4
7
3
9
2
3
3
12
6
6
2
52
52
52
52
52
52
52
52
50
52
52
52
45
49
48
50
91
54
91
54
52
52
52
54
91
53
Name
Alp Trumpet
Trumpet
Trumpet Shake Y+
Trumpet Pitch
Tuba Gold
Oberkr. Tuba
Factory: Brass
Big Band Brass 1
Big Band Brass 2
Trpts &Trombs
Tight Brass Pro
Tight Brass 1
Tight Brass 2
Tight Brass 3
Tight Brass 4
Trumpet Ens2 Y+
Trumpet Ens.
Trombone Ens.
Trombones
Dyna Brass 1
Trpts & Brass
Fat Brass
Brass of Power
Glenn & Friends
Glenn & Boys
Sax & Brass
Brass & Sax
Mute Ensemble 1
Mute Ensemble 2
Sforzato Brass
Movie Brass
Flute Muted
French Section
Horns & Ensemble
Classic Horns
Synth Brass 1
Electrik Brass
Brass Section
Brass Fall
Brass Impact
Brass Hit
Factory: Sax
Alto Sax RX1
Tenor Sax RX
Alto Sax RX2
Jazz Tenor RX
Sweet Soprano 1
Sweet Soprano 2
Sweet Soprano 3
Soprano Pro
Sweet Alto Sax1
Sweet Alto Sax 2
CC00 CC32 PC
121
121
121
121
121
121
17
14
18
5
2
1
56
56
56
56
58
58
4
3
6
2
4
23
20
16
3
6
5
7
13
30
3
31
26
5
4
4
25
9
10
11
14
29
2
12
36
32
4
34
28
27
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
73
60
60
60
59
61
61
61
61
61
59
61
61
61
61
62
62
61
61
55
61
61
61
61
61
61
61
61
61
61
61
61
61
61
12
12
3
4
10
9
5
6
1
2
121
121
121
121
121
121
121
121
121
121
65
66
65
66
64
64
64
64
65
65
Name
Clarinet Pro 2
Jazz Clarinet
Whistle
Whistle RX2
Whistle RX3
Whistle Breathe
Double Reed
Orchestra Flute
Woodwinds
Small Orchestra
Clarinet Ens.
Section Winds 1
Section Winds 2
Reeds & Saxes
Clarinet RX
Flute RX
Whistle RX1
Blown Bottle
Bassoon
Piccolo
Ocarina
Flute Switch
Jazz Flute RX
Jazz Flute Expr.
Flute Dyn. 5th
Flute Frullato
Clarinet Pro 1
Soft Alto Sax
Alto Sax Pro
Tenor SaxNoise1
Tenor Sax Noise2
Baritone Sax Pro
Baritone Sax
Tenor Sax Expr.1
Tenor Sax Expr.2
Jazz Tenor
Alto Sax Expr.
Baritone Growl
Cool Sax Ens.
Sax Ensemble
Reed of Power
Factory: Woodwind
Factory: Synth Pad
Warm Pad
Deep Noise
The Pad
Dark Pad
Analog Pad 1
Analog Pad 2
Analog Pad 3
OB Pad
Dark Anna
Factory data
Sounds
269
CC00 CC32 PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
10
9
1
11
2
11
7
8
3
4
1
6
7
8
66
65
67
65
65
66
67
67
66
66
65
65
66
66
3
4
10
1
5
5
6
2
1
3
4
9
1
1
4
8
1
3
2
10
3
1
13
1
1
11
5
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
71
71
71
73
71
72
71
78
78
78
68
71
71
78
73
73
73
71
72
79
73
73
71
73
78
76
70
121
121
121
121
121
121
121
121
121
15
6
8
4
4
9
10
12
13
89
127
89
89
89
89
89
89
89
270 Factory data
Sounds
Name
Motion Ocean
Moon Cycles
Bell Pad
Big Panner
Rave
Moving Bell
Big Sweep Stab
Fresh Air 1
Fresh Air 2
Pop Synth Pad 1
Pop Synth Pad 2
80's Pop Synth
Wave Cycle
Symphonic Ens.
Future Pad
Air Clouds
Tinklin Pad
Pods In Pad
Vintage Sweep
Money Pad
Tsunami Wave
Ravelian Pad
Meditate
Cinema Pad
Super Sweep
Wave Sweep
Cross Sweep
Digi Ice Pad
Virtual Traveler
Factory: Synth Lead
Bass Phat Saw
Old Portamento
Power Saw
Octo Lead
Electro Lead
Rich Lead
Thin Analog Lead
Dance Lead
Wave Lead
Sine Wave
Express. Lead
HipHop Lead
Analog Lead
Phat Saw Lead
Glide Lead
Gliding Square
Power Synth
Sine Switch
Cosmic
Fire Wave
Digital PolySix
A Leadload
Noisy Stabb
6
7
6
5
4
5
3
4
12
6
2
3
5
10
1
10
7
11
8
9
3
8
9
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
80
87
87
80
87
87
80
80
87
80
81
81
87
80
93
81
90
81
81
80
89
87
90
CC00 CC32 PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
11
4
12
2
3
12
2
6
5
6
4
1
5
2
1
5
6
5
4
8
2
5
6
4
7
1
3
14
5
91
91
91
93
96
97
98
90
91
96
102
98
63
90
90
101
88
91
95
95
90
97
95
89
91
89
91
97
97
Name
Mega Synth
Dark Element
Metallic Rez
Synth Pianoid
Arp Angeles
Big & Raw
Caribbean
OB Lead
Port Whine
2VCO Planet Lead
VCF Modulation
Factory: Ethnic
Nay
Clarinet G
Klarnet 1
Klarnet 2
Kawala
Hichiriki
HighlandBagPipes
Uillean BagPipes
Old Shakuhachi
Indian Frets
Zurna 1
Zurna 2
Ac. Baglama 1
Ac. Baglama 2
Ac. Baglama Grp.
Gamelan
Garbage Mall
Jaw Harp
Sitar
Fiddle
Mandolin Ens. 1
Mandolin Ens. 2
Mandolin Trem.
Banjo Key Off
Banjo RX
Sitar Tambou
Kanoun 1
Kanoun 2
Kanoun Trem. 1
Kanoun Trem. 2
Kanoun Mix
Bouzouki
Oud 1
Oud 2
Factory: Bass
Finger Bass RX1
Jazz Bass
Acous. Bass Pro1
Acous. Bass Pro2
Finger Bass 1
CC00 CC32 PC
121
121
121
121
121
121
121
121
121
121
121
2
10
2
8
4
12
9
3
12
13
3
88
87
96
87
90
95
84
81
80
80
101
8
9
1
7
4
3
2
1
1
3
3
2
3
12
1
2
2
11
5
2
4
5
6
3
5
2
4
2
11
1
26
27
8
1
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
111
107
107
107
109
77
104
111
71
75
111
109
72
71
71
112
112
105
107
104
105
105
107
107
107
107
25
105
105
104
104
110
25
25
121
121
121
121
121
16
4
6
9
3
33
32
32
32
33
Name
Fretless Bass 2
Bass & Ride 1
Bass & Ride 2
Bright Finger B.
Picked E.Bass 1
Picked E.Bass 2
Picked E.Bass 3
Chorus Fing.Bass
Bass Mute
Synth Bass 1
Synth Bass 2
Bass&Gtr Double
FingerB.& Guitar
Bass & Guitar
30303 Bass
Digi Bass 1
Finger Bass 2
Finger Bass 3
Finger Bass 4
Acoustic Bass
Finger Slap
The Other Slap
Thumb Bass
Pick Bass 1
Pick Bass 2
Super Bass 1
Super Bass 2
Sweet Fretless
Finger E.Bass 1
Finger E.Bass 2
Finger E.Bass 3
Fretless Bass 1
Digi Bass 2
Digi Bass 3
Jungle Rez
Syn Bass Res
Jungle Bass
Hybrid Bass
Stein Bass
Organ Pedal 1
Organ Pedal 2
Acous. Bass RX
Finger Bass RX2
SlapFing Bass RX
Picked Bass RX
SlapPick Bass RX
FunkSlap Bass RX
Factory: Drum & SFX
Standard Kit RX1
Standard Kit RX2
Standard Kit RX3
Standard Kit RX4
Ambient Kit RX
CC00 CC32 PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
5
9
14
4
5
18
15
6
11
8
1
2
2
9
2
6
4
1
2
3
2
3
8
1
1
7
12
5
7
10
15
8
10
5
3
11
7
13
4
13
15
3
10
5
8
10
11
33
34
38
38
34
38
39
34
34
34
34
33
35
32
32
33
33
33
33
35
34
36
36
35
33
37
37
34
33
33
33
32
34
36
36
32
32
33
36
38
38
34
32
38
38
39
38
120
120
120
120
120
0
0
0
0
0
5
1
2
6
3
Name
Grand Piano
M1 Piano
Piano Pad 1
Piano Pad 2
90's Piano
2000's Piano
Chorus Piano
Honky-Tonk
Harpsi 16' RX
Harpsi Korg
Clav Snap
Sticky Clav
Analog Kit
Jungle Kit
Electro Kit
Room Kit 1
HipHop Kit 1
Techno Kit 1
Pop Std. Kit 1
Pop Std. Kit 2
Elektro Kit 1
Elektro Kit 2
Standard PercKit
Arabian Kit 1
Arabian Kit 2
Turkish Kit
Oriental PercKit
Percussion Kit
Pop Std. Kit RX
Electro Kit RX1
Electro Kit RX2
Brush Kit RX1
Brush Kit RX2
Brush Kit RX3
HipHop Kit RX
Jazz Kit RX1
Jazz Kit RX2
Jazz Kit RX3
Techno Kit RX
House Kit RX1
House Kit RX2
Power Kit RX1
Power Kit RX2
Dance Kit RX
Latin Perc.Kit 1
Latin Perc.Kit 2
Trinity Perc.Kit
i30 Perc. Kit
Synth Kit
SFX Kit 1
SFX Kit 2
Legacy: Piano
Factory data
Sounds
271
CC00 CC32 PC
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
117
118
119
64
96
97
69
51
9
11
89
90
123
10
122
120
58
60
57
65
68
66
67
31
18
19
74
34
35
73
30
43
44
72
33
4
75
76
42
4
3
4
5
4
4
5
3
3
3
2
2
121
121
121
121
121
121
121
121
121
121
121
121
6
7
3
6
7
2
2
1
2
0
2
1
272 Factory data
Sounds
Name
Legacy: E. Piano
Vintage EP
Stereo Dig. EP
FM Stack EP
Hybrid EP
Phantom Tine
Soft Wurly
Hard Wurly
Velo Wurly
Sweeping EP
Classic Dig. EP
Syn Piano X
Legacy: Mallet & Bell
Vibraphone 2
Monkey Skuls
Digi Bell
Krystal Bell
Legacy: Accordion
Sweet Harmonica
Akordeon
Cassotto NorTune
Acc. Clarinet NT
Acc. Piccolo NT
Detune Accordion
Musette Clar.
Arabic Accordion
Legacy: Organ
Classic Click
Perc.Short Decay
Rock Organ 2
Dirty B
Killer B
BX3 Short Decay
Super BX Perc.
Gospel Organ
Old Wheels
Dark Organ 1
Dark Organ 2
Rotary Organ
VOX Legend
M1 Organ
Dirty JazzOrgan
Arabian Organ
Theatre Organ 3
Theatre Organ 4
Tibia
Tibia 16+8+4'
Tibia & Vox
Post Horn Trem.
Tibia & Kinura
Tibia Vox Glock
Techno Org.Bass
CC00 CC32 PC
8
10
13
14
4
6
16
7
5
15
12
121
121
121
121
121
121
121
121
121
121
121
4
4
5
5
4
5
5
5
5
4
5
121
121
121
121
3
3
4
3
11
12
98
98
121
121
121
121
121
121
121
121
14
20
22
15
1
2
5
10
22
21
21
21
21
21
21
21
28
29
31
32
6
24
25
26
27
11
5
7
12
5
8
3
7
6
9
2
7
4
8
11
3
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
16
16
16
16
17
16
16
16
16
16
17
18
16
17
16
16
17
18
17
18
16
18
18
18
18
Name
Legacy: Guitar
Wet Dist. Guitar
Hackbrett
Tel. Bridge
Guitarish
Stra. Gtr Slide
Stra. Chime
Clean Guitar 2
L&R E.Guitar 2
Rhythm E.Guitar
Muted Guitar
E.Gtr Harmonics
Solo Dist.Guitar
Dist. Steel Gtr
Joystick Gtr Y-
Nylon Bossa
Nylon Vel. Harm.
Spanish Guitar
Nylon Guitar
Brazilian Guitar
Steel Folk Gtr
Guitar Strings
Finger Key Off
Club Jazz Gtr 2
Pop Steel Slide
Finger Tips
Country Nu
Reso Guitar
Tel. Midddle
Clean Funk
Legacy: Strings & Vocal
Strings Ens. 1
Strings Ens. 2 i3 Strings
Stereo Strings
Master Pad
N Strings
Arco Strings
Legato Strings
Double Strings
Arabic Strings
Sweeper Strings
Analog Strings 2
Synth Strings 2
Take Voices 2
Aah Choir
Slow Choir
Cyber Choir
Odissey
Strings Choir
Analog Velve
Ether Voices
CC00 CC32 PC
2
1
13
1
4
3
6
7
21
3
2
3
5
3
1
4
13
10
2
5
7
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
48
49
50
51
48
48
48
45
48
49
48
48
89
50
52
50
85
52
52
52
85
2
7
7
19
12
3
17
5
25
10
27
8
6
6
11
12
26
8
23
8
7
3
9
7
15
9
4
10
6
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
28
28
31
30
30
30
27
28
27
27
30
25
27
27
27
25
27
28
25
26
25
25
24
24
25
24
24
24
24
Name
Dream Voice
Classic Vox
Doolally
Legacy: Trumpet & Trbn.
Legacy: Sax
Folk Sax
Breathy Baritone
Alto Breath
Tenor Breath
Breathy Alto Sax
Alto Sax Growl
Soft Tenor
Tenor Growl
Legacy: Woodwind
Folk Clarinet
Flute
Wooden Flute
Bambu Flute
English Horn
Recorder 1
Recorder 2
Legacy: Synth Pad
Sky Watcher
Vintage Pad
You Decide
Korgmatose
Reoccuring Astra
Mono Trumpet
Warm Flugel
Pitch Trombone
Soft Trombone
Trombone
BeBop Cornet
Flugel Horn
Dynabone
Ob.Tuba&E.Bass 1
Ob.Tuba&E.Bass 2
Legacy: Brass
Attack Brass
Big BandShake Y+
Trumpet Ens1 Y+
Dyna Brass 2
Double Brass
Power Brass
Brass Expr.
