Ensoniq KT-76 - Progetto Snaps

Ensoniq KT-76 - Progetto Snaps
File Name : KT76 & 88 LOGO.eps
Title : KT76 & 88 LOGO
Creator : FreeHand 3.1
CreationDate : 8/19/94 9:33 AM
Musician’s Manual
Version 1.5
KT Musician’s Manual:
Written, designed, and illustrated by: Tom Tracy, Bill Whipple
Copyright © 1994, 1995
ENSONIQ® Corp
155 Great Valley Parkway
Box 3035
Malvern, PA 19355-0735
USA
Printed in U.S.A.
All Rights Reserved
Please record the following information:
Your Authorized ENSONIQ Dealer:___________________________ Phone:_______________
Your Dealer Sales Representative:_________________________________________________
Serial Number of Unit:___________________________ Date of Purchase:_________________
Your Authorized ENSONIQ Dealer is your primary source for service and support. The above information will be helpful in
communicating with your Authorized ENSONIQ Dealer, and provide necessary information should you need to contact
ENSONIQ Customer Service. If you have any questions concerning the use of this unit, please contact your Authorized
ENSONIQ Dealer first. For additional technical support, or to find the name of the nearest Authorized ENSONIQ Repair
Station, call ENSONIQ Customer Service at (610) 647-3930 Monday through Friday 9:30 AM to 12:15 PM and 1:15 PM to
6:30 PM Eastern Time. Between 1:15 PM and 5:00 PM we experience our heaviest call load. During these times, there may
be delays in answering your call.
This manual is copyrighted and all rights are reserved by ENSONIQ Corp. This document may not, in whole or in part, be copied,
photocopied, reproduced, translated, or reduced to any electronic medium or machine readable form without prior written consent
from ENSONIQ Corp. The KT-76/KT-88 software/firmware is copyrighted and all rights are reserved by ENSONIQ Corp.
Although every effort has been made to ensure the accuracy of the text and illustrations in this manual, no guarantee is made or
implied in this regard.
IMPORTANT:
“This equipment generates and uses radio frequency energy and if not installed and used properly, that is, in strict accordance
with the manufacturer's instructions, may cause interference to radio and television reception. It has been designed to comply
with the limits for a Class B computing device in accordance with the specifications in Subpart J of Part 15 of FCC rules, which
are designed to provide reasonable protection against such interference in a residential installation. However, there is no
guarantee that interference will not occur in a particular installation. If this equipment does cause 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 the receiving antenna
* relocate the instrument with respect to the receiver
* move the instrument away from the receiver
* plug the instrument into a different outlet so that the instrument and receiver are on different branch circuits
“If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. The
user may find the following booklet prepared by the Federal Communications Commission helpful: 'How to Identify and
Resolve Radio-TV Interference Problems.' This booklet is available from the U.S. Government Printing Office, Washington,
D.C. 20402. Stock No. 004-000-00345-4.”
CAUTION! Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent
type recommended by the manufacturer. Discard used batteries according to manufacturer's instructions.
In order to fulfill warranty requirements, the KT-76/KT-88 should be serviced only by an Authorized ENSONIQ Repair
Station. The ENSONIQ serial number label must appear on the outside of the unit, or
the ENSONIQ warranty is void.
• ENSONIQ, KT-76, KT-88, ASR-10, TS-10, TS-12, DP/4, SoundFinder, TransWave, and
Poly-Key are trademarks of ENSONIQ Corp.
• All other trademarks are property of their respective owners.
• Some waves were looped with Infinity software from Jupiter Systems.
Part # 9310 0173 01 - B
Model # MM-123
Table of Contents
Table of Contents
List of Tips
Introduction
Welcome!............................................................................................................i
About the KT-76/KT-88 .............................................................................i
Clean Up and Maintenance .............................................................................ii
Center Supported Stands .................................................................................ii
About The Manuals ..........................................................................................ii
Power ..................................................................................................................iii
Polarization and Grounding......................................................................iii
Ground Loops..............................................................................................iv
AC Line Conditioning ................................................................................iv
Guidelines for using the KT.............................................................................v
Temperature Guidelines ............................................................................v
Amplification Guidelines...........................................................................v
Be Careful!
...............................................................................................................
vi
Amplifying Your KT Through a Home Stereo System
...............................................................................................................
vi
Powering Up Your KT In a MIDI Configuration
...............................................................................................................
vi
Battery Replacement Guidelines.....................................................................vii
Card Battery Replacement .........................................................................vii
Reinitializing the KT.........................................................................................viii
To Reinitialize the KT .................................................................................viii
How to Use this Manual ..................................................................................ix
Page Locations.............................................................................................ix
Single Digit Page Locations .......................................................................ix
Button Names ..............................................................................................x
Color-Coding on the Front Panel..............................................................x
Using the Color-Coded Text
...............................................................................................................
x
Available Options for Your KT .......................................................................xi
Where to Find More Help................................................................................xi
Section 1 — Controls & Basic Functions
Rear Panel Connections....................................................................................1
The Front Panel Controls .................................................................................3
Color-Coding Scheme.................................................................................3
Direct-Dialing Banks.........................................................................................4
ENSONIQ KT Musician’s Manual
TOC — 1
Table of Contents
More About the Transpose Keyboard Function
...............................................................................................................
9
PCMCIA Memory Cards..................................................................................10
Headphones .......................................................................................................10
Performance Controllers ..................................................................................11
Selecting Sounds................................................................................................12
Selecting r:DRUM ROM Sounds...............................................................12
Sound Memory Configuration........................................................................13
Choosing Internal, ROM, and Card Sounds ...........................................14
SoundFinder™ Feature ....................................................................................15
Selecting Sequences/Presets or Songs ...........................................................16
Sequencer Memory Configuration ...........................................................16
Play the Demo Song..........................................................................................16
Choosing Internal, ROM, and Card Sequences/Presets/Songs ..........17
Using Parametric Programming .....................................................................18
Changing a Parameter (Data Editing)......................................................18
To Change a Parameter ..............................................................................19
Multiple Parameters ...................................................................................19
Section 2 — System•MIDI Parameters
Entering System•MIDI Mode .........................................................................21
Exiting System•MIDI Mode............................................................................21
System Parameters............................................................................................21
Tune/Bnd/PTbl ..........................................................................................21
Various ROM System Pitch-Tables
...............................................................................................................
22
Touch/Pressure...........................................................................................25
The KT Velocity Response Curves (Touch)
...............................................................................................................
26
Velocity Curve Diagram
...............................................................................................................
26
FtswL/FtswR...............................................................................................29
Latching Pressure with Sustain or Sostenuto
...............................................................................................................
29
CV-Pedal/Voice Muting ............................................................................30
MIDI Parameters ...............................................................................................31
Base Channel/Status ..................................................................................31
Base Channel Pressure................................................................................32
MIDI Mode/Xctrl........................................................................................33
Using Global Controllers in MONO Mode
...............................................................................................................
34
TOC — 2
ENSONIQ KT Musician’s Manual
Table of Contents
Controllers/Prog Change ..........................................................................35
Program Changes in the KT ......................................................................35
Bank Select and Program Change Implementation
...............................................................................................................
36
Selecting a New Sound and its Effect from MIDI.........................................36
SysEx/ID/Song Select................................................................................37
MIDI TrkName/MIDI Loop......................................................................38
Section 3 — Understanding Effects
Understanding KT Effects................................................................................39
Sound (Standard and Drum) Effects ..............................................................39
Preset/Sequence/Song Effects........................................................................39
What is an Algorithm? .....................................................................................40
Signal Routing Between Effects ......................................................................40
When are New Effects Loaded into the ESP Chip?......................................40
Programming Effect Algorithms.....................................................................41
Selecting Effect Algorithms .............................................................................42
Effects Mixing ....................................................................................................42
The Effects Busses .............................................................................................42
Single Function Effect Mixer .....................................................................43
Multiple Function Effect Mixer.................................................................43
Routing Sounds to Effects in Sequence/Preset Mode .................................44
Controllers Routed to Effects.....................................................................44
Reverb Variations..............................................................................................45
About the Decay Bias........................................................................................45
Effect Modulators..............................................................................................46
Modulators that can be applied to the effects.........................................46
Ramps ...........................................................................................................47
Section 4 — Effect Parameters
About Effect Parameters ..................................................................................49
Effect Modulation Parameters.........................................................................49
DRY/BYPASSED ..............................................................................................49
DUAL EQ+REVERB .........................................................................................50
WARM CHAMBER ..........................................................................................52
8-VOICE CHORUS ...........................................................................................53
EQ-CHORUS+REVERB....................................................................................54
EQ-DDL+REVERB ............................................................................................55
DDL-CHORUS+REVB......................................................................................56
ENVCF-CHO+REVERB ...................................................................................57
FLANGER+REVERB ........................................................................................59
PHASER+REVERB............................................................................................60
ROTARY SPKR+REVB.....................................................................................61
FL-CMP-DIST+REVB .......................................................................................63
DISTWAH-CHO+REVB...................................................................................65
ENSONIQ KT Musician’s Manual
TOC — 3
Table of Contents
Section 5 — Understanding Sounds
What is a KT Sound?.........................................................................................67
Understanding Voices and Polyphony..........................................................67
Using the Compare Button/LED....................................................................68
Using the Edit Buffer ........................................................................................68
To Abandon Your Edits....................................................................................68
Saving a New Sound Into Memory ................................................................69
To Save a Sound ..........................................................................................69
Copying an Existing Sound to Another Location.........................................69
KT Standard Sound Configuration.................................................................70
KT Drum Sound Configuration ......................................................................71
Selecting Edit (Drum) Sound Mode ...............................................................72
Using Modulation .............................................................................................73
About Modulation ......................................................................................73
To Select a Modulator.................................................................................73
To Control Modulation Amount...............................................................73
Specifying a Modulation Source ...............................................................74
ENV 1, ENV 2, ENV 3 — KT Standard Sound Envelopes ..........................77
TOC — 4
ENSONIQ KT Musician’s Manual
Table of Contents
Section 6 — Standard Sound Parameters
Edit (Standard) Sound Mode...........................................................................79
Wave Pages (00 - 05) .........................................................................................79
EditVOICE/Voice Status ...........................................................................79
Wave Class/Wave Name...........................................................................81
Wave Name........................................................................................................81
KT Standard Sound ROM Wave Catalog ......................................................82
Delay Time/Direction ................................................................................83
Start Index/ModSource/Mod Amount...................................................83
Sample Shift/Mode.....................................................................................84
Voice Restrike Decay Time ........................................................................85
SoundFinder Type.......................................................................................86
Change Sound Mode ..................................................................................87
Oct/Semi/Fine ............................................................................................88
Env1/LFO/Mod..........................................................................................88
Keyboard Pitch Tracking ...........................................................................89
Glide/Glide Time........................................................................................90
Levels/Time.................................................................................................91
LevV/AtckV/VelCurv...............................................................................92
Mode/KeyboardTrk ...................................................................................93
Mode (Env 3) — Voice Triggering
...............................................................................................................
93
Stealing Notes
...............................................................................................................
93
Press ENTER to select defaults..................................................................95
KT Default Envelope Values ...........................................................................96
LFO Pages (30 - 32)............................................................................................97
LFO Rate/Noise Rate .................................................................................97
Depth/Dlay/Mod.......................................................................................98
Wave/Restart...............................................................................................98
Filters Pages (40 - 44) ........................................................................................100
Filter1/Filter2...............................................................................................100
FC1 Cutoff/Envelope2 ...............................................................................100
FC1 Keyboard/Mod ...................................................................................101
FC2 Cutoff/Envelope2 ...............................................................................101
FC2 Keyboard/FC1 Mod·FC2 ...................................................................101
Editing the Filters........................................................................................102
More About Filters......................................................................................102
Env2 (50-53) and Env3 Pages (60-63)..............................................................104
Output Pages (70 - 73) ......................................................................................104
Vol/Mod.......................................................................................................104
KeybdScale/KeyRange ..............................................................................105
Setting a Keyboard Zone
...............................................................................................................
107
ENSONIQ KT Musician’s Manual
TOC — 5
Table of Contents
Output Bus/Priority ...................................................................................108
Pan/Mod Source/Mod Amount ..............................................................109
Vel Window .................................................................................................109
TOC — 6
ENSONIQ KT Musician’s Manual
Table of Contents
Section 7 — Drum Sound Parameters
Edit (Drum) Sound Mode ................................................................................111
Wave Pages (00 - 05) .........................................................................................111
Key Range/Wave Name ............................................................................111
Creating “Holes” in the Key Map
...............................................................................................................
112
Wave Class/Wave Name...........................................................................113
KT Drum Sound ROM Wave Catalog............................................................114
Direction .......................................................................................................115
Press ENTER to Set GM Map ....................................................................115
The “Hidden” ROM General MIDI Drum Map ...........................................116
Press ENTER to Set Ensoniq Map.............................................................117
Change Sound mode ..................................................................................117
Pitch Pages (10 - 11) ..........................................................................................118
Oct/Semi/Fine ............................................................................................118
Keyboard Pitch Tracking ...........................................................................118
Filter Page...........................................................................................................119
Fc Cutoff/LevV ...........................................................................................119
Amp Pages .........................................................................................................119
Gate Time/Release Time............................................................................119
LevV/Mode .................................................................................................120
Stealing Notes....................................................................................................120
Output Pages (70 - 71) ......................................................................................121
Vol/Pan ........................................................................................................121
Output Bus/VelCurv..................................................................................122
Creating a Custom Drum Kit ..........................................................................123
To Edit the Voices..............................................................................................123
Setting Key Ranges ...........................................................................................124
Saving Your Edited Drum Kit.........................................................................125
Section 8 — Understanding Presets
What is a Preset?................................................................................................127
Selecting Presets ..........................................................................................127
How Many Presets are Available in the KT? ................................................127
What is the Difference Between Presets and Sequences?............................128
What Are Tracks?..............................................................................................129
Three ways to create a preset ..........................................................................130
To create a preset using the default preset..............................................130
To Build your own preset ..........................................................................130
To modify an existing preset .....................................................................131
Layering Sounds with the Track Buttons ......................................................132
Using Effects With Performance Presets .......................................................132
Using the Replace Track Sound Function......................................................133
Replacing the Sound on a Track ...............................................................133
Using SoundFinder in Presets Mode........................................................133
Replacing the Sound along with its Effect on a Track ...........................134
ENSONIQ KT Musician’s Manual
TOC — 7
Table of Contents
A Note about Replacing Sounds Used by Sequences/Presets...................135
Using Card Sounds in a Seq/Preset or Song.................................................135
About Edit Track (Performance) Parameters................................................136
Using the Layer Lock Feature .........................................................................137
About the “Save Changes?” Page
...............................................................................................................
138
Using the Make Default Preset Button...........................................................139
To Play The Demo.......................................................................................139
To Make a Default Preset Template .........................................................139
To Copy Preset Data .........................................................................................141
About the KT ROM Presets .............................................................................142
List of ROM Presets ..........................................................................................142
rPSET00 — MIDI-Blend .............................................................................142
rPSET01 — OhSoSweet-Rhodes................................................................142
rPSET02 — AcBass/Kybrds(i)...................................................................143
rPSET03 — ElBass/Kybrds(i)....................................................................143
rPSET04 — SynBass/Kbds(i).....................................................................143
rPSET05 — ElecBass/Gtrs(i)......................................................................143
rPSET06 — Pno/SoloHorns(i)...................................................................144
rPSET07 — TinePno/Horns(i)...................................................................144
rPSET08 — PnoStr/Orch (i).......................................................................144
rPSET09 — Wedding Ceremony...............................................................144
Section 9 — Preset/Track Parameters
Vol/Pan ........................................................................................................145
Output...........................................................................................................146
KeyRange .....................................................................................................147
Performance Tip — Creating Keyboard Splits .............................................148
Transpose .....................................................................................................148
Chan/Prog ...................................................................................................149
Program Changes in the KT ......................................................................149
Bank Select and Program Change Implementation
...............................................................................................................
150
Selecting a New Sound and its Effect from MIDI.........................................150
Status.............................................................................................................151
Pressure ........................................................................................................152
Sustain Pedal................................................................................................153
Timbre...........................................................................................................154
Release ..........................................................................................................154
Section 10 — Understanding the Sequencer
Digital Sequencing ............................................................................................155
What is a Sequence?..........................................................................................156
What is a Song?..................................................................................................156
About Sequencer Memory...............................................................................157
TOC — 8
ENSONIQ KT Musician’s Manual
Table of Contents
Card Sequencer Memory ...........................................................................157
Sequencer “Transport Controls”.....................................................................158
Sequencer Status................................................................................................159
Select Sequence Mode Pages ...........................................................................160
Selecting a Sequence or Song...........................................................................160
Choosing Internal, ROM, and Card Sequences/Presets/Songs ..........161
Playing Sequences and Songs..........................................................................161
Creating a New Sequence or Song..................................................................162
Erasing All Sequencer Memory ......................................................................164
Recording a Sequence.......................................................................................165
The KEEP NEW/OLD Page ......................................................................167
Re-recording a Track.........................................................................................168
Playing along with a Sequence/Auditioning New Sounds and Effects...169
Recording Program Changes into the Sequencer.........................................169
About the “Save Changes?” Page...................................................................170
Recording MIDI Tracks ....................................................................................171
Mixing, Muting and Soloing Tracks (Track Volume Functions)................172
Routing Sounds to Effects in Sequence/Preset Mode .................................173
Controllers Routed to Effects.....................................................................173
Working in Song Mode ....................................................................................174
Assembling a Song............................................................................................174
To assemble a song .....................................................................................174
Switching Effects in Song Mode......................................................................176
Song Tracks ........................................................................................................177
Viewing Sequence Tracks in Song Mode.......................................................178
Mixing Down Sequence and Song Tracks in Song Mode ...........................178
To Record Mix or Pan Changes to Sequence Tracks in a Song ..................178
To Record Mix or Pan Changes to a Song Track ..........................................179
More About Mixdown Mode ..........................................................................180
Delay Times/Tempo BPM Chart....................................................................180
Section 11 — Sequencer Parameters
Locate Pages (00 - 03)........................................................................................183
SEQ (or SONG) Location/Bar/Beat.........................................................183
Song Locate
...............................................................................................................
184
SEQ (or SONG) PUNCH IN ......................................................................185
Edit Times in Song Mode...........................................................................185
Setting the Edit Times in Real Time .........................................................186
SEQ (or SONG) PUNCH OUT ..................................................................186
Auto Punch/Tempo ...................................................................................187
Tap Tempo ...................................................................................................187
Song Tempo Offset......................................................................................187
Sequencer Control Pages..................................................................................188
Loop/Countoff ............................................................................................188
Step Entry/Record ......................................................................................188
ENSONIQ KT Musician’s Manual
TOC — 9
Table of Contents
To enter Step Entry recording ...................................................................188
Auto Punch/Clock......................................................................................191
Song uses effect from..................................................................................191
Song Edit Tracks Displayed.......................................................................192
SaveChangesMode......................................................................................192
About the “Save Changes?” Page
...............................................................................................................
193
Current Seq Bank Free Memory................................................................194
Press ENTER to Erase Seq Memory .........................................................194
Click Pages (20 - 22) ..........................................................................................195
Click/Interval ..............................................................................................195
Click Volume/Click Pan ............................................................................195
Tempo ...........................................................................................................195
Song Commands Pages (30 - 36).....................................................................196
Create SONG/Pset......................................................................................196
Copy Song ....................................................................................................197
Erase SONG/Pset........................................................................................198
Song Information.........................................................................................198
Rename SONG/Pset...................................................................................199
Copy Preset Data.........................................................................................199
Edit Song Steps............................................................................................200
To Edit Song Steps
...............................................................................................................
200
Import Song .................................................................................................203
Sequence Commands Pages ............................................................................205
Create SEQ/Pset..........................................................................................205
Copy Sequence ............................................................................................206
Erase SEQ/Pset............................................................................................207
Sequence Info...............................................................................................208
Rename SEQ/Pset.......................................................................................208
Copy Preset Data.........................................................................................209
Append Sequence .......................................................................................210
Change Length ............................................................................................211
Import Sequence..........................................................................................212
Track Commands Page.....................................................................................214
Setting the Track Range — Using the Track Range Function.....................214
To Set the Track Range...............................................................................214
Event Edit Track................................................................................................215
Event Locating Display for Prog Changes ....................................................217
Event Locating Display for All Events, Key Events and Key Pressure.....217
AUDITION, INSERT and REMOVE ........................................................218
Copy Track...................................................................................................219
Erase Track...................................................................................................220
Merge Track .................................................................................................221
Transpose Track ..........................................................................................222
TOC — 10
ENSONIQ KT Musician’s Manual
Table of Contents
Shift Track ....................................................................................................223
Scale Track....................................................................................................224
Filter Events .................................................................................................225
About the COPY Filter Mode ....................................................................226
Quantize Track ............................................................................................227
(Track) Status ...............................................................................................228
ENSONIQ KT Musician’s Manual
TOC — 11
Table of Contents
Section 12 — The MIDI Connection
About MIDI........................................................................................................229
Controlling Remote MIDI Devices from the KT — MIDI Connections ....229
Setting up Remote MIDI Devices to Receive MIDI from the KT .........230
Creating a Sequence/Preset For Controlling Remote MIDI Sound
Sources.......................................................................................................230
Setting Track Parameters for MIDI Controller Application .................231
Using External MIDI Sequencers....................................................................232
Connecting the KT to a computer (or other MIDI sequencer)..............232
Selecting MULTI Mode — Receiving on up to 8 MIDI Channels........232
Assigning MIDI Reception Channels.......................................................233
Using the KT with a Drum Machine ..............................................................234
To Sync a Drum Machine to the KT .........................................................234
To Sync the KT to a Drum Machine .........................................................234
To Sequence a Drum Machine from a Track of the KT .........................235
Song Position Pointers......................................................................................235
MIDI Song Selects .............................................................................................235
Using the KT with a MIDI Guitar Controller................................................236
What is General MIDI?.....................................................................................237
Sound Map...................................................................................................237
Percussion.....................................................................................................237
GS/MT-32 Compatibility...........................................................................237
Other General MIDI Requirements ................................................................237
Why use General MIDI?...................................................................................238
General MIDI Sound Map ...............................................................................239
GM and GS Percussion Key Maps (Channel 10) ....................................240
Using General MIDI in the Real World .........................................................242
Using KT General MIDI Sounds with an External GM Sequencer............242
Connecting the KT keyboard to a computer (or other General MIDI
sequencer)..................................................................................................242
Enabling General MIDI on the KT..................................................................243
To Enable General MIDI ............................................................................243
MIDI Out in General MIDI Mode...................................................................243
KT General MIDI Parameters..........................................................................244
Track/Channel Number ............................................................................244
GM Sound Number ....................................................................................244
Receive Status ..............................................................................................244
Manually Assigning GM Sounds to Each MIDI Channel ...........................245
General MIDI “All Notes Off” button............................................................245
System and MIDI Control Settings in GM Mode .........................................245
Disabling General MIDI ...................................................................................246
To Disable General MIDI ...........................................................................246
Enabling/Disabling General MIDI with System Exclusive Messages ......246
More about SysEx Messages......................................................................246
Sound Canvas MT-32 Mode Program Change Map....................................247
MIDI Controller Implementation in General MIDI Mode ..........................248
General MIDI Mode Controller Implementation Chart ..............................248
TOC — 12
ENSONIQ KT Musician’s Manual
Table of Contents
Section 13 — Storage
Memory Card Storage ......................................................................................249
Installing the Battery in a RAM Card.............................................................249
Memory Card Configurations.........................................................................250
Formatting a Blank Memory Card............................................................250
More about PCMCIA RAM Memory Cards ...........................................250
SOUNDS.............................................................................................................251
Copying Sounds Between Internal and Card Memory ...............................251
SEQUENCES......................................................................................................252
Saving Sequencer Data to a PCMCIA Memory Card ..................................252
About Sequence Memory.................................................................................252
MIDI Sys-Ex Storage.........................................................................................253
What are System Exclusive Messages? ....................................................253
“Generic” System Exclusive Storage........................................................253
Sending MIDI Sys-Ex Messages to another KT or to a Storage Device.....253
SOUND DATA ..................................................................................................254
SEQUENCER DATA ........................................................................................255
Receiving MIDI Sys-Ex Messages...................................................................256
Storage Prompts and Error Messages ............................................................257
Appendix
KT MIDI Implementation ................................................................................I
Registered Parameters......................................................................................I
MIDI Implementation Chart............................................................................II
Index
Parameter Reference Card
ENSONIQ KT Musician’s Manual
TOC — 13
List of Tips
List of Tips
Viewing the Edit Pages Within a Group Using the 0-9 Buttons.............................5
Using the Value Buttons to Scroll Through Sounds ................................................12
Using SoundFinder to Replace Sounds with their Effects ......................................15
Using CUSTOM Settings to Define Your Own Sound Types.................................15
Setting the Modulation Amount to Zero ...................................................................18
Changing Pitch-Tables while the Sequencer is Playing ..........................................22
Selecting Effects Quickly to Avoid the Delay ...........................................................41
Using Mod Controls to Change Volume in Real Time............................................49
Saving an Edited Sound to its Current Sound Location..........................................69
Setting the Modulation Amount to Zero ...................................................................73
Setting the Restrike Time to Eliminate Clicking Sounds.........................................85
Using the LFO as a Gated Modulator ........................................................................99
Using Volume Modulators to Create Voice Crossfading........................................104
A Quick Way to Create Blank Drum Map Ranges...................................................112
Quick Way to Save Changes in Select Seq/Preset Mode ........................................138
Using the Foot Switch for Hands-Free Punch Ins ....................................................168
Auditioning the Sequence with Different Effects.....................................................169
Quick Way to Save Changes in Select Seq/Preset Mode ........................................170
Toggling between Sequence and Song Tracks..........................................................178
Recording Dynamic Volume Changes.......................................................................180
Using Modulators in Real Time to Create Poly-Rhythms.......................................181
Disabling Recording in Step Entry Mode..................................................................190
Toggling between Song and Sequence Tracks..........................................................192
Quick Way to Save Changes in Select Seq/Preset Mode ........................................193
Moving Single Key Events that may be Off-Time....................................................218
Using Headphones in General MIDI mode...............................................................242
“Music-Minus-One” Applications..............................................................................244
How to Replace the Card Battery without Loosing its Contents...........................249
Erasing RAM Memory Cards......................................................................................250
ENSONIQ KT Musician’s Manual
Tips — 11
List of Tips
Tips — 12
ENSONIQ KT Musician’s Manual
Introduction
Welcome!
Congratulations, and thank you for your purchase of the ENSONIQ KT-76/KT-88 keyboard.
ENSONIQ redefines state-of-the-art performance with the latest addition to its family of
synthesizers — the KT-76/KT-88. With 64-voice polyphony and a 76-key weighted action
keyboard, the KT gives musicians the sound and feel of a real piano — along with all the benefits
of a MIDI synthesizer. It’s the ultimate instrument for performance, whether you’re playing at
home, in the studio, at church, or on stage. Once you experience its feel and response and hear the
authentic, rich sounds, you’ll be convinced that the KT truly offers you the keys to performance.
About the KT-76/KT-88
The KT breaks the sound barrier with 64-voice polyphony!
• Play bigger chords and more sustained notes without inhibiting your performance.
• Hear more intricate sounds.
• Create richer, warmer layers.
• Fully orchestrate your sequences.
• Play live over sequencer or General MIDI music playback.
The KT has the sounds you need — whatever your musical style:
• 308 onboard sounds from basics to exotic, including the full GM sound set.
• 13 state-of-the-art effect algorithms with real time modulation.
• Two sampled pianos in wave ROM (Read Only Memory).
• Even more sounds are available with the ENSONIQ KTC Series sound cards.
• SoundFinder™ allows you to scroll through sounds by musical category — whether in RAM
(Random Access Memory), ROM, or on an expansion card.
The KT offers incredible performance control capabilities:
• The weighted-action mechanism simulates a real piano hammer for the same feel and
dynamic response you get when playing your favorite acoustic piano.
• 14 velocity curves and 4 pressure settings — to match your playing style.
• The same versatile and easy-to-use controls used for the KT’s sounds also make it the perfect
master controller for other MIDI gear.
• The Make Default Preset button allows for instant configuration of internal and MIDI splits
and layers.
• The Transpose Keyboard function allows for transposing music to any key — instantly .
• An excellent sound source for playing back MIDI data received from any General MIDI device.
• Ergonomically designed Pitch and Mod wheels for easy, comfortable reach while playing.
• Optional CV-P-1 Control Voltage Pedal allows for real-time volume control or modulation.
• Optional SW-10 Dual Foot Switch allows for sustain, sostenuto, and sequencer control.
• The optional MS-1 Music Stand will hold everything from single sheet music to large songbooks.
The KT gives you advanced yet easy-to-use sequencing features:
• Onboard 16-track sequencer.
• Develop your ideas into fully orchestrated songs with user-friendly editing features.
• For increased sequencer memory, use industry standard PCMCIA RAM cards (the same used by
many notebook computers), and record and play your sequences directly to and from the card.
Storage Capabilities:
• MC-512 PCMCIA RAM Cards can be used to store both sound and sequencer data.
• Sounds and sequencer data can also be saved via MIDI System Exclusive to any remote MIDI
device that accepts and stores such data.
ENSONIQ KT Musician’s Manual
i
Introduction
Clean Up and Maintenance
Only clean the exterior of your KT with a soft, lint-free, dry (or slightly damp) cloth. You can use
a slightly dampened cloth (with a mild neutral detergent) to remove stubborn dirt, but make sure
that the KT is thoroughly dry before turning on the power. Never use alcohol, benzene, volatile
cleaners, solvents, abrasives, polish or rubbing compounds.
Center Supported Stands
With the KT, or any weighted-action keyboard, we highly recommend that you do not use centersupported column-type keyboard stands. Weighted keyboards are too heavy, too long, and
usually require greater playing force to be exerted on them. They will be unstable on centersupported column-type stands.
About The Manuals
This manual covers two different products, the KT-76 and the KT-88. The KT-76 has a 76 note
keyboard, whereas the KT-88 has an 88 note keyboard. In this manual, when there are notable
differences, the keyboards will be specifically addressed as the KT-76 and the KT-88. When the
text pertains to both products, they will be referred to as KT.
If you’re anxious to plug your KT in and get playing, we recommend following the KT QuickStart Guide. It is designed to give you a head start at using and understanding the major features
of the KT keyboard. After you’ve finished the Quick-Start Guide, you’ll be on the way to using
the KT to its fullest potential.
The Musician’s Manual is your guide to understanding the KT in detail. The remainder of this
section contains important safety and set-up information. After the initial “I just gotta hear it”
phase has passed and you’re ready to utilize the full potential of the KT, please take the time to
read the sections on programming, sequencing, and storage. They’ll provide valuable
information and tips that will speed up the learning process and enhance your enjoyment of the
KT.
Thank you again for choosing ENSONIQ. Enjoy the music!
ii
ENSONIQ KT Musician’s Manual
Introduction
Power
Insert the line cord into the line receptacle on the rear panel of the KT, next to the power switch.
Plug the other end of the cable into a grounded AC outlet (the proper voltage for your KT is
listed on the Serial Number label on the rear panel). Turn the KT power on and make sure the
display lights up. If not, check your connections and power source.
Polarization and Grounding
Like many modern electrical devices, your ENSONIQ product has a three-prong power cord with
earth ground to ensure safe operation. Some products have power cords with only two prongs
and no earth ground. To ensure safe operation, modern products with two-prong power cords
have polarized plugs that can only be inserted into an outlet the proper way.