Film Brass
Brass Slow
Fanfare
Synth Brass 2
Brass Pad
Netherland Hit
CC00 CC32 PC
121
121
121
5
4
2
54
54
53
7
3
12
9
4
5
5
4
3
8
121
121
121
121
121
121
121
121
121
121
57
56
56
58
56
56
57
57
58
58
3
8
19
5
21
15
17
18
8
33
35
22
24
121
121
121
121
121
121
121
121
121
121
121
121
121
61
63
63
55
61
61
61
61
61
61
61
61
61
121
121
121
121
121
121
121
121
4
2
3
3
5
2
1
4
66
65
65
66
66
67
65
66
121
121
121
121
121
121
121
7
8
1
9
7
1
2
71
73
73
73
69
74
74
121
121
121
121
121
2
11
8
13
6
90
89
95
90
95
Name
Astral Dream
Reso Down
Crimson 5ths
Freedom Pad
Noble Pad
Mellow Pad
Lonely Spin
Synth Ghostly
Farluce
Bell Choir
Dance ReMix
Elastick Pad
Legacy: Synth Lead
Motion Raver
Synchro City
Wild Arp
Seq Lead
Old & Analog
Flip Blip
Reso Sweep
Synth Sweeper
Sync Kron
Tecno Phonic
Band Passed
Cat Lead
Pan Reso
Square Rez
Rezbo
Auto Pilot 1
Square Bass
Brian Sync
Arp Twins
LoFi Ethnic
Legacy: Ethnic
Shakuhachi
Mandolin Key Off
War Pipes
Sitar Sitar
Hit in India
Tambra
Indian Stars
Bali Gamelan
Ukulele Gtr
Legacy: Bass
Ac. Bass Buzz
Slap Bass 1
Slap Bass 2
Slap Bass 3
Dyna Slap Bass
Chorus Slap Bass
DarkWoody A.Bass
More Mid! Bass
Factory data
Sounds
273
CC00 CC32 PC
121
121
121
121
121
121
121
121
121
121
121
121
1
2
5
4
1
7
1
2
11
7
10
7
97
95
100
100
95
97
86
89
90
98
91
97
87
102
80
81
90
84
90
102
81
80
55
90
101
84
55
38
87
84
84
84
11
11
9
4
10
3
3
3
7
1
7
8
1
2
6
14
7
5
6
7
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
5
6
1
7
2
10
3
2
26
77
25
109
104
55
104
104
112
24
121
121
121
121
121
121
121
121
5
11
3
4
6
7
1
6
37
37
32
33
32
36
37
37
274 Factory data
Sounds
Name
Standard Kit
Bdrum&Sdrum Kit
Room Kit 2
Power Kit 1
Power Kit 2
HipHop Kit 2
Techno Kit 2
Techno Kit 3
House Kit 1
House Kit 2
House Kit 3
Brush Kit 1
Brush Kit 2
Orchestra Kit
Log Drum
Reverse Tom
Reverse Snare
Reverse Cymbal
Dragon Gong
Stadium
Castanets Plus
Timpani
Woodblock
Footstep Walk
GM: Piano
Woofer Pusher
Dark R&B Bass1
Dyna Bass
Ticktacing Bass
Fretless Bass 3
Stick Bass
Dark R&B Bass2
Auto Pilot 2
Bass4 Da Phunk
Dr. Octave
Monofilter Bass
Synth Bass 80ish
Reso Bass
Autofilter Bass
Drive Bass
Nasty Bass
Euro Bass
30303 Square
Bass Square
Phat Bass
Blind As A Bat
Poinker Bass
Legacy: Drum & SFX
AcousticPiano GM
Ac. Piano Wide
Ac. Piano Dark
Bright Piano GM
118
119
119
126
41
49
12
117
115
47
115
126
26
27
28
125
13
14
15
7
50
12
121
17
1
6
3
2
4
2
0
0
3
7
2
1
0
0
0
0
0
0
0
0
0
0
0
0
121
121
121
121
120
120
121
121
121
121
121
121
120
120
120
120
120
120
120
120
120
120
120
120
CC00 CC32 PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
12
10
17
6
14
16
11
9
5
13
7
5
2
9
6
4
7
7
4
6
12
8
39
39
38
39
39
38
39
39
35
33
35
39
35
35
37
34
39
38
38
39
38
39
121
121
121
121
2
0
0
1
0
1
0
0
Name
Bright PianoWide
E.Grand Piano GM
E. Grand Wide
Honky-Tonk GM
Honky Wide
E. Piano 1 GM
Detuned EP 1
EP 1 Veloc. Mix
60's E. Piano
E. Piano 2 GM
Detuned EP 2
EP 2 Veloc. Mix
EP Legend
EP Phase
Harpsichord GM
Harpsi OctaveMix
Harpsi Wide
Harpsi Key Off
Clav GM
Pulse Clav
Drawbar Org GM
Det. Drawbar Org
It. 60's Organ
Drawbar Org. 2
Perc.Organ GM
Det. Perc. Organ
Perc. Organ 2
Rock Organ GM
Church Organ GM
Church Oct. Mix
Detuned Church
Reed Organ GM
Puff Organ
Accordion GM
Accordion 2
Harmonica GM
Tango Accord.GM
GM: Chrom. Perc.
Celesta GM
Glockenspiel GM
Music Box GM
Vibraphone GM
Vibraphone Wide
Marimba GM
Marimba Wide
Xylophone GM
Tubular Bell GM
Church Bell
Carillon
Dulcimer GM
GM: Organ
0
0
1
2
0
0
1
0
1
0
0
0
121
121
121
121
121
121
121
121
121
121
121
121
13
14
14
14
15
11
11
12
12
8
9
10
1
0
2
0
0
1
2
0
1
0
0
0
1
2
3
0
1
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
19
20
20
21
17
18
19
19
21
22
23
16
16
16
16
17
17
CC00 CC32 PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
3
4
1
2
3
0
0
1
2
3
1
2
1
0
1
0
1
0
6
6
5
5
5
5
4
5
7
7
6
6
4
4
3
4
2
3
1
2
Name
GM: Bass
Acoustic Bass GM
Finger Bass GM
Finger Slap Bass
Picked E.Bass GM
Fretless Bass GM
Slap Bass 1 GM
Slap Bass 2 GM
Synth Bass 1 GM
Synth Bass Warm
Synth Bass Reso
Clavi Bass
Hammer
Synth Bass 2 GM
SynthBass Attack
SynthBass Rubber
Attack Pulse
GM: Strings
Violin GM
Slow Att. Violin
Viola GM
Cello GM
Contrabass GM
Tremolo Str. GM
Pizzicato Str.GM
Harp GM
Yang Chin
GM: Guitar
Nylon Guitar GM
Ukulele
Nylon Key Off
Nylon Guitar 2
Steel Guitar GM
12 Strings Gtr
Mandoln
Steel Gtr & Body
Jazz Guitar GM
Pedal Steel Gtr
Clean Guitar GM
Det.Clean El.Gtr
Mid Tone Gtr
Muted Guitar GM
Funky Cut El.Gtr
Mute Vel. El.Gtr
Jazz Man
Overdrive Gtr GM
Guitar Pinch
Distortion GtrGM
Feedback DistGtr
Dist. Rhythm Gtr
Gtr Harmonic GM
Guitar Feedback
CC00 CC32 PC
0
1
3
4
2
3
1
2
0
0
0
0
1
0
0
0
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
38
38
39
39
37
38
38
38
39
39
32
33
33
34
35
36
0
0
0
1
0
0
1
0
0
121
121
121
121
121
121
121
121
121
40
40
41
42
43
44
45
46
46
0
1
1
2
1
0
3
0
1
2
3
0
0
1
2
2
0
0
1
0
1
2
3
1
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
27
27
28
28
25
26
26
27
24
25
25
25
24
24
24
30
30
30
31
28
28
29
29
31
Name
Timpani GM
GM: Ensemble
Strings Ens.1 GM
Strings & Brass
60's Strings
Strings Ens.2 GM
Synth Strings1GM
Synth Strings 3
Synth Strings2GM
Choir Aahs GM
Choir Aahs 2
Voice Oohs GM
Humming
Synth Voice GM
Analog Voice
Orchestra Hit GM
Bass Hit Plus
6th Hit
Euro Hit
GM: Brass
Trumpet GM
Dark Trumpet
Trombone GM
Trombone 2
Bright Trombone
Tuba GM
Muted Trumpet GM
Muted Trumpet 2
French Horn GM
FrenchHorn Warm
Brass Section GM
Brass Section 2
Synth Brass 1 GM
Synth Brass 3
Analog Brass 1
Jump Brass
Synth Brass 2 GM
Synth Brass 4
Analog Brass 2
GM: Reed
Soprano Sax GM
Alto Sax GM
Tenor Sax GM
Baritone Sax GM
Oboe GM
English Horn GM
Bassoon GM
Clarinet GM
GM: Pipe
Piccolo GM
Flute GM
Recorder GM
Factory data
Sounds
275
CC00 CC32 PC
121 0 47
1
0
1
0
1
0
0
0
1
2
3
0
1
2
0
0
1
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
53
54
54
55
51
52
52
53
55
55
55
48
48
48
49
50
50
2
3
0
1
0
1
0
1
0
1
2
0
1
2
0
0
1
0
1
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
62
62
62
62
60
60
61
61
63
63
63
57
58
59
59
56
56
57
57
121
121
121
121
121
121
121
121
0
0
0
0
0
0
0
0
68
69
70
71
64
65
66
67
121
121
121
0
0
0
72
73
74
276 Factory data
Sounds
Name
Pan Flute GM
Blown Bottle GM
Shakuhachi GM
Whistle GM
Ocarina GM
GM: Syn Lead / Syn Pad
Lead Square GM
Lead Square 2
Lead Sine
Lead Saw GM
Lead Saw 2
Lead Saw & Pulse
Lead Double Saw
Lead Seq. Analog
Calliope GM
Chiff GM
Charang GM
Wire Lead
Voice Lead GM
Fifths Lead GM
Bass & Lead GM
Lead Soft Wrl
New Age Pad GM
Warm Pad GM
Sine Pad
Polysynth GM
Choir Pad GM
Itopia Pad
Bowed Glass GM
Metallic Pad GM
Halo Pad GM
Sweep Pad GM
GM: Synth SFX
Ice Rain GM
Soundtrack GM
Crystal GM
Synth Mallet
Atmosphere GM
Brightness GM
Goblins GM
Echo Drops GM
Echo Bell
Echo Pan
Star Theme GM
GM: Ethnic
Sitar GM
Sitar 2
Banjo GM
Shamisen GM
Koto GM
Taisho Koto
Kalimba GM
CC00 CC32 PC
121
121
121
121
121
0
0
0
0
0
75
76
77
78
79
0
0
0
0
0
1
1
0
0
0
0
1
0
0
0
1
0
0
3
4
1
2
2
0
0
1
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
92
93
94
95
89
90
91
91
87
87
88
89
84
84
85
86
81
81
82
83
80
80
80
81
81
81
121
121
121
121
121
121
121
121
121
121
121
98
99
100
101
96
97
98
102
102
102
103
0
0
1
0
0
0
0
2
0
0
1
121
121
121
121
121
121
121
1
0
0
0
0
1
0
104
104
105
106
107
107
108
Name
Bag Pipes GM
Fiddle GM
Shanai GM
GM: Percussive
Bird Tweet 2
Telephone GM
Telephone 2
Door Creaking
Door
Scratch
Wind Chime
Helicopter GM
Car Engine
Car Stop
Car Pass
Car Crash
Siren
Train
Jetplane
Starship
Burst Noise
Applause GM
Laughing
Screaming
Gtr FretNoise GM
Guitar Cut Noise
Ac. Bass String
Breath Noise GM
Flute Key Click
Seashore GM
Rain
Thunder
Wind
Stream
Bubble
Bird Tweet GM
Dog
Horse Gallop
Tinkle Bell GM
Agogo GM
Steel Drums GM
Woodblock GM
Castanets
Taiko Drum GM
Concert BassDrum
Melodic Tom GM
Melodic Tom 2
Synth Drum GM
Rhythm Box Tom
Electric Drum
ReverseCymbalGM
GM: SFX
CC00 CC32 PC
121
121
121
0
0
0
109
110
111
1
2
1
0
0
1
0
1
0
0
0
0
0
121
121
121
121
121
121
121
121
121
121
121
121
121
117
118
118
118
119
115
116
116
117
112
113
114
115
7
8
5
6
3
4
1
2
1
2
9
0
5
0
3
4
1
2
3
0
1
2
5
0
3
4
1
2
1
0
2
0
0
1
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
125
125
125
125
125
125
125
125
125
126
126
126
124
124
124
125
123
124
124
124
122
123
123
123
122
122
122
122
120
120
120
121
121
122
Name
Punch
Heart Beat
Footsteps
Gun Shot GM
Machine Gun
Laser Gun
Explosion
GM: Drum
Standard Kit GM
Room Kit GM
Power Kit GM
Electro Kit GM
Analog Kit GM
Jazz Kit GM
Brush Kit GM
Orchestra Kit GM
SFX Kit GM
Standard Kit1 XG
Standard Kit2 XG
Room Kit XG
Rock Kit XG
Electro Kit XG
Analog Kit XG
Jazz Kit 1 XG
Jazz Kit 2 XG
Brush Kit XG
Classic Kit XG
User: 1
User Sounds 0…127
User: 2
User Sounds 0…127
User: DK
User Drum Kits 0…127
CC00 CC32 PC
121
121
121
121
121
121
121
3
4
5
0
1
2
3
126
126
126
127
127
127
127
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
127
127
127
127
120
127
127
127
120
120
120
120
120
120
120
120
127
127
127
16
24
25
32
9
8
56
0
48
40
17
25
32
40
48
16
24
0
8
121 64 0…127
121 65 0…127
120 64 0…127
Factory data
Sounds
277
278 Factory data
Drum Kits
Drum Kits
PC Name
30
31
32
33
25
26
27
28
17
18
19
24
13
14
15
16
42
43
44
48
34
35
40
41
9
10
11
12
7
8
5
6
0
3
4
1
2
HipHop Kit 2
Techno Kit 2
Techno Kit 3
Power Kit GM
Power Kit 2
Power Kit RX1
Power Kit RX2
Electro Kit GM
Analog Kit GM
House Kit 1
House Kit 2
House Kit 3
House Kit RX1
House Kit RX2
Jazz Kit GM
Jazz Kit RX1
Standard Kit GM
Standard Kit RX2
Standard Kit RX3
Ambient Kit RX
Pop Std. Kit RX
Standard Kit RX1
Standard Kit RX4
Standard Kit
Room Kit GM
HipHop Kit 1
Jungle Kit
Techno Kit 1
Room Kit 2
Jazz Kit RX2
Jazz Kit RX3
Brush Kit GM
Brush Kit 2
Brush Kit RX1
Brush Kit RX2
Brush Kit RX3
Orchestra Kit GM
CC00 CC32
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
The following table lists all Pa300 Factory Drum Kits in order of
Bank Select-Program Change number. The table also includes
MIDI data used to remotely select the Drum Kits.
Legend:
CC00: Control Change 0, or Bank Select MSB. CC32:
Control Change 32, or Bank Select LSB. PC: Program Change.
Note:
The Program Change numbers are given according to the 0-
127 numbering system.
Sound Bank
GM: Drum
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Legacy: Drum & SFX
GM: Drum
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Legacy: Drum & SFX
Legacy: Drum & SFX
Legacy: Drum & SFX
Legacy: Drum & SFX
GM: Drum
Legacy: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
GM: Drum
GM: Drum
Legacy: Drum & SFX
Legacy: Drum & SFX
Legacy: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
GM: Drum
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
GM: Drum
Legacy: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
GM: Drum
0
0
0
0
0
0
0
0
0
0
127
127
127
127
127
127
127
127
127
127
CC00 CC32 PC
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
Name
69
72
73
74
65
66
67
68
57
58
60
64
49
50
51
56
75
76
89
90
Electro Kit RX1
Electro Kit RX2
Pop Std. Kit 1
Pop Std. Kit 2
96
97
Elektro Kit 1
Elektro Kit 2
117 Arabian Kit 2
118 Turkish Kit
119 Oriental PercKit
120 Room Kit 1
121 Power Kit 1
122 Electro Kit
123 Analog Kit
125 Brush Kit 1
Orchestra Kit
Bdrum&Sdrum Kit
Arabian Kit 1
SFX Kit GM
SFX Kit 2
Synth Kit
SFX Kit 1
Percussion Kit
Latin Perc.Kit 1
Trinity Perc.Kit
i30 Perc. Kit
Latin Perc.Kit 2
Standard PercKit
HipHop Kit RX
Techno Kit RX
Dance Kit RX
25
32
48
40
17
0
16
24
9
8
Standard Kit1 XG
Standard Kit2 XG
Room Kit XG
Rock Kit XG
Electro Kit XG
Analog Kit XG
Jazz Kit 1 XG
Jazz Kit 2 XG
Brush Kit XG
Classic Kit XG
120 64 0-127 …
GM: Drum
GM: Drum
GM: Drum
GM: Drum
GM: Drum
GM: Drum
GM: Drum
GM: Drum
GM: Drum
GM: Drum
User DK
Sound Bank
Legacy: Drum & SFX
Legacy: Drum & SFX
Factory: Drum & SFX
GM: Drum
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Legacy: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Legacy: Drum & SFX
Factory data
Pads
279
Pads
You can assign the following Hits or Sequences to the four Pads. Older sounds might be still assigned to the Pads when loading musical resources generated with an older operating system (see the following section).
# HIT - Drum
1 88 Cowbell
2 88 Crash
3 China
4 Crash 1
5 Crash 2
6 Rev. Cymbal
7 Ride 1
8 Ride 2
9 Ride Bell
10 Splash
11 Sticks
12 Rim-Shot
13 Hi Tom Flam
14 Mid Tom Flam
15 Low Tom Flam
16 Tom Flam End
17 Drum Single A
18 Drum Single B
19 Drum Single C
20 Drum Single D
21 Drum Sing.HouseA
22 Drum Sing.HouseB
23 Drum Sing.HouseC
24 Drum Sing.HouseD
25 Drum Kit A
26 Drum Kit B
27 Drum Kit C
28 Drum Kit D
29 Drum Kit E
30 Drum Kit F
31
32
# HIT - Percussion
1 Agogo 1
2 Agogo 2
3 Castanet 1
4 Castanet 2
5 Conga Hi
6 Conga Low
7 Conga Mute
8 Conga Slap
9 Cowbell
10 Cuica 1
11 Cuica 2
12 Jingle Bell
13 Long Guiro
14 Short Guiro
15 Open Bells
16 Rain Stick
17 Tamb. Acc. 1
18 Tamb. Acc. 2
19 Tamb. Open
20 Tamb. Push
21 Timbale Hi
22 Timbale Low
23 Timbale Rim 1
24 Timbale Rim 2
25 Triangle 1
26 Triangle 2
27 Vibra Slap
28 Whistle 1
29 Whistle 2
30 Windchimes 1
31 Windchimes 2
32 Windchimes 3
# HIT - World 1
29
30
31
32
25
26
27
28
21
22
23
24
17
18
19
20
1 Baja 1
2 Baja 2
3 China Gong
4 Darbuka 1
5 Darbuka 2
6 Darbuka 3
7 Darbuka 4
8 Darbuka 5
9 Darbuka 6
10 Darbuka 7
11 Darbuka 8
12 Davul
13 Douf Rim Ak
14 Dragon Gong
15 Hollo 1
16 Hollo 2
# Hit - World 2
29
30
31
32
25
26
27
28
21
22
23
24
17 Tef 4
18 Tef 5
19 Tef 6
20
1 Kup 1
2 Kup 2
3 Kup 3
4 Kup 4
5 Ramazan 1
6 Ramazan 2
7 Ramazan 3
8 Rek Dom Ak
9 Rik 1
10 Rik 2
11 Rik 3
12 Sagat 1
13 Sagat 2
14 Tef 1
15 Tef 2
16 Tef 3
# HIT - Orchestral
29
30
31
32
25
26
27
28
21
22
23
24
17
18
19
20
1 Brass Fall
2 Orch.Cymbal 1
3 Orch.Cymbal 2
4 Orch. Hit
5 Orch. Snare
6 Orch. Sn. Roll
7 Timpani 1
8 Timpani 2
13
14
15
16
9 Timpani 3
10 Timpani 4
11 Orchestra Tutti
12
280 Factory data
Pads
HIT - Voice
29
30
31
32
25
26
27
28
21
22
23
24
17
18
19
20
13
14
15
16
9
10
11
12
1 Aah !
2 Hit it !
3 Laughing
4 Scream
5 Uuh !
6 Yeah ! 1
7 Yeah ! 2
8
# SEQ - Percussion
1 Perc FingerSnap
2 Perc Triang.+HH
3 Perc Latin 1
4 Perc Latin 2
5 Perc Latin 3
6 Perc Mix
7 Perc Soft
8 Perc Conga
9 Perc Conga+Ride
10 Perc Conga+Mix
11 Perc Conga+Bongo
12 Perc Conga+Tamb.
13 Perc Shaker
14 Perc Shak+Tamb 1
15 Perc Shak+Tamb 2
16 Perc Shak+Cong 1
17 Perc Shak+Cong 2
18 Perc Tambourine1
19 Perc Tambourine2
20 Perc Tamb+Conga1
21 Perc Tamb+Conga2
22 Perc Guiro+Bongo
23 Perc Cowbel+Tamb
24 Perc 3/4
25 Perc 6/8
26
# HIT - Synth&Pad
1 Cosmic
2 VCF Modulation
3 Planet Lead
4 Brightness
5 Crystal
6 New Age Pad
7 Fifths Lead
8 Calliope
9 Caribbean
10 Rezbo
11 Digital Polisix
12 Motion Raver
13 Moving Bell
14 Elastick Pad
15 Rave
16 Dance Remix
29
30
31
32
25
26
27
28
21
22
23
24
17 Vintage Sweep
18 You Decide
19
20
# SEQ - Drum
1 Drum DrumBasSolo
2 Drum Snare Solo
3 Drum 8 Bt Easy
4 Drum 8 Bt Medium
5 Drum Rock 1
6 Drum Rock 2
7 Drum Brush 1 3/4
8 Drum Brush 2 3/4
9 Drum Disco 1
10 Drum Disco 2
11 Drum Disco 3
12 Drum Disco 4
13 Drum Funk 1
14 Drum Funk 2
15 Drum Brush Shuff
16 Drum Latin
17 Drum Progressiv1
18 Drum Progressiv2
19 Drum Fill 1
20 Drum Fill 2
21 Drum Break
22 Drum End
23
24
25
26
# HIT - Blocks
29
30
31
32
25
26
27
28
21
22
23
24
17
18
19
20
1 Blk Funk 1 A
2 Blk Funk 1 B
3 Blk Funk 1 C
4 Blk Funk 1 D
5 Blk Funk 2 A
6 Blk Funk 2 B
7 Blk Funk 2 C
8 Blk Funk 2 D
9 Blk Organ A
10 Blk Organ B
11 Blk Organ C
12 Blk Organ D
13 Blk Choir A
14 Blk Choir B
15 Blk Choir C
16 Blk Choir D
# SEQ - Groove
1 Grv Drum 1
2 Grv Drum 2
3 Grv Brush
4 Grv Jazzy
5 Grv Latin
6 Grv HipHop 1
7 Grv HipHop 2
8 Grv HipHop 3
9 Grv HipHop 4
10 Grv HipHop 5
11 Grv HipHop 6
12 Grv Funk 1
13 Grv Funk 2
14 Grv Funk 3
15 Grv House 1
16 Grv House 2
17 Grv Analog
18 Grv Garage 1
19 Grv Garage 2
20 Grv Dance 1
21 Grv Dance 2
22 Grv Techno 1
23 Grv Techno 2
24
25
26
# HIT - Misc&SFX 2
29
30
31
32
25
26
27
28
21
22
23
24
17 Starship
18 Thunder
19 Train
20 Wind
1 Bubble
2 Car Crash
3 Car Engine
4 Car Pass
5 Car Stop
6 Explosion
7 Gun Shot
8 Helicopter
9 Jet Plane
10 Laser Gun
11 Machine Gun
12 Phone Ring
13 Punch
14 River
15 Seashore
16 Siren
# SEQ - Piano
1 Piano Accomp 1
2 Piano Accomp 2
3 Piano Accomp 3
4 Piano Accomp 4
5 Piano Accomp 5
6 Piano Accomp 6
7 Piano Accomp 7
8 Piano Accomp 8
9 Piano Accomp 9
10 Piano Arpeg. 1
11 Piano Arpeg. 2
12 Piano Arp 1 3/4
13 Piano Arp 2 3/4
14 Piano Arp Down
15 Piano Arp Up
16 Piano Rhythm 1/8
17 Piano Rhythm1/8T
18 Piano Latin Rock
19 Piano Salsa 1
20 Piano Salsa 2
21 Pno GlissDwnWhit
22 Pno GlissUpWhite
23 Pno GlissDwnBlak
24 Pno GlissUpBlack
25 Honky End
26
# HIT - Misc&SFX 1
29
30
31
32
25
26
27
28
17 Scratch 1
18 Scratch 2
19 Scratch 3
20 Scratch 4
21 Scratch 5
22 Scratch 6
23 Stadium
24
1 Applause
2 Bird 1
3 Bird 2
4 Cat
5 Church Bell
6 Crickets
7 Dist. Slide 1
8 Dist. Slide 2
9 Dog
10 Door Creak
11 Door Slam
12 Foosteps 1
13 Foosteps 2
14 Heart Beat
15 Horse Gallop
16 Lion
# SEQ - Bass
21
22
23
24
17
18
19
20
25
26
1 Bass Pick Easy
2 Bass Pick Med.
3 Bass Pick Busy
4 Bass Finger Easy
5 Bass Finger Med.
6 Bass Finger Walk
7 Bass Latin
8 Bass Slap
9 Bass Digital
10 Bass Synth
11 Bass DigiFilter1
12 Bass DigiFilter2
13 Bass DigiFilter3
14
15
16
27
28
29
30
31
32
# SEQ - Guitar
1 Gtr Steel Strum1
2 Gtr Steel Strum2
3 Gtr Steel Strum3
4 Gtr Steel Strum4
5 Gtr Steel Strum5
6 Gtr Steel Strum6
7 GtSteelStrum 3/4
8 Gtr Steel Arp 1
9 Gtr Steel Arp 2
10 Gtr Steel Arp 3
11 GtrSteel Arp 6/8
12 Gtr Steel Mute 1
13 Gtr Steel Mute 2
14 Guitar Country
15 Gtr Nylon Strum1
16 Gtr Nylon Strum2
29
30
31
32
25
26
27
28
17 Gtr Nylon Strum3
18 Gtr Nylon Strum4
19 Gtr Nylon Strum5
20 Gtr Nylon Strum6
21 Gtr Nylon Arp 1
22 Gtr Nylon Arp 2
23 Gtr Nylon Arp 3
24 GtrNylon Arp 3/4
27
28
29
30
31
32
# SEQ - Orchestral
29
30
31
32
25
26
27
28
21
22
23
24
17 Strings 4
18 Strings 5
19 Strings 6
20 Strings 7
1 Timpani Roll 1
2 Timpani Roll 2
3 Orch. Tutti 1
4 Orch. Tutti 2
5 Orch. Tutti 3
6 Orch. Tutti 4
7 Orch. Harp 1
8 Orch. Harp 2
9 Orch. Harp 3
10 Orch. Harp 4
11 Orch. Harp 5
12 French Horns 1
13 French Horns 2
14 Strings 1
15 Strings 2
16 Strings 3
27
28
29
30
31
32
# SEQ - Solo
1 Solo Marimba
2 Solo Kalimba 1
3 Solo Kalimba 2
4 Solo Steel Drums
5 Solo Vibes
6 Solo Gtr Dist.
7 Solo Slide Steel
8 Solo Banjo
9 Solo Violin
10 Solo Harpsi 3/4
11 Solo Harpsi 4/4
12 Solo Gtr Funk
13 Solo Piano 1
14 Solo Piano 2
15 Solo Piano 3
16 Solo Piano 4
17 Solo Synth 1
18 Solo Synth 2
19 Solo Synth 3
20 Solo Synth 4
21 Solo Synth 5
22 Solo Synth 6
23 Solo Guitar 1
24 Solo Guitar 2
29
30
31
32
25 Solo Guitar 3
26
27
28
27
28
29
30
31
32
# SEQ - Synth&Pad
1 Synth Seq 1
2 Synth Seq 2
3 Synth Seq 3
4 Synth Seq 4
5 Synth Seq 5
6 Synth Seq 6
7 Synth Seq 7
8 Synth Seq 8
9 Synth Seq 9
10 Synth Seq 10
11 Synth Seq 11
12 Synth Portam. 1
13 Synth Portam. 2
14 Synth Portam. 3
15 Synth Portam. 4
16 Synth Filter 1
29
30
31
32
25
26
27
28
21
22
23
24
17 Synth Filter 2
18 Synth Pad Panned
19 Synth Master Pad
20 Synth Dark Pad
Factory data
Pads
281
27
28
29
30
31
32
# SEQ - Misc&SFX
1 Military 1
2 Military 2
3 Military 3
4 Military 4
5 Horror 1
6 Horror 2
7 Horror 3
8 Horror 4
9 Lullaby 1
10 Lullaby 2
11 Nature - River
12 Nature - Storm
13 Metronome 3/4
14 PreCount 3/4
15 Metronome 4/4
16 PreCount 4/4
29
30
31
32
25
26
27
28
17 PreCount 4/4 Dbl
18 Toccata
19 5th Intro
20 Primavera
21 Circus 1
22 Circus 2
23
24
282 Effects
Effect list
Effects
Effect list
For FX Master 1/2
0 No Effect
1 Stereo Compressor
2 Stereo Limiter
3 Multiband Limiter
4 St.MasteringLimtr
5 Stereo Gate
6 St.Parametric4EQ
7 St. Graphic 7EQ
8 St.Exciter/Enhncr
9 Stereo Isolator
10 St. Wah/Auto Wah
11 St. Vintage Wah
12 St. Random Filter
13 St. MultiModeFilter
14 St. Sub Oscillator
15 Talking Modulator
16 Stereo Decimator
17 St. Analog Record
18 OD/Hi.Gain Wah
19 St. Guitar Cabinet
20 St. Bass Cabinet
21 Bass Amp Model
22 Bass Amp+Cabinet
23 Tube PreAmp Model
24 St. Tube PreAmp
25 MicModel+PreAmp
26 Stereo Chorus
27 Black Chorus/Flanger
28 St.HarmonicChorus
29 St. Biphase Mod.
30 Multitap Cho/Delay
31 Ensemble
32 Polysix Ensemble
33 Stereo Flanger
34 St. Random Flanger
35 St. Env. Flanger
This list shows all the Factory Effects. Detailed information on each effect’s parameter are contained in the following pages.