Some products, such as older guitar amplifiers, do not have polarized plugs and can be
connected to an outlet incorrectly. This may result in dangerously high voltages on the audio
connections, which could cause you physical harm or damage any properly grounded equipment
to which they are connected, such as your ENSONIQ product.
To avoid shock hazards or equipment damage, we recommend the following precautions:
•
If you own equipment with two-pronged power cords, check to see if they are polarized or
non-polarized. You might consider having an authorized repair station change any nonpolarized plugs on your equipment to polarized plugs to avoid future problems.
•
Exercise caution when using extension cords or plug adapters. Proper polarization should
always be maintained from the outlet to the plug. The use of polarized extension cords and
adapters is the easiest way to maintain proper polarity.
Whenever possible, connect all products with grounded power cords to the same outlet
ground. This will ensure a common ground level to prevent equipment damage and
minimize hum in the audio output.
•
AC outlet testers are available from many electronic supply and hardware stores. These can be
used to check for proper polarity of outlets and cords.
ENSONIQ KT Musician’s Manual
iii
Introduction
Ground Loops
Sometimes currents flowing through the ground line generate a signal seen by another part of the
circuit sharing the same ground. In other words, if there are two identical signal paths within a
circuit, they can form a loop which can result in hum and/or noise. If you are using equipment
that has 3-prong “grounded” AC power cords, you may suffer from a ground loop resulting from
the interconnection of this equipment. The following diagram shows how cascading or
“chaining” the output of one 3-prong grounded system into the input of another 3-prong
grounded system with a standard, unbalanced 2-conductor cord (like a 1/4” guitar cable) can
result in a ground loop.
Unbalanced Output to Unbalanced Input.
Single conductor shielded cable
SIGNAL PATH
3-Prong
"Grounded"
System
3-Prong
+
+ "Grounded"
System
(circuit ground)
>
Ground Loop
<
Earth Ground
FIG. 1
Unbalanced Output to Unbalanced Input.
Single conductor shielded cable
SIGNAL PATH
3-Prong
"Grounded"
System
2-Prong
+
+"UNGrounded"
System
(circuit ground)
Earth Ground
FIG. 2
Fig. 1 depicts a system interconnection where a ground loop can exist. Fig. 2 depicts a system
interconnection where a ground loop does NOT exist. When interconnecting 3-prong grounded
systems, you can use signal isolation transformers to prevent ground loops. This coupling
transformer effectively isolates two interconnected system signal grounds, while still allowing
the signal to pass through.
AC Line Conditioning
As with any computer device, the KT is sensitive to sharp peaks and drops in the AC line voltage.
Lightning strikes, power drops, or sudden and erratic surges in the AC line voltage can scramble
the internal memory and, in some cases, damage the unit’s hardware. Here are a few suggestions
to help guard against such occurrences:
•
•
iv
A Surge/Spike Suppressor. The cheaper of the options, a surge/spike suppressor absorbs
surges and protects your gear from all but the most severe over-voltage conditions. You can
get multi-outlet power strips with built-in surge/spike suppressors for little more than the
cost of unprotected power strips, so using one is a good investment for all your electronic
equipment.
A Line Conditioner. This is the best, but by far the more expensive way to protect your gear.
Besides protecting against surges and spikes, a line conditioner guards the equipment against
excessively high or low line voltages. If you use the KT in lots of different locations with
varying or unknown AC line conditions, you might consider investing in a line conditioner.
ENSONIQ KT Musician’s Manual
Introduction
Guidelines for using the KT
Temperature Guidelines
The inner workings of the KT contain a substantial amount of computerized and electronic
circuitry that can be susceptible to damage when exposed to extreme temperature changes.
When the KT is brought inside after sitting in a cold climate (i.e. the back seat of your car),
condensation builds up on the internal circuitry in much the same way a pair of glasses fogs up
when you come inside on a cold day. If the unit is powered up as this condensation occurs,
components can short out or be damaged. Excessively high temperatures also pose a threat to the
unit, stressing both the internal circuits as well as the case. With this in mind, it is highly
advisable to follow these precautions when storing and setting up your KT:
•
•
•
Avoid leaving the KT in temperatures of less than 50 degrees Fahrenheit or more than 100
degrees Fahrenheit.
When bringing the KT indoors after travel, allow the unit at least twenty minutes to reach room
temperature before powering up. In the case of excessive outdoor temperatures (below 50
degrees Fahrenheit or above 100 degrees Fahrenheit), allow an hour or more before power up.
Avoid leaving the KT inside a vehicle exposed to direct sunlight.
Amplification Guidelines
Connect the Audio Outputs of the KT to the line level inputs of a mixer, instrument amplifier,
stereo, or any other sound system, using 1/4 inch audio cables. If your system is stereo, connect
the Left and Right Audio Outputs to two channels of your mixer, stereo, etc. and pan them hard
left and hard right respectively. If it’s mono, use either of the Audio Output jacks, but make sure
nothing is plugged into the other output. For listening through headphones, plug the
headphones into the Phones jack located on the front of the unit near the Pitch and Modulation
wheels.
Amp
Grounded
AC Power
Mixer
Audio Outputs
Power
Switch
Phones
It is a good idea to make sure your audio system is turned off (or down) when making
connections, to avoid damaging speakers or other components.
ENSONIQ KT Musician’s Manual
v
Introduction
Be Careful!
The KT outputs are line-level, and are intended to be connected only to line-level inputs, such as
those on a mixer, stereo pre-amp, keyboard amp, etc. Connecting the KT audio outputs to a miclevel input, such as a guitar amp or the microphone jacks on a tape deck, is not recommended,
and might result in damage to the device input.
Move the Volume Slider all the way up. As with any digital musical instrument, the KT will
give the best results if you keep the Volume Slider full on, and use the volume control on your
mixer or amp to adjust its level.
Switch the audio system on and adjust the amplifier volume for normal listening levels. If you
hear no sound while playing the keyboard, switch the audio system off and check your
connections.
Amplifying Your KT Through a Home Stereo System
If you are thinking about amplifying your KT through your home stereo, please be careful. A
home stereo is great for playing CDs, albums or tapes — the dynamic range of these media is
limited, and your speakers aren’t usually subjected to extreme volume changes and frequency
transients. While the dynamic range of CDs is significantly greater than LPs or tapes, the output
of a CD player is still conservative compared to the uncompressed, unlimited line-level output of
a pro-level keyboard. Running your KT, or any pro-level keyboard through a home stereo at
high volume levels can damage your speakers, not to mention the impedance mismatch this can
create. If your only means of amplification is your home stereo, then try to keep your levels on
the conservative side.
Powering Up Your KT In a MIDI Configuration
Just as you would power up the individual components before turning on the amplifier in your
home stereo system, you should first turn on the MIDI data transmitting source (keyboards,
modules, etc.) before you power up the receiving MIDI source. This will prevent any unwanted
MIDI information from being “spit” out of the transmitting source during power up, which could
confuse the MIDI receivers, thereby disabling them. If this should occur, turn off the receiving
module, and then turn it back on.
vi
ENSONIQ KT Musician’s Manual
Introduction
Battery Replacement Guidelines
The reason that the KT “remembers” sounds, sequences and other parameters, even when the
power is off, is that all of its internal RAM is “battery-backed-up.” The battery that keeps the KT
memory intact is located inside the KT, and when it becomes discharged the battery must be
replaced by an Authorized ENSONIQ Repair Station.
The battery that came in your KT is good for up to five years. You will know when it needs
replacing, because the KT will tell you so. One day you will switch the power on, and instead of
its usual wake-up message, the display will show:
Main Battery Low See Manual!
Press any button to commence normal operation. Then, make sure that all sounds and
sequences/presets are saved to a storage card (or through SysEx), and take the KT to an
Authorized ENSONIQ Repair Station as soon as possible to have the battery replaced.
Card Battery Replacement
When the PCMCIA card battery is low, the KT will display the following message:
Card Battery Low See Manual!
This message is referring to the battery in the card, not the battery in the KT. It is telling you that
the battery in the memory card is low and it needs to be replaced. Card batteries are easy to
change, and do not have to be replaced by an Authorized ENSONIQ Repair Station. See Section
13 — Storage for how to change the card battery.
ENSONIQ KT Musician’s Manual
vii
Introduction
Reinitializing the KT
The great power and flexibility of the KT lies in the fact that it is really a computer — a computer
disguised as a keyboard instrument, but a computer nonetheless. The software that operates the
KT is very sophisticated. If you have ever used a computer, you should be familiar with the need
to reboot your system occasionally when you get an error message, etc. Reinitializing the KT is
the equivalent of rebooting your computer.
There are a number of things that can happen to the KT (or any computer system) that might
scramble the system software — voltage surges, power failures, static electricity, etc. As with any
computer, very infrequently some unforeseen event or combination of events can cause the
software to become confused with strange and unpredictable results. Sometimes computers that
appear to be broken have no hardware problem, just corrupted data in the internal RAM
(Random Access Memory). Sometimes simply turning the KT power off and then on again will
cure the problem. If that doesn’t work, perhaps what is needed is to reinitialize the unit.
If your KT begins to behave in peculiar ways — if the display shows words or lines that shouldn’t
be there, if you start getting Unexpected Event messages, if the sequencer and edit functions start
doing unpredictable things, try reinitializing the KT before you seek factory service.
☞ Warning: When you reinitialize your KT all your current internal sounds and sequences/
presets will be lost (the 80 factory shipped i:INT sounds and the Tutorial Sequence are
automatically restored back into the internal memory after reinitializing). Therefore good
backup habits should be an important part of your routine. Save any important data to a
storage card or MIDI Sys-Ex before reinitializing the KT.
To Reinitialize the KT
1.
2.
3.
Press the {EDIT_SEQ/PRESET} button. Its LED will light, letting you know the KT is now in
Edit Sequence/Preset mode.
While holding down the upper {9} button, press the lower {9} button.
The display shows:
Reinitialize sound & seq RAM?
4.
Press the {YES} button (the {ENTER} button acts as a “Yes” button to respond to questions
on the display, and the {]} button acts as “No”).
If reinitializing your KT does not correct the problem, contact an Authorized ENSONIQ Repair
Station. To find the nearest Authorized ENSONIQ Repair Station, call 1-800-553-5151.
viii
ENSONIQ KT Musician’s Manual
Introduction
How to Use this Manual
The KT accesses parameters and commands through groups of pages. Each page may have one or
more editable parameters. Pages inside a command are referred to as sub-pages. Each page has
its own page location, a two-digit number that indicates its location. The first digit refers to the
top {0} to {9} buttons, the second digit refers to the bottom {0} to {9} buttons.
Page Locations
When describing parameters or commands in this manual, “Page Location headings” are used to
show the location of the parameter and how to get there by “direct-dialing.” For example:
Mode Button
Edit Sound
page 05
Page Location
Voice Restrike Decay Time
Parameter Name(s)
These page locations not only help you locate information easily, they also provide the following
information about the parameter(s) being discussed:
•
•
•
Mode button — The button name in the top left of the heading indicates the mode in which
the parameter is located. In the above illustration, it is Edit Sound mode (press the
{EDIT_SOUND} button to get there).
Page Location — The two-digit number on the bottom left indicates the location of the
parameter(s). In this example, it is “page 05,” found by pressing the {0} button from the top
{0} to {9} buttons, then pressing the {5} button from the bottom {0} to {9} buttons.
Parameter Name(s) — This tells you the name or names of the parameters as they are shown
in the display. When the display has more than one parameter, they are divided (in the
manual) by a slash (/). Note that if a parameter does not have a name in the display, one will
be written in the manual heading that best describes the displayed parameter.
Single Digit Page Locations
In Edit Track and System•MIDI modes, only the bottom {0} to {9} buttons are used to direct-dial
the page location, as shown below:
Edit Track
page 0
System•MIDI
page 4
ENSONIQ KT Musician’s Manual
Volume/Pan
Base Channel/Status
ix
Introduction
Button Names
Throughout this manual, when we refer to an actual button , it will appear as a button in the text.
For example, if the text read something like “press the Edit Sound button,” it would appear as
“press the {EDIT_SOUND} button.” This will help you to quickly skim through familiar sections
of the manual as you verify actual button presses.
Color-Coding on the Front Panel
The KT uses a color-coding scheme to help clarify the functions of the buttons. In general,
functions relating to sounds are labeled in red. Functions relating to sequences, presets, or songs
are labeled in blue. General system functions are labeled in white. The two rows of {0} to {9}
buttons serve different functions, depending upon what mode you are currently working in.
You’ll notice that the rows of text printed above and below the {0} to {9} buttons are labeled in
red and blue. These indicate which pages of parameters will be selected by the {0} to {9} buttons.
Wave
Pitch
Env 1
LFO
Filters
Env 2
Env 3
Output
Effects
Store
Sound Data
Locate
Sequencer
Control
Click
Song
Cmds
Sequence
Cmds
Track
Cmds
Quantize
Track
Mute
Tracks
Effects
Store
Seq Data
Drums
0
Volume
Pan
1
Output
Bus
2
Key
Range
3
4
5
Transpose
Channel
Program
MIDI
Status
6
Pressure
Type
GM Drums
7
8
9
Sustain
Pedal
Timbre
Release
When in:
Then:
Edit Sound mode (indicated by
the{EDIT_SOUND} LED being lit)
the top row of page names written in red will apply.
Edit Sequence/Preset mode (indicated by
the {EDIT_SEQ/PRESET} LED being lit)
the middle row of page names written in blue will apply.
Edit Track mode (indicated by the
{EDIT_TRACK} LED being lit)
the bottom row of page names written in blue (found
under the lower {0} to {9} buttons) will apply.
These relationships are also indicated on the front panel by the lines that lead from the right of
each row of text to their associated mode buttons.
Using the Color-Coded Text
Let’s say that you want to use the color-coded text to help you locate the Click pages for editing a
sequence.
1. Press the {EDIT_SEQ/PRESET} button (its LED is on).
2. Look at the front panel and find the blue word Click (remember blue is for sequences). It’s
above the {2} button.
3. Press the upper {2} button. This takes you to the pages relating to the Click (metronome).
4. Press any of the lower {0} to {2} buttons to view the available Click pages. Pretty easy, huh?
x
ENSONIQ KT Musician’s Manual
Introduction
Available Options for Your KT
These optional accessories are available from your Authorized ENSONIQ Dealer:
SW-10 Dual Damper Foot Switch — This two pedal piano-type foot switch can be used for
sustain, sostenuto, or starting and stopping the sequencer.
• CVP-1 Pedal — A Control Voltage Foot Pedal that can either be assigned as a real time
modulator within the voice architecture and effects of the KT or be used as a volume pedal.
• MS-1 Music Stand — A detachable music stand designed to hold everything from single
page sheet music to large songbooks.
• MC-512 RAM Cards — These standard PCMCIA cards are used for storing the sounds and
sequences you create or edit. The MC-512 also acts as a sequencer expander, with over
100,000 notes of sequencer memory, and with direct memory access, can be used for creating
very long, large sequence/songs. Sounds and sequences can be saved to the MC-512 in the
same manner as saving data to internal memory.
•KTC Series ROM Cards — Contains 160 factory-programmed sounds and accompanying
sequencer data. Unlike the MC-512, the sounds on KTC cards are stored permanently and
cannot be replaced.
• EVS-6 — This instructional video walks you through the many features of the KT with stepby-step instructions and training methods used in the award-winning ENSONIQ school.
•
Where to Find More Help
Whether you’re an aspiring programmer looking for additional information about basic
synthesizer techniques and MIDI theory, or a professional sound designer working with
advanced applications, you may want more detailed information that is beyond the scope of this
manual. The following books can help enhance your understanding of synthesis, MIDI, and
related topics. These, in addition to the numerous monthly magazines, provide a wealth of
information. While we don’t endorse any one of these publications, we offer this partial list as a
resource for you to draw on.
The Mix Bookshelf
For prices and more information call: 1-800-233-9604
MIDI
MIDI FOR MUSICIANS, Craig Anderton
THE MIDI MANUAL, David Huber
MIDI FOR THE PROFESSIONAL, Lehrman & Tully
THE NEXT MIDI BOOK, Rychner & Walker
HOW MIDI WORKS, Dan Walker
MIDI, THE INS, OUTS AND THRUS, Jeff Rona
SYNTHESIZERS
GUITAR SYNTH & MIDI, Guitar Player Magazine
SECRETS OF ANALOG AND DIGITAL SYNTHESIS, Steve De Furia
SYNTHESIZER PERFORMANCE & REAL TIME TECHNIQUES, Jeff Pressing
SYNTHESIZER BASICS, Dean Friedman
MUSIC & TECHNOLOGY, H.P. Newquist
A SYNTHESIST'S GUIDE TO ACOUSTIC INSTRUMENTS, Howard Massey
ENSONIQ KT Musician’s Manual
xi
Introduction
Alfred Publishing Company
For prices and more information call 1-818-891-5999
MIDI
ADVANCED MIDI APPLICATIONS, GPI
BASIC MIDI APPLICATIONS, GPI
WHAT IS MIDI?, GPI
SYNTHESIZERS
BEGINNING SYNTHESIZER, GPI
PLAYING SYNTHESIZERS, GPI
SYNTHESIZER PROGRAMMING, GPI
Hal Leonard Publishing
For prices and more information call 1-414-774-3630
MIND OVER MIDI, GPI
SYNTHESIZER TECHNIQUE (REVISED), GPI
Monthly Magazines
The following magazines offer many specific articles and columns that can provide a plethora of
useful information.
THE TRANSONIQ HACKER
For prices and more information about this independent news magazine for ENSONIQ Users,
call 1-503-227-6848
KEYBOARD
For subscription rates and more information call 1-800-289-9919
ELECTRONIC MUSICIAN
For subscription rates and more information call 1-800-888-5139
HOME & STUDIO RECORDING
For subscription rates and more information call 1-818-407-0744
MIX
For subscription rates and more information call 1-800-888-5139
EQ
For subscription rates and more information call 1-212-213-3444
xii
ENSONIQ KT Musician’s Manual
Section 1 — Controls & Basic Functions
Section 1 — Controls & Basic Functions
This section contains an introduction to the KT’s many controls and rear panel connections; a
conceptual overview of the system; a guide to selecting sounds, presets, and sequences; and a
discussion of editing various types of parameters.
Rear Panel Connections
Thru
MIDI
Out
In
1
2
3
Foot Switch
4
CV•Pedal
5
Audio Out
Right/Mono
Left/Mono
6
7
1. MIDI Thru
“Passes on” all MIDI (Musical Instrument Digital Interface) information received by the KT to
other devices. Information generated by the KT itself does not go to this jack — the Thru jack
merely echoes what comes into the MIDI In jack.
2. MIDI Out
Sends out MIDI information generated by the KT keyboard and/or sequencer to other
instruments and computers.
3. MIDI In
This jack receives MIDI information from other MIDI instruments or computers.
4. Foot Switch
This jack allows you to connect either a single (mono) or a dual (stereo) foot switch:
•
•
If you plug the ENSONIQ Model SW-6 Single Damper Foot Switch (which came with your
unit) into this jack, it will perform the function assigned to the FtswR parameter (found on
{SYSTEM"MIDI} page {2}).
Or you can connect the optional ENSONIQ Model SW-10 Dual Foot Switch here. The SW-10
is a dual (piano-type) foot switch with two separate pedals. When the SW-10 is connected,
the left pedal will perform the function assigned to FtswL and the right pedal will perform
the function assigned to FtswR(both are found on {SYSTEM"MIDI} page {2}).
ENSONIQ KT Musician’s Manual
1
Section 1 — Controls & Basic Functions
When the SW-6 is connected
to the Foot Switch jack:
It acts as FtswR.
When the SW-10 is connected
to the Foot Switch jack:
The left foot switch acts
as FtswL.
The right foot switch acts
as FtswR.
The FtswL and FtswR parameters on System•MIDI page 2 allow you to reassign the foot
switches to a variety of functions, including sostenuto and stopping/continuing the sequencer.
See Section 2 — System•MIDI Parameters for more information.
Note: If you are using a single foot switch (SW-2 or SW-6) in the Foot Switch jack, the
FtswL parameter on System•MIDI page 2 should always be set to UNUSED. This will
prevent note drones. Remember that the Foot Switch jack is optimized for use with a
stereo Foot Switch (SW-10). When a single foot switch is connected, it behaves like the
right foot switch (FtswR).
5. CV•Pedal
This jack is for connecting an optional ENSONIQ Model CVP-1
Control Voltage Foot Pedal, which is assignable as a modulator to
various parameters within the KT. The pedal gives you a handy
alternative modulation source when, for example, you would want to
use the mod wheel but both hands are busy.
ENSONIQ
CVP-1
Control Voltage Foot Pedal
A CV pedal plugged into this jack can also act a volume pedal,
controlling the volume of the currently selected sound(s). The
CV-Pedal parameter on {SYSTEM"MIDI} page {3} determines
whether the CV pedal will act as a modulator or as a volume pedal.
Pedal/CV Specs: 3-conductor (Tip= control voltage input, Ring=+5
Volts supplied through a 510 ohm resistor, Sleeve= ground). 36
KOhm input impedance, DC coupled. Input voltage range=0 to 3
volts DC. Scan rate=32mS (maximum recommended modulation
input= 15 Hz). For use with an external control voltage, use a 2-conductor cable with the voltage
on the tip and the sleeve grounded.
6. Right /Mono Output
To operate the KT in stereo, connect this output to a channel of your mixer and pan that channel
right. Note that either of the audio outputs can be used as a mono output. If you want to use this
jack to listen to the outputs in mono, make sure that nothing is connected to the Left/Mono audio
output jack.
7. Left/Mono Output
When operating the KT in stereo, connect this output to a channel of your mixer and pan the
channel left. To use this jack to listen to the outputs in mono, make sure that nothing is
connected to the Right/Mono audio output jack.
2
ENSONIQ KT Musician’s Manual
Section 1 — Controls & Basic Functions
The Front Panel Controls
The KT’s front panel is designed to enable you to get around the instrument quickly and easily,
whether selecting and playing sounds, or recording and playing back sequences.
To do this, the KT is always in one of the following modes:
Select Sound mode
Edit Track mode
Edit Sound mode
Replace Track Sound mode
Select Sequence/Preset mode
System•MIDI mode
Edit Sequence/Preset mode
General MIDI mode
You select these modes by pressing the appropriate button. Note that these buttons have LEDs to
help you identify which mode you are in. Once you have activated a KT mode, you can use the
upper and lower numbered buttons ({0} to {9}) to move around inside the selected mode.
Color-Coding Scheme
The KT uses a color-coding scheme to help clarify the functions of the {0} to {9} buttons. In
general, functions relating to sounds are labeled in red. Functions relating to the sequencer are
labeled in blue. General system functions are labeled in white. The two rows of {0} to {9}
buttons serve different functions, depending upon what mode you are currently working in.
You’ll notice that the rows of text printed above and below the {0} to {9} buttons are labeled in
red and blue. These indicate which pages of parameters will be selected by the {0} to {9}
buttons. When in Edit Sound mode (indicated by the{EDIT_SOUND} LED being lit), the top row
of page names written in red will apply. The middle row of page names written in blue will
apply in Edit Sequence/Preset mode (indicated by the {EDIT_SEQ/PRESET} LED being lit). The
bottom row of page names written in blue (found under the lower {0} to {9} buttons) will apply
when in Edit Track mode (indicated by the {EDIT_TRACK} LED being lit).
The Data Entry Controls are primarily used to select and modify different parameters — sounds,
parameters, MIDI Control functions, etc. — all depending on which front panel button you press.
General
MIDI
System•MIDI
5
3
8
All Notes Off
6
1
Wave
Pitch
Env 1
LFO
Filters
Env 2
Env 3
Output
Effects
Locate
Sequencer
Control
Click
Song
Cmds
Sequence
Cmds
Track
Cmds
Quantize
Track
Mute
Tracks
Effects
Select
Sound
i:
r:
a:
b:
INT
ROM
CARD
CARD
Bank
0
1
2
3
4
5
6
7
Edit
Sound
Compare
9
Store
Sound Data
Edit
Seq/Preset
Store
Seq Data
Drums-E
Drums-GM
8
9
Select
Seq/Preset
10
Edit
Track
Layer
Lock
Volume
Pan
Output
Bus
Key
Range
2
Transpose
Channel
Program
MIDI
Status
4
Pressure
Type
Sustain
Pedal
Timbre
Release
7
11
1. Select Sound Button
Pressing the {SELECT_SOUND} button lights its LED and places the KT in Select Sound mode.
Whenever you want to change a sound, this mode must be activated. After pressing
{SELECT_SOUND}, use the upper and lower {0} to {9} buttons to select any of the available
sounds, or use the {VALUE} buttons.
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Section 1 — Controls & Basic Functions
2. Bank Button
The {BANK} button changes banks in Select Sound, Select Sequence, and Replace Track Sound
modes. Successive presses of the {BANK} button cycle through the available banks. The
different banks are listed on the front panel (by the {BANK} button). There are four banks of 80
Sounds each available in the KT: i:INT internal RAM, r:ROM (uneditable and permanent),
a:CARD and b:CARD. A fifth ROM bank containing the 128 General MIDI Sounds is only
accessible in General MIDI mode. An additional 20 Drum Sounds are permanently stored in
r:DRUM ROM, and are accessible from any of the four banks. Note that when r:DRUM ROM
sounds are selected, direct-dialing will not function.
There are also four Banks of 70 Sequences/Presets and 30 Songs, each available in the KT (i:INT,
r:ROM, a:CARD and b:CARD).
Direct-Dialing Banks
While pressing and holding {BANK}, pressing one of the lower {0} to {3} buttons will direct-dial
a bank:
Select
Sound
Bank Button
i
r
a
b
: INT
: ROM
: CARD
: CARD
0
Bank
i:INT
1
r:ROM
2
3
a:CARD
4
5
6
7
8
9
b:CARD
While pressing and holding
the {BANK} button, pressing:
Will direct dial:
The lower {0} button
i:INT (the Internal RAM bank)
The lower {1} button
r:ROM (the ROM bank)
The lower {2} button
a:CARD (the Card A bank)
The lower {3} button
b:CARD (the Card B bank)
When pressed in Select Sound and Replace Track Sound modes, the {BANK} button transmits
MIDI Bank Select messages corresponding to the Sound bank you selected.
When saving a Sound to a new location, the {BANK} button can be used to change destination
banks (i:INT, a:CARD, or b:CARD). Note that sounds can’t be saved to r:ROM (Read Only
Memory) — it is uneditable and permanent.
3. Display
The 32-character LCD display makes it possible to display information in pages. Each time you
press one of the front panel buttons, you are in effect “turning to” that function’s page. Once you
have turned to the page you want, the display shows you which parameters are controlled from
that page. Try pressing a few of the buttons — {SYSTEM"MIDI}, {EDIT_SOUND},
{EDIT_TRACK}, or {SELECT_SOUND}, for example, and watch the display. Notice that for each
button you press, the display changes to show you information relating to that function. Each of
these different display configurations is called a Page.
4. 0 to 9 Buttons
The upper and lower {0} to {9} buttons (beneath the display) are used to select pages of
parameters, commands, sounds, or sequences/presets. The function of the {0} to {9} buttons is
determined by which mode the KT is in.
When a page with multiple parameters is displayed, successive presses on the lower {0} to {9}
button will move between each of those parameters. The lower {0} to {9} buttons also have a
special function when held: after about one second the first parameter on the page will become
selected.
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ENSONIQ KT Musician’s Manual
Section 1 — Controls & Basic Functions
You’ll notice that the rows of text printed above and below the {0} to {9} buttons are labeled in
red and blue. These indicate which pages of parameters will be selected by the {0} to {9}
buttons. When in Edit Sound mode (indicated by the{EDIT_SOUND} LED being lit), the top row
of page names written in red will apply. The middle row of page names written in blue will
apply in Edit Sequence/Preset mode (indicated by the {EDIT_SEQ/PRESET} LED being lit). The
bottom row of page names written in blue (found under the lower {0} to {9} buttons) will apply
when in Edit Track mode (indicated by the {EDIT_TRACK} LED being lit).
As you might expect, when in Select Sound or Select Sequence/Preset modes, the {0} to {9}
buttons select pages of sounds or sequences/presets respectively.
Tip:
There is another way to view the individual pages located within a group.
After using one of the upper {0} to {9} buttons to call up a group of pages, successive
presses on that upper {0} to {9} button will scroll through all the pages within that
group. Also, the first page within a group of pages can be selected by holding the
upper {0} to {9} button down for about one second.
5. General MIDI Button
The {GENERAL_MIDI} button is used to enter and exit General MIDI mode. Pressing the
{GENERAL_MIDI} button will light its LED, and the KT will enter General MIDI mode. All
buttons except the {CURSOR}, {VALUE}, {TRANSPOSE_KEYBOARD}, and {GENERAL_MIDI}
buttons are disabled.
The {GENERAL_MIDI} button also functions as an “All Notes Off” button. Before entering
General MIDI mode, the KT transmits the following MIDI initialization messages to prevent note
and controller drones: All Notes Off, Reset Controllers, key-ups for all keys down, sustain and
sostenuto pedal ups, and controller normalization. By pressing the {GENERAL_MIDI} button
twice, it functions as a “MIDI Panic” button. For more information about General MIDI, see
Section 12 — The MIDI Connection.
6. Compare Button
The {COMPARE} button is used to compare any edits you have made to a sound with the
original version. As soon as you change any parameter in a sound, the {EDIT_SOUND} LED will
flash. It will remain flashing until you select another sound or save (write) the newly edited
sound into memory. This is a constant reminder that something in the sound has been changed.
To hear the original, unchanged sound, press the {COMPARE} button. The {EDIT_SOUND} LED
will light solidly, and you will hear the original sound and see the current page with its original
settings. Press {COMPARE} again to return to your edited sound. You can toggle back and forth
between the original and the edited sound as often as you like.
7. Select Seq/Preset Button
Pressing {SELECT_SEQ/PRESET} lights its LED and places the KT in Select Sequence/Preset
mode. After pressing the {SELECT_SEQ/PRESET} button, the {BANK} and upper and lower {0}
to {9} buttons are used to select and play any available Preset, Sequence or Song. In this mode,
multiple tracks can be selected and stacked by pressing and double-clicking the
{SEQUENCER/PRESET_TRACK} buttons. For more details see Section 8 — Understanding Presets.
ENSONIQ KT Musician’s Manual
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Section 1 — Controls & Basic Functions
8. System•MIDI Button
Pressing {SYSTEM"MIDI} lights its LED and places the KT in System•MIDI mode. After
pressing {SYSTEM"MIDI}, you can access all global System and MIDI parameters. Successive
presses of the {SYSTEM"MIDI} button, or the {CURSOR} buttons allow you to cycle through all
the System•MIDI parameters. The lower {0} to {9} buttons direct-dial all System•MIDI pages.
Press any mode or {SEQUENCER/PRESET_TRACK} button to exit System•MIDI mode. Pressing
any of the upper {0} to {9} buttons returns the KT to the last selected operating mode (Edit
Sound mode or Edit Sequence/Preset mode).
9. Edit Sound Button
Pressing the {EDIT_SOUND} button lights its LED and places the KT in Edit Sound mode. This is
where all sound editing is done. From this mode you can choose waveforms, change envelopes,
etc. Pressing the upper and lower {0} to {9} buttons takes you to the individual parameter pages
within Edit Sound mode.
10. Edit Seq/Preset Button
Pressing {EDIT_SEQ/PRESET} lights its LED and places the KT in Edit Sequence/Preset mode.