36 Stereo Phaser
37 St. Random Phaser
38 St. Env. Phaser
39 Stereo Vibrato
40 St. Auto Fade Mod.
41 2Voice Resonator
42 Doppler
43 Scratch
44 Grain Shifter
45 Stereo Tremolo
46 St. Env. Tremolo
47 Stereo Auto Pan
48 St. Phaser + Trml
49 St. Ring Modulator
50 Detune
51 Pitch Shifter
52 Pitch Shifter BPM
53 Pitch Shift Mod.
54 Organ Vib/Chorus
55 Rotary Speaker
56 L/C/R Delay
57 Stereo/CrossDelay
58 St. Multitap Delay
59 St. Mod Delay
60 St. Dynamic Delay
61 St. AutoPanningDly
62 Tape Echo
63 Auto Reverse
64 Sequence BPM Dly
65 L/C/R BPM Delay
66 Stereo BPM Delay
67 St.BPM Mtap Delay
68 St.BPM Mod. Delay
69 St.BPMAutoPanDly
70 Tape Echo BPM
71 Reverb Hall
72 Reverb SmoothHall
73 Reverb Wet Plate
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
Reverb Dry Plate
Reverb Room
ReverbBrightRoom
Early Reflections
P4EQ - Exciter
P4EQ - Wah
P4EQ - Cho/Flng
P4EQ - Phaser
P4EQ - Mt. Delay
Comp - Wah
Comp - Amp Sim
Comp - OD/HiGain
Comp - P4EQ
Comp - Cho/Flng
Comp - Phaser
Comp - Mt. Delay
Limiter - P4EQ
Limiter-Cho/Flng
Limiter - Phaser
Limiter - Mt.Delay
Exciter - Comp
Exciter - Limiter
Exciter-Cho/Flng
Exciter - Phaser
Exciter - Mt.Delay
OD/HG - Amp Sim
100 OD/HG - Cho/Flng
101 OD/HG - Phaser
102 OD/HG - Mt.Delay
103 Wah - Amp Sim
104 Decimator - Amp
105 Decimator - Comp
106 AmpSim - Tremolo
107 Cho/Flng - Mt.Dly
108 Phaser - Cho/Flng
109 Reverb - Gate
For FX Master 2 only
110 St.Mltband Limiter
111 PianoBody/Damper
112 OD/HyperGain Wah
113 GuitarAmp + P4EQ
114 BassTubeAmp+Cab.
115 St. Mic + PreAmp
116 Multitap Cho/Delay
117 St. Pitch Shifter
118 St. PitchShift BPM
119 Rotary SpeakerOD
120 L/C/R Long Delay
121 St/Cross Long Dly
122 Hold Delay
123 LCR BPM Long Dly
124 St. BPM Long Dly
125 Early Reflections
Effects
Dynamic Modulation sources
283
Dynamic Modulation sources
When the symbol is encoutered, a Dynamic Modulation can be applied to the corresponding parameter. Dynamic Modulation allows for realtime control of the effect. The following table shows the available modulation sources.
Modulation source
Ribb.(CC#16)
MIDI(CC#18)
MIDI(CC#17)
MIDI(CC#19)
MIDI(CC#20)
MIDI(CC#21)
MIDI(CC#17+)
MIDI(CC#19+)
MIDI(CC#20+)
MIDI(CC#21+)
Damper: #64
Prta.SW: #65
Off
Gate1
Gate1+Dmpr
Gate2
Gate2+Dmpr
Note Nr
Velocity
Expo Velocity
AfterTouch
JS X
JS+Y: CC#01
JS-Y: CC#02
MIDI(CC#04)
MIDI(CC#12)
MIDI(CC#13)
Note
No modulation
Note Number
Note Velocity
Exponential Note Velocity
After Touch
Joystick Left/Right
Joystick Forward
Joystick Backward
Ribbon Controller
Portamento Switch
Modulation source
Sostenu: #66
MIDI(CC#67)
MIDI(CC#80)
MIDI(CC#81)
MIDI(CC#82)
MIDI(CC#83)
MIDI(CC#85)
MIDI(CC#86)
MIDI(CC#87)
MIDI(CC#88)
Tempo
Note
Sostenuto Pedal
Some notes on the Gate parameters follow.
Gate1, Gate1+Dmpr (Gate1+Damper)
The effect is at maximum during note-on, and will stop when all keys are released. With Gate1 + Dmpr, the effect will remain at maximum even after the keys are released, as long as the damper
(sustain) pedal is pressed.
3
Gate1,Gate1+Dmpr
Dmpr
2 3 1
Note
Damper Pedal
2 1
On
Off Gate1
Gate1+Dmpr
Time
Gate2, Gate2+Dmpr (Gate2+Damper)
This is essentially the same as for Gate 1 or Gate 1 + Dmpr. However when Gate 2 or Gate 2 + Dmpr are used as a dynamic modulation source for the EG, a trigger will occur at each note-on.
(In the case of Gate 1 and Gate 1 + Dmpr, the trigger occurs only for the first note-on.)
1
Note
Damper Pedal
2
1
3 2
Gate2,Gate2+Dmpr
Dmpr
3
On
Off Gate2
Gate2+Dmpr
Time
284 Effects
Dynamics (Dynamic)
Dynamics (Dynamic)
0: No Effect
Select this option when you do not use any effects.
1: Stereo Compressor
This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for guitar, piano, and drum sounds. This is a stereo compressor. You can link left and right channels, or use each channel separately.
Stereo In - Stereo Out
Left
EQ Trim
LEQ HEQ
Compressor
Envelope - Control
Envelope Select
Envelope - Control
Compressor
EQ Trim LEQ HEQ
Right
FX Amt
Output Level
Output Level
FX Amt
a b c d e f g h
Envelope
Select
Sensitivity
Attack
EQ Trim
Pre LEQ Fc
Pre HEQ Fc
L/R Mix,
L/R Individually
1...100
1...100
0...100
Low,
Mid-Low
High,
Mid-High
Determines whether the left and right channels are linked or used separately
Sets the sensitivity
Sets the attack level
Sets the EQ input level
Selects the cutoff frequency (low or mid-low) of the low-range equalizer
Selects the cutoff frequency (high or mid-high) of the high-range equalizer
Pre LEQ Gain
[dB]
Pre HEQ Gain
[dB]
–15.0...+15.0
–15.0...+15.0
Sets the gain of the Low EQ
Sets the gain of the High EQ
Output Level
Src
Amt
Wet/Dry
Src
Amt
0...100
Off...Tempo
–100...+100
Sets the output level of the compressor
Selects the modulation source for the compressor output level
Sets the modulation amount for the compressor output level
Dry, 1:99...99:1,
Wet
Off...Tempo
Sets the Balance between the wet and dry signal
Selects a modulation source for
Wet/Dry
–100...+100
Sets the modulation amount for
Wet/Dry
a: Envelope Select
This parameter selects whether the left and right channels are linked to control both signals simultaneously, or whether each channel is controlled independently.
b: Sensitivity g: Output Level
The “Sensitivity” parameter sets the sensitivity of the compressor. If this parameter is set to a higher value, lower level sounds will be boosted. With a higher Sensitivity, the overall volume level is higher. To adjust the final volume level, use the “Output
Level” parameter.
Compressor - Sensitivity
Level
Wet
Sensitivity=100
Sensitivity=40
Dry
Time c: Attack
This parameter controls the attack level.
Compressor - Attack
Level
Attack=80
Attack=20
Wet
Dry
Time
2: Stereo Limiter
The Limiter regulates the input signal level. It is similar to the
Compressor, except that the Limiter compresses only signals that exceed the specified level to lower unnecessary peak signals. The
Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to set any band width to be covered. This effect is a stereo limiter. You can link left and right channels, or use each channel individually.
Stereo In - Stereo Out
Left
Side PEQ
+
Envelope Select
Envelope Source
Envelope - Control
Envelope - Control
Gain Adjust
Limiter
Trigger Monitor
Limiter
Gain Adjust
Right
FX Amt
FX Amt
FX Control BUS 1
FX Control BUS 2
a
Envelope
Select
L/R Mix,
L Only, R Only,
L/R Individually
Selects from linking both channels, controlling only from left channel, only from the right channel, or controlling each channel individually b Ratio
1.0 : 1…
50.0 : 1,
Inf : 1
Sets the signal compression ratio c v e f g h
Threshold [dB] –40...0
Attack
Release
Gain Adjust
[dB]
1...100
1...100
–Inf,
–38...+24
Sets the level above which the compressor is applied
Sets the attack time
Sets the release time
Sets the output gain
Src
Amt
Trigger
Monitor
Side PEQ
Cutoff [Hz]
Q
Gain [dB]
Wet/Dry
Src
Amt
Off...Tempo
–63...+63
Side PEQ Insert Off, On
Off, On
20...12.00k
Selects the modulation source for the output gain
Sets the modulation amount of the output gain
Toggles between on/off of the trigger signal’s EQ
Switches between effect output monitor and trigger signal monitor
Sets the EQ center frequency for the trigger signal
0.5...10.0
Sets the EQ bandwidth for the trigger signal
–18.0...+18.0
Dry, 1:99...99:1,
Wet
Sets the EQ gain for the trigger signal
Balance between the wet and dry signal
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
Effects
Dynamics (Dynamic)
285 a: Envelope Select
When L/R Mix is selected for this parameter, the left and right channels are linked to control the Limiter using the mixed signal. If L Only (or R Only) is selected, the left and right channels are linked, and the Limiter is controlled via only the left (or right) channel.
With L/R individually, the left and right channels control the
Limiter individually.
b: Ratio c: Threshold [dB] e: Gain Adjust [dB]
This parameter sets the signal compression “Ratio”. Compression is applied only when the signal level exceeds the “Threshold” value.
Adjust the output level using the “Gain Adjust” parameter, since compression causes the entire level to be reduced.
Limiter - Threshold / Ratio
Ratio=1.0 : 1
Output Level
Threshold
Ratio=2.0 : 1
Ratio=4.0 : 1
Ration=Inf : 1
Level
Dry
Louder
Ratio=1.0 : 1
Ratio=2.0 : 1
Ratio=4.0 : 1
Input Level
Threshold
Ratio=Inf : 1
Time d: Attack d: Release
These parameters set the attack time and release time. A higher attack time will cause the compression to be applied more slowly.
Limiter - Attack / Release
Threshold
Dry
Wet
Ratio=Inf : 1
Attack=1
Release=1 f: Side PEQ Insert g: Side PEQ Cutoff [Hz] g: Q g: Gain [dB]
These parameters are used to set the EQ applied to the trigger signal.
The Limiter determines whether the compression is applied or not, based on the post-EQ trigger signal. Setting the equalizer allows you to set the Limiter to respond to any frequency band.
3: Multiband Limiter
This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can control dynamics for each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
Right
+
Band-Pass Filters
Low
Mid
Limiter
Envelope - Control
Low Offset
Limiter
High
Envelope - Control
Mid Offset
Limiter
Envelope - Control
High Offset
Gain Adjust
FX Amt
FX Amt
a Ratio
1.0 : 1...50.0 : 1,
Inf : 1
Sets the signal compression ratio b Threshold [dB] –40...0
c Attack d Release
1...100
1...100
e Low Offset [dB] –40...0
f Mid Offset [dB] –40...0
g
High Offset
[dB]
–40...0
Gain Adjust
[dB]
–Inf,
–38...+24 h i
Src
Amt
Wet/Dry
Src
Amt
Sets the level above which the compressor is applied
Sets the attack time
Sets the release time
Gain of the low-range trigger signal
Gain of the mid-range trigger signal
Gain of the high-range trigger signal
Sets the output gain
Off...Tempo
–63...+63
Selects the modulation source for the output gain
Sets the modulation amount of the output gain
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Off...Tempo
Table , “Dynamic Modulation sources,” on page 283
–100...+100 Amount of modulation source
e: Low Offset [dB] f: Mid Offset [dB] g: High Offset [dB]
These parameters set the gain of the trigger signal.
For example, if you do not want to apply compression to the high range, reduce the “High Offset” value down below the “Threshold” level. In this way, the high range limiter will not respond, and compression will not be applied.
Wet
Ratio=Inf : 1
Attack=100
Release=100
Release
Attack f: Trigger Monitor
Setting this parameter On will cause the trigger signal to be output, instead of the effect sound. Use this parameter to check the trigger signal with EQ applied.
Usually, set this to Off.
286 Effects
Dynamics (Dynamic)
4: St.MasteringLimtr
(Stereo Mastering Limiter)
This is a stereo limiter that is optimized for mastering songs.
Stereo In - Stereo Out
Left
FX Amt
Out Ceiling
Limiter
+
Envelope - Control
Limiter
Out Ceiling
Right
FX Amt
a d
Threshold [dB] –30.0...0.0
b
Out Ceiling
[dB]
–30.0...0.0
c Release [msec] 0.50...1000.0
Wet/Dry
Sets the output gain
Sets the release time
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Src
Amt
Off...Tempo
–100...+100
Sets the level above which the compressor is applied
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
5: Stereo Gate
This effect mutes the input signal when it falls below a specified level. You can also invert the on/off status of the gate, or use note-on/off messages to turn the gate on/off directly.
Stereo In - Stereo Out
Left
Envelope Source
Side PEQ
+
Envelope Select
Delay
Envelope - Control
Envelope - Control
Delay
D -mod
Right
FX Control BUS 1
FX Control BUS 2
Gate
Gain Adjust
Trigger Monitor
FX Amt
Gate
Gain Adjust
FX Amt
a b c d e f g h
Envelope
Source
D-mod, Input
Selects the source to control the gate: D-mod control, or use the input signal as a trigger
Envelope
Select
L/R Mix,
L Only,
R Only
Selects the control signal: left and right linked, left only, or right only
Src
Threshold
Polarity
Attack
Release
Delay Time
[msec]
Off...Tempo
0...100
+, –
1...100
1...100
0...100
Selects the source that will control the gate when Envelope Src = Dmod
Sets the level at which gating is applied
Switches the polarity of gating
Sets the attack time
Sets the release time
Sets the delay time for the gate input
Side PEQ Insert Off, On
Trigger
Monitor
Side PEQ
Cutoff [Hz]
Q
Gain [dB]
Wet/Dry
Src
Amt
Off, On
20...12.00k
0.5...10.0
–18.0...+18.0
Switches the trigger signal equalizer on/off
Switches between monitoring the effect output and the trigger signal
Sets the center frequency of the equalizer for the trigger signal
Sets the bandwidth of the equalizer for the trigger signal
Sets the gain of the equalizer for the trigger signal
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Off...Tempo
Table , “Dynamic Modulation sources,” on page 283
–100...+100 Amount of modulation source
c: Threshold d: Attack d: Release
“Threshold” specifies the level at which gating occurs when
“Envelope Select” is set to L/R Mix, L Only, or R Only.
“Attack” and “Release” specify the attack time and release time of the gate.
Gate - Threshold
Output Level
Threshold
Dry
Wet
Louder
Input Level
Gate - Attack / Release
Threshold
Attack=1
Release=1
Wet
Attack=100
Release=100
Attack
Release c: Polarity
This inverts the polarity of the gate on/off operation. With the
“–” setting, the gate will close when the input signal exceeds the specified level. The direction in which the modulation source opens or closes the gate will also be reversed.
e: Delay Time [msec]
This sets the delay time for the input to the gate. When using shorter Attack Time settings, you can lengthen the Delay Time so that the sound is input after the gate opens.
Effects
EQ and Filters (EQ/Filter)
287
EQ and Filters (EQ/Filter)
6: St.Parametric4EQ
(Stereo Parametric 4-Band EQ)
This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band
2 can be controlled by dynamic modulation.
Stereo In - Stereo Out
Left
Trim
Band1 Band2 Band3 Band4
PEQ PEQ PEQ PEQ
LEQ HEQ
FX Amt
Trim
LEQ
PEQ PEQ PEQ
HEQ
PEQ
Right
D -mod
FX Amt
a b
Trim
Band1 Type
0...100
Peaking,
Shelving-Low
Peaking,
Shelving-High
Sets the input level
Selects the type of Band 1
Selects the type of Band 4 c Band4 Type d
Band2
Dynamic Gain
Src
Amt [dB]
Off...Tempo
–18.0...+18.0
Selects the modulation source of the
Band 2 gain
Sets the modulation amount of
Band 2 gain
Sets the center frequency of Band 1 e f g h
Band1 Cutoff
[Hz]
Q
Gain [dB]
Band2 Cutoff
[Hz]
Q
Gain [dB]
Band3 Cutoff
[Hz]
Q
Gain [dB]
Band4 Cutoff
[Hz]
Q
Gain [dB] i
Wet/Dry
Src
Amt
20...1.00k
0.5...10.0
–18.0...+18.0
50...10.00k
0.5...10.0
–18.0...+18.0
300...10.00k
0.5...10.0
–18.0...+18.0
500...20.00k
Sets the bandwidth of Band 1
Sets the gain of Band 1
Sets the center frequency of Band 2
Sets the bandwidth of Band 2
Sets the gain of Band 2
Sets the center frequency of Band 3
Sets the bandwidth of Band 3
Sets the gain of Band 3
Sets the center frequency of Band 4
0.5...10.0
–18.0...+18.0
Off...Tempo
–100...+100
Sets the bandwidth of Band 4
Sets the gain of Band 4
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
b: Band1 Type c: Band4 Type
Selects a filter type for Band 1 and 4.
Parametric 4EQ - Band1, Band4 Type
+Gain
3dB
Band4 Type=Shelving High
Band4 Type=Peaking
0dB
–Gain
Band1 Type=Shelving Low
Band1 Type=Peaking
3dB
Band1 Cutoff
Band4 Cutoff
Parametric 4EQ - Band2 Gain Mod
D -mod
+15dB
+6dB
0dB
Band2 Cutoff
Band2 Gain[dB]= +6.0
Band2 Gain Mod Amount[dB]= +9.0
Band2 Cutoff
+6dB
0dB
–9dB
D -mod
Band2 Gain[dB]= +6.0
Band2 Gain Mod Amount[dB]= –15.0
e, f, g, h: Q
These parameters set the bandwidth of each equalizer. The higher the value, the narrower the band becomes.
d: Band2 Dynamic Gain Src d: Amt [dB]
You can control the gain of Band 2 using the modulation source.
7: St. Graphic 7EQ
(Stereo Graphic 7-Band EQ)
This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound.
Stereo In - Stereo Out
Left
FX Amt
Trim
Band1 Band2 Band3 Band4 Band5 Band6 Band7
Trim
Band1 Band2 Band3 Band4 Band5 Band6 Band7
Right
FX Amt
a Type b Trim c Band1 [dB] d Band2 [dB] e Band3 [dB] f Band4 [dB] g Band5 [dB] h Band6 [dB] i Band7 [dB]
1:Wide 1, 2:Wide
2, 3:Wide 3,
4:Half Wide 1,
5:Half Wide 2,
6:Half Wide 3,
7:Low,
8:Wide Low,
9:Mid, 10:Wide
Mid, 11:High,
12:Wide High
Selects a combination of center frequencies for each band
0...100
–18.0...+18.0
Sets the input level
Sets the gain of Band 1
–18.0...+18.0
–18.0...+18.0
–18.0...+18.0
–18.0...+18.0
–18.0...+18.0
–18.0...+18.0
Sets the gain of Band 2
Sets the gain of Band 3
Sets the gain of Band 4
Sets the gain of Band 5
Sets the gain of Band 6
Sets the gain of Band 7
288 Effects
EQ and Filters (EQ/Filter)
Wet/Dry j
Src
Amt
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
a: Type
This parameter selects a combination of center frequencies for each band. The center frequency of each band is shown in the right of the screen.
You can configure a 21-Band Graphic EQ ranging from 80 Hz to
18 kHz if you route three Graphic 7-Band EQ effects in series, with a setting of 7:Low, 9:Mid, and 11:High for each EQ.
8: St.Exciter/Enhncr
(Stereo Exciter/Enhancer)
This effect is a combination of the Exciter, which adds a punch to the sound and the Enhancer, which adds spread and presence.
Stereo In - Stereo Out
Left
LEQ HEQ
EQ Trim
Exciter
FX Amt
EQ Trim
Exciter
Delay
Depth
Delay
Enhancer
Right
D -mod
FX Amt
a b c d e
Exciter Blend
Src
Amt
Emphasis Freq
Src
Amt
Src
Amt f EQ Trim g
Pre LEQ Fc
Pre HEQ Fc
–100...+100
Off...Tempo
–100...+100
0...70
Off...Tempo
–70...+70
Enhancer
Delay L [msec]
Enhancer
Delay R [msec]
Enhancer
Depth
0.0...50.0
0.0...50.0
0...100
Off...Tempo
–100...+100
0...100
Low,
Mid-Low
High,
Mid-High
Sets the intensity (depth) of the
Exciter effect
Selects the modulation source of the
Exciter intensity
Sets the modulation amount of the
Exciter intensity
Sets the frequency to be emphasized
Selects the modulation source of the frequency to be emphasized
Sets the amount of modulation of the frequency to be emphasized
Sets the delay time for the Enhancer left channel
Sets the delay time for the Enhancer right channel
Sets the determines to what degree the Enhancer effect is applied
Selects the modulation source of the
Enhancer width
Sets the modulation amount of the
Enhancer width
Sets the 2-band EQ input level
Selects the cutoff frequency (low or mid-low) of the low-range equalizer
Selects the cutoff frequency (high or mid-high) of the high-range equalizer
Gain of the Lo EQ h
Pre LEQ Gain
[dB]
Pre HEQ Gain
[dB]
Wet/Dry i
Src
Amt
–15.0...+15.0
–15.0...+15.0
Gain of the High EQ
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
a: Exciter Blend
This parameter sets the depth (intensity) of the Exciter effect.
Positive values give a frequency pattern (to be emphasized) different from negative values.
b: Emphasis Freq
This parameter sets the frequency to be emphasized. Higher values will emphasize lower frequencies.
c: Enhancer Delay L [msec] d: Enhancer Delay R [msec]
These parameters set the delay time for the Enhancer left and right channel. Specifying a slightly different delay time for the left and right channel will add a stereo image, depth, and width to the sound.
9: Stereo Isolator
This is a stereo effect that separates the input signal into low, mid, and high-frequency bands, and controls the volume of each band independently. For example you can separately boost or cut the kick, snare, and hi-hat sounds from a drum signal in realtime.
Stereo In - Stereo Out
Left
Trim
Isolator
Trim
Low
Mid
High
Low
Mid
High
FX Amt
Right
D -mod
D
-mod
D -mod
FX Amt
a b c d e f g
Trim
Low/Mid [Hz]
Mid/High [Hz]
Low Gain [dB]
Src
Amt
Mid Gain [dB]
Src
Amt
High Gain [dB]
Src
Amt
Wet/Dry
Src
Amt
0...100
100...500
2000...6000
Sets the input level
Sets the frequency at which the low and mid bands are divided
Sets the frequency at which the mid and high bands are divided
–Inf,
–59...+12
Sets the low-frequency gain
Off...Tempo
–72...+72
Selects the source that will modulate low-frequency gain
Sets the amount by which the lowfrequency gain will be modulated
–Inf,
–59...+12
Sets the mid-frequency gain
Off...Tempo
–72...+72
Selects the modulation source for mid-frequency gain
Sets the amount by which the midfrequency gain will be modulated
–Inf,
–59...+12
Off...Tempo
–100...+100
Sets the high-frequency gain
Off...Tempo
Selects the modulation source for high-frequency gain
–72...+72
Dry, 1:99...99:1,
Wet
Sets the amount by which the highfrequency gain will be modulated
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
Effects
EQ and Filters (EQ/Filter)
289
10: St. Wah/Auto Wah
(Stereo Wah/Auto Wah)
This stereo wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings.
Stereo In - Stereo Out
Left
+
Envelope Sens
Envelope Shape
Response
D -mod
LFO
Wah
Sweep Mode
Auto
D-mod
LFO
Wah
Right
FX Amt
FX Amt
a b c d e f g h
Frequency
Bottom
0...100
Frequency Top 0...100
Sets the lower limit of the wah center frequency
Sets the upper limit of the wah center frequency
Sweep Mode
Auto,
D-mod,
LFO
Selects the control from auto-wah, modulation source, and LFO
Src
Respon
Off...Tempo
0...100
Selects the modulation source for the wah when Sweep Mode=D-mod
Sets the response speed when
Sweep Mode = Auto or D-mod
Sets the sensitivity of auto-wah Envelope Sens 0...100
Envelope
Shape
–100...+100
LFO Frequency
[Hz]
0.02...20.00
Sets the sweep curve of auto-wah
Sets the speed of the LFO
Src
Amt
MIDI Sync
BPM
Off...Tempo
–20.00...
+20.00
Off, On
MIDI,
40.00...
300.00
Selects a modulation source for LFO speed
Sets the modulation amount of LFO speed
When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this individual effect
Base Note
Times
Resonance r...w
x1...x32
0...100
Low Pass Filter Off, On
Selects the type of notes that specify the LFO speed
Sets the number of notes that specify the LFO speed
Sets the resonance amount
Switches the wah low pass filter on and off
Output Level
Src
Amt
Wet/Dry
Src
Amt
0...100
Off...Tempo
–100...+100
Off...Tempo
–100...+100
Sets the output level of the effect sound
Selects the modulation source that will control the effect output level
Sets the modulation amount of the effect output level
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
a: Frequency Bottom a: Frequency Top
The sweep width and direction of the wah filter are determined by the “Frequency Top” and “Frequency Bottom” settings.
Sweep Mode=D-mod
Frequency Frequency
Top=75
Bottom=25
Woo
Zero
Higher
Wah
Bottom=60
Wah
Top=30
D -mod
Max Zero
Woo
Higher
D -mod
Max
Sweep Mode=Auto
Frequency
Top=75
Wah
Frequency
Bottom=75
Wah Wah
Envelope
Bottom=25
Woo
Envelope
Woo
Top=25
Time
Woo
Envelope Time b: Sweep Mode
This parameter changes the wah control mode. Setting “Sweep
Mode” to Auto will select an auto-wah that sweeps according to envelope changes in the input signal level. Auto-wah is frequently used for funk guitar parts and clav sounds.
When “Sweep Mode” is set to D-mod, you can control the filter directly via the modulation source in the same way as a wah pedal.
When “Sweep Mode” is set to LFO, the effect uses LFO to sweep in cycle.
c: Envelope Sens
This parameter sets the sensitivity of auto-wah. Increase the value if the input signal is too low to sweep. Reduce the value if the input signal is so high that the filter is stopped temporarily.
c: Envelope Shape
This parameter determines the sweep curve for auto-wah.
Envelope Shape
Level
Envelope value = 0...+100 value = 0...–100
Time d: LFO Frequency [Hz] e: MIDI Sync
When “MIDI/Tempo Sync”=Off, the LFO speed uses the LFO
Frequency parameter setting. When “MIDI/Tempo Sync”=On, the LFO speed follows the “BPM”, “Base Note”, and “Times” settings.
e: BPM e: Base Note e: Times
One cycle of LFO sweep is obtained by multiplying the length of a note (r…w) (selected for “Base Note”, in relation to the tempo specified in “BPM”, or the MIDI Clock tempo if “BPM” is set to
MIDI) by the number specified in the Times parameter.
290 Effects
EQ and Filters (EQ/Filter)
11: St. Vintage Wah
(Stereo Vintage/Custom Wah)
This effect simulates the tonal character of a vintage wah pedal.
You can customize the tone and range settings.