This mode is used for such tasks as editing sequence events, setting tempo and metronome click,
etc. In Edit Sequence/Preset mode, the upper and lower {0} to {9} buttons are used to select the
individual parameters or commands. Pressing a {SEQUENCER/PRESET_TRACK} button
determines which Track will be edited (only one track is active at a time in this mode).
11. Edit Track Button
Pressing {EDIT_TRACK} lights its LED and provides convenient access to all Track parameters.
The {EDIT_SEQ/PRESET} LED also lights, as a reminder that Edit Track is a subdivision of Edit
Sequence/Preset mode. {SEQUENCER/PRESET_TRACK} buttons behave as they do in Edit
Sequence/Preset mode (only one track is active at a time). Pressing a
{SEQUENCER/PRESET_TRACK} button determines which Track’s values are displayed. The
{CURSOR} buttons, or successive presses of the {EDIT_TRACK} button, allow you to cycle
through all the Edit Track parameters. The lower {0} to {9} buttons can also be used to “directdial” the Track performance parameters, as labeled in blue beneath the lower {0} to {9} buttons.
Pressing any upper {0} to {9} button from Edit Track mode puts the KT into Edit
Sequence/Preset mode.
–6
F
#
–5
–4
G
A
b
–3
–2
A
B
b
–1 semi + 1
B
note
C
+2
#
+3
D
E
b
+4
+5
E
F
Transpose
Keyboard
Hold This Button
and Play a Note
16
Sequencer/Preset Tracks
12
1
2
Replace
Track Sound
3
4
Record
5
Stop
Make
Default Preset
Play
15
Demo
Continue
6
8
Play
Replace
w/FX
13
7
6
Copy Preset
14
ENSONIQ KT Musician’s Manual
Section 1 — Controls & Basic Functions
12. Sequencer/Preset Track Buttons
In Edit Sequence/Preset mode, the {SEQUENCER/PRESET_TRACK} buttons are used to select
eight independent tracks. Each track can have a different sound and a unique set of performance
parameters associated with it. By double-clicking (press two times quickly) a
{SEQUENCER/PRESET_TRACK} button while another is selected, you can layer tracks. When
sequences are linked together to create a song, these same buttons are used to create eight
additional song tracks, for a total of sixteen sequencer tracks. Sequence tracks are always
displayed as Trk 01-08; song tracks are always displayed as Trk 09-16.
13. Replace Track Sound Button
Pressing the {REPLACE_TRACK_SOUND} button lights its LED, and places the KT into Replace
Track Sound mode. This mode allows sounds on the individual tracks of a preset/sequence or
song to be assigned and changed. To replace a sound with its effect, double-click the
{REPLACE_TRACK_SOUND} button (its LED will flash to indicate this special function). For
more details, see Section 8 — Understanding Presets.
14. Transport Controls
The “Transport Controls” are used to start, stop, and continue the sequencer, and to put it into
Record and Overdub modes. For more information, see Section 10 — Understanding the Sequencer.
15. Make Default Preset Button
In Sound mode, the {MAKE_DEFAULT_PRESET} button allows you to copy the current Sound,
with its effect, into an empty preset location. It predefines Track parameter settings for each
Track, creating a “default template.” This “template” serves as a standard starting place for MIDI
Master Keyboard operation.
In Seq/Preset mode, pressing {MAKE_DEFAULT_PRESET} will copy the current Track
parameter settings and allow you to save the copy to any undefined preset memory location.
The Make Default Preset function will always work only in the current Seq/Preset mode bank:
•
•
•
When the current Seq/Preset mode bank is i:INT, pressing the {MAKE_DEFAULT_PRESET}
button will define a new i:INT preset location (if one is available). If all 70 locations have
been defined, the “SORRY! No free Seq Location” message will be displayed.
When the current Seq/Preset mode bank is a:CARD or b:CARD, pressing
{MAKE_DEFAULT_PRESET} will define a new preset location in the current CARD bank (if
one is available). If all 70 locations have been defined, the “SORRY! No free Seq Location”
message will be displayed.
When the current Seq/Preset mode bank is r:ROM, pressing {MAKE_DEFAULT_PRESET}
will change the Seq/Preset mode bank to i:INT, and then will define a new i:INT preset
location (if one is available). If all 70 locations have been defined, the “SORRY! No free Seq
Location” message will be displayed.
Holding down the {MAKE_DEFAULT_PRESET} button and pressing the {PLAY} button will
select r:ROM Song 70 and will start playback of the Demo Song.
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Section 1 — Controls & Basic Functions
16. Transpose Keyboard Button
–6
F
#
–5
–4
G
A
b
–3
–2
–1 semi + 1
A
Bb
B
note
C
#
Transpose
Keyboard
+2
D
+3
E
b
+4
+5
E
F
Hold This Button
and Play a Note
The {TRANSPOSE_KEYBOARD} button (with its associated LEDs) is a global control that affects
what pitch will be heard when the keyboard is played, and which musical key any notes played
will be transposed to relative to the key of C. It applies to live playing on the keyboard in all
system modes, and behaves as if you had shifted your hands up or down the keyboard by the
Transposition amount.
Live keyboard playing can be transposed up by a maximum of 5 semitones, and down by a
maximum of 6 semitones. The transpose amount is calculated relative to any C on the keyboard.
To transpose the keyboard:
1. Press and hold the {TRANSPOSE_KEYBOARD} button.
2. Press a key on the keyboard that you would like to transpose to. For this example, press any
E. Notice the LED above E lights.
3. Release the {TRANSPOSE_KEYBOARD} button. The LED above E remains lit, and the C key
now plays the E note (remember, the Transpose Keyboard function is relative to C).
To disable the Transpose Keyboard function (when any Transpose Keyboard LED is lit):
1. Press and release the {TRANSPOSE_KEYBOARD} button without pressing any keys. The lit
Transpose Keyboard LED will be turned off, and you will be returned to a normal,
untransposed state. The previous transposed amount is remembered.
• Pressing {TRANSPOSE_KEYBOARD} again will retranspose the keyboard to the last value.
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ENSONIQ KT Musician’s Manual
Section 1 — Controls & Basic Functions
More About the Transpose Keyboard Function
•
•
•
•
•
•
•
•
•
•
Only one Transpose Keyboard LED can be on at one time.
The currently lit Transpose Keyboard LED indicates the transposition amount.
When all Transpose Keyboard LEDs are off, transposition is disabled.
After power-on, the transposition amount defaults to C (no transposition).
If a C is played while the {TRANSPOSE_KEYBOARD} button is held down, the currently lit
LED will turn off and the transposition amount will be set to C.
While the {TRANSPOSE_KEYBOARD} button is still held down, you may continue to play
notes to set the transposition to other values. Releasing the {TRANSPOSE_KEYBOARD}
button will leave any currently lit LED on.
Notes played while the {TRANSPOSE_KEYBOARD} button is held down will be heard at
their untransposed pitch (to help you find the pitch you want to transpose to).
Pressing and holding the {TRANSPOSE_KEYBOARD} button, and pressing the {VALUE} or
{CURSOR} buttons, will increment or decrement the transposition amount from the
previously set amount. The value will wrap; i.e. if the transposition is set to F, pressing the
{TRANSPOSE_KEYBOARD} button and then the {[} button will change the transposition to
the lower F#.
If the LEDs are off, and no transposition amount has previously been set (such as after power
on), pressing and releasing the {TRANSPOSE_KEYBOARD} button will shut off all playing
voices. The LEDs will remain off.
Whenever the {TRANSPOSE_KEYBOARD} button is released, all notes currently held on the
KT keyboard, or sustained by the local sustain or sostenuto pedal, will be released.
When one of the Transposition LEDs is on:
• Playing on the KT keyboard — into the local sounds, into the sequencer, and out to the MIDI
Out jack will be transposed by the amount set.
• Notes output from sequencer playback — using local sounds or to the MIDI Out jack will not
be transposed.
• Voice key zones, Drum Sound key ranges and Track key ranges for playing on the KT
keyboard will be transposed by the amount set.
• Notes received from incoming MIDI will not be transposed.
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Section 1 — Controls & Basic Functions
PCMCIA Card Slot
Pitch Bend Wheel
Modulation Wheel
Headphone Jack
PCMCIA Card Slot
This slot accepts industry standard PCMCIA RAM or ROM cards, which can be used for storing
and accessing sounds and sequencer data. Blank cards are available from most computer stores,
or from ENSONIQ (Model #MC-512 RAM cards).
The KT can use PCMCIA RAM cards ranging in size from 512 KBytes to 2 MegaBytes, but the KT
will always format all cards to the same size (512 KBytes). They are always formatted to hold up
to two banks of 80 Sounds (a:CARD and b:CARD), and two banks of 100 Presets/Seqs/Songs
(a:CARD and b:CARD). Sounds and sequences/songs can be played directly from cards.
For more information about memory, storage and PCMCIA cards, see Section 13 — Storage.
PCMCIA Memory Cards
Before you can access sounds and sequences from a card, you
must first insert an ENSONIQ KTC series ROM card, an MC-512
RAM card, or any other KT formatted PCMCIA card into the card
slot, as shown, with the label facing toward you. Take care to
insert the card straight into the slot in a continuous fashion. Cards
can only go in one way.
MC-512
Cards can be inserted or removed at any time (except while you’re
writing sounds, or playing/recording sequences from/to them),
even when the power is on, without doing any harm to the KT or
the card. For more information regarding cards, see Section 13 —
Storage.
Headphones
To listen to the KT in stereo through headphones, plug the phones into this jack. Headphone
volume is controlled by the Volume Slider on the front panel. Note that plugging headphones
into this jack does not automatically turn off the audio in the left and right audio outputs.
☞ Warning: The headphone output volume is optimized for mid to high impedance
headphones (50 - 600 ohms). If you use low impedance headphones (8 ohm “Walkman™”
style), be sure to lower the Volume Slider, as the high output volume levels could damage
your hearing.
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ENSONIQ KT Musician’s Manual
Section 1 — Controls & Basic Functions
Performance Controllers
The KT features some real time performance controllers that are used to modify sounds as you
play for maximum expressiveness. Two of the most important controllers are located to the left
of the keyboard:
Pitch Bend Wheel
This wheel bends the pitch of a note up or down. The wheel is normally centered, where it has
no effect on the pitch — moving the wheel up or down will bend the pitch by the amount
specified in the Bnd parameter found on {SYSTEM"MIDI} page {0}.
Modulation (Mod) Wheel
Perhaps the most common use of the Mod Wheel is to add vibrato, but it can also be assigned as a
modulator anywhere within the KT voice architecture to alter the pitch, timbre, volume, effect
and a great many other aspects of the sound.
Pressure (After-touch)
Another important controller is Pressure. Pressure (often called after-touch) is a modulator that
allows you to change the sound in various ways by pressing down harder on a key or keys after
the initial keystrike. The KT keyboard is capable of generating Channel Pressure and can receive
Poly-Key™ Pressure via incoming MIDI.
Like the Mod Wheel or CV Pedal, pressure is a modulator, and can be chosen wherever a
modulator is selected in the KT. Pressure can be assigned to alter the pitch or volume of voices,
the filter cutoff frequency, LFO depth, pan location, and a wide variety of effect parameters.
There are two types of Pressure:
•
Channel Pressure, also called Mono pressure, affects all notes that are playing when you
exert pressure on any of the keys. For example, if you play a three-note chord, pressing
down harder on any of the three notes of the chord will modulate all three notes. This type of
pressure is the more common of the two types.
•
Poly-Key Pressure, also referred to as polyphonic pressure, affects each key independently.
For example, if you play a three-note chord, pressing down harder on any of the three notes
of the chord will modulate only that note. The other two notes will remain unaffected.
Although the KT keyboard will not generate Poly-Key pressure, it will receive it via incoming
MIDI.
Each preset or sequencer track can be programmed to receive Poly-Key pressure, channel
pressure or none at all. If you wish to change the pressure type for a given track, you can do
so on Edit Track page 6 (press {EDIT_TRACK}, then the lower {6} button).
Note that pressure generates a tremendous amount of data, and will consume sequencer memory
much faster than other types of events, such as notes and program changes. You should turn
pressure off when sequencing instruments that do not respond to pressure, such as piano and
drum sounds.
ENSONIQ KT Musician’s Manual
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Section 1 — Controls & Basic Functions
Selecting Sounds
To select a KT sound:
• Press {SELECT_SOUND}. This places the KT in Select Sound mode and the
{SELECT_SOUND} LED will light. Once in Select Sound mode, it is not necessary to press
the {SELECT_SOUND} button again to select a new sound.
When the {SELECT_SOUND} LED is on, the upper and lower {0} to {9} buttons are used to call
up the sounds in memory, one at a time, allowing you to select the one you want to play.
Select Sound Button
Wave
Pitch
Env 1
LFO
Filters
Env 2
Env 3
Output
Effects
Store
Sound Data
Locate
Sequencer
Control
Click
Song
Cmds
Sequence
Cmds
Track
Cmds
Quantize
Track
Mute
Tracks
Effects
Store
Seq Data
Drums
GM Drums
Select
Sound
Upper 0 to 9 Buttons
Bank Button
Bank
i
r
a
b
•
•
0
1
Volume
Pan
Output
Bus
2
3
4
5
6
7
8
9
Transpose
Channel
Program
MIDI
Status
Pressure
Type
Sustain
Pedal
Timbre
Release
: INT
: ROM
: CARD
: CARD
Lower 0 to 9 Buttons
Key
Range
Press the upper {0} button, then the lower {0} button. You have just selected Sound #00.
Press the upper {6} button, then the lower {5} button. You have just selected Sound #65. Try
selecting and playing a few different sounds.
Tip:
You can also use the {VALUE} buttons to scroll through sounds. The
{VALUE} buttons will scroll through all sounds within the current bank (for example,
the i:INT Internal RAM sounds), and then will continue scrolling up through the
r:DRUM ROM sounds.
Selecting r:DRUM ROM Sounds
The r:DRUM ROM Sounds can be selected just as you would select Standard Sounds.
To select a r:DRUM Sound:
1. Press {SELECT_SOUND}.
2. Press the upper {8} button to select drum sounds that use the ENSONIQ drum map.
3. Press any of the lower {0} to {9} buttons to select between the ten ROM drum sounds that
use the ENSONIQ drum map.
4. Press the upper {9} button to select Drum sounds that follow the General MIDI Drum map.
5. Press any of the lower {0} to {9} buttons to select between the ten ROM drum sounds that
follow the General MIDI drum map.
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ENSONIQ KT Musician’s Manual
Section 1 — Controls & Basic Functions
Sound Memory Configuration
Each KT sound is a complex structure consisting of up to three voices per key, and a
programmable effects setup. The KT can give you access to up to 468 different sounds from
which to choose at any time:
•
•
•
•
•
i:INT — 80 sounds are stored in the KT Internal RAM Memory (Random Access Memory).
The i:INT sounds can be either Standard sounds or Drum sounds.
r:ROM — Another 80 sounds are permanently stored in ROM (Read Only Memory). Like the
Internal (INT) sounds, the ROM sounds are contained within the KT; but unlike the Internal
(INT) sounds, they cannot be modified or replaced.
a:CARD and b:CARD — 160 additional sounds can be stored in a PCMCIA card (80 sounds
in group A, and 80 sounds in group B) which is plugged into the card slot. As with the
Internal (i:INT) bank, sounds stored in the card can be Standard or Drum sounds.
r:DRUM — Sound locations 80 through 99 each contain a Drum sound. These 20 Drum
sounds are available whether you’re currently in the i:INT, r:ROM, or card (a:CARD or
b:CARD) banks. The r:DRUM sounds are permanently stored in ROM memory and cannot
be modified or replaced.
General MIDI Sounds — There are 128 “hidden” General MIDI sounds that can be accessed
by pressing the{GENERAL_MIDI} button.
ENSONIQ KT Musician’s Manual
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Section 1 — Controls & Basic Functions
Choosing Internal, ROM, and Card Sounds
In Select Sound mode, the display shows the bank and page location, and the name of the sound:
Bank Location
Page Location
m
m
r:ROM 00
KT Grand Piano
i
Sound Name
There are two methods that can be used to choose between the four banks:
•
•
The {BANK} button — Repeatedly pressing the {BANK} button will step through the various
banks.
Direct-Dialing — You can reach any of the banks directly by pressing the {BANK} button,
and while continuing to hold the {BANK} button down, press one of the lower {0} to {3}
buttons.
Select
Sound
Bank Button
i
r
a
b
: INT
: ROM
: CARD
: CARD
0
Bank
i:INT
1
r:ROM
2
3
a:CARD
4
5
6
7
8
9
b:CARD
While pressing and holding
the {BANK} button, pressing:
Will direct dial:
The lower {0} button
i: INT (the Internal RAM bank)
The lower {1} button
r: ROM (the ROM bank)
The lower {2} button
a: CARD (the Card A bank)
The lower {3} button
b: CARD (the Card B bank)
The lower {0} to {3} buttons are used to choose between i:INT, r:ROM, a:CARD and b:CARD
sounds. Note that if there is no card installed, or there is no sound data on the card, the
a:CARD and b:CARD banks will not be recognized.
The current Sounds bank and Seq/Preset bank are independent: changing one does not change
the other.
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ENSONIQ KT Musician’s Manual
Section 1 — Controls & Basic Functions
SoundFinder™ Feature
Sounds of similar types can be selected using ENSONIQ’s exclusive SoundFinder feature.
SoundFinder searches for the next or previous sound of the same type. It searches through all of
available memory, including the a:CARD and b:CARD sound banks (if a PCMCIA card is
installed). General MIDI sounds are not accessible with SoundFinder.
In Select Sounds Mode:
1. Select a sound.
2. Press either {SOUNDFINDER} button. If you press {<}, it will show the previous sound of
the same type. If you press {>}, it will show the next sound of the same type.
3. Continued presses of the {SOUNDFINDER} buttons will scroll through all sounds in the KT
that have the same defined SoundFinder type (as set on Edit Sound page 06). For a complete
list of the SoundFinder types, see Section 6 — Standard Sound Parameters.
In Sequences/Presets Mode:
When you press the {REPLACE_TRACK_SOUND} button (its LED is lit), you can press the
{SOUNDFINDER} buttons to scroll through sounds that have the same defined SoundFinder
Type. This is a great way to hear all available variations of a particular type of sound, and it is
very useful in auditioning similar sounds for a sequence or song track. Note that you can
audition the sounds as the sequencer plays, but to make the changes permanent, you must first
stop the sequencer.
1. Select the track that has the sound that you would like to replace with the SoundFinder
feature.
2. Press the {REPLACE_TRACK_SOUND} button. Its LED will turn on.
3. Press either {SOUNDFINDER} button. If you press {<}, it will show the previous sound of
the same type. If you press {>}, it will show the next sound of the same type.
4. When you’ve found a sound that you like, press {REPLACE_TRACK_SOUND} again. You’ve
just replaced a sound on a track using the SoundFinder feature.
Tip:
By double-clicking the {REPLACE_TRACK_SOUND} button (LED flashes), you
can use the {SOUNDFINDER} buttons to select sounds by type along with their effect
settings, just as you would in Select Sounds mode.
Tip:
On Edit Sound page 06, the SoundFinder Type=CUSTOM setting can be used
to define your own special purpose sound type to help you quickly find your own
sounds with SoundFinder. ENSONIQ sounds will never be released with SoundFinder
Type=CUSTOM. For more information about the SoundFinder Type parameter, see
Section 6 — Standard Sound Parameters.
ENSONIQ KT Musician’s Manual
15
Section 1 — Controls & Basic Functions
Selecting Sequences/Presets or Songs
To select a KT Sequence/Preset or Song:
1. Press {SELECT_SEQ/PRESET}. This places the KT in Select Sequence/Preset mode and the
{SELECT_SEQ/PRESET} LED will light. Once in Select Sequence/Preset mode, it is not
necessary to press the {SELECT_SEQ/PRESET} button again to select a new Sequence/Preset.
When the {SELECT_SEQ/PRESET} LED is on, the upper and lower {0} to {9} buttons are used
to call up the sounds in memory, one at a time, allowing you to select the one you want to play.
Wave
Pitch
Env 1
LFO
Filters
Env 2
Env 3
Output
Effects
Store
Sound Data
Locate
Sequencer
Control
Click
Song
Cmds
Sequence
Cmds
Track
Cmds
Quantize
Track
Mute
Tracks
Effects
Store
Seq Data
Drums
GM Drums
Bank Button
Bank
i
r
a
b
Upper 0 to 9 Buttons
Select
Seq/Preset
Select Seq/Preset Button
0
1
Volume
Pan
Output
Bus
2
3
4
5
6
7
8
9
Transpose
Channel
Program
MIDI
Status
Pressure
Type
Sustain
Pedal
Timbre
Release
: INT
: ROM
: CARD
: CARD
Lower 0 to 9 Buttons
2.
3.
Key
Range
Press the upper {0} button, then the lower {0} button.
You have just selected Seq/Preset #00.
Press the upper {7} button, then the lower {0} button.
You have just selected Song #70. Try selecting and playing a few different seq/presets.
Sequencer Memory Configuration
There are four banks of 70 Presets/Sequences and 30 Songs, each available in the KT (i:INT
(RAM), r:ROM, a:CARD and b:CARD):
•
•
•
i:INT — 70 Presets/Sequences and 30 Songs can be stored in the KT Internal RAM Memory
(Random Access Memory). The i:INT sequencer bank contains room for 6500 events (events
are recorded data such as keys pressed, controller information, etc.).
r:ROM — Additional Presets/Sequences and Songs are permanently stored in ROM (Read
Only Memory). Like the Internal (i:INT) sequencer data the ROM sequencer data is
contained within the KT; but unlike the Internal (i:INT) sequencer data, it cannot be modified
or replaced. The Demo Song is found in r:ROM page location 70.
a:CARD and b:CARD — 140 Presets/Sequences and 60 Songs can be stored in an industrystandard PCMCIA card (70 Presets/Sequences and 30 Songs in group A, and 70
Presets/Sequences and 30 Songs in group B) which is plugged into the card slot. For more
information about Card Sequencer Memory, see Section 10 — Understanding the Sequencer.
Play the Demo Song
The KT has a pre-recorded demo song in its ROM. This demo song is designed to demonstrate
the KT’s ability to create exceptional sequences.
Before playing the Demo Song, changes made to the current preset/sequence/song will be saved
or discarded, according to the setting of the SaveChangesMode parameter (found by pressing
{EDIT_SEQ/PRESET}, the upper {1}, then the lower {5} button). See Section 11 — Sequencer
Parameters for more information about the SaveChangesMode parameter.
To play the Demo Song:
• While holding down the {MAKE_DEFAULT_PRESET} button, press the {PLAY} button.
This will select r:ROM Song 70 and will start playback of the Demo Song.
16
ENSONIQ KT Musician’s Manual
Section 1 — Controls & Basic Functions
Choosing Internal, ROM, and Card Sequences/Presets/Songs
In Select Sequence/Preset mode, the display shows the bank and page location, and the name of
the Sequence/Preset or Song:
Bank Location
A Preset is selected
l
m
iPSET00
Sequencer Location
n
Seq/Preset-00
i
Preset Name
There are two methods that can be used to choose between the four banks:
•
•
The {BANK} button — Repeatedly pressing the {BANK} button will step through the various
banks. The bank location in the upper left corner of the display will change.
Direct-Dialing — You can reach any of the banks directly by pressing the {BANK} button,
and while continuing to hold the {BANK} button down, press one of the lower {0} to {3}
buttons.
Select
Sound
Bank Button
i
r
a
b
: INT
: ROM
: CARD
: CARD
0
Bank
i:INT
1
r:ROM
2
a:CARD
3
4
5
6
7
8
9
b:CARD
The lower {0} to {3} buttons are used to choose between i:INT, r:ROM, a:CARD and b:CARD
sequences/preset/songs. Note that if there is no card installed, or there is no sequencer data
on the card, the a:CARD and b:CARD banks will not be recognized.
The current Sounds bank and Seq/Preset bank are independent. Changing one does not change
the other.
The KT will default to the last selected i:INT sequence/preset/song location on power on.
ENSONIQ KT Musician’s Manual
17
Section 1 — Controls & Basic Functions
Using Parametric Programming
Value
Cursor
Previous
Next
SoundFinder ™
No
Enter
Yes
Volume
Data Entry
Save
The method used to modify or edit sounds, presets, and system parameters is called Parametric
Programming. This may sound complicated, but don’t worry. Once you’ve grasped a few basic
concepts, you’ll find that operating the KT is quite simple, given its many capabilities.
You may have already encountered some form of parametric programming on other
synthesizers. What this means is that instead of having a separate knob or slider for every
function, you have one master Data Entry Slider and a pair of {VALUE} buttons ({[} and {]})
that adjust the value of whichever parameter you select. This approach has many advantages,
the most obvious is that it greatly reduces the amount of hardware — knobs, switches, faders, etc.
— needed to control a wide variety of functions (if the KT had a separate control for each
function, it would literally have hundreds of knobs).
Changing a Parameter (Data Editing)
The value of the currently selected parameter on a page is always flashing. Once you have
selected a parameter to be modified, use the Data Entry Slider or the {VALUE} buttons to adjust
its value:
•
•
•
Moving the Data Entry Slider will scroll the entire range of available values. If you move the
slider slowly, it will change the parameter relative to the current value. Moving it quickly
will cause the parameter to jump to the absolute value that corresponds to the position of the
slider.
Pressing the {VALUE} buttons will increase or decrease the value one step at a time.
Continuing to hold down either button will cause it to accelerate, and run quickly through
the values.
When you are editing multiple voices simultaneously, with the EditVOICE parameter set to
“ALL” ({EDIT_SOUND}, upper {0}, lower {0}), the {VALUE} buttons will edit the parameter
values for each voice relative to each other, rather than to the exact value displayed.
Tip:
There is a quick way to center or “zero out” the value of any parameter that
has a center value (+00), as the Octave parameter does. While holding down a
{VALUE} button, press the other {VALUE} button, then quickly release both buttons.
This automatically sets the parameter value to its center value.
If you select another page, change some parameter on that page, and then return to the Pitch
page ({EDIT_SOUND} upper {1}, lower {0}), the parameter you had last selected will still be
flashing. The KT always “remembers” which parameter was last selected on a given page.
Be sure that the parameter you want to edit is selected before moving the Data Entry Slider
and/or the {VALUE} buttons. There is always a parameter selected on any given page.
18
ENSONIQ KT Musician’s Manual
Section 1 — Controls & Basic Functions
To Change a Parameter
Suppose you want to adjust the pitch of the current voice in the current sound. This is a pitch
parameter, so you first need to go to the Pitch page, then you would use the Data Entry Controls
to select and edit the values.
1.
2.
Press the {EDIT_SOUND} button.
Press the upper {1} button, then the lower {0} button. The display shows:
Oct=+0 Semi= +00 Fine= +00
3.
The Oct (octave) parameter comes up in the display. This value segment of this parameter
will be flashing, telling you that it has been selected, and can be modified. If the Oct value is
not selected (flashing), press the lower {0} button until the Oct value is flashing.
To raise or lower the Oct (octave) parameter, press either of the {VALUE} buttons. The
display changes, showing the newly selected octave value.
Multiple Parameters
Some KT pages contain more than one editable parameter. When a page with multiple
parameters is displayed, there are two methods of moving between parameters:
The {CURSOR} buttons
({<} and {>})
The lower {0} to {9} buttons
ENSONIQ KT Musician’s Manual
These buttons scroll through each parameter shown on the currently
selected page, and then continue to the next or previous page.
Repeatedly pressing a lower {0} to {9} button scrolls through each
parameter shown on that page, and will not continue to the next or
previous page. When a lower {0} to {9} button is held for about one
second, the first parameter on that page will automatically be
selected.
19
Section 1 — Controls & Basic Functions
20
ENSONIQ KT Musician’s Manual
Section 2 — System•MIDI Parameters
Section 2 — System•MIDI Parameters
The {SYSTEM"MIDI} button contains several pages that give you control over the KT’s system
and MIDI parameters. The settings of these global parameters will remain in effect at all times
and are preserved while the power is off.
Entering System•MIDI Mode
1.
2.
Press {SYSTEM"MIDI} to enter System•MIDI mode.
Press the lower row of buttons ({0} to {9}) to access the various System•MIDI pages. Each
lower {0} to {9} button selects a “page” of parameters. Each page may consist of one or more
parameters. The Data Entry Controls are used to select and edit these parameters.
•
Repeatedly pressing {SYSTEM"MIDI} will also scroll through all of the System•MIDI pages.
Exiting System•MIDI Mode
There are several ways to exit System•MIDI mode. Pressing one of the following buttons will
exit System•MIDI mode, taking you to another mode:
• Pressing {SELECT_SOUND} will enter Sounds mode.
• Pressing {EDIT_SOUND} will enter Edit Sound mode.
• Pressing {SELECT_SEQ/PRESET} will enter Sequence/Preset mode.
• Pressing {EDIT_SEQ/PRESET} will enter Edit Sequence/Preset mode.
• Pressing {EDIT_TRACK} will enter Edit Track mode.
• Pressing any upper row button ({0} to {9}) , will return the KT to the last selected operating
mode (Edit Sound mode or Edit Sequence/Preset mode).
• Turning the KT off, then back on will return the unit to Sounds mode with the r:ROM 00
sound selected.
System Parameters
These parameters control global system functions.
System•MIDI
Tune/Bnd/PTbl
page 0
Tune=+00 Bnd=02 PTbl=NORMAL
Tune
Range:
-99 to +99 cents
Adjusts the overall master tuning of the keyboard up or down as much as one semitone. A value
of +00 will set the KT to concert A=440 tuning.
Note: When Tune is edited, the current value will be transmitted via MIDI, as a
Registered Parameter Select message, on the Base MIDI Channel.
ENSONIQ KT Musician’s Manual
1
Section 2 — System•MIDI Parameters
Bnd
Range:
0 to 12, 1H to 12H semitones
Adjusts the system pitch bend range, which is the maximum amount of pitch bend that can be
applied with the pitch wheel (the wheel farthest left). Each value represents a semitone.
When the amount is followed by an “H,” only notes sounding from keys that are being held
down will be bent. Notes held with the sustain pedal or in their release stage will remain at their
original pitch. This feature can be used to create guitar-style pitch bends or to “paint” with pitch,
leaving different notes sustaining at different pitches.
Note: When the Bnd parameter is edited, the current value will be transmitted via
MIDI, as a Registered Parameter Select message, on the Base MIDI Channel.
PTbl
Range:
various (see below)
This parameter allows you to set the system pitch-table to either a NORMAL (Western 12-tone
equal-temperament) or a custom pitch-table. Pitch-tables will affect all sounds, except Drum
Sounds.
Tip:
When this parameter is selected (underlined), you can move the Data Entry
Controls in real time to change the pitch-tables while the sequencer is playing. This
can create some interesting and fun effects.
Various ROM System Pitch-Tables
By using the Data Entry Controls, you can select from a large assortment of traditional, modern,
ethnic, and exotic pitch-tables for use as the System pitch-table. These pitch-tables are:
•
•
•
•
•
•
•
•
•
2
NORMAL — the KT will use the Western 12-tone equal-temperament tuning for its system
pitch-table.
PYTHAGRN-C — Early tuning derived by calculating 12 perfect fifths and adjusting the
octaves downward as necessary. Leaves all fifths except the one between G# and D# very
pure. The entire mathematical anomaly encountered by tuning up 12 perfect fifths (called the
Pythagorean comma) is accounted for in the interval between G# and D#.
JUST INT-C — Designed so that the major intervals in any scale are very pure, especially the
third and fifth.
MEANTONE-C — One of the earliest attempts to derive a tuning which would accommodate
music played in a variety of keys. The major third interval is very pure.
WRKMEISTR-C — Derived by Andreas Werkmeister, a contemporary of Bach, this is a further
attempt to create a temperament which would accommodate music played in any key.
VALLOTTI-C — A variation of Pythagorean tuning in which the first 6 fifths in the circle of
fifths are flat by 1/6 of the Pythagorean Comma. This is probably close to the tuning used by
Bach for his Well-Tempered Clavier.
GRK-DIATONC — The basic building block of ancient Greek music (in which most modern
Western music has its roots) was the tetra chord - four notes and three intervals spanning a
perfect fourth. The placement of the two inner notes of the tetra chord determined its genus
— diatonic, chromatic or enharmonic. This pitch-table is derived from two diatonic tetra
chords, combined to form a seven-note scale similar to the modern diatonic scale. It is to be
played only on the white keys. Tone center is E.
GRK-CHROMAT — This pitch-table is derived from two chromatic tetra chords (the
intervals are, roughly, quarter-tone, half-step, major third), combined to form a seven-note
scale. It is meant to be played on the white keys. Tone center is E.
GRK-ENHARM — This pitch-table is derived from two enharmonic tetra chords (the
intervals are, more or less, two quarter-tones followed by a major third), combined to form a
seven-note scale. It is meant to be played on the white keys. Tone center is E.
ENSONIQ KT Musician’s Manual
Section 2 — System•MIDI Parameters
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
TURKISH-A — This is a typical Turkish octave-based scale using only one quarter tone. The
second note in the scale is tuned 40 cents flat from the equal-tempered equivalent; in this
tuning B is 40 cents flatter from B natural. The scale rises from A.
ARABIC-1 — The intervals in this table form the basis for much Middle Eastern music. Here
the octave is divided into 17 intervals, corresponding to the fret intervals of some stringed
instruments used in this area. The scale rises from the base pitch of C4 in a series of three
repeating intervals (in cents) of 90, 90, 24; and so on. From C4 to F5 represents an octave.
ARABIC-2 — Similar to Arabic 1, except that here the octave is divided into 24 intervals. This
makes one pitch octave cover two keyboard octaves, meaning that the fingering will be the
same in any octave. This scale rises from the base pitch of C4 in a series of four repeating
intervals (in cents) of 24, 66, 24, 90; and so on.
ARABIC-3 — This is a 12-tone scale using quarter tones (notes tuned sharp or flat by 50 cents
from their equal-tempered equivalents) on the C#, E, G# and B keys.
ARABIC-4 — Another octave-based scale with an Arabic flavor. In this case the “quarter
tones” are not perfectly equal, imparting a distinctive character to the notes.
JAVA-PELOG1 — One of the two main scales of the gamelan orchestras of Java and Bali is
the seven-tone scale called Pelog. The notes C, D, F , G, and A (which are reproduced on the
black keys) are considered primary, with E and B used for grace notes. The octaves are
stretched (tuned a little sharp) due to the harmonic content of the instruments in the
gamelan. (Note that there are many subtle variations of these tunings, almost as many as
there are gamelan ensembles. The tunings we have included here are to be considered
typical, not definitive.)
JAVA-PELOG2 — This is another version of the seven-tone Pelog scale used in gamelan
music. The notes C, D, F , G, and A (which are reproduced on the black keys) are considered
primary, with E and B used for grace notes. The octaves are stretched (tuned a little sharp)
due to the harmonic content of the instruments in the gamelan.
JAVA-PELOG3 — A third version of the seven-tone Pelog scale used in gamelan music. The
notes C, D, F , G, and A (which are reproduced on the black keys) are considered primary,
with E and B used for grace notes.
JAVA-SLNDRO — This is a 15-tone equal tempered tuning from Java. Playing every third
note (as in a diminished chord) yields a typical 5-tone scale of the gamelan. Other notes can
be used as passing tones.
JAVA-COMBI — This is actually two pitch-tables in one. The white keys play the seven-tone
Pelog scale, same as the table JAVA-PELOG1. The black keys play a five-tone scale called
Slendro, which is close to a five-tone equi-tempered scale. Both tunings have their octaves
stretched (tuned a little sharp) due to the harmonic content of the instruments in the
gamelan.
INDIAN-RAGA — Indian scale used to play ragas, based on 22 pure intervals called Srutis.
This pitch-table uses two keyboard octaves to play one octave in pitch. The 22 Srutis are
mapped to keys in this two-octave range omitting the A#s, which play the same pitch as the
adjacent A.
TIBETAN — This tuning is based on a pentatonic scale from Tibet. Notice that playing the
black keys yield a scale similar to the 5-tone Slendro tuning from Indonesia.
CHINESE-1 — This is a seven-tone scale used widely in China. It is meant to be played on
the white keys.
CHINESE-2 — This is a seven-tone scale based on an ancient Chinese lute tuning. It is meant
to be played on the white keys.
THAILAND — This is a seven-tone equi-tempered scale from Thailand. It is meant to be
played on the white keys.
24-TONE-EQU — Centered on C4, this scale has an even quarter tone (50 cents) between each
keyboard note, and each pitch octave covers 2 keyboard octaves. This tuning has been used
ENSONIQ KT Musician’s Manual
3
Section 2 — System•MIDI Parameters
•
•
•
•
•
•
•
•
•
4
by many contemporary composers and can be used in some Middle Eastern music.
19-TONE-EQU — Centered on C4, this scale divides the octave into 19 equal steps. From C4
to G5 forms an octave. This scale yields very pure thirds and sixths, but not fifths. Like the
24-tone scale, this has been used by some modern composers.
31-TONE-EQU — Centered on C4, this scale divides the octave into 31 equal steps. From C4
to G6 forms an octave. Similar to 19-tone in the purity of its intervals.
53-TONE-EQU — This scale divides the octave into 53 equal steps. From C2 to F6 forms an
octave. It yields very pure thirds, fourths and fifths.
HARMONIC — This is a mathematically generated scale based on the relationships of the
partials in the harmonics of the fifth octave of the linear harmonic spectrum. It is interesting
mostly from a theoretical standpoint.
CARLOSALPHA — The first of three scales derived mathematically by Wendy Carlos in the
search for scales with the maximum purity of primary intervals, Alpha is based on the
division of the octave into 15.385 equal steps (78 cents per key). One pitch “octave” covers 16
keys, though because the Carlos scales are asymmetric (not based on whole number divisions
of the octave) they do not yield pure octaves.
CARLOS-BETA — Wendy Carlos’ Beta scale is based on the division of the octave into 18.809
equal steps 63.8 cents per key. One pitch “octave” covers 19 keys, though, again, being
asymmetric it yields no pure octaves.
CARLOSGAMMA — Wendy Carlos’ Gamma scale is based on the division of the octave into
34.188 equal steps (35.1 cents per key). This scale has essentially perfect major thirds, fourths
and fifths. One pitch “octave” covers 35 keys, though, again, being asymmetric it yields no
pure octaves.
PARTCH-43 — Harry Partch was a pioneer of micro-tonality in the early 20th century. He
developed this 43-tone-per-octave scale of pure intervals, and even designed an entire
orchestra of instruments for music using this scale. The tonal center is found on key D2 (the
low D on the 76-note keyboard). This pitch-table has been transposed up an octave to bring
the notes into a more usable range.
REVERSE — This pitch-table simply reverses the pitch-tracking of the keyboard, putting the
highest notes at the bottom of the keyboard and the highest notes at the top. Lots of fun.
ENSONIQ KT Musician’s Manual
Section 2 — System•MIDI Parameters
System•MIDI
page 1
Touch/Pressure
Touch=SYNTH VEL3 Pressure=
MEDIUM
Touch
Range:
Various (see below)
Allows you to adjust the velocity response of the keyboard to match your playing style and
technique. All velocity curves affect both dynamic response of the KT keyboard and the velocity
values transmitted via MIDI. There are 14 velocity curves (Touch) settings, shown in the charts
on the following pages:
PIANO VEL1
SYNTH VEL1
FIXED V 64
PIANO VEL2
SYNTH VEL2
FIXED V127
PIANO VEL3
SYNTH VEL3
PIANO VEL4
SYNTH VEL4
PIANO VEL5
SYNTH VEL5
PIANO VEL6
SYNTH VEL6
When using a PIANO velocity curve, pressing a key down very slowly and softly will yield no
sound. This is exactly how a real piano key would respond. When using a SYNTH velocity
curve, pressing a key down very slowly and softly will always yield a sound. This is the only
difference between a PIANO velocity curve and a SYNTH velocity curve.
Note: We recommend starting with the default setting (SYNTH VEL3), then going up
or down to find your optimal setting.
Pressure
Range:
SOFT, MEDIUM, FIRM, or HARD
This parameter allows you to adjust the pressure of the keyboard to match your playing style and
technique. The pressure threshold can be varied between SOFT (minimum force required to
bring in pressure) and HARD (maximum force required to bring in pressure).
•
•
•
•
SOFT — is for someone with a light touch. With this setting, a minimum amount of pressure
is required to reach the maximum level of any pressure-controlled parameter.
MEDIUM — requires slightly harder pressing to reach maximum pressure levels. This is the
default setting.
FIRM — represents average pressure sensitivity. A FIRM setting should be right for the
player with an average touch.
HARD — is for the strong player who presses the keys hard. It allows the widest possible
range of pressure sensitivity.
ENSONIQ KT Musician’s Manual
5
Section 2 — System•MIDI Parameters
The KT Velocity Response Curves (Touch)
Velocity Curve Diagram
127
96
MIDI
Note On
Velocity
64
32
0
0
32
64
96
127
Keyboard Velocity
The Velocity Response Curves (Touch) offer control for a wide range of playing styles, as detailed
below:
VEL1
127
96
MIDI
Note On
Velocity
64
32
0
0
32
64
96
127
Keyboard Velocity
•
PIANO/SYNTH VEL1 — Dark line is (thicker) VEL1. This is for someone with a light touch.
On this setting, it is easier to reach the maximum level of any velocity controlled parameter.
VEL2
127
96
MIDI
Note On 64
Velocity
32
0
0
32
64
96
127
Keyboard Velocity
•
6
PIANO/SYNTH VEL2 — Dark line (thicker) is VEL2. Slightly harder key strikes are required
for average playing, but this still allows a softer touch to reach maximum velocity levels.
ENSONIQ KT Musician’s Manual
Section 2 — System•MIDI Parameters
VEL3
127
96
MIDI
Note On 64
Velocity
32
0
0
32
64
96
127
Keyboard Velocity
•
PIANO/SYNTH VEL3 — Dark line (thicker) is VEL3. This default setting represents average
velocity sensitivity. This setting should be right for most players.
VEL4
127
96
MIDI
Note On
Velocity
64
32
0
0
32
64
96
127
Keyboard Velocity
•
PIANO/SYNTH VEL4 — Dark line (thicker) is VEL4. This velocity best represents the
“classically-trained” player with strong fingers, and offers the widest dynamic range for
skilled pianists.
VEL5
127
96
MIDI
Note On 64
Velocity
32
0
0
32
64
96
127
Keyboard Velocity
•
PIANO/SYNTH VEL5 — Dark line (thicker) is VEL5. This setting offers a smooth curve for
players with strong fingers who desire a softer sound. It requires strong playing to reach the
top velocity levels.
ENSONIQ KT Musician’s Manual
7
Section 2 — System•MIDI Parameters
VEL6
127
96
MIDI
Note On
Velocity
64
32
0
0
32
64
96
127
Keyboard Velocity
•
PIANO/SYNTH VEL6 — Dark line (thicker) is VEL6. This velocity setting is for the player
who wants a lot of control over their softer playing. The curve dedicates most of its range to a
gradual increase in volume, with a quick “spike” at the end to still allow full volume accents.
FIXED V 64
127
96
MIDI
Note On 64
Velocity
32
0
0
32
64
96
127
Keyboard Velocity
•
FIXED V 64 — With this setting the velocity curve always generates a fixed value, set at the
halfway point. This may be useful in simulating vintage synth sounds that originally had no
velocity control.
FIXED V127
127
96
MIDI
Note On 64
Velocity
32
0
0
32
64
96
127
Keyboard Velocity
•
8
FIXED V127 — This setting is also a fixed velocity curve, with full volume. This is good for
playing drum/percussion parts when you want a part without dynamic changes.
ENSONIQ KT Musician’s Manual
Section 2 — System•MIDI Parameters
System•MIDI
page 2
FtswL/FtswR
FtswL=UNUSED FtswR=SUSTAIN
FtswL
Range:
UNUSED, SOSTENUTO, or STOP/CONT
Available only when the optional SW-10 Dual Foot Switch is plugged into the KT Foot Switch
jack, the settings of this parameter will control the function of the left foot switch.
•
•
•
UNUSED — makes the KT ignore the left foot switch. This is the default setting.
SOSTENUTO — the left foot switch will function similarly to the sostenuto pedal on a piano.
Any keys that are held down when you press the pedal are sustained until you release the
pedal, but keys played after pressing the pedal are not sustained.
STOP/CONT — the left foot switch will start, stop, and continue the sequencer, exactly
reproducing the actions of the {STOP"CONTINUE} button on the front panel.
Note: If you are using a single foot switch (SW-2 or SW-6) in the Foot Switch jack, the
FtswL parameter should always be set to UNUSED. This will prevent note drones.
Remember that the Foot Switch jack is optimized for use with a stereo foot switch (SW10). When a single foot switch is connected, it behaves like the right foot switch
(FtswR).
FtswR
Range:
SUSTAIN, or STOP/CONT
Controls the function of the single damper foot switch (SW-6). When the optional SW-10 Dual
Foot Switch is plugged into the KT Foot Switch jack, the settings of this parameter will control
the function of the right pedal.
•
•
SUSTAIN — holding the pedal down will cause notes to sustain after a key has been released,
much like the sustain pedal on a piano. This is the default setting.
STOP/CONT — the foot switch will start, stop, and continue the sequencer, exactly
reproducing the actions of the {STOP"CONTINUE} button on the front panel.
Latching Pressure with Sustain or Sostenuto
When FtswR=SUSTAIN, or FtswL=SOSTENUTO, the foot switch can be used to dynamically
“latch” the current amount of pressure being exerted on the keyboard. Here’s how:
1.
2.
3.
4.
5.
6.
Select a sound that responds to pressure. Ideally choose a sustaining sound like an oboe.
Play a key and press into the keyboard until you can hear the pressure modulation affect the
sound of the note.
Press and hold the Sustain or Sostenuto pedal.
Release the key. You will hear that the sound continues to be modulated by pressure at the
depth to which you were pressing.
Play a different key. Notice that the new note is not modulated. You can now press into the
keyboard and modulate the new note independent of the note that is sustained. When the
current pressure output exceeds the latched level, pressure on the new note will modulate
both notes.
To release the “latched” pressure value on the sustained note, either press the “latched” key
again, or release the Sustain or Sostenuto pedal.
ENSONIQ KT Musician’s Manual
9
Section 2 — System•MIDI Parameters
System•MIDI
page 3
CV-Pedal/Voice Muting
CV-Pedal= VOL #7 Voice Muting=ON
CV-Pedal
Range:
VOL #7 or MOD #4
Determines whether the optional CVP-1 foot pedal will act as a volume pedal or a modulator
when plugged into the CV Pedal jack.
•
•
VOL #7 — will control the volume of the currently selected sound(s). Transmitted via MIDI
as Controller #7.
MOD #4 — will affect any voice or effect modulation destination that has PEDAL assigned as
a modulation source. Transmitted via MIDI as Controller #4.
Note: The “#7” and “#4” refer to the controller number assigned in the MIDI
Specification. See the “MIDI Implementation Chart” in the Appendix.
Voice Muting
Range:
OFF or ON
Determines whether all voices currently playing will be shut off when a new sound is selected.
•
•
10
OFF — When you select a new sound, voices that are sustaining from previous sounds will
continue to play as long as the key(s) are held down. The old voices will go through the
effect settings of the new sound, so they might sound different, especially if the new sound
uses a radically different effect.
ON — Whenever you select a new sound, any voices that might be sustaining from the
previous sound will be stopped. This is the default setting.
ENSONIQ KT Musician’s Manual
Section 2 — System•MIDI Parameters
MIDI Parameters
These parameters control instrument-wide MIDI functions.
System•MIDI
page 4
Base Channel/Status
Base Channel= 01 Status = BOTH
Base Channel
Range:
01 to 16
Selects the Base Channel that the KT uses to transmit and receive MIDI messages. The Base
Channel is used to transmit and receive MIDI data while the KT is in Select Sound mode. When
working within a Preset/Sequence/Song, the KT automatically transmits MIDI data on the
individual track channels.
Any of 16 MIDI channels may be selected as the Base MIDI Channel of the KT. The effect of
setting the Base Channel varies, depending on the MIDI mode ({SYSTEM"MIDI} page {6}) and
whether data is being transmitted or received.
Receive
Transmit
In POLY mode, keys, controllers, and program changes are only recognized if
received on the Base Channel. In MONO A mode, program changes are received
only on the Base Channel. The Base Channel is also used in both MONO modes as
the first channel of the 8-channel range.
The KT has a fixed MIDI transmitting scheme, depending on the mode it is in. In
Select Sound mode, the KT always transmits on the Base Channel. In Seq/Preset
mode, the KT always transmits on the individual track channel(s).
ENSONIQ KT Musician’s Manual
11
Section 2 — System•MIDI Parameters
Status
Range:
BOTH, LOCAL, MIDI, or *EXT*
This determines the MIDI Status of the Base Channel. The four possible settings are:
BOTH
LOCAL
MIDI
*EXT*
Keys, controllers, etc., will play KT voices and will be sent via MIDI on the selected
MIDI channel. Incoming MIDI will play KT voices.
Keys, controllers, etc., will only play KT voices, and will not send any data out via
MIDI. Incoming MIDI will play KT voices.
Keys, controllers, etc., will be sent out via MIDI when the keyboard is played.
However, keys played will not play KT voices. Incoming MIDI will play internal
voices. This is comparable to Local Off on some keyboards. Use this status when
you want to play remote MIDI devices.
Same as MIDI Status except that incoming MIDI will not play KT voices. This is
useful when using the KT as a Master MIDI Controller with an external sequencer
and a number of other remote MIDI devices.
This chart details the behavior of sequencer tracks for each MIDI Status:
Track Status
BOTH
LOCAL
MIDI
*EXT*
Playing the keyboard plays KT voices
YES
YES
NO
NO
Playing the keyboard sends out MIDI
YES
NO
YES
YES
Playing the keyboard will be recorded by the sequencer
YES
YES
YES
YES
Incoming MIDI data plays KT voices
YES
NO
YES
NO
Incoming MIDI data will be recorded by the sequencer
YES
YES
YES
*
Playing the sequencer track (pressing {PLAY}) plays local voices
YES
YES
NO
NO
Playing the sequencer track sends out MIDI
YES
NO
YES
YES
*
NO in MULTI or MONO-B modes, YES in OMNI, POLY, and MONO-A modes.
System•MIDI
page 5
Base Channel Pressure
Base Channel Pressure=CHANNEL
Base Channel Pressure
Range:
NONE, KEY, or CHANNEL
Determines which type of pressure the KT will receive on its base channel via MIDI (when MIDI
Mode=OMNI, POLY, or MONO-A, see below). This parameter also enables and disables pressure
transmission on the base channel to both KT voices and to external MIDI from Select Sound mode.
•
•
•
NONE — The KT will not receive any pressure messages on the Base Channel via MIDI, and
the KT keyboard will not generate any channel pressure messages.
KEY — The KT will receive Poly-Key™ (polyphonic pressure) on the Base Channel via MIDI,
but the KT keyboard will not generate any channel pressure messages. This type of
specialized pressure, which allows individual pressure control over each key, is found on
many of ENSONIQ’s other keyboards, such as the ASR-10 and TS-10.
CHANNEL — The KT will receive Channel pressure and the KT will generate channel
pressure on the Base Channel, affecting both KT sounds and external MIDI. Channel
pressure is the most common of the pressure types and will affect the entire keyboard when
pressure is added to any key.
Note: The KT keyboard can only generate channel pressure; however, it can receive
both channel and Poly-Key pressure via incoming MIDI.
12
ENSONIQ KT Musician’s Manual
Section 2 — System•MIDI Parameters
System•MIDI
page 6
MIDI Mode/Xctrl
MIDI Mode=OMNI XCtrl = 002
MIDI Mode
Range:
OMNI, POLY, MULTI, MONO A or MONO B
This parameter determines how MIDI information will be received by the KT. MIDI mode has no
effect on what MIDI information is sent out via MIDI.
There are five MIDI modes implemented in the KT:
1.
2.
3.
OMNI — In this mode the KT will receive on any or all 16 MIDI channels. This mode is
useful when you are only using a few MIDI instruments, and you are not concerned with
setting up different channels for each device.
POLY — In this mode the KT will receive only on the Base MIDI channel. MIDI information
on all other channels will be ignored.
MULTI — An ENSONIQ innovation, MULTI mode is the key to unlocking the potential of
the KT as a multi-timbral receiver from an external MIDI sequencer. In MULTI mode, the 8
tracks of the current song or sequence can receive MIDI information independently and
polyphonically on up to 8 different MIDI channels. You can easily create empty sequence
templates for use in multi-channel reception; see Section 9 — Preset/Track Parameters for
details.
Different MIDI channels should be selected for each track that you want to receive. This can
be accomplished on {EDIT_TRACK} page 4 (see Section 9 — Preset/Track Parameters for more
information).
In MULTI mode, independent of what sounds are selected on the front panel, the sounds you
hear will depend entirely on what MIDI channel(s) the MIDI data is received on, and the
MIDI channels assigned to each track.
MONO Mode
MONO mode is particularly useful for driving the KT from a guitar controller, or any other
application where having up to eight independent, monophonic channels is desirable.
The KT offers two types of MONO mode operation. In both types, the KT will receive
monophonically on eight consecutive MIDI channels starting with the Base Channel (the Base
Channel through Base Channel +7). The difference has to do with how those MIDI channels are
routed within the KT.
4.
5.
MONO A — This is another ENSONIQ development intended to make using multi-channel
controllers (like MIDI guitars) easier. All notes and controllers received will play whatever
sounds are selected for the note that is played, just as if the note was played from the
keyboard. You have the advantage of multiple tracks, which will respond independently to
controllers received on multiple channels, but you do not have to set up the sounds for each
track separately.
MONO B — This is the more conventional type of MONO mode. It allows you to set up each
track of the current song or sequence as a monophonic synthesizer. Each track can have a
different program assigned to it. This is the only way to get a different sound on each string
when using a MIDI guitar controller.
ENSONIQ KT Musician’s Manual
13
Section 2 — System•MIDI Parameters
Using Global Controllers in MONO Mode
Global controllers are controllers sent on one channel that affect all other channels
simultaneously. They can be useful in reducing the number of MIDI events required to achieve
particular effects, and can thereby reduce the delays sometimes associated with overloading
MIDI. Some guitar controllers can transmit global controllers, and the KT can respond to them.
In MONO mode (A or B) the base channel minus one becomes the MIDI channel for global
controllers (pitch bend, pressure, etc.). For example, if the base channel is channel 3, any
controllers received on channel 2 will be interpreted as global controllers and will affect all
sounds being played. If the base channel is channel 1, channel 16 becomes the channel for global
controllers. Each track will also respond independently to controllers sent on its own channel.
For example, each guitar string on a MIDI guitar can send independent pitch bend, while the
“whammy bar” controller could be sent on the global channel to affect all sounds.
XCtrl
Range:
000 to 127
Use XCtrl to assign external MIDI controllers to affect the KT.
Most controllers on a synthesizer — mod wheel or breath controller, for example — have a MIDI
controller number that can be assigned to this parameter. Doing so will make a particular
external controller available as a modulator to any of your sounds.
One modulation source that can be selected in Edit Sound mode is XCTRL. The value of the
“XCtrl” parameter is a MIDI controller number. When the KT receives MIDI Controller messages
corresponding to this controller number, they will be routed to all parameters that have been
programmed with XCTRL as a modulation source. Suppose, for example, you are playing the KT
from a keyboard with a breath controller (or want to use a breath controller as a modulator when
playing the KT keyboard). You can set up a sound on the KT in which the filter cutoff frequency
is modulated by XCTRL. If you then set “XCtrl=02,” the breath controller can modulate the filter,
or any other voice or effect parameter that has its modulation source set to XCTRL, in the sound
you have created.
The following controller numbers are commonly supported:
Number Controller
14
Number Controller
1
Modulation Wheel
64
Sustain
2
Breath Controller
66
Sostenuto
4
Foot Pedal
70
Sound Variation (Patch Selects)
6
Data Entry MSB
71
Harmonic Content (Timbre)
7
Volume
72
Release Time
10
Pan
73
Attack Time
12
Effect Modulation
74
Brightness
ENSONIQ KT Musician’s Manual
Section 2 — System•MIDI Parameters
System•MIDI
page 7
Controllers/Prog Change
Controllers= OFF Prog Change= OFF
Controllers
Range:
OFF or ON
This controls whether the KT will send and receive MIDI controllers — pitch bend, mod wheel,
volume, sustain pedal, etc. This parameter does not affect how controllers function for local
sounds.
•
•
OFF — the KT will not send or receive any MIDI controllers.
ON — the KT will send and receive MIDI controllers.
Prog Change
Range:
OFF or ON
This controls how the KT handles MIDI program change messages.
•
•
OFF — the KT will not transmit or receive MIDI program changes or MIDI Bank Select
messages.
ON — the KT will transmit and receive program changes and Bank Select messages over
MIDI.
Program Changes in the KT
The sounds in all banks are assigned MIDI Bank Select numbers and program numbers. The
KT’s MIDI Out will send the appropriate MIDI Bank Select message whenever the bank (i:INT,
r:ROM, a:CARD, or b:CARD) is changed.
•
•
•
•
Internal RAM sounds (i:INT banks) are numbered from 001 to 079.
r:ROM sounds are also numbered from 001 to 079.
Card sounds (a:CARD or b:CARD banks) are numbered from 001 to 079.
The r:DRUM ROM sounds are numbered from 080 to 099.
ENSONIQ KT Musician’s Manual
15
Section 2 — System•MIDI Parameters
Bank Select and Program Change Implementation
The way in which the KT receives program changes is slightly more complex than some other
systems, because the number of sounds that are available to be selected from MIDI is larger than
the number of program change messages available within the MIDI standard. To solve this
problem, the KT uses MIDI Bank Select numbers (LSB 0 to 3) to control how subsequent program
changes will be interpreted. The following chart shows the effect of these four Bank Select
messages:
After MIDI Bank Select: Subsequent program changes will select:
LSB 0
000..079 - i:INT sounds
LSB 1
000..079 - r:ROM sounds
LSB 2
000..079 - a:CARD sounds
LSB 3
000..079 - b:CARD sounds
These MIDI Bank Select values need to be sent only once. All subsequent program changes will
be directed to the Bank that was selected by the last Bank Select message received.
Note: Incoming Program Changes 80 to 99 will always select one of the 20 r:DRUM
ROM Sounds.
Selecting a New Sound and its Effect from MIDI
There is a special range of MIDI Bank Select messages, recognized only in MULTI mode, which
are used to select both a sound and its effect for one of the eight sequencer tracks. When Bank
Select value +10 is received on a channel assigned to a sequencer track, then the next program
change received on that track will select a new sound and will also install the effect from that
sound as the new sequence (or song) effect. This can be useful when controlling the KT from an
external sequencer.
After MIDI Bank Select: Subsequent program changes will select:
16
LSB 10
000..079 - i:INT sounds with its effect
LSB 11
000..079 - r:ROM sounds with its effect
LSB 12
000..079 - a:CARD sounds with its effect
LSB 13
000..079 - b:CARD sounds with its effect
ENSONIQ KT Musician’s Manual
Section 2 — System•MIDI Parameters
System•MIDI
page 8
SysEx/ID/Song Select
SysEx=ON ID=01 Song Select= OFF
SysEx
Range:
OFF or ON
This parameter determines if the KT can receive MIDI System Exclusive messages. When
SysEx=OFF, the KT does not receive any MIDI System Exclusive messages. The Sys-Ex messages
that are sent from the Storage pages can always be transmitted regardless of the setting of this
switch (refer to the Appendix for more information about the KT Sys-Ex implementation).
ID
Range:
01 to 16
This allows remote MIDI devices to address the KT via incoming MIDI Sys-Ex without changing
the Base MIDI Channel number. Think of this parameter as a higher level of identification. This
is also used to identify Sys-Ex messages transmitted by the KT, and is useful if you have more
than one KT in a MIDI system.
Song Select
Range:
OFF or ON
This determines if the KT will transmit and receive MIDI Song Select messages. When Song
Select=OFF, the KT will ignore incoming MIDI Song Select messages, and the KT will not
transmit MIDI Song Select messages when sequences and songs are selected. When Song
Select=ON, incoming MIDI Song Selects will select the corresponding KT sequence/song
locations, and selecting KT sequences and songs will cause the KT to transmit MIDI Song Select
messages.
MIDI Song Selects # 00-99 will select KT Sequence/Song locations # 00-99. Conversely, selecting
Sequence/Song locations # 00-99 will cause the KT to transmit MIDI Song Selects # 00-99.
ENSONIQ KT Musician’s Manual
17
Section 2 — System•MIDI Parameters
System•MIDI
page 9
MIDI TrkName/MIDI Loop
MIDI TrkName=OFF MIDI Loop = OFF
MIDI TrkName
Range:
OFF or ON
This parameter determines if preset and sequencer tracks that have a MIDI status of MIDI or
*EXT* will show the sound name (as do tracks with a LOCAL or BOTH status) or show “MIDI
CHAN ##” instead of the sound name.
•
•
OFF — When a track’s status is set to MIDI or *EXT* ({EDIT_TRACK} page 5), any displays
that would normally show the track’s sound name will show “MIDI CHAN ##” instead of
the name. This is helpful when using the KT as a MIDI master controller, or when
sequencing remote MIDI devices, as it shows you at a glance which tracks are playing only
over MIDI, and on which MIDI channels.
ON — The track’s sound name will always appear on the display, no matter what the track’s
status may be.
MIDI Loop
Range:
OFF or ON
The MIDI Loop parameter controls whether or not the Track Vol parameter (Edit Track page 1),
will transmit via MIDI. It only affects tracks that have their MIDI Status set to MIDI. It is
normally OFF, but in a MIDI loop setup, it should be ON.
• OFF — This is the default setting. When changes are made to the Track Vol parameter (on
tracks with Status=MIDI), the KT will transmit MIDI volume (controller 7) messages that
combine the Track Vol setting with the current setting of the volume pedal.
• ON — The KT will not transmit changes made to the Track Vol parameter on tracks with
Status=MIDI. Volume pedal changes will be transmitted directly and are unaffected by the
Vol setting.
When MIDI Loop=OFF, then the Vol parameter (Edit Track page 1) is combined (multiplied) with
the volume pedal setting to create a composite volume, which is then transmitted to external
sound modules as MIDI controller 7. In a MIDI loop situation with a computer, this is
undesirable, because lowering the Vol parameter value will send controller messages that are
indistinguishable from volume pedal messages. When this information is echoed by the
computer, the KT receives it as volume pedal, lowering the volume on that track even further.