Stereo In - Stereo Out
Left
FX Amt
+
Envelope Sens
Response
D -mod
LFO
Sweep Mode
Auto
D-mod
LFO
Shape / Invert
Wah
Wah
Mode
Preset Setting
Custom Parameters
Right
FX Amt
i a b c d e f g h
Mode
Shape
Invert
Frequency
Bottom
Resonance
Bottom
Preset, Custom
–100...+100
Off, On
0...100
Frequency Top 0...100
0...100
Resonance Top 0...100
Selects either preset or custom settings
Sets the curve of the sweep
Inverts the polarity of the sweep
Sets the lower limit of the wah center frequency when Mode =
Custom
Sets the upper limit of the wah center frequency when Mode =
Custom
Sets the lower limit of resonance amount when Mode=Custom
Sets the upper limit of resonance amount when Mode=Custom
Sweep Mode
Auto,
D-mod,
LFO
Selects the control from auto-wah, modulation source, and LFO
Src
Manual
Envelope Sens 0...100
Response
Off...Tempo
0...100
0...100
Selects the modulation source for the wah when Sweep Mode=D-mod
Sets the center frequency when
Sweep Mode=D-mod and
Source=Off
Sets the auto-wah sensitivity
Sets the speed of response when
Sweep Mode=Auto or D-mod
LFO Frequency
[Hz]
0.02...20.00
Sets the speed of the LFO
Src
Amt
MIDI Sync
BPM
Base Note
Off...Tempo
–20.00...
+20.00
Off, On
MIDI,
40.00...
300.00
r...w
Selects a modulation source for LFO speed
Sets the modulation amount of LFO speed
When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this individual effect
Selects the type of notes that specify the LFO speed
Times
Output Level
Src
Amt
Wet/Dry
Src
Amt x1...x32
0...100
Off...Tempo
–100...+100
Sets the number of notes that specify the LFO speed
Sets the output level of the effect sound
Selects the modulation source that will control the effect output level
Sets the modulation amount of the effect output level
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Off...Tempo
Table , “Dynamic Modulation sources,” on page 283
–100...+100 Amount of modulation source
a: Shape
This parameter specifies the sweep curve of the wah. It applies to all control via auto-wah, modulation source, and LFO, and lets you adjust subtle nuances of the wah effect.
a: Mode b: Frequency Bottom b: Frequency Top c: Resonance Bottom c: Resonance Top
If Mode=Preset, this simulates a vintage wah pedal. In this case, internally fixed values are used for Frequency Bottom/Top and
Resonance Bottom/Top, and these settings will be ignored. The settings for Frequency Bottom/Top and Resonance Bottom/Top are valid if Mode=Custom.
12: St. Random Filter
(Stereo Random Filter)
This stereo band pass filter uses a step-shape waveform and random LFO for modulation. You can create a special effect from filter oscillation.
Stereo In - Stereo Out
Left
FX Amt
Filter
Filter
Right
FX Amt
LFO Phase
LFO: Step-Tri/Random
a b
LFO Waveform
Step-Tri,
Random
LFO Phase
[degree]
LFO Frequency
[Hz]
–180...+180
0.02...20.00
Src Off...Tempo
c
Amt
Amt
–20.00...
+20.00
LFO Step Freq
[Hz]
0.05...50.00
–50.00...
+50.00
d
MIDI Sync
BPM
Base Note
Times g Src
Amt h Resonance
Wet/Dry i
Src
Amt
Off, On
MIDI,
40.00...
300.00
r...w
x1...x32
Selects the LFO Waveform
Sets the LFO phase difference between the left and right
Sets the speed of the LFO
Selects the modulation source used for both LFO speed and step speed
Sets the modulation amount of LFO speed
Sets the LFO step speed (speed that changes in steps
Sets the modulation amount of LFO step speed
When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this individual effect
Selects the type of notes that specify the LFO speed
Sets the number of notes that specify the LFO speed
Selects the type of notes to specify the LFO step speed Step Base Note r...w
e
Times f
Manual
Src
Amt
Depth x1...x32
Sets the number of notes to specify the LFO step speed
0...100
Off...Tempo
–100...+100
0...100
Off...Tempo
–100...+100
Sets the filter center frequency
Selects the modulation source for the filter center frequency
Sets the modulation amount for the filter center frequency
Sets the modulation depth of filter center frequency
Selects the modulation source of filter modulation
Sets the modulation amount of filter modulation
Sets the resonance amount 0...100
-Wet, -
1:99...Dry...99:1
, Wet
Balance between the wet and dry signal
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
Effects
EQ and Filters (EQ/Filter)
291 a: LFO Phase [degree]
Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling affect.
LFO Phase
0 +90 +180 [degree]
–180 –90 0 [degree] a: LFO Waveform b: LFO Frequency [Hz] c: LFO Step Freq [Hz]
When “LFO Waveform” is set to Step-Tri, LFO is a step-shape, triangle waveform. The “LFO Frequency” parameter sets the original triangle waveform speed. Changing the “LFO Step Freq” parameter enables you to adjust the width of the steps.
When “LFO Waveform” is set to Random, the “LFO Step Freq” parameter uses a random LFO cycle.
Random Filter LFO
LFO Frequency
Step Frequency
Step-Tri
Step Frequency
Random d: BPM e: Step Base Note e: Times
The width of an LFO step, or a cycle of random LFO, is obtained by multiplying the length of a note (r…w) (selected for “Step
Base Note”, in relation to the tempo specified in “BPM,” or the
MIDI Clock tempo if “BPM” is set to MIDI) by the number specified in the “Times” parameter.
i: Wet/Dry
The effect sound’s phase will be reversed when you set this parameter in the negative range of values.
13: St. MultiModeFilter
(Stereo Multi Mode Filter)
This is a multi-mode filter with four types; low pass, high pass, band pass, and band reject. You can use LFO or dynamic modulation to vary the cutoff frequency or resonance.
Stereo In - Stereo Out
Left
Trim
LPF
HPF
BPF
BRF
Trim
Right
LFO: Tri / Sine
Multimode Filter
Filter Type
Driver
Output
FX Amt
Multimode Filter
LFO Phase
Driver
Output
LFO Shape
FX Amt
i a b c d e f g h
Type
LPF, HPF, BPF,
BRF
0...100
Selects the type of filter
Trim
Cutoff 0...100
Src
Amt
Resonance
Src
Amt
Off...Tempo
–100...+100
0...100
Off...Tempo
–100...+100
Sets the input level
Sets the cutoff frequency (center frequency)
Selects the modulation source of the cutoff
Sets the modulation amount of the cutoff
Sets the resonance amount
Selects the source that will modulate the amount of resonance
Sets the amount by which the resonance will be modulated
LFO Waveform Triangle, Sine Selects the LFO Waveform
Phase [degree] –180...+180
Sets the LFO phase difference between the left and right
Depth 0...100
Sets the depth to which the LFO will modulate the cutoff frequency
LFO Frequency
[Hz]
0.02...20.00
Sets the speed of the LFO
Src
Amt
MIDI Sync
BPM
Base Note
Times
Drive SW
Off...Tempo
–20.00...
+20.00
Off, On
MIDI,
40.00...
300.00
r...w
x1...x32
Off, On
Selects a modulation source for LFO speed
Sets the modulation amount of LFO speed
When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this individual effect
Selects the type of notes that specify the LFO speed
Sets the number of notes that specify the LFO speed
Switches distortion on/off within the filter
Output Level 0...100
Drive Gain 0...100
Low Boost
Wet/Dry
Sets the output level
Sets the distortion amount
0...100
Dry, 1:99...99:1,
Wet
Sets the amount of low-range boost
Balance between the wet and dry signal
Src
Amt
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
292 Effects
EQ and Filters (EQ/Filter)
14: St. Sub Oscillator
(Stereo Sub Oscillator)
This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasizing powerful low range. This effect is different from the equalizer in that you can add very low range harmonics. You can also adjust the oscillator frequency to match a particular note number, for use as an octaver.
Stereo In - Stereo Out
Left
Envelope Shape
Envelope Sens
Pre LPF
D -mod
Note No.
Fixed Frequency
Fixed
Sine Oscillator
OSC Mode
Pitch
Note Interval, Fine
Note (Key Follow)
Envelope Sens Pre LPF
Envelope Shape
Right
FX Amt
FX Amt
a b c d e f
OSC Mode
Note Interval
Note Fine
Fixed
Frequency [Hz]
Src
Note (Key
Follow), Fixed
–48...0
–100...+100
10.0...80.0
Off...Tempo
Determines whether the oscillator frequency follows the note number or whether it is fixed
Sets the pitch difference from the note number when OSC
Mode=Note (Key Follow)
Fine adjustment of the oscillator frequency
Sets the oscillator frequency when
OSC Mode=Fixed
Selects the modulation source for the oscillator frequency when OSC
Mode=Fixed
Amt
Envelope Pre
LPF
Src
Amt
–80...+80
1...100
Off...Tempo
–100...+100
Sets the oscillator frequency modulation amount when OSC
Mode=Fixed
Sets the upper limit of the frequency range for which very low harmonics are added
Envelope Sens 0...100
Envelope
Shape
Wet/Dry
–100...+100
Sets the sensitivity with which very low harmonics are added
Sets the oscillator’s volume envelope curve
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
a: OSC Mode b: Note Interval b: Note Fine
The “OSC Mode” parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator’s frequency is determined based on the note number, allowing you to use it as an octaver. The “Note Interval” parameter sets the pitch offset from the original note number by semitone steps. The
“Note Fine” parameter allows you to fine-tune in steps of cents.
d: Envelope Pre LPF
This parameter sets the upper limit of the frequency range to which very low harmonics are added. Adjust this parameter if you do not want to add lower harmonics to the higher range.
15: Talking Modulator
This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the guitar or synthesizer is talking.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt
+
Talking Modulator
A I U E O
Right
D -mod
LFO
Sweep Mode
D-mod
LFO
Voice Top: A
Voice Center: I
Voice Bottom: U
FX Amt
a Sweep Mode D-mod, LFO
Switches between modulation source control and LFO control
Manual Voice
Control
Bottom, 1...49,
Center, 51...99,
Top
Voice pattern control b c d e i f g h
Src
Voice Top
Voice Center
Voice Bottom
Formant Shift
Resonance
Off...Tempo
A, I, U, E, O
A, I, U, E, O
A, I, U, E, O
–100...+100
0...100
Selects the modulation source that controls the voice pattern
Selects a vowel sound at the top end of control
Selects a vowel sound in the center of control
Selects a vowel sound at the bottom end of control
Sets the frequency to which the effect is applied
Sets the Level of resonance of the voice pattern
LFO Frequency
[Hz]
0.02...20.00
Src
Amt
MIDI Sync
BPM
Base Note
Times
Wet/Dry
Src
Amt
Sets the speed of the LFO
Off...Tempo
–20.00...
+20.00
Off, On
MIDI,
40.00...
300.00
r...w
x1...x32
Selects a modulation source for LFO speed
Sets the modulation amount of LFO speed
When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this individual effect
Selects the type of notes that specify the LFO speed
Sets the number of notes that specify the LFO speed
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
Effects
EQ and Filters (EQ/Filter)
293 c: Voice Top d: Voice Center e: Voice Bottom
These parameters assign vowels to the top, center, and bottom position of the controller.
E.g.: When “Voice Top”=A, “Voice Center”=I, and
“Voice Bottom”=U:
If “Sweep Mode”is set to D-mod and Ribbon is selected as the modulation source, moving your finger from the right to left of the ribbon controller will change the sound from “a” to “i,” then
“u.”
If Sweep Mode is set to LFO, the sound will change cyclically from “a” to “i,” “u,” “i,” then “a.”
Voice Bottom
A
Voice Center
Talking Modulator Control
Voice Top
A
I
U
E
O
D
-mod
JS X
Ribbon
JS +Y
JS –Y etc…
– Max
Zero
Zero
+ Max
+ Max f: Formant Shift
This parameter adjusts the frequency level to which the effect is applied. If you wish to apply the effect to a higher-range sound, set this parameter to a higher value; to apply the effect to a lower-range sound, set this to a lower value.
f: Resonance
This parameter sets the intensity of resonance for the voice pattern. A larger value will add more character to the sound.
16: Stereo Decimator
This effect creates a rough sound like a cheap sampler by lowering the sampling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing).
Stereo In - Stereo Out
Left
Pre LPF Resolution
D -mod
LFO
Right
Decimator
High Damp Output Level
FX Amt
Sampling Frequency
Pre LPF
Resolution
Decimator
High Damp Output Level
FX Amt
a
Pre LPF Off, On
High Damp [%] 0...100
Selects whether the harmonic noise caused by a decrease in sampling frequency is generated or not
Sets the ratio of cut of the high range
Sampling Freq
[Hz]
1.00k...
48.00k
Sets the sampling frequency b Src Off...Tempo
Amt
–48.00k...
+48.00k
LFO Frequency
[Hz]
0.02...20.00
Selects the modulation source of the sampling frequency
Sets the modulation amount of the sampling frequency
Sets the speed of the LFO c d
Src
Amt
MIDI Sync
BPM
Base Note
Off...Tempo
–20.00...
+20.00
Off, On
MIDI,
40.00...
300.00
r...w
Selects a modulation source for LFO speed
Sets the modulation amount of LFO speed
When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this individual effect
Selects the type of notes that specify the LFO speed e g h
Times
Depth
Src
Amt f Resolution
Output Level
Src
Amt
Wet/Dry
Src
Amt x1...x32
0...100
Off...Tempo
–100...+100
4...24
0...100
Off...Tempo
–100...+100
Sets the number of notes that specify the LFO speed
Sets the depth of the sampling frequency LFO modulation
Selects the LFO modulation source of the sampling frequency
Sets the LFO modulation amount of the sampling frequency
Sets the data bit length
Sets the output level
Selects the modulation source for the output level
Sets the modulation amount of the output level
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Off...Tempo
Table , “Dynamic Modulation sources,” on page 283
–100...+100 Amount of modulation source
a: Pre LPF
If a sampler with a very low sampling frequency receives very high-pitched sound that could not be heard during playback, it could generate pitch noise that is unrelated to the original sound.
Set “Pre LPF” to On to prevent this noise from being generated.
If you set the “Sampling Freq” to about 3 kHz and set “Pre LPF” to Off, you can create a sound like a ring modulator.
f: Resolution g: Output Level
If you set a smaller value for the “Resolution” parameter, the sound may be distorted. The volume level may also be changed.
Use “Output Level” to adjust the level.
294 Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)
17: St. Analog Record
(Stereo Analog Record)
This effect simulates the noise caused by scratches and dust on analog records. It also reproduces some of the modulation caused by a warped turntable.