Eventually this causes the volume to spiral down to zero, which in turn causes the track to be
silenced, even though the displayed track Vol setting is greater than zero. Setting MIDI
Loop=ON will prevent this problem from occurring.
Note that the volume pedal is only active if CV-Pedal=VOL #7 on System•MIDI page 3, and that
volume pedal changes will always be transmitted as MIDI volume (controller 7).
18
ENSONIQ KT Musician’s Manual
Section 4 — Effect Parameters
Section 4 — Effect Parameters
This section offers detailed descriptions of the pages and parameters used in selecting and editing
effects. For an overview of the concepts involved, please refer to the previous section.
About Effect Parameters
All effect algorithms are found in both Edit Sound and Edit Sequence/Preset modes on the
Effects pages (press either {EDIT_SOUND} or {EDIT_SEQ/PRESET} followed by the upper {8}
button). The effect algorithms described in this section have various pages. Pages contain
parameters associated with the effect algorithm. Some of the parameters are common to many
effect algorithms and some are specific to a particular effect algorithm. The first page is identical
for all of the algorithms: it shows the algorithm name and the FX1 and FX2 mix. The remaining
sub-pages are variable and contain parameters that are relevant to that effect. All of these
parameters are programmable and can be used to customize each effect algorithm.
Effect Modulation Parameters
The Effect Modulation parameters, found on the last sub-page of each algorithm, are identical for
all the algorithms, and are explained in detail in Section 3 — Understanding Effects.
DRY/BYPASSED
This utility algorithm routes FX1 and FX2 dry without any effects processing. This is useful when
you want to hear a sound without any effects coloration.
DRY
FX1
Mix1
L
R
Audio
Outputs
FX2
Mix2
DRY/BYPASSED Routing
FX1 and FX2
Ranges: 00 to 99
These parameters control the mix of silence with a dry audio signal. The FX1 and FX2
parameters can be assigned different levels, and used as volume sub-mixes for tracks in a preset,
sequence, or song. 00 is silent and 99 is full volume.
Tip:
By assigning a modulation controller to one of these parameters, you can
change the volume mixes of a group of tracks in real time, independent of the track
volume settings.
Modulation Destinations
FX1-MIX
ENSONIQ KT Musician’s Manual
FX2-MIX
1
Section 4 — Effects Parameters
DUAL EQ+REVERB
DUAL EQ+REVERB combines two discrete EQs (one on each bus) with a digital reverb. The
amount of reverb on the FX1 and FX2 busses is independently adjustable.
DRY
FX1
EQ
Mix1
L
Reverb
R
FX2
EQ
Audio
Outputs
Mix2
DUAL EQ+REVERB Routing
The parameters available in this algorithm are:
FX1 F
Range:
50 Hz to 10 KHz
Sets the center frequency of the EQ assigned to FX1.
Gain
Range:
-18 to +12 dB
Sets the amount of boost or cut applied to the FX1 EQ.
Warning! Do not set these levels too high, as excessive gain levels may
cause damage to your speakers and/or hearing.
BW
Range:
50 Hz to 10 KHz
This parameter is a bandwidth control that determines the range of affected frequencies. By
raising the value, you can affect a broader range of frequencies.
Out
Range:
-18 to +12 dB
Adjusts the output volume after the FX1 EQ. With the Gain parameter set to high values, the
OUT parameter could be used to create a raspy distortion effect.
Warning! Excessive gain levels may cause damage to your speakers
and/or hearing.
FX2 F
Range:
50 Hz to 10 KHz
Sets the center of the EQ assigned to FX2.
Gain
Range:
-18 to +12 dB
Sets the amount of boost or cut applied to the FX2 EQ.
Warning! Excessive gain levels may cause damage to your speakers
and/or hearing.
BW
Range:
50 Hz to 10 KHz
Sets the bandwidth for the FX2 EQ.
2
ENSONIQ KT Musician’s Manual
Section 4 — Effect Parameters
Out
Range:
-18 to +12 dB
Adjusts the output volume after the EQ.
Warning! Excessive gain levels may cause damage to your speakers
and/or hearing.
Rev
Range:
Various
Allows you to select one of the 16 pre-programmed reverb variations, as explained in Section 3 —
Understanding Effects.
Decay Bias
Range:
-7 to +7
This parameter offers fifteen pre-programmed decay time variations, for quick access in creating
custom effects. Positive values offer longer decay times, negative values shorten the decay times.
Note: Whenever the reverb variation (Rev) is changed, the Decay Bias parameter is
reset to +0, so that the reverb variation can be heard in its originally intended form.
Modulation Destinations
FX1-MIX
FX2-MIX
EQ1FREQ
EQ1GAIN
EQ1BW
EQ1OUT
EQ2FREQ
EQ2GAIN
EQ2BW
EQ2OUT
DECAY
ENSONIQ KT Musician’s Manual
3
Section 4 — Effects Parameters
WARM CHAMBER
WARM CHAMBER is a characteristically resonant chamber reverb. The FX1 and FX2 busses are
independently adjustable.
DRY
FX1
Mix1
L
Reverb
R
Audio
Outputs
FX2
Mix2
WARM CHAMBER Routing
The parameters available in this effects algorithm are:
Decay Time
Range: 00 to 99
Sets the amount of time it takes for the reverberation to fade to a very low level (-60 dB) after the
input signal stops.
Diffusion
Range:
00 to 99
Determines whether the early reflections will appear as a series of discrete echoes (lower values),
or will be more diffused (higher values).
Detune Rate
Range:
00 to 99
Controls the rate of detuning in the reverb. Detuning creates a slight pitch shift, giving a more
natural sounding decay by breaking up resonant nodes.
Detune Depth
Range:
00 to 99
Controls how much the pitch will change. Low values yield a resonant, metallic sound. Some
voices may require low values.
HF Damping
Range:
00 to 99
Controls the high frequency decay of the reverberation. As natural reverb decays, some high
frequencies tend to get absorbed by the environment. Increasing the value of this parameter will
filter out increasing amounts of high frequency energy during the decay of the reverb.
HF Bandwidth
Range:
00 to 99
The High Frequency Bandwidth parameter filters the signal going into the reverb, controlling the
amount of high frequencies that will pass into the effect. The higher the setting, the more high
frequencies will pass, resulting in an apparently brighter reverb.
Modulation Destinations
FX1-MIX
4
FX2-MIX
DECAY
DAMPING
ENSONIQ KT Musician’s Manual
Section 4 — Effect Parameters
8-VOICE CHORUS
This is a complex stereo chorus that uses eight different delays and separately randomized LFOs
to produce pitch and amplitude modulation.
DRY
FX1
Mix1
L
Chorus
R
Audio
Outputs
FX2
Mix2
8-VOICE CHORUS Routing
Chorus Rate
Range:
00 to 99
Controls the rate of pitch modulation applied to the delays.
Chorus Depth
Range:
00 to 99
Controls the excursion of modulation. Since the rate is usually very slow, then the depth is
usually very large.
Chorus Center
Range:
00 to 99
Controls the nominal delay time of the chorus about which the delay modulation occurs.
Adjusting this parameter will change the tonal character of the chorus.
Feedback
Range:
-99 to +99
Controls the amount of feedback applied to the chorus. Positive settings are in-phase, negative
values are out-of-phase, and impart a different tonality to the chorus.
Modulation Destinations
FX1-MIX
FX2-MIX
CENTER
FDBACK
ENSONIQ KT Musician’s Manual
RATE
DEPTH
5
Section 4 — Effects Parameters
EQ-CHORUS+REVERB
This effect combines a four voice chorus with the standard reverb. Assign a voice to FX1 to get
both chorus and reverb, or use FX2 for reverb only.
DRY
FX1
EQ
Chorus
Mix1
L
Reverb
R
Audio
Outputs
FX2
Mix2
EQ-CHORUS+REVERB Routing
FX1 F
BW
Gain
Out
See the description in the Dual EQ+Reverb algorithm.
Chorus Rate
Range:
00 to 99
Controls the four rates of the modulation applied to the delay time of the chorus.
Chorus Depth
Range:
00 to 99
Controls the amount of modulation. A Chorus Depth of 00 bypasses the chorus.
Chorus Center
Range:
00 to 99
Controls the four delay times within the chorus. Adjusting this parameter will change the tonal
character of the chorus.
Feedback
Range:
-98 to +98
Controls the amount of feedback applied to the chorus. Positive settings are in-phase, whereas
negative values are out-of-phase, and impart a different tonality to the chorus.
Chorus Level
Range:
00 to 99
Controls the Dry/Wet mix of the chorus.
Rev
Decay Bias
See the description in the Dual EQ+Reverb algorithm.
Modulation Destinations
6
FX1-MIX
FX2-MIX
EQ FREQ
EQ GAIN
EQ BW
EQ OUT
CH RATE
CH DEPT
CH CNTR
CH FDBK
CH LEVL
DECAY
ENSONIQ KT Musician’s Manual
Section 4 — Effect Parameters
EQ-DDL+REVERB
Combines a parametric EQ and digital delay, with reverb.
DRY
FX1
EQ
DDL
Mix1
L
Reverb
R
Audio
Outputs
FX2
Mix2
EQ-DDL+REVERB Routing
FX1 Left
Regen
L
L Output
DDL
R
R Output
FX1 Right
Digital Delay Routing
FX1 F
BW
Gain
Out
See the description in the Dual EQ+Reverb algorithm.
DDL Time L and R
Ranges: 0 to 700 msec
Sets the delay time for the delays. Experiment with different delay times to find the right setting
for your application. See the Delay Times/BPM Chart in Section 10 — Understanding the Sequencer
for help in setting the delay times to the tempo of a sequence.
DDL Regen
Range:
-98 to +98
Controls the amount of regeneration applied to the delay time taps. This affects how long the
echoes continue to repeat. Positive or negative values can affect the spatial (phase) relationship
of the delay times.
DDL Send
Range:
00 to 99
Adjusts the input level to the delay. A level of 00 will offer no audible delay. Try modulating
this parameter with the mod wheel or pressure to selectively choose which notes will echo.
Rev
Decay Bias
See the description in the Dual EQ+Reverb algorithm.
Modulation Destinations
FX1-MIX
FX2-MIX
EQ FREQ
EQ GAIN
EQ BW
EQ OUT
DDL L
DDL R
DDL RGN
SEND
DECAY
ENSONIQ KT Musician’s Manual
7
Section 4 — Effects Parameters
DDL-CHORUS+REVB
A blend of delay and chorusing, with reverb added.
DRY
FX1
DDL
Chorus
Mix1
L
Reverb
R
Audio
Outputs
FX2
Mix2
DDL-CHORUS+REVB Routing
FX1
Regen
Left
L
L Output
DDL
FX1
R
R Output
Right
Digital Delay Routing
DDL Time L and R
DDL Regen
DDL Send
See the description in the Dual EQ+Reverb algorithm.
Chorus Rate
Chorus Level
Chorus Depth
Chorus Center
See the description in the EQ-Chorus+Reverb algorithm.
Rev
Decay Bias
See the description in the Dual EQ+Reverb algorithm.
Modulation Destinations
8
FX1-MIX
FX2-MIX
DDL L
DDL R
DDL RGN
SEND
CH RATE
CH DEPT
CH LEVL
CH CNTR
DECAY
ENSONIQ KT Musician’s Manual
Section 4 — Effect Parameters
ENVCF-CHO+REVERB
ENVCF-CHO+REVERB combines a resonant, envelope-controlled filter and chorus, with reverb.
This algorithm can be used to create retro/analog VCF sounds. Assign a voice to FX1 to get filter,
chorus and reverb, or use FX2 for reverb only.
DRY
FX1
ENVCF
Chorus
Mix1
L
Reverb
R
Audio
Outputs
FX2
Mix2
ENVCF-CHO+REVERB Signal Routing
Fc
Range:
00 to 99
Determines the filter cut off-frequency. Higher values have a brighter sound. This parameter can
be modulated using a CV Pedal for a wah-wah pedal effect. To use as an EQ, set the desired
value and make sure Env Amt=00. To use in the classic analog-synth filter mode, set this
parameter to a low value and set Env Amt to a higher value.
Qc
Range:
00 to 99
Determines the peak at the filter cutoff point. While the Fc parameter determines where (at what
frequency) this peak will occur, the Qc setting controls the presence (“sharpness”) of the peak.
This setting is important for the analog-synth filter effect.
Trig Mode
Range:
SINGLE or MULTI
Determines whether the envelope which controls the VCF will retrigger with each key-event
(MULTI) or not (SINGLE).
Atck
Range:
00 to 99
Sets the time it takes for the filter to open (i.e. to go to its highest frequency). A setting of 00 is
instantaneous. This parameter can be used to modulate the frequency of the filter.
Decay
Range:
00 to 99
Determines the amount of time for the filter to go from the maximum level achieved during the
attack portion to the level set during the sustain portion.
Sust
Range:
00 to 99
Sets the level at which the filter will stay until the key is released.
Rels
Range:
00 to 99
Determines how long it will take the filter to go from the sustain level to zero after the key is
released.
Env Amt
Range:
00 to 99
Determines how much affect the envelope will have on the filter’s cutoff frequency. When set to
00, the Atck, Decay, Sustain, Rels, and Trig Mode parameters have no effect.
ENSONIQ KT Musician’s Manual
9
Section 4 — Effects Parameters
Kbd Amt
Range:
00 to 99
Determines how much the cutoff frequency will track the keyboard. Set this parameter to work
with your signal.
Chorus Rate
Chorus Depth
See the description in the EQ-Chorus+Reverb algorithm.
Rev
Decay Bias
See the description in the Dual EQ+Reverb algorithm.
Modulation Destinations
FX1-MIX
FX2-MIX
VCF FC
VCF QC
FC+QC
ENV ATK
ENV DCY
ENV SUS
ENV REL
ENV AMT
KBD AMT
CH RATE
CH DEPT
DECAY
Modulation Note
In this algorithm, there is an additional modulation destination (FC+QC) that allows you to
modulate both the Filter Fc and the filter Qc at the same time using the same mod source. By
using a modulator (such as the Mod Wheel) with this setting, the effect will be more resonant as it
brightens.
10
ENSONIQ KT Musician’s Manual
Section 4 — Effect Parameters
FLANGER+REVERB
FLANGER+REVERB features two LFOs at different rates combined with a reverb. Assign a voice
to FX1 to get both flanger and reverb, or use FX2 for reverb only.
DRY
FX1
Flanger
Mix1
L
Reverb
R
Audio
Outputs
FX2
Mix2
FLANGER+REVERB Routing
Flange Rate
Range:
00 to 99
Controls the rate of the modulation applied to the flange effect.
Flange Depth
Range:
00 to 99
Controls the range of the high-to-low frequency sweep in the flanger effect.
Flange Center
Range:
00 to 99
Sets the sweep mid-point of the flanger effect.
Feedback
Range:
-99 to +99
Controls the amount of feedback applied to the flanger. Positive or negative values will impart a
different tonality to the flange effect, either accenting the peaks or the notches.
Notch Depth
Range:
00 to 99
Controls the depth of the peaks and notches produced by the flanger. This parameter should be
set to 99 for maximum effect.
Input Invert
Range:
OFF or ON
Inverts the input signal before combining it with the flanged signal. It creates peaks instead of
notches, for a different effect.
Rev
Decay Bias
See the description in the Dual EQ+Reverb algorithm.
Modulation Destinations
FX1-MIX
FX2-MIX
RATE
DEPTH
CENTER
FDBACK
NOTCH
DECAY
ENSONIQ KT Musician’s Manual
11
Section 4 — Effects Parameters
PHASER+REVERB
A 12-pole phase shifter with reverb. Assign a voice to FX1 to get both phaser and reverb, or use
FX2 for reverb only.
DRY
FX1
Phaser
Mix1
L
Reverb
R
Audio
Outputs
FX2
Mix2
PHASER+REVERB Routing
Phaser Rate
Range:
00 to 99
Controls the rate of the modulation applied to the phaser.
Phaser Depth
Range:
00 to 99
Controls the amount of modulation applied to the phaser.
Phaser Center
Range:
00 to 99
This parameter controls the mid-point of the phaser.
Feedback
Range:
-99 to +99
Controls the amount of feedback applied to the phaser. Positive or negative values will impart a
different tonality to the phaser effect, either accenting the peaks or the notches.
Notch Depth
Range:
00 to 99
Controls the depth of the peaks and notches produced by the phaser. This parameter should
normally be set to 99.
Input Invert
Range:
OFF or ON
Inverts the input signal before combining it with the phase-shifted version. It creates peaks
instead of notches, for a different effect.
Rev
Decay Bias
See the description in the Dual EQ+Reverb algorithm.
Modulation Destinations
12
FX1-MIX
FX2-MIX
RATE
DEPTH
CENTER
FDBACK
NOTCH
DECAY
ENSONIQ KT Musician’s Manual
Section 4 — Effect Parameters
ROTARY SPKR+REVB
A rotating speaker simulation with reverb. Assign a voice to FX1 to get both rotary speaker and
reverb, or use FX2 for reverb only.
DRY
FX1
Rotary
Speaker
Mix1
L
Reverb
R
Audio
Outputs
FX2
Mix2
ROTARY SPKR+REVB Routing
Rotor Speed
Range:
MIN or MAX
Switches between two different rotor speed settings, as determined by the Speed Min and Speed
Max parameters. When modulated, this switch accurately reflects the behavior of an actual
rotary speaker, taking time to speed up or slow down, based on the value of the Inertia
parameter (see below).
Inertia
Range:
00 to 99
Determines how long it will take for the rotor effect to speed up and slow down after switching
from fast to slow or vice versa. Adjust this parameter to imitate the way that a larger or smaller
rotary speaker would typically change speeds. This parameter affects both TOGGLE and
CONTIN modulation modes (see next page).
Speed Min
Range:
00 to 99
Sets the rotary speaker’s “slow” rate when Rotor Speed=MIN, or when the selected modulator is
at zero output level. The higher the value, the faster the rate.
Speed Max
Range:
00 to 99
Sets the rotary speaker’s “fast” rate when Rotor Speed=MAX. The higher the value, the faster the
rate.
AM Min and Max
Ranges: 00 to 99
Controls how much the volume will change as the speaker rotates. Higher values will create a
deeper rotating speaker effect.
FM Min and Max
Ranges: 00 to 99
Controls the amount of detuning as the speaker rotates, also known as the “Doppler” effect.
Distortion
Range:
00 to 99
Determines the input gain to the amplifier simulation, creating a tube-like overdrive. Higher
settings yield more distortion.
Filter
Range:
00 to 99
This parameter is the distortion tone control. Lower settings will yield a more raspy distortion
tone, whereas high settings will give that mellow “amp growl.”
ENSONIQ KT Musician’s Manual
13
Section 4 — Effects Parameters
Mix
Range:
00 to 99
Controls how much of the amplifier distortion is mixed with the clean signal (there is an internal
clean path in parallel with the distortion). To eliminate distortion, set this parameter to 00.
Rev
Decay Bias
See the description in the Dual EQ+Reverb algorithm.
Modulate Speed by
This special modulation feature allows you to select a modulator and define what type of
modulation you want to use to affect the rotor speed. The two modulation modes are:
• TOGGLE — The modulation source toggles the rotor speed between the Speed Min setting
and the Speed Max setting. Every time the modulation source moves from zero in a positive
direction, the rotating speaker effect changes speeds from slow to fast or fast to slow. To
reverse the polarity of the switch, set Speed Min faster than Speed Max. Try this setting with
the Sustain pedal.
• CONTIN — The modulation source continuously switches between the Speed Min setting and
the Speed Max setting, based on the mod source position and/or movement. Try this setting
with the Mod Wheel — you’ll hear the rotary speaker change speed based on the position of
the wheel (and the Speed Min and Max settings).
With both types of modulation, the rotary speaker always takes the Inertia time to get to the Rotor
Speed MIN and MAX settings.
14
ENSONIQ KT Musician’s Manual
Section 4 — Effect Parameters
FL-CMP-DIST+REVB
A screaming guitar amp simulator that features not only compression, distortion, and reverb, but
a flanger and high pass/low pass EQ as well. FX1 routes the signal through each of these effect
processors, while FX2 is used for reverb only.
DRY
Reverb to Compression Feedback
FX1
Flange
Comp
Distort
EQ
Mix1
L
Reverb
R
FX2
Main
Outputs
Mix2
FL-CMP-DIST+REVB Routing
Flange Rate
Range:
00 to 99
Controls the rate of the flanger. Set this parameter to 00 to eliminate the flanger effect.
Compression
Range:
00 to 99
Controls the amount of compression (actually an inverse expander). As the input signal dies
away, the compressor will increase the gain of the system, causing feedback to increase as well.
The normal compression amount is 72.
Distortion Level In/Out
Ranges: 00 to 11
These two parameters control the levels going into and coming out of the distortion effect. The
range for both parameters is 00 to 11, based on the Nigel Tufnel theorem, which states that
making 10 louder isn’t sufficient, since “These go to 11. 11 is one more, isn’t it?”
HiPass Cutoff
Range:
00 to 99
Filters out low frequencies after the distortion signal path. The higher the value, the fewer low
frequencies pass through.
ENSONIQ KT Musician’s Manual
15
Section 4 — Effects Parameters
LoPass Cutoff
Range:
00 to 99
Filters out high frequencies after the distortion signal path. The lower the value, the fewer high
frequencies pass through.
Reverb to Cmprss Feedback Range:
-99 to +99
Controls the amount of signal applied from the output of the reverb back into the input of the
compressor. The sign of the value determines the polarity of the feedback.
Note: Since the feedback level is taken from the FX1 bus, if FX1 is set to 00 or a low
value, feedback will have little or no consequence. Also, it is important to note that
since the signal is being taken from the reverb, which is also fed by the FX2 bus, voices
sent to the FX2 bus will enter the feedback loop with the FX1 signals.
Decay Time
Range:
00 to 99
Controls the amount of time it takes for the reverberation to decay to a very low level (-60dB)
after the input signal stops.
HF Damping
Range:
00 to 99
The High Frequency Damping parameter controls the high frequency decay of the reverberation.
As natural reverb decays, some high frequencies tend to get absorbed by the environment.
Increasing the value of this parameter will filter out increasing amounts of high frequency
energy.
Modulation Destinations
FX1-MIX
FX2-MIX
FDBACK
DECAY
DAMPING
16
ENSONIQ KT Musician’s Manual
Section 4 — Effect Parameters
DISTWAH-CHO+REVB
Overdrive, wah (sweepable filter), chorus, and reverb, with a special serial/parallel routing
option. Assign a voice to FX1 to get chorus and reverb with or without distortion (see signal path
diagram), or use FX2 for reverb only. Panning voices routed to FX1 can yield three discrete
effects — this is useful for multi-timbral sequencing.
DRY
FX1
Left
Dist
Wah
Chorus
FX1
Right
Mix1
L
Reverb
R
FX1 L/R Routing
Audio
Outputs
Mix2
FX2
DISTWAH-CHO+REVB Signal Routing
FX1 L/R Routing
Range:
see chart
Determines how voices assigned to FX1 will be affected by panning:
When FX1 L/R Routing=
Then:
L+R:DISTWAH-CHO
All voices assigned to FX1 will both go through the DISTWAH-CHO effect.
L:DISTWAH R:CHO
Voices assigned to FX1 and panned Left will go through the DISTWAHCHO effect (in series). Voices assigned to FX1 and panned Right will go
through the chorusing only.
Fc
Range:
00 to 99
This determines the filter cutoff-frequency (brightness) of the distortion.
Qc
Range:
00 to 99
Determines the peak at the filter cutoff point. While the Fc parameter determines where (at what
frequency) this peak will occur, the Qc setting controls the presence of the peak.
Dist
Range:
00 to 99
Determines the input signal gain into the amplifier simulation, creating a tube-like overdrive.
Higher settings yield more distortion.
Mix
Range:
00 to 99
Controls the mix between the original signal and the distortion (there is an internal clean path in
parallel with the distortion). To eliminate distortion, set this parameter to 00.
Chorus Rate
Range:
00 to 99
Controls the rate of the modulation applied to the delay time of the chorus.
Chorus Depth
Range:
00 to 99
Controls the amount of modulation applied to the delay time of the chorus.
Chorus Center
Range:
00 to 99
Controls the delay time center of the chorus.
ENSONIQ KT Musician’s Manual
17
Section 4 — Effects Parameters
Feedback
Range:
-98 to +98
Controls the amount of feedback applied to the chorus. Positive settings are in-phase, negative
values are out-of-phase, and impart a different tonality to the chorus.
Chorus Level
Range:
00 to 99
Controls the Wet/Dry mix of the chorus itself.
Rev
Decay Bias
See the description in the Dual EQ+Reverb algorithm.
Modulation Destinations
FX1-MIX
FX2-MIX
FILT FC
FILT QC
FC+QC
DISTORT
MIX
CH RATE
CH DEPT
CH CNTR
CH FDBK
CH LEVL
DECAY
Modulation Note
In this algorithm, there is an additional modulation destination (FC+QC) that allows you to
modulate both the Filter Fc and the filter Qc at the same time using the same mod source. By
using a modulator (such as the Mod Wheel with this setting, you can create the “wah” effect.
18
ENSONIQ KT Musician’s Manual
Section 5 — Understanding Sounds
Section 5 — Understanding Sounds
In this section, we will show you how to edit a KT sound. For detailed descriptions of the
parameters relating to Standard Sounds, refer to Section 6 — Standard Sound Parameters. For
detailed descriptions of the parameters relating to Drum Sounds, refer to Section 7 — Drum Sound
Parameters.
What is a KT Sound?
KT Sounds are divided into two categories; Standard Sounds, which are dynamic structures
made up of 3 voices and an effect; and Drum Sounds, which feature 17 voices and an effect.
Drum Sounds have slightly different programming features due to their additional voices.
Standard Sounds and Drum Sounds each have their own programming guidelines. See Sections
6 and 7 for details. This section of the manual will cover the “common ground” between the two
types of sounds.
Understanding Voices and Polyphony
When referring to the number of voices in a KT sound, we are not talking about polyphony (as in
“you can only play so many notes,” see below). We are referring to the number of voices that
will sound on each key as you play the sound.
The KT can play a total of 64 voices simultaneously, which are dynamically assigned among the
different sounds that you play. How many voices a sound uses on each key depends on two
factors:
1.
2.
The number of voices that are ON on the EditVoice page.
Whether or not the Key Ranges and Velocity Windows overlap.
See Section 6 — Standard Sound Parameters for more information on these parameters.
Some sounds use only one voice per key — in these sounds, you can play 64 notes before “voice
stealing” occurs. On sounds that use two voices per key, you can play 32 notes before any voices
are stolen. Three voices per key, 21 notes. Up to three voices can be active in each Standard
Sound.
Drum Sounds are inherently “one voice” sounds, as they always use only one voice per key
range, but have up to 17 different ranges (or zones) assigned across the keyboard.
Bear in mind that the KT is “smart” about voice allocation — there are many things that you can
do to maximize the polyphony of a sound and to minimize the effects of voice stealing. For
example:
•
•
When a voice is done playing (either because it reached the end of the wave or because the
volume envelope, Env 3, went to zero) that voice becomes free and a new note can use that
voice rather than stealing one that is still sustaining. See “Stealing Notes,” in Section 6 —
Standard Sound Parameters.
You can assign low, medium or high priority to each voice in a sound, allowing you to
control which voice(s) will be stolen first. See “Output Pages” in Section 6 — Standard Sound
Parameters.
ENSONIQ KT Musician’s Manual
1
Section 5 — Understanding Sounds
Using the Compare Button/LED
When you change any parameter in a sound, the LED in the {EDIT_SOUND} button will begin
flashing. It will remain flashing until you select another sound, or save (write) the newly edited
sound into memory, or to a card. This is a constant reminder that something in the sound has
been changed.
To hear the original, unchanged sound, press the {COMPARE} button. The {EDIT_SOUND} LED
will remain solidly lit without flashing, you will hear the original sound, and the display shows
its original settings. Press {COMPARE} again to return to your edited sound. You can toggle
back and forth between the original and the edited sound as often as you like.
Using the Edit Buffer
You can edit a sound while keeping the original sound intact, because the edited version is kept in
a special area of memory called the Edit Buffer. Whenever you change any parameter of a sound,
the altered sound is put in the edit buffer, replacing whatever was previously there. Only one
sound at a time can reside there — the edit buffer always contains the results of your last edit.
When you press {COMPARE}, you are alternating between the sound in the original memory
location and the sound in the edit buffer. We refer to the sound in the edit buffer as the Edit
Sound.
You can return to the edit sound, even after selecting another sound (as long as you don’t change
any parameters there) by pressing the {COMPARE} button. This puts you back in the edit buffer,
and any changes you make will affect the edit sound.
The rule of thumb is this: Whichever sound you hear, that’s what you’re editing.
If you like the results of the changes you have made to a sound, you should rename it and save
the new sound permanently, to another location. The procedure for this is covered under
“Saving a New Sound Into Memory” later in this section.
To Abandon Your Edits
If you decide, while editing a sound, that you’re not happy with what you’ve done, and you
want to start over with the original sound:
•
2
Press the {COMPARE} button so the {EDIT_SOUND} LED remains solidly lit. Then you can
start editing the sound again from scratch. You will lose the edits to the sound you were
working on before.
ENSONIQ KT Musician’s Manual
Section 5 — Understanding Sounds
Saving a New Sound Into Memory
After creating a new sound, or editing a sound to better suit your needs, it must be saved into a
memory location to be available for future access. New or edited sounds can be saved into any
one of the 80 internal RAM sound locations (or to a card, as explained in Section 13 — Storage)
with the following procedure.
To Save a Sound
1.
2.
3.
4.
5.
6.
Check to make sure that the {EDIT_SOUND} LED is flashing. If not, press {COMPARE}. This
indicates that the sound you’re hearing is in the edit buffer.
Press the {SAVE} button. The display will read “Save SOUND <Sound Name>?” The name
listed is the name of the sound you began with when editing.
Select a name of up to 16 characters for your new sound using the Data Entry Controls. The
{CURSOR} buttons select the character to be edited (underlined), while the Data Entry Slider
and {VALUE} buttons scroll through the letters, numbers, and symbols that can be used to
name the sound. Moving the Data Entry Slider all the way down gives you a blank space.
Using dashes, periods and slashes between characters can make a sound name look better
when displayed on the Select Sound pages.
Press the {SAVE} button again. The display will read “ SaveTO <Location> <New-Name>.”
Select a memory location for your sound using both rows of {0} to {9} buttons and/or the
{VALUE} buttons. These buttons will display the names of the programs currently residing
in memory. If you have a formatted PCMCIA card installed, you can also press the {BANK}
button and select between i:INT, a:CARD, or b:CARD memory locations.
Look for a memory location that contains a sound that you no longer want or use. Sounds
that are in memory can be “auditioned” at this point by pressing the {COMPARE} button to
toggle between the sound listed on the display, and the sound in the edit buffer. Before
continuing, make sure the {EDIT_SOUND} LED is flashing. If not, press {COMPARE} again.
When a location has been found, press the {SAVE} button one last time. The display will
show a momentary “Saved.” message before returning to the current page.
Tip:
If you would like your edited sound to be saved in its present memory location
(i:INT, a:CARD or b:CARD only), simply “double-click” the {SAVE} button in step 4
above. As in the above procedure, the display will momentarily read “Saved.” and
then return to the current parameter.
Copying an Existing Sound to Another Location
Sometimes you’ll want to take an existing sound, one that you haven’t been editing, and simply
copy it to another memory location. For example, you might want to put your six most
commonly used sounds in the same bank, for easy access during performance.
1.
2.
Select the sound you want to copy.
Press {SAVE}. The display shows:
Replace edit sound?
3.
Press the {YES} button. The selected sound now resides in the edit buffer. Now proceed
from step three as described above to write the sound to the new location.
ENSONIQ KT Musician’s Manual
3
Section 5 — Understanding Sounds
KT Standard Sound Configuration
Each of the three voices within a KT Standard sound has:
• a digital oscillator playing one of the 211 waves from the KT wave memory
• a filter stage comprised of two multi-mode digital filters
• an output stage for amplitude control
• one low frequency oscillator (LFO)
• three complex envelope generators for controlling each of the three stages
• a versatile matrix modulation scheme with 15 routable modulation sources
The following diagram shows the configuration of one KT voice.
Envelope Parameters
KT-76
Standard Sound
Voice
Configuration
Levels: Peak, Break, Sustain
Times: Attack, Decay1, 2, Release
Velocity Curves
Velocity control of Levels and Attack Time
QUIKRISE
CONVEX
LINEAR
CONCAVE
Velocity Curve
Mode (NORMAL, FINISH, REPEAT)
Keyboard tracking of Times
Mod Sources
LFO
NOISE1
NOISE2
ENV1
ENV2
ENV3
WHL+PR
WHEEL
PITCH
PEDAL
TIMBRE
XCTRL
PRESSR
KYBD
VELOC
<OFF>
ENV1
System
Bend Range
ENV2
Env 1
Mod
Amt
System
Pitch-Table
Semi Fine
Octave tone tune
Cut Kbd
off Amt
Cut Kbd
off Amt
Glide
Mode &
Glide
Time
Env 2
Mod
Amt
F2:
Env 2
Mod Amt
Volume
Mod Source
Volume
Mod Amt
Filter Mode:
F1
3-LP
Wave
Mod
F2
Keyboard
Scaling
1-LP
Wave
Velocity
Window
Digital
Oscillator
LFO
Amt
LFO Wave
TRIANGLE
SINE
SINE/TRI
POS/SINE
POS/TRI
SAWTOOTH
SQUARE
Restart
Mode
LFO
Mode
Delay
LFO
Depth
LFO Depth
Mod Source
Wave
Delay
Pitch
Mod
Amt
2-LP
3-LP
2-LP
Voice
Ouput
Volume
(ENV 3 Amt)
Voice
Priority
1-HP
L
2-LP
2-HP
Digital Filter
Pitch
Mod Source
ON
F1
Mod
Amt
Rate
F1
Mod Source
Noise Src
Rate
Noise
Source
4
F1:
MODE=
REPEAT will
restart the
wave
ENV3
Amplifier
OFF
Fc1 Mod
—> Fc2
DRY
FX1
FX2
R
Pan
Position
Pan
Mod Source
Pan
Mod
Source
NOISE1
NOISE2
ENSONIQ KT Musician’s Manual
Section 5 — Understanding Sounds
KT Drum Sound Configuration
KT sounds come in two varieties: standard sounds and drum sounds. r:DRUM ROM Sounds are
grouped in their own two banks of ten (as shown on the front panel). KT drum sounds differ
from standard sounds in two major areas:
Number of Voices
Standard sounds can use up to three layered voices per key range. Drum sounds are based on an
underlying General MIDI drum map with 17 definable voices and ranges that can be used to
cover the General MIDI drum map. A Drum sound uses only one voice per key range. Each
voice can be used as a separate drum or percussion instrument.
Voice Architecture
Each of the 17 voices within a KT Drum sound has:
• a digital oscillator playing any of the drum-related waves from the KT wave memory
(DRUM-SOUND, CYMBALS, PERCUSSION, TUNED-PERC, SOUNDEFFECT)
• two multi-mode digital filters that are fixed in a 4-pole low pass mode
• a set of parameters specific to drum sounds
In addition to the 17 voices, a “hidden” ROM General MIDI Drum map resides underneath the 17
drum voices, ready to be used to create a General MIDI drum kit. See Section 7 — Drum Sound
Parameters for more information.
The pitch-table selected on System•MIDI page 0 will have no effect on Drum Sounds.
All drum sounds are auto-detected by SoundFinder and form their own SoundFinder type.
However, SoundFinder cannot differentiate between drum sounds that use the General MIDI
Drum Map and those that use the ENSONIQ Drum Map.
KT-76 Drum Sound
Voice Configuration
Default
ENSONIQ
Drum Map
Envelope Parameters
Times: Gate, Release
Velocity Curves
QUIKRISE
CONVEX
LINEAR
CONCAVE
Velocity control of Levels
Mode (NORMAL, FINISH)
Velocity Curve
Semi Fine
Octave tone tune
Key Range
System
Bend
Range
Keyboard
Pitch
Tracking
ENV3
FC
Cutoff LevV
Pan
Position
Voice
Ouput
Volume
L
Wave
Direction
2-LP
Digital
Oscillator
2-LP
Digital Filter
Amplifier
DRY
FX1
FX2
R
"Hidden" General MIDI Drum Map
See Section 7 — Drum Sound Parameters for a complete listing of the "hidden" General MIDI Drum Map voices.
ENSONIQ KT Musician’s Manual
5
Section 5 — Understanding Sounds
Selecting Edit (Drum) Sound Mode
Because the KT has two types of sounds, it also has two Edit Sound modes: one that pertains to
Standard sound editing, and one for editing Drum sounds. To create or edit a Drum sound, you
must use Edit (Drum) Sound mode. There are two methods for getting there:
Change Sound Mode Command:
This method for switching Edit Sound modes is useful when you are already in Edit Sound
mode. Located in both Edit (Standard) Sound mode and Edit (Drum) Sound modes, this
command allows access into the other Edit Sound mode.
When a Standard Sound is selected:
1. Pressing {EDIT_SOUND}, the upper {0}, then the lower {8} button. The display shows
“Press ENTER to Change SoundMode.”
2. Press {ENTER}. The display momentarily shows “Command successful!” and then switches
to Edit (Drum) Sound mode, with Wave page 00 selected. This places the default drum map
into the edit buffer.
When a Drum Sound is selected:
1. Pressing {EDIT_SOUND}, the upper {0}, then the lower {5} button. The display shows
“Press ENTER to Change SoundMode.”
2. Press {ENTER}. The display momentarily shows “Command successful!” and then switches
to Edit (Standard) Sound mode, with Wave page 00 selected.
Selecting a Drum Sound First:
This method for sound mode hopping is the simple process of selecting sounds. The currently
selected sound determines the Edit Sound mode. You can enter the Edit (Drum) Sound mode by
first selecting a drum sound.
1.
2.
6
Press {SELECT_SOUND}, then either the upper {8} or {9} button.
Press {EDIT_SOUND}.
You have just entered Edit (Drum) Sound mode, with the selected drum sound in the edit
buffer.
ENSONIQ KT Musician’s Manual
Section 5 — Understanding Sounds
Using Modulation
About Modulation
To modulate something is simply to cause it to change. Within the voice architecture of the
KT, we begin by setting basic, or manual levels for the volume, pitch, brightness, etc. of a voice,
and we then modulate those levels in various ways to create movement and dynamics.
Suppose you switch on your stereo, and turn the volume half way up. We can call this the
manual volume setting. It will stay at that level until it’s changed. Now suppose that you take
the volume knob of your stereo and begin quickly turning it up and down, so the volume gets
continuously louder and softer, louder and softer. What you would be doing is modulating the
volume of your stereo. If you were to take the treble control, and do the same to that knob, you
would be modulating the brightness of your stereo.
In much the same way we modulate various levels within the KT (though generally the approach
is less haphazard). There are 15 different Modulation Sources available, and they can each be
independently assigned to vary the manual levels for a great many aspects of a voice, including
real time control of most aspects of an effects algorithm. Programmning modulators requires two
steps: selecting the mod source and setting the modulation amount (a scaling factor that
determines how strongly the modulator affects the voice).
To Select a Modulator
Some programming pages allow you to select a modulator to vary the level of some parameter
within a KT voice. The display shows “Mod=_______” (short for Modulation Source). A
modulator is selected using the Data Entry Slider or the {VALUE} buttons to choose among the
15 available modulation sources.
Let’s take, for example, the Pitch Modulation parameter, which is where you apply modulation to
the pitch of a voice:
1. Select a Standard Sound, and press the {EDIT_SOUND} button.
2. Press the upper {1} button.
3. Press the lower {1} button.
Besides Envelope 1 and the LFO, which are always available as pitch modulators, you can choose
an additional modulator to alter the pitch:
Env1=+00 LFO=+05 Mod=WHL+PR *
-04
i
Modulation Source
i
Modulation Amount
To Control Modulation Amount
As shown above, wherever a Modulation Source is selected, the number value immediately to its
right controls the Modulation Amount; this number determines how deeply the selected
modulator will affect the manual level to which it is being applied.
Select the number to the right of the Modulation Source. Now, use the Data Entry Controls to
adjust the modulation amount. Modulation amount can be positive or negative. A modulation
amount of +00 has the effect of turning the modulator off.
Tip:
With modulation amount, as with all parameter values that have a center value
(here, +00), there is an easy way to reach that value. With the parameter selected, press
the {[} button, and while holding it down, press the {]} button, and then quickly
release both buttons. This automatically sets the modulation amount to +00.
ENSONIQ KT Musician’s Manual
7
Section 5 — Understanding Sounds
Specifying a Modulation Source
Use the {CURSOR} buttons to select the Modulation Source parameter. Remember, it will be
flashing in the display when it is selected. Now you can use the Data Entry Slider or the
{VALUE} buttons to select one of the 16 available Modulation Sources:
LFO - Low Frequency Oscillator
NOISE1 - Stepped Noise Generator
NOISE2 - Smooth Noise Generator
ENV1 - Envelope 1
ENV2 - Envelope 2
ENV3 - Envelope 3
WHL+PR - Mod Wheel + Pressure
WHEEL - Modulation Wheel
PITCH - Pitch Bend Wheel
PEDAL - Control Voltage (CV) Pedal
TIMBRE - Timbre (sequencer only)
XCTRL - External MIDI Controller
PRESSR - Pressure (Aftertouch)
KEYBD - Keyboard Tracking
VELOC - Velocity
<OFF> - No modulation
LFO — Low Frequency Oscillator
The Low Frequency Oscillator generates only very low frequency waves, below the audio
spectrum, which can produce vibrato, tremolo, and many other effects depending on the LFO wave
selected and where it is applied as a modulator. There are seven possible waveshapes for the LFO.
LFO is permanently routed to the waveform generator for pitch modulation. It can also be
assigned as a modulator elsewhere. See the description of the LFO pages in Section 6 — Standard
Sound Parameters for a complete discussion of the LFO.
NOISE1 — Stepped Noise Generator
The noise generator creates a randomly changing level. It is useful for modulating, among other
things, the pitch of a voice (Pitch Modulation page). Applied to pitch with large modulation
amounts, it tends to create strange “computer” sound effects. Small modulation amounts
(around +02 to +04) can create a subtle random movement in the sound, which imparts a more
natural quality. Depends on the Noise Rate setting, on LFO page 30.
NOISE2 — Smooth Noise Generator
The second noise generator works like NOISE1, but NOISE2 has a “smoothed” wave pattern.
When applied to pitch, NOISE2 has a “siren-like” quality, as compared to NOISE1’s computer
effects. Notice the difference between the two noise generator wave shapes:
NOISE1
NOISE2
+100
+100
0
0
-100
-100
Noise Rate
Noise Rate
ENV 1, ENV 2, ENV 3
The KT has three complex envelopes. Envelopes are used to create changes over time, in pitch,
brightness, volume, etc.
• ENV 1 is permanently routed to the pitch of the voice, though it can be assigned as a
modulator elsewhere if you wish.
• ENV 2 is permanently routed to the filter cutoff frequency. It can also be assigned as a
modulator elsewhere.
• ENV 3 always controls the volume or amplitude of the voice. It can also be selected as a
modulator elsewhere.
8
ENSONIQ KT Musician’s Manual
Section 5 — Understanding Sounds
WHL+PR — Modulation Wheel and Pressure
This dual modulation source allows both Pressure and the Mod Wheel to simultaneously
modulate the same destination. When selected, pressing down on a key or moving the Mod
Wheel yields the same result.
WHEEL — Modulation Wheel
The Mod Wheel to the left of the keyboard is assignable wherever a modulator is selected. To use
the Mod Wheel for vibrato (one common application) WHEEL must be assigned to modulate the
LFO, with the LFO Amount set to some number other than +00 on Pitch Mod page 1. The Mod
Wheel’s effect is positive, from 0 (wheel toward you) to +99 (wheel away from you). Negative
modulation amounts will reverse the effect.
PITCH — Pitch Bend Wheel
This assigns the Pitch Wheel, located to the left of the Mod Wheel, as a modulator. It allows you
to have the Pitch Wheel, besides bending the pitch of a note (its normal function), also affect
another parameter. Applied to the filter cutoff frequency, for example, this would cause notes to
become brighter as you bend them upwards and more muted as you bend them down (or the
opposite with negative modulation amounts).
PEDAL — Voltage Control (CV) Pedal
This selects the optional CVP-1 Foot Pedal, which can be plugged into the CV•Pedal jack on the
KT rear panel, as a modulator. It can be applied wherever a modulator is selected. Note that the
CV pedal will only act as a modulator when the pedal function on System•MIDI page 3 is set to
“CV-Pedal=MOD #4.” When that parameter is set to “CV-Pedal=VOL #7” the CV pedal will act
as a volume pedal, not as a modulator (though this has no effect on receiving incoming MIDI
pedal data). See Section 2 — System•MIDI Parameters for more details.
TIMBRE — Timbre Control
This is a special modulator, unique to ENSONIQ, which is intended as an “extra” real-time
performance controller. TIMBRE can be assigned like any other modulator, wherever a
modulation source is selected. The Timbre parameter on Edit Track page 8 selects the TIMBRE
amount. With the Timbre parameter selected, you can use the Data Entry Slider to control the
modulator.
XCTRL — External MIDI Controller (MIDI In only)
An external controller (such as a Breath Controller, etc.) that is received via MIDI from another
synthesizer or controller, can be assigned as a modulator within KT sounds. In System•MIDI
mode, you can select the number of the external controller that will be recognized by the KT.
You don’t have to be playing the KT from an external instrument for this to work. For example, if
you have a keyboard with a MIDI Breath Controller:
1. Connect its MIDI Out to the KT MIDI In;
2. Make sure both instruments have Controllers enabled (in the KT, {SYSTEM"MIDI} page {7});
3. Select Breath Controller as the external controller that will be received by the KT (XCtrl=002,
on {SYSTEM"MIDI} page {6});
4. Assign XCTRL as a Modulator for LFO level, Filter Cutoff frequency, or some other manual
level within a voice, as described in the Standard Sound Parameters section; and
5. Play the sound from the KT keyboard, while blowing into the Breath Controller connected to
the sending instrument. The modulation will have the same effect as if you were playing
from the sending instrument.
ENSONIQ KT Musician’s Manual
9
Section 5 — Understanding Sounds
PRESSR — Pressure (After-touch)
Pressure, also called after-touch, is a modulator that varies a manual level within a voice
depending on how hard you press down on a key or keys.
When playing the KT keyboard, after you have struck a key, and while the note is sustaining,
continuing to press down harder on the key brings in the pressure modulation.
Pressure comes in two varieties — Poly-Key™ pressure (or Polyphonic pressure), which affects
each note individually, and Channel pressure (or Mono pressure) which affects all notes that are
playing when you exert pressure on any key. Both types are received via MIDI on the KT,
however, the KT keyboard can only generate channel pressure.
Not all sounds are programmed to respond to pressure (like piano sounds). If pressure seems to
have no effect when you play certain sounds, it is likely that pressure is not assigned as a
modulator anywhere within the sound.
The effect of pressure as a modulator is positive-going only, though assigning a negative
modulation depth will cause increased pressure to reduce manual levels.
KEYBD — Keyboard Tracking
This uses the position of a note on the keyboard as a modulator:
+100
+50
0
-50
-100
KT-76 keyboard
KT-88 keyboard
MIDI Note numbers 0-127
As the above illustration shows, the effect of KEYBD as a modulator goes negative as well as
positive. The effect of KEYBD is to reduce the manual level on notes below the break point (F#
above Middle C, F4+, MIDI Note #66), and increase the manual level on notes above the break
point. Negative modulation amounts will do the opposite.
VELOC — Velocity
Velocity means how hard you strike a key. Selecting VELOC as a Modulator allows you to
modulate any manual level with velocity. Velocity as a modulation source only goes positive
(though assigning a negative modulation amount will make the level reduce with increased
velocity).
10
ENSONIQ KT Musician’s Manual
Section 5 — Understanding Sounds
ENV 1, ENV 2, ENV 3 — KT Standard Sound Envelopes
An envelope is a shape, or contour, which we apply to a signal to make it change over time. Each
KT voice has three envelopes. These envelopes are automatically routed to the pitch, filter
frequency, and amplitude of the voice. ENV 1, ENV 2 and ENV3 can also be assigned elsewhere,
wherever a modulator is selectable.
•
•
•
ENV 1 is routed to the pitch of the voice. There is a parameter always available on Edit
Sound page 11 (press {EDIT_SOUND}, the upper {1}, then the lower {1}) that lets you adjust
the amount by which ENV 1 will modulate the voice’s pitch.
ENV 2 is routed to the filter cutoff frequency of the voice. For each of the voice’s two filters,
the parameter labeled Envelope 2=+## on Edit Sound page 41 (press {EDIT_SOUND}, the
upper {4}, then the lower {1}) controls ENV 2 depth.
ENV 3 is routed to the amplitude (volume) of the voice. The ENV 3 envelope always controls
the final volume contour of the voice. Any other volume modulators selected in the Output
pages will occur before ENV 3 in the signal flow.
The KT envelopes are descended from the venerable ADSR (attack, decay, sustain, release)
envelope, but with many refinements. While the ADSR envelope gives you control over three
time segments and one level, the KT envelopes give you control over three levels and four time
segments.
The illustration below shows the make-up of a KT envelope:
ATTACK DECAY 1
99
DECAY 2
KEY HELD
RELEASE
PEAK
BREAKPOINT
LEVEL
SUSTAIN
0
KEY
DOWN
TIME
KEY
UP
Although the envelope shape in the above illustration is the most commonly used (a rise
followed by decays), other shapes are possible. For more information on the specific envelope
parameters, see Section 6 — Standard Sound Parameters.
ENSONIQ KT Musician’s Manual
11
Section 5 — Understanding Sounds
12
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Section 6 — Standard Sound Parameters
This section covers the parameters that can be edited independently for each voice within a
Standard Sound. For a general overview of the concepts involved, refer to the previous section.
Edit (Standard) Sound Mode
Whenever you want to do any editing to a Standard Sound, you must first place the KT into Edit
(Standard) Sound mode. Once in Edit (Standard) Sound mode, you can modify parameters of a
Standard Sound to better suit your needs or create a completely new sound.
To access the following parameters, first select a Standard Sound, and then press the
{EDIT_SOUND} button to enter Edit Sound mode. In Edit Sound mode, the upper {0} to {9}
buttons are used to access the groups of pages relating to sound editing, and the lower {0} to {9}
buttons are used to select the pages within that group. This combination of upper and lower
buttons is called the page number. Each page in Edit Sound mode has a two digit page number.
Wave
Pitch
Env 1
LFO
Filters
Env 2
0
1
2
3
4
5
Env 3
6
Output
Effects
7
8
Store
Sound Data
9
Wave Pages (00 - 05)
Each KT voice will play one of the 211 waves in its memory. These waves are the “raw material”
from which KT sounds are crafted. In the Wave pages you can choose which wave the currently
selected voice will play, and modify various playback parameters of the wave.
Edit Sound
page 00
EditVOICE/Voice Status
Selected Voice
m
EditVOICE:VOICE1 ON ON ON
p
i
j
Voice Status Values
EditVOICE
Range:
VOICE1-3 or ALL
This parameter has three functions; to select whether to edit one voice or all voices within a
sound; to select which voice will be edited (if one voice is selected); and to determine the
playback status of that voice.
ENSONIQ KT Musician’s Manual
1
Section 6 — Standard Sound Parameters
To select a single voice for editing:
1. Press {EDIT_SOUND}.
2. Press the upper {0} button, then the lower {0} button to get to page 00.
You will see the EditVOICE/Voice Status page shown above. If the Selected Voice value (top
of the display) is not flashing, press the {<} button once.
3. Use the Data Entry Slider or the {VALUE} buttons to set “EditVOICE:VOICE1, 2, or 3”.
To select all voices for editing:
1. Press {EDIT_SOUND}.
2. Press the upper {0} button, then the lower {0} button to get to page 00.
You will see the EditVOICE/Voice Status page. If the Selected Voice value (top of the
display) is not flashing, press the {<} button once.
3. Use the Data Entry Slider or the {VALUE} buttons to set “EditVOICE:ALL”.
When “ALL” is selected, changes made to any of the programming parameters will affect all
voices playing within that sound. If you use the {VALUE} buttons to edit a parameter with
EditVOICE=ALL, the settings for each voice will change relative to one another, rather than
to the exact value displayed. Using the Data Entry Slider will set all voices the same value.
Voice Status
Range:
OFF, ON, or SOLO
These parameters are used to determine which voice(s) will play and/or be edited. These values
correspond to the three voices that make up a KT sound.
A voice is selected for editing by setting the EditVOICE parameter to that voice, then pressing the
{>} button to select the voice status value and setting it to either ON or SOLO. When the voice is
selected (EditVOICE:VOICE1-3), the corresponding Voice Status value will begin flashing. From
that point, any editing you do will affect that particular voice. If the voice you wish to edit is set
to “OFF,” you will be unable to edit any parameters for that voice, and the display will
momentarily show “Sorry current voice is muted.”
There are three status options that a voice can be set to on this page:
• OFF — The selected voice is muted, will not play, and cannot be selected.
• ON — The selected voice will play, and can be selected.
• SOLO — The selected voice will play and can be selected, and all other voices will be muted.
This is convenient for occasions when you’d like to hear how your edits are affecting a
particular voice.
☞ Remember: The Voice Status value that is flashing is the one that is selected for editing.
2
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Edit Sound
page 01
Wave Class/Wave Name
Wave Class
m
Wave=STRING WAVE STRING
ENSEMBLE
i
Wave Name
Wave Class
Range:
Various (see below)
This shows which of the 14 wave classes the currently selected wave is in. By selecting this
parameter, you can use the Data Entry Slider or the {VALUE} buttons to scroll quickly through
the different wave classes to the category you want. Then select the wave name on the lower line
to choose a specific wave from the current class.
Whenever the wave class is changed, the first wave in that class is selected.
The KT waves are divided into 14 categories, or Wave Classes:
KEYBOARD
STRING-SND
BRASS+HORNS
WIND+REEDS
VOCAL-SOUND
BASS-SOUND
DRUM-SOUND
CYMBALS
PERCUSSION
TUNED-PERCUS
SOUNDEFFECT
WAVEFORM
INHARMONIC
TRANSWAVE
The first eleven wave classes contain samples of real acoustic and electronic sounds, which can be
used as the basis for a wide variety of realistic musical sounds. Where necessary, these waves
have been multi-sampled (sampled at many points through the range of the instrument) for
maximum accuracy.
The next three wave classes contain a variety of sampled and algorithmically generated waves
that are more “synthesizer” oriented:
•
•
•
WAVEFORM - A waveform is a single cycle of a sound repeated over and over. The KT
contains both sampled and synthetic waveforms. Waveforms such as Sawtooth and Square
can be used to reproduce a wide array of analog synth sounds.
INHARMONIC - Inharmonic loops are similar to waveforms except that they contain many
cycles of the sound and can therefore contain inharmonics — frequencies which are not exact
multiples of the fundamental frequency.
TRANSWAVE - This is a special class of waves. Each TransWave consists of many singlecycle waveforms, each with a different harmonic spectrum. The playback parameters allow
you to start the wave playing at any one of these waveforms and move through the
wavetable, continually varying the timbre of the sound, using any of the modulators.
Wave Name
Here you select the actual wave that the voice will play. When this parameter is flashing, the
Data Entry Slider and the {VALUE} buttons will select only among the waves in the current
wave class.
ENSONIQ KT Musician’s Manual
3
Section 6 — Standard Sound Parameters
KT Standard Sound ROM Wave Catalog
The Wave Class is shown in bold at the top of each ROM wave group:
4
KEYBOARD:
CONCERT GRAND
BRIGHT GRAND
PIANO THUD
TINE PIANO LO
TINE PIANO MED
TINE PIANO HI
DIGITAL EL PIANO
FM ELEC PIANO
ELEC PIANO TINE
WURLIE HI VEL
WURLI LO VEL
WIND+REEDS:
SOPRANO SAX
ALTO SAX
TENOR SAX
SAX AIR
CLARINET
BASSOON
OBOE
FLUTE
CHIFFLUTE
PAN FLUTE
OCARINA
DRUM-SOUND:
PUNCHY KICK
ACOUSTIC KICK
FAT KICK
GATED KICK
AMBIENT KICK
SYNTH KICK
ROOM KICK
BRIGHT KICK
DRY KICK
JAZZ KICK 1
JAZZ KICK 2
CYMBALS:
CLOSED HAT 1
CLOSED HAT 2
OPEN HAT 1
OPEN HAT 2
PEDAL HAT
CRASH CYMBAL
CHINA CRASH
RIDE CYMBAL
RIDE BELL
SYN CLOSEHAT
SYN OPEN HAT
TUNED-PERCUS:
VIBRAPHONE
MARIMBA
XYLOPHONE
GLOCKENSPIEL
TYMPANI
STEEL DRUM
KALIMBA
DOORBELL
TUBULAR
GAMELAN BELL
ORCHESTRA HIT
CLAVINET
RECORDER
ELEC KICK
PERCUSSION:
DANCE HIT
HARPSICHORD
CELESTE
ACCORDION
HARMONICA
LOOP KICK
DANCE KICK
CONGA MUTE
CONGA HIGH
SOUND-EFFECT:
BIRD SONG
PERC ORGAN 1
PERC ORGAN 2
ROTARY ORGAN
PAD SYNTH
VOCAL-SOUND:
CHOIR
VOCAL AAH
VOCAL OOH
REAL SNARE
ROCK SNARE
GM SNARE 1
GM SNARE 2
CONGA LOW
TIMBALI
BONGO
TAIKO
APPLAUSE
TELEPHONE
GUNSHOT
WINDCHIME
PIPE ORGAN
DOO ATTACK
GATED SNARE
SHAKER
WAVEFORM:
STRING-SND:
ORCH STRINGS
VIOLIN
CELLO
PIZZ STRINGS
HARP
NYLON GUITAR
STEEL GUITAR
FRET NOISE
ELEC GUITAR 1
ELEC GUITAR 2
JAZZ GUITAR
MUTE GUITAR
DISTORTED GUITAR
GUITAR HARMONIC
BANJO
GOTO
BASS-SOUND:
FINGER BASS
SMOOTH BASS
WOODY BASS
PICKED BASS
SLAP BASS
FRETLESS BASS
MUTED BASS
BASS HARMONICS
ELEC BASS TAP
ACOUSTIC BASS
ANALOG BASS 1
ANALOG BASS 2
ANALOG BASS 3
ANALOG BASS 4
ANALOG BASS 5
FM SYNTH BASS
PUNCHY SNARE
CONCERT SNARE
DANCE SNARE
ELEC SNARE
HIP HOP SNARE
SYNTH SNARE
RIMSHOT
SIDESTICK 1
SIDESTICK 2
STICK CLICK
SYNTH RIM
SNARE ROLL
BRUSH SLAP
BRUSH SWISH
BRUSH HIT
BRUSH TAP
BRUSH TOM
CABASA
MARACAS
WOODBLOCK
CLAVE
GUIRO
CUICA
VIBRASLAP
COWBELL
AGOGO
TAMBOURINE
TRIANGLE
SLEIGHBELL
FINGER SNAPS
WHISTLE
SYNTH KISS
SYNTH CLAPS
SYNTH CLAVE
SINE WAVE
SAWTOOTH WAVE
SQUARE WAVE
TRIANGLE WAVE
CHURCH ORGAN
ORGAN WAVE 1
ORGAN WAVE 2
ORGAN WAVE 3
REED ORGAN
BELL WAVE 1
BELL WAVE 2
BELL WAVE 3
BELL WAVE 4
DOUBLE REED
SINGLE REED
ANALOG WAVE 1
ANALOG WAVE 2
SHAMISEN
SITAR
TRANSWAVE:
BELL XWAVE 1
DRY TOM
ROOM TOM
SYNTH COWBELL
SYNTH MARACAS
ANALOG WAVE 3
ANALOG WAVE 4
BRASS+HORNS:
BELL XWAVE 2
SYNTH DRUM
CASTANETS
ANALOG WAVE 5
TRUMPET
FLUGELHORN
MUTED TRUMPET
TROMBONE
SOLO FRENCH HORN
FRENCH HORN SECT
BRASS SECTION
RESONANCE
TRANSWAVE EE
TRANSWAVE AY
TRANSWAVE AA
TRANSWAVE OH
TRANSWAVE-Z
INHARMONIC:
BIG BELL
CRYSTAL
SYNTH BELL
NOISE
AIR LOOP
SPECTRUM
ANALOG WAVE 6
DIGITAL WAVE 1
DIGITAL WAVE 2
SYNKEY WAVE
VOCAL WAVE
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Edit Sound
page 02
Delay Time/Direction
Delay Time=000
Direction=FORWRD
Delay Time
Range:
000 to 250 msec, or KEYUP
Determines how long the voice will wait after a key is struck before playing. A delay of up to 250
milliseconds is possible.
When Delay Time=KEYUP, the voice will wait until the key is released before it plays.
Direction
Range:
FORWRD or BACKWD
This parameter determines the direction a wave will play. When Direction=BACKWD, looped
sounds will play from the end of the sample to the start point, and will not loop.
Edit Sound
page 03
Start Index/ModSource/Mod Amount
Start Index=00
Mod=VELOC * +000
i
i
Mod Source
Start Index
Range:
Mod Amount
00 to 99
This parameter is an alternate wave start point that can be dynamically switched to (controlled by
the Mod Source and Amount parameters). When START=00, the whole wave will play. As the
start point is adjusted upwards, it will begin playing further into the wave. You can use this, for
example, to skip the attack and play only the loop portion of (looped) sustaining sounds.
A note about TransWaves
Each TransWave is actually composed of many different single-cycle waveforms, which progress
from one timbre to another, occupying adjacent areas of memory. Movement within the sound is
created by playing different waveforms in succession; that is, by modulating the wavetable.
When Wave=TRANSWAVE on the previous page, the Start Index parameter controls where
within the wavetable the voice-loop will begin playing when the key is struck. The illustration
below shows a typical wave of this category, with the Start Index set in the middle range, near 50.
Negative modulation
ENSONIQ KT Musician’s Manual
Start
Point
Positive modulation
5
Section 6 — Standard Sound Parameters
Mod Source
Range:
Various
Here you can choose which of the modulators will be used to modulate the Start Index. When
Mod=<OFF> and the Mod Amount is +000 or lower, the wave always starts playing from the
Start Index. If Mod=<OFF> and the Mod Amount is +001 or higher, the wave will always start
playing from the beginning, and ignore the Start Index.
When Wave=TRANSWAVE on the previous page, the Mod Source parameter chooses which of
the 15 modulators will control the movement of the sound. Any of the modulators can be
selected.