Stereo In - Stereo Out
Left
EQ Trim Pre EQ
FX Amt
Analog Record
Simulation
EQ Trim Pre EQ
Right
FX Amt
a Speed [RPM] 33 1/3, 45, 78 b Flutter 0...100
c d e f EQ Trim
Pre EQ Cutoff
[Hz] g h
Noise Density 0...100
Noise Tone 0...100
Noise Level
Src
Amt
Click Level
Src
Amt
Q
Gain [dB]
Wet/Dry
Src
Amt
0...100
Off...Tempo
–100...+100
Sets the r.p.m. of a record
Sets the modulation depth
Sets the noise density
Sets the noise tone
Sets the noise level
Selects the modulation source for the noise level
Sets the modulation amount of the noise level
Sets the click noise level
0...100
Off...Tempo
–100...+100
0...100
Selects the modulation source for the click noise level
Sets the modulation amount of the click noise level
Sets the EQ input level
Sets the EQ center frequency 300...10.00k
0.5...10.0
–18.0...+18.0
Dry, 1:99...99:1,
Wet
Off...Tempo
–100...+100
Sets the EQ band width
Sets the EQ gain
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
b: Flutter
This parameter enables you to set the depth of the modulation caused by a warped turntable.
e: Click Level
This parameter enables you to set the level of the click noise that occurs once every rotation of the turntable. This simulation reproduces record noise, and the noise generated after the music on a vinyl record finishes.
Overdrive, Amp models, and Mic models
(OD Amp Mic)
18: OD/Hi.Gain Wah
(Overdrive/Hi.Gain Wah)
This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the wah effect, the 3-band EQ, and the amp simulation will allow you to create versatile distortion sounds.
This effect is suitable for guitar and organ sounds.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
+
Pre Low-cut
Wah
Mode: Overdrive / Hi-Gain
Drive
3 Band PEQ
Driver Amp Simulation
Output Level
Direct Mix
Right
D -mod
FX Amt
FX Amt
a
Wah
Src
Sw
Off, On
Off...Tempo
Toggle,
Moment
Switches Wah on/off
Selects the modulation source that switches the Wah on and off
Selects the switching mode for the modulation source that switches the
Wah on and off b
Wah Sweep
Range c Drive Mode
–10...+10
Wah Sweep Src Off...Tempo
Overdrive, Hi-
Gain
Sets the range of Wah
Selects the modulation source that controls the Wah
Switches between overdrive and higain distortion
Sets the degree of distortion
Drive 1...100
d e j i f g h
Pre Low-cut
Output Level
Src
Amt
Gain [dB]
Mid1Cutoff
[Hz]
Q
Gain [dB]
Mid2 Cutoff
[Hz]
Q
Gain [dB]
Direct Mix
Speaker
Simulation
Wet/Dry
Src
Amt
0...10
0...50
Off...Tempo
–50...+50
Low Cutoff [Hz] 20...1.00k
Sets the low range cut amount of the distortion input
Sets the output level
Selects the modulation source for the output level
Sets the modulation amount of the output level
Sets the center frequency for Low
EQ (shelving type)
–18...+18
300...10.00k
0.5...10.0
–18...+18
500...20.00k
Off...Tempo
–100...+100
Sets the gain of Low EQ
Sets the center frequency for Mid/
High EQ 1 (peaking type)
Sets the band width of Mid/High EQ
1
Sets the gain of Mid/High EQ 1
Sets the center frequency for Mid/
High EQ 2 (peaking type)
0.5...10.0
–18...+18
0...50
Off, On
Sets the band width of Mid/High EQ
2
Sets the gain of Mid/High EQ 2
Sets the amount of the dry sound mixed to the distortion
Switches the speaker simulation on/ off
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)
295 a: Wah
The Wah parameter switches the wah effect on/off.
a: Sw
This parameter sets how the wah effect is switched on and off via the modulation source.
When “Sw” = Moment, the wah effect is usually turned off. It is turned on only when you press the pedal or operate the joystick.
When a value for the modulation source is less than 64, “off ” speed is selected, and when the value is 64 or higher, “on” is selected.
When “Sw” = Toggle, the wah effect is switched between on and off each time you press the pedal or operate the joystick.
The switch will be turned on/off each time the value of the modulation source exceeds 64.
b: Wah Sweep Range b: Wah Sweep Src
This parameter sets the sweep range of the wah center frequency.
A negative value will reverse the direction of sweep. The wah center frequency can be controlled by the modulation source specified in the “Wah Sweep Src” parameter.
d: Pre Low-cut
Cutting the signal in the low range before it is input to the Distortion will create a sharp distortion.
d: Drive e: Output Level
The degree of distortion is determined by the level of input signal and the setting of “Drive”. Raising the “Drive” setting will cause the entire volume level to increase. Use the “Output Level” parameter to adjust the volume level. The “Output Level” parameter uses the signal level input to the 3-Band EQ. If clipping occurs at the 3-Band EQ, adjust the “Output Level” parameter.
19: St. Guitar Cabinet
(Stereo Guitar Cabinet)
This simulates the acoustical character of a guitar amp’s speaker cabinet.
Stereo In - Stereo Out
Left
FX Amt
Cabinet Simulator
Trim
Trim
Cabinet Simulator
Right
FX Amt
a Trim b Type c Air
Wet/Dry d
Src
Amt
0...100
TWEED - 1x12
TWEED - 4x10
BLACK - 2x10
BLACK - 2x12
VOX AC15 -
1x12
VOX AC30 -
2x12
VOX AD412 -
4x12
Sets the input level
Selects the type of the cabinet
Open-back cabinet with one 12" speaker, typically used for blues
Open-back cabinet with four 10" speakers
Open-back cabinet with two 10" speakers
American open-back cabinet with two12" speakers
Vox AC15 open-back cabinet with one 12" “Blue” speaker
Vox AC30 open-back cabinet with two 12" “Blue” speakers
VOX AD412 closed-back cabinet with four 12" speakers
UK H30 - 4x12
UK T75 - 4x12
Off...Tempo
–100...+100
Closed-back classic cabinet with four 30W 12" speakers
Closed-back cabinet with four 75W
12" speakers
US V30 - 4x12
Closed-back cabinet with four 30W
12" speakers
0...100
Dry, 1:99...99:1,
Wet
Sets the mic position
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
296 Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)
20: St. Bass Cabinet
(Stereo Bass Cabinet)
This simulates the acoustical character of a bass amp’s speaker cabinet.
Stereo In - Stereo Out
Left
FX Amt
Cabinet Simulator
Trim
Trim
Cabinet Simulator
Right
FX Amt
a b Cabinet Type c
Trim
Wet/Dry
Src
Amt
0...100
LA - 4x10
MODERN -
4x10
METAL - 4x10
Sets the input level
Selects the cabinet type
Four 10" speakers / LA sound cabinet
Four 10" aluminum-cone speakers / modern cabinet
Four 10" aluminum-cone speakers / modern cabinet
CLASSIC - 8x10 Eight 10" speakers / classic cabinet
UK - 4x12
Four 12" speakers / UK-manufactured cabinet
STUDIO - 1x15
JAZZ - 1x15
One 15" speaker / studio combo cabinet
One 15" speaker / jazz combo cabinet
VOX AC100 -
2x15
US - 2x15
UK - 4x15
LA - 1x18
COMBI - 1x12
& 1x18
Dry, 1:99...99:1,
Wet
Off...Tempo
–100...+100
Two 15" speakers / cabinet for Vox
AC100
Two 15" speakers / US-manufactured cabinet
Four 15" speakers / UK-manufactured cabinet
One 18" speaker /
LA sound cabinet
One 12" and one 18" speaker combination cabinet
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
21: Bass Amp Model
This simulates a bass amp.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
+
Bass Amp Model
Volume
FX Amt
Right
D -mod
FX Amt
a Amp Type
Volume b
Src
Amt c Bass
Middle d
Mid Range e Treble f Presence
Wet/Dry g
Src
Amt
LA STUDIO
JAZZ
GOLD PANEL
SCOOPED
VALVE2
VALVE
CLASSIC
0...100
Off...Tempo
Selects the amplifier type
An amp that is typical of the LA sound.
A combo amp favored by jazz bassists.
An amp distinctive for its eyecatching gold panel and clean sound.
An amp typical of 80’s sounds.
A tube amp suitable for rock.
A tube amp with the ULTRA LO switch turned ON.
A tube amp whose basic character changes according to the setting of the value dial.
Sets the output level
Selects the modulation source for the output level
–100...+100
Sets the modulation amount of the output level
Sets the bass (low range) level 0...100
0...100
0...4
0...100
0...100
Dry, 1:99...99:1,
Wet
Sets the middle (mid range) level
Sets the mid-frequency range
Sets the treble (high range) level
Sets the presence (high-frequency tone)
Balance between the wet and dry signal
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
22: Bass Amp+Cabinet
(Bass Amp Model+Cabinet)
This simulates a bass amp and speaker cabinet.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
+
Bass Amp Model1
Volume
Cabinet Simulator
FX Amt
Right
D -mod
FX Amt
i a Amp Type
Volume b
Src
Amt c Bass
Middle d
Mid Range e Treble f Presence g
Cabinet
Simulater h Cabinet Type
Wet/Dry
Src
Amt
LA STUDIO,
JAZZ ,
GOLD PANEL,
SCOOPED,
VALVE2, VALVE,
CLASSIC
0...100
Selects the type of the amplifier
Sets the output level
Off...Tempo
–100...+100
Selects the modulation source for the output level
Sets the modulation amount of the output level
0...100
0...100
0...4
0...100
Sets the bass (low range) level
Sets the middle (mid range) level
Sets the mid-frequency range
Sets the treble (high range) level
0...100
Off, On
Off...Tempo
–100...+100
Sets the presence (high-frequency tone)
Switches the cabinet simulator on/ off
LA - 4x10,
MODERN -
4x10,
METAL - 4x10,
CLASSIC -
8x10,
UK - 4x12,
STUDIO - 1x15,
JAZZ - 1x15,
VOX AC100 -
2x15,
US - 2x15,
UK - 4x15,
LA - 1x18,
COMBI - 1x12
& 1x18
Selects the cabinet type
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
a: Amp Type h: Cabinet Type
Recommended Combinations of Bass Amp Models and Cabinets:
Amp Type
LA STUDIO
JAZZ
GOLD PANEL
SCOOPED
VALVE2
VALVE
CLASSIC
Cabinet Type
LA - 4x10, LA - 1x18
JAZZ - 1x15
MODERN - 4x10
METAL - 4x10
CLASSIC - 8x10
CLASSIC - 8x10
COMBI - 1x12 & 1x18
Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)
297
23: Tube PreAmp Model
(Tube PreAmp Modeling)
This effect simulates a two-stage vacuum tube preamp. You can make individual settings for two vacuum tubes connected in series. This lets you create the warm sound typical of vacuum tubes.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt
+
Tube Pre Amp1
Invert
+
–
Tube Pre Amp2
Output Level
Right
FX Amt
a b
Tube1 Low Cut
[Hz]
Thru, 21...8.00k
High Cut [Hz]
53...20.00k,
Thru
Tube1 Gain
[dB]
–24.0...+24.0
Sets the cutoff frequency for the low cut filter of stage 1
Sets the cutoff frequency for the high cut filter of stage 1
Sets the input gain for stage 1
Saturation [%] 0...100
Sets the input/output response for stage 1
Sets the bias voltage for stage 1 c d e
Tube1 Bias
Tube1 Phase
High Cut [Hz]
0...100
Normal,
Wet Invert
Tube2 Low Cut
[Hz]
Thru, 21...8.00k
53...20.00k,
Thru
Tube2 Gain
[dB] f
–24.0...+24.0
Saturation [%] 0...100
g Tube2 Bias 0...100
Turns phase reversal on/off
Sets the cutoff frequency for the low cut filter of stage 2
Sets the cutoff frequency for the high cut filter of stage 2
Sets the input gain for stage 2
Sets the input/output response for stage 2
Sets the bias voltage for stage 2 h i
Tube2 Output
Level [dB]
–48.0...+0.0
Wet/Dry
Src
Amt
Sets the output level
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
298 Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)
b, f: Saturation [%]
With higher settings of this value, the waveform will change at high gain levels, tending to cause distortion. Lower settings of this value will produce linear response.
Mic/Pre Amp - Saturation
Out
Saturation = 0
Saturation = 50
Saturation = 100
In
24: St. Tube PreAmp
(Stereo Tube PreAmp Modeling)
This is a stereo vacuum tube preamp simulator (See “Tube Pre-
Amp Model (Tube PreAmp Modeling)” on page 297.).
Stereo In - Stereo Out
Tube Pre Amp1
Tube Pre Amp1
+
–
+
–
Invert
Tube Pre Amp2
Output Level
Tube Pre Amp2
Bias = 0 c: Tube1 Bias
This expresses the effect that changes in vacuum tube bias have on the distortion of the waveform. Higher settings of this value will produce distortion even at low gain levels. Since this will also change the overtone structure, you can use it to control the tonal character.
Mic/Pre Amp - Bias
Out
Bias = 100
Bias = 50
Bias = 0
In
Satulation = 50 d: Tube1 Phase
With the Wet Invert setting, the phase of the signal will be inverted between stage 1 and stage 2. Since “Bias” is applied to the inverted signal in stage 2, this will change the tonal character.
25: Mic Model+PreAmp
(Mic Modeling + PreAmp)
This effect simulates a mic and vacuum tube preamp. You can choose from various types of mic and positions to create differing sonic characters.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt
+
Mic Simulation Tube Pre Amp
Output Level
Right
FX Amt
a b c d
Mic Type
Mic Position
Tube Low Cut
[Hz]
High Cut [Hz]
Vintage
Dynamic, Multi
Condenser,
Percussion
Condenser,
Drums Dynamic,
Vocal Dynamic,
Multi Dynamic,
Vocal
Condenser,
Vocal Tube,
Kick Dynamic
Close, On, Off,
Far
Selects the type of mic
Sets the mic placement distance
Thru, 21...8.00k
53...20.00k,
Thru
Tube Gain [dB] –24.0...+24.0
Saturation [%] 0...100
0...100
Sets the frequency of the low cut filter
Sets the frequency of the high cut filter
Sets the input gain to the vacuum tube preamp
Sets the input/output response of the preamp
Sets the bias level of the preamp e Tube Bias f
Tube Output
Level [dB]
–48.0...+0.0
Sets the output level of the preamp g
Wet/Dry
Src
Amt
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
b: Mic Position
This expresses the effect that the mic position has on the sound.
The Close setting is the closest mic position, and the Far setting is the farthest.
Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
299
Chorus, Flanger, and Phaser (Cho/Fln
Phaser)
26: Stereo Chorus
This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
Stereo In - Stereo Out
Left
FX Amt
LEQ HEQ
Chorus
EQ Trim
LEQ HEQ
Chorus
EQ Trim
Right
FX Amt
LFO Phase
LFO: Tri / Sine
i a b c d e f g
LFO Waveform Triangle, Sine Selects the LFO Waveform
LFO Phase
[degree]
–180...+180
Sets the LFO phase difference between the left and right
LFO Frequency
[Hz]
0.02...20.00
Sets the speed of the LFO
Src
Amt
MIDI Sync
BPM
Base Note
Times
Off...Tempo
–20.00...
+20.00
Off, On
MIDI,
40.00...