Mod Amount
Range:
-127 to +127
Determines how much the selected modulation source (above) will affect the wave: i.e. how far
away from the start point the sound will move. This parameter acts as the Start Index threshold:
With Mod Amounts set to +001 or higher, if the modulator output exceeds the Mod Amount, the
wave plays from the Start Index. With Mod Amounts set to +001 or higher, if the modulator
output is lower than the Mod Amount, the wave plays from the beginning. Negative mod
amounts produce the opposite effect. If the mod amount is set to +000, the sound will remain
static, always playing from the Start Index.
When Wave=TRANSWAVE on the previous page, the Mod Amount parameter determines how
much the selected modulator (above) will affect the wave; i.e. how far away from the start point
the sound will move. If Mod Amount is set to +000, the sound will remain static. Positive
amounts will modulate the sound forward (toward the end of the wave); negative modulation
amounts will move the sound back toward the beginning.
Edit Sound
page 04
Sample Shift/Mode
Sample Shift=+00
Mode=SHIFT ALL
Sample Shift
Range:
-60 to +60
Changes keyboard split points on multi-sampled waves in two ways, according to the Mode
parameter. This has the effect of setting the multi-samples to ranges you wouldn’t otherwise
hear (allowing aliasing in some cases), creating completely different colorations. A setting of +00
is the setting for normal multi-sample playback.
Mode
Range:
SHIFT ALL or STRETCH ONE
This parameter determines how the multi-sampled waves will shift.
•
•
6
When Mode=SHIFT ALL, all multi-sample split points will be shifted up or down the
keyboard by the number of semitones specified by the Sample Shift parameter. This is the
setting for normal multi-sample playback.
When Mode=STRETCH ONE, the Sample Shift value selects a key, relative to C4 (i.e.,
+02=D4), whose sample will be played on all keys below it, overriding the normal multisample key map. Keys above the selected key will play their multi-samples as normal. The
same key’s sample will be stretched regardless of the Pitch page 10 Oct/Semi settings.
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Edit Sound
page 05
Voice Restrike Decay Time
Voice Restrike
Decay Time = 3
Voice Restrike Decay Time
Range:
0 to 7
This parameter controls the voice Restrike time. When you play a particular note and then strike
it again immediately before the old note has finished sounding, the amount of time it takes for
the first strike to fadeout is determined by this parameter. By varying the setting of this
parameter, you can control how long sounds overlap when a note is restruck.
For example, if you have a slow string sound, it may sound more natural to use a longer restrike
value, which will cause the old note to decay more slowly, rather than end abruptly when the
new note starts. Normal values are around 3. The higher the value, the longer the fadeout time.
Tip:
If you hear clicking sounds when you restrike a note, setting the Restrike time
to higher values may eliminate the click.
ENSONIQ KT Musician’s Manual
7
Section 6 — Standard Sound Parameters
Edit Sound
page 06
SoundFinder Type
SoundFinder
Type=ACPIANOS
SoundFinder Type
Range:
various (see below)
Allows you to define a sound class for your sounds for use with ENSONIQ’s exclusive
SoundFinder™ feature. This setting can also be used by third-party editor librarian software for
“automatic-sorting” of sounds by type. The available types are:
•
•
•
•
ACPIANOS
ELPIANOS
ORGANS
ALTKEYS
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
SYNLEAD
SYNPAD
VINTGSYN
SYNOTHER
GUITARS
ALTPLUCK
SOLOSTRG
STRGSECT
SOLOBRAS
BRASSECT
SOLOSAX
SOLOWIND
WINDSECT
VOCALS
ACOUBASS
ELECBASS
SYNBASS
PERCUSSN
TUNEPERC
MALLET
BELL
SOUND-FX
HYBRDLYR
•
•
•
•
SPLITS
UTILITY
OTHER
CUSTOM
Acoustic pianos, honky-tonk, toy pianos, and piano forte
Electric and electronic piano sounds
Pipe organs, electric, and electronic organs
Other keyboard sounds such as harpsichord, accordion, and piano layered
with other sounds
Lead synth sounds
Sustaining synth pads
Vintage synth sounds
Other synth sounds: hybrids, fat power-synths
Acoustic guitars, clean electric guitars and distortion guitars
Other plucked strings: harps, banjo, dulcimer, sitar, etc.
Plucked and bowed solo strings (violin, viola, cello, bass)
Plucked and bowed string sections and small ensembles
Solo brass: trumpet, trombone, tuba, French horns
Brass sections: trumpet, trombone, tuba, French horns
Solo saxophones
Solo woodwinds/reeds (including harmonica)
Woodwind/reed/saxophone sections and small ensembles
Vocal sounds: choirs and synth-vox
Acoustic basses
Electric basses
Synth basses
Percussion kits and solo untuned percussion (e.g. taiko)
Tuned percussion, orchestral hits
Tuned mallet-struck instruments: marimba, xylophone, tympani
Acoustic and synth bell sounds
Realistic (e.g. broken glass) and fantasy (e.g. spacecraft) sound effects
This is for unnatural stacked/layered combinations of acoustic elements
(e.g. a bass harmonic on top of a string section).
Combination keyboard splits of 2 or more different sounds
Utility resources such as default template sounds
Unclassified miscellaneous sounds (e.g. didgeridoo)
Use this to define your own special purpose sound type: ENSONIQ sounds
will never be released with TYPE=CUSTOM.
For more information on using SoundFinder, see Section 1 — Controls & Architecture.
8
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Edit Sound
page 07
Change Sound Mode
Press ENTER to
Change SoundMode
Change Sound Mode
Range:
Standard or Drum Sounds
This command allows you to switch the current sound mode between Standard Sounds and
Drum Sounds. When working in Edit (Standard) Sound mode, this command will place the
default Drum Sound into the edit buffer and place the KT in Edit (Drum) Sound mode.
To Change the Current Sound Mode:
• Press {ENTER}. The display momentarily shows “Command Successful!,” changes between
modes, and then displays Edit Sound page 00.
ENSONIQ KT Musician’s Manual
9
Section 6 — Standard Sound Parameters
Pitch Pages (10 - 13)
The Pitch pages determine the “manual” levels for the pitch of the voice, as well as the
poly/mono voice assignment mode.
Edit Sound
page 10
Oct/Semi/Fine
Oct=+0 Semi= +00 Fine= +00
Oct
Range:
-4 to +4 octaves
Changes the pitch of the voice by octaves.
Semi
Range:
+11 to -11 semitones
Changes the pitch of the voice by semitones. Incrementing/decrementing this control beyond
+11 or -11 automatically increases/decreases the octave by one.
Fine
Range:
-99 to +99
Fine-tunes the pitch of the voice by steps of one cent (1/100 of a semitone).
Edit Sound
page 11
Env1/LFO/Mod
On this page, you can apply modulation to the pitch of the voice. Envelope 1 and the LFO are
always available to modify the pitch, and you can also choose one additional modulator from the
available Modulation Sources.
Env1=+00 LFO=+10 Mod=NOISE1 *
+00
i
i
Mod Source
Env1
Range:
Mod Amount
-99 to +99
This hard-wired modulation routing determines the amount that Envelope 1 will affect pitch.
Unlike applying ENV 1 as a pitch modulator with the Mod Source parameter, the hard-wired
Env 1 parameter forces Envelope 1 to always sustain at the normal pitch setting (found by
pressing {EDIT_SOUND}, the upper {1}, then the lower {0} button). The Envelope 1 SUSTAIN
level (level 3) no longer controls the pitch at which Envelope 1 will sustain. Instead, it becomes
an “equator-shift” value, determining which Envelope 1 level values will cause the pitch to rise
above the manual pitch setting and which level values will drive it below. Envelope 1 level
values equal to the SUSTAIN level (level 3) value will sound at the manual setting. Higher level
values will shift the pitch upward from the normal pitch setting, and lower values will shift the
pitch downward. This feature allows for the creation of bi-directional pitch envelope shapes,
while conveniently ensuring that voices will always sustain at the normal pitch setting
(eliminating the need to offset the pitch setting for different envelope shapes).
10
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
LFO
Range:
-99 to +99
Determines the amount that the LFO (Low Frequency Oscillator) will affect the pitch of the voice.
The LFO is most commonly used for vibrato, but it can create many unusual effects, depending
on the LFO waveform chosen.
Mod Source
Range:
Various
Selects an additional modulator for the pitch of the voice from among the available modulation
sources.
Mod Amount
Range:
-99 to +99
Determines the amount or depth by which the additional modulation source will affect pitch.
Edit Sound
page 12
Keyboard Pitch Tracking
Keyboard Pitch Tracking = ON
Keyboard Pitch Tracking
Range:
OFF or ON
Determines whether or not the pitch of the selected voice will change across the keyboard, or
remain static:
•
•
ON — The pitch of a voice tracks with the keyboard.
OFF — All keys play at the same pitch (C4 if the Oct/Semi/Fine parameters have not been
edited). If the Oct/Semi/Fine parameters have been edited, the wave’s pitch will be
transposed by the amount set on that page.
ENSONIQ KT Musician’s Manual
11
Section 6 — Standard Sound Parameters
Edit Sound
Glide/Glide Time
page 13
Glide= NONE Glide Time = 00
Glide
Range:
NONE, TRIGGER, MINIMODE, or LEGATO
Enables Glide (portamento) and several forms of monophonic voice assignment in a sound. All
three voices in a sound share the same Glide time, but each voice selects whether it will glide or
not. There are four Glide settings:
•
•
•
•
NONE — Glide is off. Use this for normal polyphonic operation, with no portamento.
TRIGGER — This mode plays monophonically. The envelopes and waves are always
retriggered, or restarted from the beginning, each time there is a new key down. If a key is
depressed before another is released (i.e. if you play legato), the voice will glide from the old
note to the new one. If you play a key with no other keys down (i.e. if you play staccato), the
voice will not glide. This mode does not feature note memory (see below). This is ideal for
adding monophonic piano “thuds” to piano sounds.
MINIMODE — This mode also plays monophonically. Unlike TRIGGER mode, the
envelopes and waves are only restarted from the beginning when you play a key with no
other keys down (i.e. if you play staccato). If a key is depressed before another is released
(i.e. if you play legato), the voice will glide from the old note to the new one. If you play a
key with no other keys down (i.e. if you play staccato), the voice will not glide. This is ideal
for vintage synth or synth bass sounds.
LEGATO — Again this mode also plays monophonically. The envelopes and waves are
always retriggered, or restarted from the beginning, each time there is a new key down. If a
key is depressed before another is released (i.e. if you play legato), the voice will glide from
the old note to the new one. If you play a key with no other keys down (i.e. if you play
staccato), the voice will not glide. This is ideal for performing trills on wind instruments,
such as flutes.
Note: MINIMODE and LEGATO feature “note memory.” If you release a key while
still holding down another key, the pitch will glide back to the note you are holding.
Holding down the sustain pedal will dynamically disable note memory.
MODE
NONE
TRIGGER
MINIMODE
LEGATO
Glide Time
Staccato
Glide
NO
NO
NO
NO
GLIDE MODES
Legato
Legato Envelope/Wave
Glide
Retrigger
NO
NO
YES
YES
YES
NO
YES
YES
Range:
Note
Memory
NO
NO
YES
YES
00 to 99
Determines the amount of time that it takes for the pitch to glide smoothly from one note to
another. The higher the value, the longer the glide time. Unlike the Glide parameter, Glide Time
controls all three voices within the sound. The KT uses Constant-Time Portamento. This means
that it will take the same amount of time to glide between notes that are close together (e.g. C4 to
D4) as it will to glide between notes that are far apart (e.g. C4 to C7).
12
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Env 1, Env 2 And Env 3 Pages
The Env 1, Env 2, and Env 3 pages, parameters, and ranges identical except where indicated
below. Envelope 1 parameters are found on KT page locations 20-23, Envelope 2 are found on
pages 50-53, and Envelope 3 are found on pages 60-63. We will use Envelope 1 as our example.
Edit Sound
Levels/Time
page 20
Peak
Breakpoint
m
m
Sustain
m
Levels= 99 99 99 Time=99 99 99 99
i
i
Attack
Levels
i
Decay1
Decay2
i
Release
Ranges: 00 to 99
This parameter sets the levels for the three stages of the envelope. These values correspond to the
following levels:
PEAK
Determines the level the envelope will reach at the end of the time defined by ATTACK (see
below).
BREAKPOINT
Determines the level the envelope will reach at the end of DECAY 1.
SUSTAIN
Determines the level the envelope will reach at the end of DECAY 2 and will retain as long as the
key is held down.
Time
Range:
00 to 99
This is used to set values for the four time segments. Note that the numbers shown here
represent times, not rates. That is, the envelope will take a fixed amount of time to go from one
level to another, no matter how far apart those two levels are. See the following Envelope Times
chart for a listing of the time values.
ATTACK
The amount of time it takes for the envelope level to travel from when the key is struck to the
PEAK level. The higher the value, the longer the time.
Note: This doesn’t necessarily have to be an “attack” in the usual sense. If the
ATTACK time is set to 00, the PEAK level becomes the “initial” level of the envelope.
If the PEAK level is set higher than the BREAK level, this would function as another
decay stage.
DECAY 1
The time it takes the envelope to go from PEAK to BREAKPOINT.
DECAY 2
The time it takes the envelope to go from BREAKPOINT to SUSTAIN.
ENSONIQ KT Musician’s Manual
13
Section 6 — Standard Sound Parameters
RELEASE
This defines the time it will take the envelope to return to zero from whatever level it has attained
when the key is released.
value
00
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
18
19
time
(in sec)
.00
.01
.02
.03
.04
.06
.07
.08
.08
.09
.10
.11
.11
.12
.13
.14
.15
16
.17
.19
value
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
Envelope 1 and 2 Times
time
time
(in sec) value
(in sec) value
.20
40
.82
60
.22
41
.88
61
.23
42
.94
62
.25
43
1.0
63
.27
44
1.0
64
.29
45
1.1
65
.31
46
1.2
66
.33
47
1.3
67
.35
48
1.4
68
.38
49
1.5
69
.41
50
1.6
70
.44
51
1.7
71
.47
52
1.8
72
.50
53
2.0
73
.54
54
2.1
74
.58
55
2.3
75
.62
56
2.4
76
.66
57
2.6
77
.71
58
2.8
78
.76
59
3.0
79
time
(in sec)
3.2
3.5
3.7
4.0
4.3
4.6
4.9
5.3
5.7
6.1
6.5
7.0
7.5
8.1
8.6
9.3
9.9
10
11
12
value
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
time
(in sec)
13
14
15
16
17
18
19
21
22
24
26
28
30
32
34
37
39
42
45
49
Note that the Envelope 3 time levels are shorter. The envelope time for a value of 16 is identical
to the 01 value in the chart (i.e. value 16 = .01 sec). All values higher than 16 follow the chart in
ascending order based on this interval. Values less than 16 can be used to eliminate the “click”
attack on waves and still give the appearance of an instant attack.
Edit Sound
page 21
LevV/AtckV/VelCurv
LevV
Range:
00 to 99
The Velocity Level parameter will lower all envelope settings with a softer keystrike. This means
that the settings you assign to PEAK, BREAK, and SUSTAIN are the maximum levels that will be
reached with the hardest keystrike. The amount of “LevV” will determine how much those
levels will be reduced as you play softer. With this parameter you can have continuous dynamic
control over the three levels by varying how hard you play. Changing the Velocity Curve
(VelCurv) gives you further control over the velocity response of the envelope.
AtckV
Range:
00 to 99
Velocity Attack makes the envelope ATTACK time respond to keyboard velocity. When the
value of “AtckV” is increased, a harder keystrike will result in faster attack. Note that this
parameter will have no effect if the envelope ATTACK Time=00.
VelCurv
Range:
QUIKRISE, CONVEX, LINEAR, and CONCAVE
This selects which of the four available velocity response curves the envelope will use if the
velocity level control (LevV above) is set to some value other than zero.
14
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
The graphs below are input/output curves, with the velocity on the x axis (left to right) and the
corresponding output level shown on the y axis (up and down):
CONVEX
LINEAR
0
0
50
Keyboard Velocity
100
0
0
50
Keyboard Velocity
100
100
50
50
Output
Output
50
Output
50
CONCAVE
100
Output
QUICKRISE
0
0
50
Keyboard Velocity
100
0
0
50
Keyboard Velocity
100
Edit Sound
page 22
Mode/KeyboardTrk
Mode = NORMAL KeyboardTrk= +00
Mode
•
•
•
Range:
NORMAL, FINISH, or REPEAT
NORMAL — The envelope plays through normally, as shown in the diagram on the
following page. When the key is released, the envelope takes the RELEASE time to go from
the current level down to zero.
FINISH — The envelope runs its full cycle — finishes playing through all its stages — ignoring
the key-up event. The envelope spends no time at the SUSTAIN stage. When the DECAY 2
time is finished, instead of stopping at the SUSTAIN stage, the envelope immediately goes into
the RELEASE stage. This is good for percussive-type sounds where you want the envelope to
be the same for every note, no matter how long the key is held down.
REPEAT — In this mode, at the end of the DECAY 2 stage, instead of sustaining, the
envelope goes immediately back to the beginning of the envelope and repeats, starting with
the ATTACK stage gain. When the key is released, the envelope stops repeating and moves
into the release stage, taking the RELEASE time to go from the current level down to zero.
This type of envelope can be used to create complex LFO-type effects.
Mode (Env 3) — Voice Triggering
Since Env3 controls the volume of the voice, there are some special considerations to be aware of
when using the different envelope modes:
•
•
•
NORMAL — if you set a delay on the voice (press {EDIT_SOUND}, the upper {0}, then the
lower {2}) , and you release the key before the designated delay time elapses, the voice will
not sound, even if the sustain pedal is down.
FINISH — if you set a delay on the voice, and you release the key before the designated delay
time elapses, the note will sound anyway. The envelope finishes what you set it up to do.
REPEAT — the KT restarts the wave from the beginning every time the envelope repeats. At
the end of the DECAY 2 time, the envelope goes back to the level when the key was struck.
The envelope never stays at the sustain level.
Stealing Notes
To maximize the use of the KT’s 64 voices, and to manage the “voice stealing,” it is sometimes
useful to understand when a given voice will be assigned and when it will be released, or “put
back” into the pool for use by other sounds. This depends on a combination of envelope mode
and wave type.
A (looped) sustaining wave will continue to use the voice until the envelope reaches zero. For a
sustaining wave, when the envelope mode=NORMAL or REPEAT:
ENSONIQ KT Musician’s Manual
15
Section 6 — Standard Sound Parameters
99
= Envelope
AMP envelope
PEAK
= Wave data
BREAK
SUSTAIN
Voice is
assigned
Voice is released
when envelope
gets to zero
0
Looped Voice
KEY UP
KEY DOWN
For a sustaining wave, when the envelope mode = FINISH:
AMP envelope
99
= Envelope
PEAK
= Wave data
BREAK
Voice is
assigned
Voice is released
when envelope
gets to zero, even if
key is still down.
0
Looped Voice
KEY DOWN
SUSTAIN=0
KEY UP
For unlooped, non-sustaining, waves (specifically those in the Percussion and Drum categories)
the voice becomes free as soon as the sample has played through to the end, no matter where the
envelope level is. The voice is released and is available for use by other sounds:
AMP envelope
99
= Envelope
PEAK
= Wave data
BREAK
SUSTAIN
Voice is
assigned
Voice is free
regardless of
envelope
0
"Percussion" sound
KEY UP
KEY DOWN
KeyboardTrk
Range:
-98 to +98
Makes the envelope times longer or shorter, depending on the key played. The scaling effect of
this parameter is based on a center break point of F4+.
Positive values will make all envelope times (except Release) shorter for keys above F4+, and
longer for keys below F4+. Negative values will have the opposite effect. Envelope times for F4+
are not affected by this parameter.
16
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Edit Sound
page 23
Press ENTER to select defaults.
Press ENTER to Select Defaults.
Press ENTER to Select Defaults. Range: listed below
Pressing {ENTER} lists 39 available “preset” envelope values that can be placed into the current
envelope.
To Select the Default Envelopes:
1. Press {ENTER}. The display shows:
Default Envelope
ENV1=ALL ZEROS
i
Currently selected envelope
2.
3.
p
Preset envelope values to be placed into
the currently selected envelope
Use the Data Entry Slider or the {CURSOR} buttons to select the preset envelope value.
These preset default envelope values are:
FULL VELRNG
BRASS FLTR
MED CYM
SLOW LFO
FULL ON
SFORZANDO
SHORT CYM
SLOW REPEAT
PIANO DECAY
NORMAL DRUM WIND PITCH
VIBRATO
STRINGS
TIGHT DRUM
SHORT BLIP
DETUNE LFO
BASS DECAY
PERC 1
TRANSIENT
SHAKUHACHI
GTR DECAY
PERC 2
RAMP UP
SIREN
SOFT MALLET
TIGHT PERC
RAMP DOWN
PITCH DOWN
SLO ATT PAD
TOMS
RAMP UP/DWN
PITCH DOWN2
DECAY PAD
HATS
REPEAT RAMP
ALL ZEROS
LNG RELEASE
LONG CYM
REPEAT TRI
These envelope values are particularly useful when setting up typical envelopes as starting
points when you are creating new voices. Each was designed specifically to be applied to the
amplitude (Env 3), filter (Env2), or pitch (Env1). See the following page for a list of all of the
envelope parameter values that are installed with the preset default envelopes.
After selecting the envelope shape, pressing {ENTER} places it into the voice. The display
momentarily shows “Command successful!” then returns to the “Press ENTER to Select
Defaults.” page.
ENSONIQ KT Musician’s Manual
17
Section 6 — Standard Sound Parameters
KT Default Envelope Values
Env Default
Levels
Time
PEAK BREAK SUST
LevV
AtckV
VelCurv
Mode
Keybd
Track
ATTACK DECAY1 DECAY2 REL
FULL VELRNG
99
99
99
00
20
20
20
99
00
CONVEX
NORMAL
+00
FULL ON
99
99
99
00
20
20
20
00
00
CONVEX
NORMAL
+00
PIANO DECAY
99
60
00
00
57
68
35
53
00
CONVEX
NORMAL
+28
STRINGS
99
90
86
57
50
50
32
26
40
LINEAR
NORMAL
+14
BASS DECAY
99
71
50
00
48
46
23
46
00
CONVEX
NORMAL
+28
GTR DECAY
99
83
00
00
34
64
23
53
00
CONVEX
NORMAL
+42
SOFT MALLET
99
60
00
10
53
53
29
59
00
CONVEX
NORMAL
+28
SLO ATT PAD
99
95
90
40
50
50
40
26
19
CONVEX
NORMAL
+14
DECAY PAD
99
00
00
00
61
00
51
59
00
CONVEX
NORMAL
+28
LNG RELEASE
99
90
85
57
61
51
78
33
13
LINEAR
NORMAL
+00
BRASS FLTR
99
70
50
38
34
42
18
26
13
CONVEX
NORMAL
+28
SFORZANDO
99
44
81
00
39
35
22
40
00
CONVEX
NORMAL
+14
NORMAL DRUM
99
90
79
00
22
48
24
40
00
CONVEX
NORMAL
+00
TIGHT DRUM
99
85
00
00
10
12
22
53
00
CONVEX
FINISH
+00
PERC 1
99
85
00
00
24
53
22
53
00
CONVEX
FINISH
+00
PERC 2
99
76
00
00
29
50
22
53
00
CONVEX
FINISH
+14
TIGHT PERC
99
85
00
00
06
22
24
59
00
CONVEX
FINISH
+00
TOMS
99
60
00
00
37
19
11
46
00
CONVEX
FINISH
+00
HATS
99
71
00
00
31
50
07
46
00
CONVEX
NORMAL
+00
LONG CYM
99
65
00
00
45
61
17
46
00
CONVEX
FINISH
+00
MED CYM
99
65
00
00
39
53
17
46
00
CONVEX
FINISH
+00
SHORT CYM
99
70
00
00
34
51
17
46
00
CONVEX
FINISH
+00
WIND PITCH
99
99
99
24
20
20
20
00
13
CONVEX
NORMAL
+14
SHORT BLIP
99
00
00
16
04
00
22
00
00
CONVEX
NORMAL
+00
TRANSIENT
99
00
00
00
01
00
01
00
00
CONVEX
NORMAL
+00
RAMP UP
99
99
99
75
50
50
24
00
00
CONVEX
NORMAL
+00
RAMP DOWN
99
00
00
00
64
00
22
00
00
CONVEX
NORMAL
+00
RAMP UP/DWN
00
99
00
00
66
66
00
00
00
CONVEX
REPEAT
+00
REPEAT RAMP
00
99
00
00
31
00
15
00
00
CONVEX
REPEAT
+00
REPEAT TRI
00
99
00
00
15
15
15
00
00
CONVEX
REPEAT
+00
SLOW LFO
00
99
00
00
50
50
50
00
00
CONVEX
REPEAT
+00
SLOW REPEAT
00
50
00
00
50
50
15
00
00
CONVEX
REPEAT
+00
VIBRATO
00
33
00
00
12
12
12
00
00
CONVEX
REPEAT
+00
DETUNE LFO
45
54
45
00
31
32
50
00
00
CONVEX
REPEAT
+00
SHAKUHACHI
50
89
50
01
12
13
62
00
00
CONVEX
NORMAL
+00
SIREN
00
99
00
00
36
36
40
00
00
CONVEX
REPEAT
+00
PITCH DOWN
40
00
00
00
39
00
00
00
00
CONVEX
FINISH
+00
PITCH DOWN2
40
00
00
00
51
00
00
00
00
CONVEX
FINISH
+00
ALL ZEROS
00
00
00
00
00
00
00
00
00
LINEAR
NORMAL
+00
18
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
LFO Pages (30 - 32)
The LFO pages contain the parameters related to the Low Frequency Oscillator. Each voice
within a sound has its own LFO, which can be assigned as a modulator wherever a modulation
source is selected. LFOs are commonly used to create vibrato, tremolo, and other effects.
Edit Sound
LFO Rate/Noise Rate
page 30
LFO Rate
Range:
00 to 99
Determines the speed of the LFO. The table below shows the frequency (in hertz) for each value:
LFO FREQUENCIES
value
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
time
(in Hz)
.00
.01
.03
.07
.10
.13
.17
.20
.23
.27
.30
.33
.37
.40
.43
.47
.50
.53
.57
.60
value
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
time
(in Hz)
.63
.67
.70
.73
.77
.80
.83
.87
.90
.93
.97
1.00
1.13
1.26
1.39
1.52
1.65
1.78
1.91
2.04
Noise Rate
value
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
time
(in Hz)
2.17
2.30
2.43
2.56
2.69
2.82
2.95
3.08
3.21
3.34
3.47
3.60
3.73
3.86
3.99
4.12
4.25
4.38
4.51
4.64
Range:
value
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
time
(in Hz)
4.77
4.90
5.03
5.16
5.29
5.42
5.55
5.68
5.81
5.94
6.07
6.20
6.33
6.46
6.59
6.72
6.85
6.98
7.11
7.24
value
80
81
82
83
84
85
865
87
88
89
90
91
92
93
94
95
96
97
98
99
time
(in Hz)
7.37
7.50
7.63
7.76
7.89
8.02
8.15
8.28
9.28
10.28
11.28
12.28
13.28
14.28
15.28
16.28
17.28
18.28
19.28
20.28
00 to 99
Two of the KT’s modulation sources are NOISE 1 and NOISE 2. The Noise modulators produce
randomly changing levels. Their main use is to randomize or “humanize” pitch when applied as
pitch modulator. They can also be used to randomize any other modulation destination.
Typically, they might look like this:
NOISE 1
NOISE 2
+100
+100
0
0
-100
-100
Noise Rate
ENSONIQ KT Musician’s Manual
Noise Rate
19
Section 6 — Standard Sound Parameters
The Noise Rate defines how frequently the levels will change. Low values will cause levels to
change very slowly; with high values the levels will change quickly. A rate value of zero will
select a different random level with each key down, but the level will not change for as long as
the key is held.
Edit Sound
Depth/Dlay/Mod
page 31
Depth=99 Dlay=00 Mod=WHEEL
Depth
Range:
00 to 99
Sets the “manual” level (or depth) of the LFO; in other words, it controls the initial amount of
LFO. The effect of any LFO modulator will be added to this amount.
Dlay
Range:
00 to 99
Determines the time it takes for the LFO to go from zero to the level set with the Depth
parameter. This is useful for creating delayed vibrato, tremolo, etc. Higher values give longer
delay times. When the LFO rate is at zero, this will create a delayed ramp effect from zero output
to the current LFO depth.
Mod
Range:
Various
Selects a modulation source for LFO Depth from among the 15 available modulators. The effect
of any modulator assigned here will be added to the depth set with the LFO Depth parameter.
Edit Sound
page 32
Wave/Restart
Wave = SINE Restart = ON
Wave
Range:
Listed below
Determines the waveshape of the LFO. There are seven possible values (shown on the next
page):
•
•
•
•
•
•
•
20
TRIANGLE — this wave is commonly used to modulate pitch to produce vibrato.
SINE — a pure fundamental frequency, more rounded in its peaks and valleys than the
triangle wave.
SINE/TRI — a mixture of a sine and triangle wave, a somewhat pointy sine wave.
POS/SINE — a positive-only sine wave.
POS/TRI — a positive-only triangle wave useful for simulating vibrato on instruments like
the guitar where a player can only bend notes up.
SAWTOOTH — commonly used for special effects.
SQUARE — this positive-only square wave is useful for producing in-tune trill effects.
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
LFO Waveshapes
+100
+100
+100
0
0
0
-100
-100
TRIANGLE
-100
SINE
SINE/TRI
+100
+100
+100
+50
+50
0
0
0
POS/SINE
-100
POS/TRI
SAWTOOTH
+100
0
-100
Restart
SQUARE
Range:
OFF or ON
Determines whether the LFO will restart with each keystrike: When set to OFF, the LFO will
cycle continuously without resetting. When set to ON, the LFO waveform will start from the
beginning of its cycle each time a new key is struck.
Tip:
If you set the LFO Rate to 00, and the Restart parameter to ON, you can use the
LFO as a gated modulator with a variable depth. Use Wave = SQUARE, because it
starts high.
ENSONIQ KT Musician’s Manual
21
Section 6 — Standard Sound Parameters
Filters Pages (40 - 44)
Each KT voice has two filters, Filter 1 and Filter 2, that are connected in series. The filter settings
determine which ranges of frequencies will be allowed to pass through to the output.
Edit Sound
page 40
Filter1/Filter2
Filter1= 2LoPass Filter2= 2HiPass
Filter1
Range:
2LoPass, 3LoPass
Determines whether Filter 1 will be a 2-pole or 3-pole low pass filter.
Filter2
Range:
2HiPass, 1HiPass, 2LoPass, 1LoPass
Filter 2 can be configured as a 2-pole or 1-pole high pass filter, or a 2-pole or 1-pole low pass
filter.
Note: These two parameters are “tied together” — changing the value of one will also
change the value of the other.
Edit Sound
page 41
FC1 Cutoff/Envelope2
FC1 Cutoff = 055 Envelope2 = +44
FC1 Cutoff
Range:
000 to 127
Determines the initial, or manual, filter cutoff frequency. Filter 1 is always a low pass filter. A
setting of 127 lets all the original signal pass through the filter. Lower cutoff settings allow fewer
high frequencies through, somewhat like turning down the treble on a stereo.
Envelope2
Range:
-99 to +99
Determines the amount or depth by which envelope 2 will affect the filter cutoff frequency.