300.00
r...w
x1...x32
Selects a modulation source for LFO speed
Sets the modulation amount of LFO speed
When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this individual effect
Selects the type of notes that specify the LFO speed
Sets the number of notes that specify the LFO speed
L Pre Delay
[msec]
R Pre Delay
[msec]
Depth
Src
Amt
EQ Trim
Pre LEQ Fc
Pre HEQ Fc
0.0...50.0
0.0...50.0
0...100
Off...Tempo
–100...+100
0...100
Low,
Mid-Low
High,
Mid-High
Sets the delay time for the left channel
Sets the delay time for the right channel
Sets the depth of LFO modulation
Selects the modulation source for the LFO modulation depth
Sets the modulation amount of the
LFO modulation depth
Sets the EQ input level
Selects the cutoff frequency (low or mid-low) of the low-range equalizer
Selects the cutoff frequency (high or mid-high) of the high-range equalizer h
Pre LEQ Gain
[dB]
Pre HEQ Gain
[dB]
–15.0...+15.0
–15.0...+15.0
Gain of the Low EQ
Gain of the High EQ
Wet/Dry
-Wet, -
1:99...Dry...99:1
, Wet
Balance between the wet and dry signal
Src
Amt
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
d: L Pre Delay [msec] d: R Pre Delay [msec]
Setting the left and right delay time individually allows you to control the stereo image.
27: Black Chorus/Flanger
This models a Danish-made stereo chorus + pitch modulator & flanger. Although this effect was originally intended for guitar, it was also used by numerous keyboard players. Used with electric piano, it produces a distinctive tone.
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Mode & Intensity
Wet / Dry
+
Input Gain
Chorus
Right
+
-
+
+
Mono
Output Mode
Stereo
Wet / Dry
LFO
Speed [Hz]
Intensity
Mode
Width
Input Gain
Output Mode
Wet/Dry
Source
Amount
0.10...10.0
1...100
0, 1, 2
0...2
1...100
0, 1
Sets the LFO speed
Sets the intensity of LFO modulation
Select a mode
0: Chorus
1: Pitch Modulation
2: Flanger
Sets the LFO modulation depth
Sets the input gain
Select a output mode
0: Mono
1: Stereo
Dry, 1:99 ...
99:1, Wet
Balance between the wet and dry signal
Off...Tempo
–100 ... +100
Table , “Selects a modulation source for
Wet/Dry,” on page 284
Table , “Sets the modulation amount for
Wet/Dry,” on page 284
Mode
Intensity
Increasing the “Intensity” value will strengthen the modulation effect. This controls the effect, direct, and feedback values. The values that are controlled will depend on the “Mode” setting.
300 Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
28: St.HarmonicChorus
(Stereo Harmonic Chorus)
This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use this chorus block with feedback as a flanger.
Stereo In - Stereo Out
Left
Right
Low Level
FX Amt
High/Low Split Point
Chorus/Flanger
High Damp
Feedback
High Damp
Chorus/Flanger
High Level
High Level
Low Level
FX Amt
LFO Phase
LFO: Tri / Sine
a b i f c d e g h
LFO Waveform Triangle, Sine Selects the LFO Waveform
LFO Phase
[degree]
–180...+180
Sets the LFO phase difference between the left and right
LFO Frequency
[Hz]
0.02...20.00
Sets the speed of the LFO
Src
Amt
MIDI Sync
BPM
Base Note
Off...Tempo
–20.00...
+20.00
Off, On
MIDI,
40.00...
300.00
r...w
Selects a modulation source for LFO speed
Sets the modulation amount of LFO speed
When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this individual effect
Selects the type of notes that specify the LFO speed
Times
Pre Delay
[msec]
Depth
Src
Amt
High/Low Split
Point
Feedback
Low Level
High Level
Wet/Dry
Src
Amt x1...x32
0.0...50.0
0...100
Off...Tempo
–100...+100
1...100
–100...+100
High Damp [%] 0...100
0...100
0...100
Dry, 1:99...99:1,
Wet
Off...Tempo
–100...+100
Sets the number of notes that specify the LFO speed
Sets the delay time from the original sound
Sets the depth of LFO modulation
Selects the modulation source of the LFO modulation depth
Sets the modulation amount of the
LFO modulation depth
Sets the frequency split point between the low and high range
Sets the feed back amount of the chorus block
Sets the high range damping amount of the chorus block
Sets the low range output level
Sets the high range (chorus) output level
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
f: High/Low Split Point
This parameter sets the frequency that splits the high and low range. Only the high range will be sent to the chorus block.
g: Feedback
Sets the feedback amount of the chorus block. Increasing the feedback will allow you to use the effect as a flanger.
29: St. Biphase Mod.
(Stereo Biphase Modulation)
This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound.
Stereo In - Stereo Out
Left
FX Amt
Chorus/Flanger
High Damp
Feedback
Chorus/Flanger
High Damp
Right
LFO1: Tri / Sine
LFO2: Tri / Sine
180 [degree]
FX Amt
a b c d e f g h
LFO1
Waveform
LFO2
Triangle, Sine Selects LFO1 waveform
Phase Sw
Triangle, Sine Selects LFO2 waveform
0 deg,
180 deg
Switches the LFO phase difference between left and right
LFO1
Frequency [Hz]
0.02...30.00
Sets the LFO1 speed
Src Off...Tempo
Selects the modulation source of
LFO1&2 speed
Sets the modulation amount of
LFO1 speed
LFO1 Amt
–30.00...
+30.00
LFO2
Frequency [Hz]
0.02...30.00
Amt
–30.00...
+30.00
Sets the LFO2 speed
Depth1
Src
Amt
Depth2
Amt
L Pre Delay
[msec]
R Pre Delay
[msec]
Feedback
0...100
Off...Tempo
–100...+100
0...100
–100...+100
0.0...50.0
0.0...50.0
–100...+100
Sets the modulation amount of
LFO2 speed
Sets the depth of LFO1 modulation
Selects the modulation source of
LFO1&2 modulation depth
Sets the modulation amount of
LFO1 modulation depth
Sets the depth of LFO2 modulation
Sets the modulation amount of
LFO2 modulation depth
Sets the delay time for the left channel
Sets the delay time for the right channel
Sets the feedback amount
High Damp
[%]
Wet/Dry
Src
Amt
0...100
Off...Tempo
–100...+100
Sets the damping amount in the high range
-Wet, -
1:99...Dry...99:1
, Wet
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
Bi-Phase Modulation LFO
LFO1
LFO2
Depth1
+
Depth2
Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
301
30: Multitap Cho/Delay
(Multitap Chorus/Delay)
This effect has four chorus blocks with a different LFO phase.
You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually. You can also fix some of the chorus blocks to combine the chorus and delay effects.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out
Left
Feedback
+
Tap1 Delay
Tap2 Delay
Tap3 Delay
Tap4 Delay
Level
Level
Level
Level
Pan
Pan
Pan
Pan
Right
0 [degree]
180 [degree]
90 [degree]
270 [degree]
LFO: Triangle
FX Amt
FX Amt
a b c d e f g
LFO Frequency
[Hz]
0.02...13.00
Tap1 (000)
[msec]
Depth
Level
Pan
0...1000
0...30
0...30
L6...L1, C,
R1...R6
Tap2 (180)
[msec]
Depth
Level
Pan
0...1000
0...30
0...30
L6...L1, C,
R1...R6
Sets the speed of the LFO
Sets the Tap1 (LFO phase=0 degrees) delay time
Sets the Tap1 chorus depth
Sets the Tap1 output level
Sets the Tap1 stereo image
Sets the Tap2 (LFO phase=180 degrees) delay time
Sets the Tap2 chorus depth
Sets the Tap2 output level
Sets the Tap2 stereo image
Tap3 (090)
[msec]
Depth
Level
Pan
0...1000
0...30
0...30
L6...L1, C,
R1...R6
Tap4 (270)
[msec]
Depth
Level
0...1000
0...30
0...30
Pan
L6...L1, C,
R1...R6
Tap1 Feedback –100...+100
Src
Amt
Wet/Dry
Src
Amt
Sets the Tap3 (LFO phase=90 degrees) delay time
Sets the Tap3 chorus depth
Sets the Tap3 output level
Sets the Tap3 stereo image
Sets the Tap4 (LFO phase=270 degrees) delay time
Sets the Tap4 chorus depth
Sets the Tap4 output level
Sets the Tap4 stereo image
Off...Tempo
–100...+100
Sets the Tap1 feedback amount
Selects the modulation source of
Tap1 feedback amount and effect balance
Sets the Tap1 feedback amount and modulation amount
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
31: Ensemble
This Ensemble effect has three chorus blocks that use LFO to create subtle shimmering, and gives three dimensional depth and spread to the sound, because the signal is output from the left, right, and center.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
+
Ensemble
FX Amt
Right
Shimmer
LFO
FX Amt
a
Speed
Src
Amt
Depth b
Src
Amt c Shimmer
Wet/Dry d
Src
Amt
1...100
Off...Tempo
–100...+100
0...100
Sets the speed of the LFO
Selects a modulation source for LFO speed
Sets the modulation amount of LFO speed
Sets the depth of LFO modulation
Off...Tempo
–100...+100
0...100
Off...Tempo
–100...+100
Selects the modulation source of the LFO modulation depth
Sets the modulation amount of the
LFO modulation depth
Sets the amount of shimmering of the LFO waveform
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
c: Shimmer
This parameter sets the amount of shimmering of the LFO waveform. Increasing this value adds more shimmering, making the chorus effect more complex and richer.
Ensemble LFO
Level
Shimmer
Time
302 Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
32: Polysix Ensemble
This models the ensemble effect built into the classic Korg
PolySix programmable polyphonic synthesizer.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt
+
Polysix
Ensemble
Right
a
Depth
Src
Amt
Wet/Dry b
Src
Amt
FX Amt
0...100
Off...Tempo
Off...Tempo
–100...+100
Sets the depth of the effect
Selects the modulation source that will control the effect depth
–100...+100
Sets the amount by which the effect depth will be modulated
Dry, 1:99...99:1,
Wet
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
33: Stereo Flanger
This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.
Stereo In - Stereo Out
Left
FX Amt
Flanger
Feedback
High Damp
Flanger
Right
FX Amt
LFO Phase
LFO: Tri / Sine LFO Shape
a b c d e f
Delay Time
[msec]
0.0...50.0
Sets the delay time from the original sound
LFO Waveform Triangle, Sine Selects the LFO Waveform
LFO Shape
LFO Phase
[degree]
LFO Frequency
[Hz]
–100...+100
–180...+180
0.02...20.00
Changes the curvature of the LFO
Waveform
Sets the LFO phase difference between the left and right
Sets the speed of the LFO
Src
Amt
MIDI Sync
BPM
Base Note
Times
Depth
Feedback
Off...Tempo
–20.00...
+20.00
Off, On
MIDI,
40.00...
300.00
r...w
x1...x32
0...100
–100...+100
Selects a modulation source for LFO speed
Sets the modulation amount of LFO speed
When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this individual effect
Selects the type of notes that specify the LFO speed
Sets the number of notes that specify the LFO speed
Sets the depth of LFO modulation
Sets the feedback amount g
High Damp [%] 0...100
Sets the feedback damping amount in the high range h
Wet/Dry
Src
Amt
-Wet, -
1:99...Dry...99:1
, Wet
Balance between the wet and dry signal
Off...Tempo
–100...+100
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
g: Feedback h: Wet/Dry
The peak shape of the positive and negative “Feedback” value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound if you set a positive value for both “Feedback” and “Wet/Dry”, and if you set a negative value for both “Feedback” and “Wet/Dry”.
g: High Damp [%]
This parameter sets the amount of damping of the feedback in the high range. Increasing the value will cut high-range harmonics.
Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
303
34: St. Random Flanger
(Stereo Random Flanger)
The stereo effect uses a step-shape waveform and random LFO for modulation, creating a unique flanging effect.
Stereo In - Stereo Out
Left
FX Amt
Flanger
Feedback
Flanger
High Damp
Right
FX Amt
LFO Phase
LFO: Step-Tri/Random
a b c
Delay Time
[msec]
0.0...50.0
LFO Waveform
Step-Tri,
Random
LFO Phase
[degree]
LFO Frequency
[Hz]
–180...+180
0.02...20.00
Src Off...Tempo
Amt
–20.00...
+20.00
d
LFO Step Freq
[Hz]
0.05...50.00
Step Amt
–50.00...
+50.00
e f
MIDI Sync
BPM
Base Note
Times
Off, On
MIDI,
40.00...
300.00
r...w
x1...x32
Step Base Note r...w
Times x1...x32
Sets the delay time from the original sound
Selects the LFO Waveform
Sets the LFO phase difference between the left and right
Sets the speed of the LFO
Selects the modulation source used for both LFO speed and step speed
Sets the modulation amount of LFO speed
Sets the LFO step speed (speed that changes in steps)
Sets the modulation amount of LFO step speed
When this is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this individual effect
Selects the type of notes that specify the LFO speed
Sets the number of notes that specify the LFO speed
Selects the type of notes to specify the LFO step speed
Sets the number of notes to specify the LFO step speed g Depth 0...100
Sets the depth of LFO modulation
Sets the feedback amount
Feedback –100...+100 i h
High Damp [%] 0...100
Wet/Dry
Src
Amt
Off...Tempo
–100...+100
Sets the feedback damping amount in the high range
-Wet, -
1:99...Dry...99:1
, Wet
Balance between the wet and dry signal
Table , “Dynamic Modulation sources,” on page 283
Amount of modulation source
35: St. Env. Flanger
(Stereo Envelope Flanger)
This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modulation source.
Stereo In - Stereo Out
Left
FX Amt
Flanger
Feedback
Flanger
High Damp
Right
D -mod
D-mod
EG Attack/Decay
EG
Sweep Mode
FX Amt
a b c d e
L Dly Bottom
[msec]
L Dly Top
[msec]
R Dly Bottom
[msec]
R Dly Top
[msec]
Sweep Mode
Src
EG Attack
EG Decay
Feedback
0.0...50.0
0.0...50.0
0.0...50.0
0.0...50.0
EG, D-mod
Off...Tempo
1...100
1...100
–100...+100
Sets the lower limit of the leftchannel delay time
Sets the upper limit of the leftchannel delay time
Sets the lower limit of the rightchannel delay time
Sets the upper limit of the rightchannel delay time
Determines whether the flanger is controlled by the envelope generator or by the modulation source
Selects the modulation source that triggers the EG (when Sweep Mode =
EG), or the modulation source that causes the flanger to sweep (when
Sweep Mode = D-mod)
Sets the EG attack speed
Sets the EG decay speed
Sets the feedback amount
Sets the feedback damping amount in the high range f High Damp [%] 0...100
g
Wet/Dry
Src
Amt
-Wet, -
1:99...Dry...99:1