22
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Edit Sound
page 42
FC1 Keyboard/Mod
Filter Cutoff
m
FC1 Keyboard=+25 Mod=VEL
* +29
i
i
Mod Source
FC1 Keyboard
Range:
Mod Amount
-99 to +99
Sets the amount by which the location of a note on a keyboard will modulate the filter cutoff
frequency (keyboard filter tracking). The scaling effect of this parameter is based on a 76-note
keyboard, with a center break-point of F4+. To have the filter track the keyboard exactly, set FC1
Keyboard=+50.
Mod
Range:
Various
Selects the source of modulation for the filter cutoff frequency from among the 15 available
modulators.
Mod Amount
Range:
-99 to +99
Determines the amount that the modulation source will affect the filter cutoff frequency.
Edit Sound
page 43
FC2 Cutoff/Envelope2
FC2 Cutoff
Range:
000 to 127
Determines the initial, or manual, filter cutoff frequency. When Filter 2 is a low pass filter, it will
behave just like Filter 1. When Filter 2 is a high pass filter, a setting of 000 lets all the original
signal pass through. Higher cutoff settings on a high pass filter allow fewer low frequencies
through, somewhat like turning the bass down on a stereo system.
Envelope2
Range:
-99 to +99
Determines the amount that Envelope 2 will affect the filter cutoff frequency.
Edit Sound
page 44
FC2 Keyboard/FC1 Mod➡FC2
FC2 Keyboard
Range:
-99 to +99
Sets the amount that the location of a note on a keyboard will modulate the filter cutoff frequency
(keyboard filter tracking). The scaling effect of this parameter is based on a 76-note keyboard,
with a center break-point of F4+. To have the filter track the keyboard exactly, set FC2
Keyboard=+50.
FC1 Mod➡FC2
Range:
OFF or ON
Allows the modulator assigned to FC1 to also modulate FC2. FC2 has no modulation source of
its own. Enabling this parameter is the only way to apply modulation to FC2. When “FC1
Mod➡FC2= ON” the modulation source for FC1 and its modulation amount will be applied to
FC2.
ENSONIQ KT Musician’s Manual
23
Section 6 — Standard Sound Parameters
Editing the Filters
To Set the Filter Mode
1.
2.
3.
4.
5.
Press {EDIT_SOUND}.
Press the upper {4} button.
Press the lower {0} button.
Use the Data Entry Slider or the {VALUE} buttons to change the filter mode.
Note that changing the value of one will also change the value of the other.
Use the {CURSOR} buttons to switch between filter 1 and filter 2.
To Change the Filter Cutoff Frequency
1.
2.
3.
4.
Press {EDIT_SOUND}.
Press the upper {4} button.
Press the lower {1} button.
Use the Data Entry Slider or the {VALUE} buttons to change the filter cutoff frequency.
Note that higher cutoff settings allow fewer low frequencies through.
To Modulate the Filters
1.
2.
3.
4.
Press {EDIT_SOUND}.
Press the upper {4} button.
Press the lower {2} button.
Use the Data Entry Slider or the {VALUE} buttons to change the filter modulators.
More About Filters
Low Pass/High Pass Filters
A low pass filter allows only those frequencies below the filter cutoff frequency to pass — higher
frequencies are filtered out. A high pass filter lets frequencies higher than the cutoff frequency
pass and filters out those below. In the KT, Filter 1 is always a low pass filter. Filter 2 can be
either a high pass or low pass filter.
Poles: Rolloff Curves
“Pole” is an engineering term that describes the steepness of a filter, or the filter’s cutoff slope.
Each additional pole gives a filter a steeper rolloff curve. In the KT, the filter modes are
interdependent: that is, the combined number of poles in Filter 1 and Filter 2 is always four.
These four available poles are divided between the two filters; either as 2 and 2, or as 3 and 1. A
1-pole filter will rolloff at 6 dB per octave; a 2-pole filter, at 12 dB per octave; a 3-pole filter, at 18
dB per octave; and a 4-pole filter, at 24 dB per octave. To reproduce a 4-pole low-pass filter (for
that “classic” analog synth sound) you would set both filters to 2-pole low-pass; each filter will
then rolloff at 12 dB per octave, resulting in a total 24 dB per octave rolloff.
Cutoff Frequency
Every filter has a “knee” in its response curve, known as the cutoff frequency. This is the
frequency at which the filter begins filtering out frequencies. The filter cutoff frequency can
remain fixed over time, or it can be varied by modulating the filter with an envelope, LFO,
velocity, etc.
24
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Filter Configurations
The following diagrams show some possible filter configurations. On the left are the response
curves of the two filters shown separately. On the right are some possible shapes of the
combined filters.
Filter Configuration 1
Filter 1=3LoPass
4 pole/Low-pass
amplitude
Filter 2=1LoPass
freq.
cutoff
24 dB/oct
(when F1 & 2
are tuned to the
same freq.)
frequency
0
amplitude
freq.
cutoff
0
18 dB/oct
+
amplitude
freq.
cutoff
6 dB/oct
=
Or
4 pole/Low-pass
0
frequency
frequency
6 dB/oct
freq.
amplitude cutoff #2
24 dB/oct
freq.
cutoff #1
0
frequency
Filter Configuration 2
Filter 1=2LoPass
4 pole/Low-pass
freq.
amplitude cutoff
Filter 2=2LoPass
24 dB/oct
(when F1 & 2
are tuned to the
same freq.)
frequency
0
freq.
amplitude cutoff
0
12 dB/oct
+
freq.
amplitude cutoff
frequency
0
12 dB/oct
=
Or
4 pole/Low-pass
frequency
amplitude
12 dB/oct
freq.
cutoff #1
24 dB/oct
freq.
cutoff #2
frequency
0
Filter Configuration 3
Filter 1=3LoPass
freq. 18 dB/oct
amplitude cutoff
0
frequency
ENSONIQ KT Musician’s Manual
Filter 2=1HiPass
+
6 dB/oct
amplitude
0
freq.
cutoff
frequency
Bandpass
=
F F
amplitude
0
H
L
frequency
25
Section 6 — Standard Sound Parameters
Filter Configuration 4
Filter 1=2LoPass
freq.
amplitude cutoff
0
26
12 dB/oct
frequency
Filter 2=2HiPass
+
12 dB/oct
amplitude
0
freq.
cutoff
frequency
Bandpass
=
amplitude
0
F
F
H
L
frequency
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Env2 (50-53) and Env3 Pages (60-63)
The parameters in these pages are identical to those found in the Env1 pages. See the description
of Env1 earlier in this section for details. Again, Env1 controls pitch, Env2 controls the filter, and
Env3 regulates volume.
Output Pages (70 - 73)
The parameters in the Output page, along with Env3, regulate the overall volume and panning of
the voice, along with keyboard scaling, effects routing, and voice reassignment or “voice
stealing” priority.
Edit Sound
Vol/Mod
page 70
Output Volume
m
Vol=+00dB Mod=LFO
* +29
i
i
Mod Source
Vol
Range:
Mod Amount
-50 to +14 dB
Determines the volume of each voice. Since Env3 is permanently routed to the volume of the
voice, this parameter could be thought of as the Amplitude Envelope Amount.
Values above +00 dB are intended to let you compensate for the effects of heavy filtering or
enveloping, and for the fact that some waves simply have less apparent loudness than others.
For example, a percussion sample, which is by nature a quick peak, has less energy than a
sustaining square wave. A higher Vol setting lets you raise the level of such waves to equal that
of “louder” waves.
Warning:
We strongly recommend against setting Vol levels above +00 to all the
waves in your sounds just to make them louder — doing so can result in
clipping (distortion) when you play more than one or two notes.
Mod Source
Range:
Various
Selects one of the 15 available modulators to affect the volume of the voice. This is in addition to
Env3, which is always routed to volume.
Mod Amount
Range:
-99 to +99
Determines how much the modulator selected above will affect the volume of the voice.
Tip:
By assigning the volume modulators to different voices within a sound, you
can create real-time voice crossfading (e.g. making strings swell underneath a piano).
ENSONIQ KT Musician’s Manual
27
Section 6 — Standard Sound Parameters
Edit Sound
page 71
KeybdScale/KeyRange
KeybdScale= +00 KeyRange=A0 C8
The following two parameters provide a powerful tool for shaping the volume of the sound
across the keyboard:
KeybdScale
Range:
-99 to +99, or ZONE
Can be used to fade the voice in or out between the two keys specified in the key range. This is
good for doing keyboard cross fades between voices, or for reducing the volume of a particular
voice as you play higher up the keyboard. A value of +99 will fade the voice in from silence to
full level between the low and high keys. A value of -99 will fade the voice out from full level to
silence between the low and high keys. Intermediate values will scale the voice from full level to
an intermediate level.
With KeybdScale=+99 and KeyRange=A0 to C8:
Full
Some attenuation
is heard
Volume
Level
Off
KT-76 keyboard
KT-88 keyboard
MIDI Note numbers 0-127
With KeybdScale=-99 and KeyRange=A0 to C8:
Full
Some attenuation
is heard
Volume
Level
Off
KT-76 keyboard
KT-88 keyboard
MIDI Note numbers 0-127
28
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
With KeybdScale=-99 and KeyRange=C4 to C5:
Full
Volume
Level
C4
C5
Off
KT-76 keyboard
KT-88 keyboard
MIDI Note numbers 0-127
With KeybdScale=+99 and KeyRange=C2 to C6:
Full
Volume
Level
C2
C6
Off
KT-76 keyboard
KT-88 keyboard
MIDI Note numbers 0-127
ENSONIQ KT Musician’s Manual
29
Section 6 — Standard Sound Parameters
Setting a Keyboard Zone
Moving the Data Entry Slider all the way down to the bottom position (below -99) selects
KeybdScale=ZONE. In this position the voice will sound only over the keyboard range specified
by the low and high keys. When KeybdScale=ZONE, the volume scaling function is not in effect
— the voice will play at the same volume throughout the zone.
With KeybdScale=ZONE and KeyRange=C4 to C5:
Full
Volume
Level
C5
C4
Off
KT-76 keyboard
KT-88 keyboard
MIDI Note numbers 0-127
KeyRange
Range:
A0 to C8
Sets the key range over which the fade-in, fade-out or keyboard zone will occur. When this
parameter is selected, notes can be entered from either the keyboard or by using the Data Entry
Slider or {VALUE} buttons. Select this parameter and play the low key: the note you played is
entered as the low key, and the cursor switches to the high key. Now play the high key: the note
you played is entered as the high key, and the cursor disappears. If you made a mistake, or want
to enter a different range of values, just select the parameter again and repeat the process.
30
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
Edit Sound
page 72
Output Bus/Priority
Output Bus = FX1 Priority= MEDIUM
Output Bus
Range:
DRY, FX1, or FX2
Each voice within a sound can be routed to one of three stereo “busses.” The diagram below
shows a typical routing of the signals for each bus. See Section 3 — Understanding Effects for more
information on effects routing and programming specific effects.
DRY
FX1
Effect 1a
Effect 1b
Mix1
L
Effect 2
R
Audio
Outputs
FX2
Mix2
Priority
Range:
LOW, MEDIUM, or HIGH
Gives you control over how voices will be reassigned, or “stolen,” to play new notes when all the
KT’s voices are already playing. A voice can be can assigned LOW, MEDIUM or HIGH priority.
The rule is that a given voice will only be allowed to steal from voices with the same or lower
priority.
MEDIUM is most often used for voices. LOW can be used for voices within a sound that would
be missed the least if stolen (such as a voice playing the same wave as another voice but detuned
a bit). HIGH is best used only for specific applications in which you want to protect a voice or
voices from being stolen — such as drums or a sustaining “pad” sound in a sequencer track.
ENSONIQ KT Musician’s Manual
31
Section 6 — Standard Sound Parameters
Edit Sound
page 73
Pan/Mod Source/Mod Amount
Pan = +00 Mod=<OFF> * +00
Pan
Range:
-98 to +98
Pans the voice within the stereo field. A value of +00 pans the voice center, -98 pans the voice
hard left, and +98 pans the voice hard right.
Mod Source
Range:
various
Selects a modulation source for the voice panning from among the 15 available modulators. This
will cause the voice’s location in the stereo field to vary with the output level of the modulation
source.
Mod Amount
Range:
-99 to +99
Determines the amount by which the assigned volume modulator will affect the panning of the
voice.
Edit Sound
page 74
Vel Window
Vel Window > 000
Vel Window
Range:
<=124 to >124
Selects a key velocity below which, or above which, the voice will not sound. This allows
velocity switching between different voices within the sound. When the value is 000, the
parameter will have no effect. Values from 000 to >124 mean that the voice will only play when
the key velocity is greater than the number shown. Values from <=016 to <=124 mean that the
voice will only play when the key velocity is less than or equal to the number shown.
32
ENSONIQ KT Musician’s Manual
Section 6 — Standard Sound Parameters
ENSONIQ KT Musician’s Manual
33
Section 7 — Drum Sound Parameters
Section 7 — Drum Sound Parameters
This section covers those functions that can be edited independently for each voice within a
Drum sound.
Edit (Drum) Sound Mode
Whenever you want to edit a drum sound, you must first place the KT into Edit (Drum) Sound
mode. Once in Edit (Drum) Sound mode you can modify the parameters of a drum sound to
better suit your needs or create a completely new sound.
To access the following parameters, first select a drum sound, and then press the {EDIT_SOUND}
button to enter Edit Sound mode. In Edit Sound mode, the upper {0} to {9} buttons are used to
access the groups of pages relating to sound editing, and the lower {0} to {9} buttons are used to
select the pages within that group. This combination of upper and lower buttons is called the
page number. Each page in Edit (Drum) Sound mode has a two digit page number.
Wave
Pitch
Env 1
LFO
Filters
Env 2
0
1
2
3
4
5
Env 3
Output
Effects
7
8
6
Store
Sound Data
9
Wave Pages (00 - 05)
In the Wave pages you can choose which wave the currently selected voice will play, and modify
various playback parameters of the wave.
Edit Sound
page 00
Key Range/Wave Name
Current Key Number
Low Key
m
High Key
m
m
Key=C4 A3#:D4
PUNCHY KICK
i
Wave Name
Current Key Number
Range:
A0 to C8
This parameter is used to select each of the 17 drum voices for editing.
With a Drum Sound selected (in Edit Sound mode), take a moment to play each key on the
KT’s keyboard. You’ll notice that each time you play a new key, the current key number changes.
However, the key range parameters (Low Key and High Key) and the wave name change every
several keys. If you count, you’ll discover that there are 17 of these changes, corresponding to the
17 voices.
ENSONIQ KT Musician’s Manual
1
Section 7 — Drum Sound Parameters
By playing keys on the keyboard, you are selecting a voice to be edited. You can then select a
waveform, define a key range and tailor the voice to suit your needs.
Key Range (Low : High)
Ranges: A0 to C8
The Low and High Key parameters work together to form a key range, which is the term used to
describe the range of notes within which a particular voice will play.
After selecting this parameter, you can set the key range by simply playing the notes on the
keyboard where you want the low and high keys to be located. (Low Key is set first, followed by
High Key).
Tip:
By setting the High Key lower than the Low Key, you can quickly create
“blank” inaudible ranges.
Creating “Holes” in the Key Map
It is possible, when setting the key range for a particular voice, to make the current voice “cover
up” one or more voices. This would occur if the key range of one voice extended over the entire
area of another voice’s key range. The result would be something like this:
As you can see, the 11 voices defined cover the entire range of the KT-76’s keyboard. This has the
effect of “covering up” the remaining six voices (shown in shading).
Now, suppose you wanted to add another voice to the sound (you’ve discovered you just can’t live
without tambourine). To make another voice available for the tambourine waveform, you must:
•
•
First, select a key in the range where you’d like the tambourine to be placed. For this
example, we’ll choose F6 (the highest shaded key in the diagram).
Next, you’ll need to “create a hole” in the sound’s key map on that particular key.
Select the voice that currently occupies the F6 key (by playing the F6 key) and reset its key
range to where the High Key is E6.
This will have the effect of opening a hole in the key map at F6.
•
Play the F6 key to select its voice. You’ll see the display show:
Key=??? E6:F6 TIMBALI
The question marks (???) in a key value indicate that there is no voice range defined to that key.
However, you will hear the voice assigned to that key from the “hidden” General MIDI ROM
Drum sound that resides beneath the key ranges. As a result the wave name that you see and the
wave that you hear may not be the same.
Pressing the key has the effect of selecting the “uncovered” voice and bringing it into the newly
created hole.
•
2
To complete the process, define a key range for the voice (for this example F6 : F6), and it will
become a permanent voice in the sound. You can then select which wave the voice will play
and make other edits, just as you would with any of the voices.
ENSONIQ KT Musician’s Manual
Section 7 — Drum Sound Parameters
Edit Sound
page 01
Wave Class/Wave Name
Wave Class
m
Wave=SNARE-DRUM REAL SNARE
i
Wave Name
Wave Class
Range:
various (see below)
This parameter determines the class of waves that will be used for a particular voice. After
selecting this parameter, you can use the Data Entry Slider or the {VALUE} buttons to scroll
quickly through the different wave classes to the category you want. Then select the wave name
to choose a specific wave from that category.
Whenever the wave class is changed, the first wave in that class is selected.
The KT drum-related wave classes are grouped to aid in creating custom drum sounds. The
Wave Classes available for KT Drum Sounds are:
KICK-DRUM
SNARE-DRUM
MISC-DRUM
CYMBALS
Wave Name
PERCUSSION
TUNED-PERC
SOUNDEFFECT
Range:
various
Here you select the actual wave that the voice will play. When this parameter is underlined, the
Data Entry Slider and the {VALUE} buttons will select only among the waves in the current
wave class.
ENSONIQ KT Musician’s Manual
3
Section 7 — Drum Sound Parameters
KT Drum Sound ROM Wave Catalog
The Wave Class is shown in bold at the top of each ROM wave group:
KICK-DRUM:
PUNCHY KICK
ACOUSTIC KICK
FAT KICK
GATED KICK
AMBIENT KICK
SYNTH KICK
ROOM KICK
BRIGHT KICK
DRY KICK
JAZZ KICK 1
JAZZ KICK 2
ELEC KICK
LOOP KICK
MISC-DRUM:
RIMSHOT
SIDESTICK 1
SIDESTICK 2
STICK CLICK
SYNTH RIM
SNARE ROLL
BRUSH SLAP
BRUSH SWISH
BRUSH HIT
BRUSH TAP
BRUSH TOM
DRY TOM
ROOM TOM
PERCUSSION:
CONGA MUTE
CONGA HIGH
CONGA LOW
TIMBALI
BONGO
TAIKO
SHAKER
CABASA
MARACAS
WOODBLOCK
CLAVE
GUIRO
CUICA
TUNED-PERCUS:
VIBRAPHONE
MARIMBA
XYLOPHONE
GLOCKENSPIEL
TYMPANI
STEEL DRUM
KALIMBA
DOORBELL
TUBULAR
GAMELAN BELL
ORCHESTRA HIT
DANCE HIT
DANCE KICK
SYNTH DRUM
VIBRASLAP
SOUND-EFFECT:
CYMBALS:
COWBELL
BIRD SONG
CLOSED HAT 1
CLOSED HAT 2
OPEN HAT 1
OPEN HAT 2
PEDAL HAT
CRASH CYMBAL
CHINA CRASH
RIDE CYMBAL
RIDE BELL
SYN CLOSEHAT
SYN OPEN HAT
CLOSED HAT 1-KG1
CLOSED HAT 2-KG1
OPEN HAT 1 -KG1
OPEN HAT 2 -KG1
PEDAL HAT -KG1
SYN CLOSEHAT-KG2
SYN OPEN HAT-KG2
AGOGO
TAMBOURINE
TRIANGLE
SLEIGHBELL
FINGER SNAPS
WHISTLE
SYNTH KISS
SYNTH CLAPS
SYNTH CLAVE
SYNTH COWBELL
SYNTH MARACAS
CASTANETS
GUIRO -KG3
CUICA -KG4
TRIANGLE -KG5
WHISTLE -KG6
APPLAUSE
TELEPHONE
GUNSHOT
WINDCHIME
SNARE-DRUM:
REAL SNARE
ROCK SNARE
GM SNARE 1
GM SNARE 2
GATED SNARE
PUNCHY SNARE
CONCERT SNARE
DANCE SNARE
ELEC SNARE
HIP HOP SNARE
SYNTH SNARE
About Key Group Waves
You may notice that several of the waves listed above have “-KG(number)” at the end of the
wave name. These are called key group waves, and are used for grouped voice cutoff. This effect
is optimized for hi-hats. Any wave that ends in the same numbered key group will cut off any
currently sounding wave that ends in the same key group number.
For example, if you pressed a key that was assigned OPEN HAT 1 -KG1 and before it decayed, you
pressed a key that was assigned CLOSED HAT -KG1 (or any other -KG1 wave), it would
automatically cut off the OPEN HAT 1 -KG1 wave. If you were to press a key that was assigned
SYN CLOSEHAT-KG2 (or any -KG2 or higher key group numbered wave), OPEN HAT 1 -KG1
would not cut off. Likewise, if you pressed a key that was assigned OPEN HAT 1 -KG1 and before it
decayed, you pressed a key that was not assigned a key group, OPEN HAT 1 -KG1 would not cut
off.
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ENSONIQ KT Musician’s Manual
Section 7 — Drum Sound Parameters
In order for this feature to work, the keys pressed must both have the same key group number.
ENSONIQ KT Musician’s Manual
5
Section 7 — Drum Sound Parameters
Edit Sound
page 02
Direction
Direction=FORWRD
Direction
Range:
FORWRD or BACKWD
This parameter determines the direction a wave will play, either forward or backward.
Edit Sound
page 03
Press ENTER to Set GM Map
Press ENTER to Set GM Map
This command erases the key map currently residing in the edit buffer, setting all the voices to a
key range of A0-A0 (i.e. unassigned) and revealing the entire “hidden” ROM General MIDI
Drum Map that resides underneath the 17 drum voices.
To reveal the “hidden” General MIDI Drum Map:
• From this page, press {ENTER}.
The display momentarily shows “Command successful!” and then returns to Edit (Drum)
Sound page 00.
Because all of the voices are set to a key range of A0-A0, playing the keyboard fails to recognize
these ranges, and the display shows incongruous information as you play. As a result the wave
name that you see and the wave that you hear may not be the same. The following diagram
shows the “hidden” General MIDI Drum map. Note that keys outside of the General MIDI range
are silent.
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ENSONIQ KT Musician’s Manual
Section 7 — Drum Sound Parameters
The “Hidden” ROM General MIDI Drum Map
MIDI Note #
35
36
_____ 37
38
_____ 39
40
41
_____ 42
43
_____ 44
45
_____ 46
47
48
_____ 49
50
_____ 51
52
53
_____ 54
55
_____ 56
57
_____ 58
59
60
_____ 61
62
_____ 63
64
65
_____ 66
67
_____ 68
69
_____ 70
71
72
_____ 73
74
_____ 75
76
77
_____ 78
79
_____ 80
81
_____ 82
83
84
_____ 85
86
_____ 87
88
ENSONIQ KT Musician’s Manual
B1
C2
C2+
D2
D2+
E2
F2
F2+
G2
G2+
A2
A2+
B2
C3
C3+
D3
D3+
E3
F3
F3+
G3
G3+
A3
A3+
B3
C4
C4+
D4
D4+
E4
F4
F4+
G4
G4+
A4
A4+
B4
C5
C5+
D5
D5+
E5
F5
F5+
G5
G5+
A5
A5+
B5
C6
C6+
D6
D6+
E6
General MIDI Drum Map
ACOUSTIC KICK
PUNCHY KICK
SIDESTICK 1
GM SNARE 1
SYNTH CLAPS
GM SNARE 2
DRY TOM
CLOSED HAT 2-KG1
DRY TOM
PEDAL HAT -KG1
DRY TOM
OPEN HAT 1 -KG1
DRY TOM
DRY TOM
CRASH CYMBAL
DRY TOM
RIDE CYMBAL
CHINA CRASH
RIDE BELL
TAMBOURINE
CRASH CYMBAL
COWBELL
CRASH CYMBAL
VIBRASLAP
RIDE CYMBAL
BONGO
BONGO
CONGA MUTE
CONGA HIGH
CONGA LOW
TIMBALE
TIMBALE
AGOGO
AGOGO
CABASA
MARACAS
WHISTLE -KG6
WHISTLE -KG6
GUIRO -KG3
GUIRO -KG3
CLAVES
WOODBLOCK
WOODBLOCK
CUICA -KG4
CUICA -KG4
TRIANGLE -KG5
TRIANGLE -KG5
SHAKER
SLEIGHBELL
WINDCHIME
CASTANET
DRY TOM
TAIKO
NOT USED
7
Section 7 — Drum Sound Parameters
Edit Sound
page 04
Press ENTER to Set Ensoniq Map
Press ENTER to Set Ensoniq Map
This command erases the key map currently residing in the edit buffer, setting all the voices to
the 17-voice default ENSONIQ drum map. This ENSONIQ drum map completely covers up the
“hidden” ROM General MIDI drum map. The illustration below shows the default ENSONIQ
drum map settings:
Default ENSONIQ Drum Map
OPEN HAT 1 -KG1
CLOSED
HAT 1-KG1
REAL SNARE
BRIGHT KICK
RIDE
OPEN
CYMBAL
HAT 2 -KG1
CLOSED
HAT 2-KG1
PEDAL
HAT -KG1
SNARE DRUMS
CHINA
CYMBAL
DRY
TOM
DRY
TOM
TOM TOMS
HI-HATS
KICK DRUMS
DRY
TOM
CRASH
CYMBAL
SIDESTICK 1
DRY
TOM
SYNTH
CLAPS
TAMBOURINE
MISC. PERCUSSION
CYMBALS
General Drum Types
To Set all Voices to the ENSONIQ Drum Map:
• From this page, press {ENTER}.
The display momentarily shows “Command successful!” and then returns to Edit (Drum)
Sound page 00.
Edit Sound
page 05
Change Sound mode
Change Sound mode
This command allows you to switch the current sound mode between Drum Sounds and Standard
Sounds. When working in Edit (Drum) Sound mode, this command will place the default
Standard sound into the edit buffer, and place the KT into Edit (Standard) Sound mode.
To Change the Current Sound Mode:
• Press {ENTER}. The display momentarily shows “Command Successful!” changes between
modes, and then displays Edit Sound page 00.
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ENSONIQ KT Musician’s Manual
Section 7 — Drum Sound Parameters
Pitch Pages (10 - 11)
In the Pitch pages you set the “manual” levels for the pitch of the voice, and select whether the
pitch will be tracked by the keyboard.
Edit Sound
Oct/Semi/Fine
page 10
Oct
Range:
-4 to +4 octaves
Changes the pitch of the voice by octaves.
Semi
Range:
-11 to +11 semitones
Changes the pitch of the voice by semitones. Incrementing/decrementing this control beyond
+11 or -11 automatically increases/decreases the octave by one.
Fine
Range:
-99 to +99
Changes the pitch of the voice by steps of one cent (1/100 of a semitone).
Edit Sound
page 11
Keyboard Pitch Tracking
Keyboard Pitch Tracking
Range: ON or OFF
Determines whether or not the pitch of the selected voice will change across the keyboard or
remain static.
•
•
ON — The pitch of a voice tracks with the keyboard.
OFF — All keys play at the same pitch (C4 if the Oscillator Tune parameter has not been
edited). If the Oct/Semi/Fine parameters have been edited, the wave’s pitch will be
transposed by the amount set on the Oct/Semi/Fine page.
ENSONIQ KT Musician’s Manual
9
Section 7 — Drum Sound Parameters
Filter Page
The filter settings determine which ranges of frequencies will be allowed to pass through to the
output. Drum sounds always have a fixed 4 pole low pass filter. See “More About Filters” in
Section 6 — Standard Sound Parameters for further details.
Edit Sound
Fc Cutoff/LevV
page 40
FC Cutoff = 127 LevV = 00
Fc Cutoff
Range:
000 to 127
Determines the initial, or manual, filter cutoff frequency. A setting of 127 lets all the original
signal pass through the filter. Lower cutoff settings allow fewer high frequencies through,
somewhat like turning down the treble on a stereo.
LevV
Range:
00 to 99
The Velocity level parameter will lower the filter cutoff with a softer keystrike. This means that
the setting you assign to Fc Cutoff is the maximum level — the level that will be reached with the
hardest keystrike. The amount of “LevV” will determine how much that level will be reduced as
you play softer. With this parameter you can have continuous dynamic control over the filter
cutoff by varying how hard you play.
Amp Pages
In the Amp pages you control the volume of the individual voices within a drum sound.
Edit Sound
page 60
Gate Time/Release Time
Gate Time
Range:
00 to 99
Determines the fixed amount of time the envelope stays at full level before entering the release
stage.
Note:
This parameter pertains to FINISH mode only (found on the next page).
Release Time
Range:
00 to 99
In NORMAL mode, this defines the time it will take the envelope to return to zero after the key
has been released. When in FINISH mode, this controls the amount of time it takes for a voice to
return to zero after the Gate Time.
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ENSONIQ KT Musician’s Manual
Section 7 — Drum Sound Parameters
Edit Sound
LevV/Mode
page 61
LevV
Range:
00 to 99
The Velocity Level Control parameter will lower the volume with a softer keystrike. This means
that the setting you assign to Voice Volume is the maximum level — the level that will be reached
with the hardest keystrike. The amount of “LevV” will determine how much that level will be
reduced as you play softer. With this parameter you can have continuous dynamic control over
the volume by varying how hard you play. Changing the Velocity Curve (VelCurv) gives you
further control over the velocity response of the envelope.
Mode
•
•
Range:
NORMAL or FINISH
NORMAL — The envelope plays through normally, as shown in the diagram below.
FINISH — The envelope runs its full cycle, ignoring the key-up event. The envelope waits
until the Gate Time is finished to enter the release stage, instead of stopping when the key is
released. This is good for percussive-type sounds where you want the envelope to be the
same for every note, no matter how long the key is held down.
Stealing Notes
To maximize the use of the KT’s 64 voices, and to manage the “voice stealing,” it is sometimes
useful to understand when a given voice will be assigned and when it will be released, or “put
back” into the pool for use by other sounds. This depends on a combination of envelope mode
and wave type.
A (looped) sustaining wave will continue to use the voice until the envelope reaches zero. For a
sustaining wave, when the envelope mode=NORMAL or REPEAT:
99
= Envelope
AMP envelope
PEAK
= Wave data
BREAK
SUSTAIN
Voice is
assigned
Voice is released
when envelope
gets to zero
0
Looped Voice
KEY UP
KEY DOWN
For a sustaining wave, when the envelope mode = FINISH:
AMP envelope
99
= Envelope
PEAK
= Wave data
BREAK
Voice is
assigned
Voice is released
when envelope
gets to zero, even if
key is still down.
0
Looped Voice
KEY DOWN
SUSTAIN=0
KEY UP
For unlooped, non-sustaining, waves (specifically percussion and drum waves) the voice
ENSONIQ KT Musician’s Manual
11
Section 7 — Drum Sound Parameters
becomes free as soon as the sample has played through to the end, no matter where the envelope
level is. The voice is released and is available for use by other sounds:
AMP envelope
99
= Envelope
PEAK
= Wave data
BREAK
SUSTAIN
Voice is
assigned
Voice is
released
regardless of
envelope
0
"Percussion" sound
KEY UP
KEY DOWN
Output Pages (70 - 71)
The parameters in the Output pages regulate the overall volume and panning of the voice.
Edit Sound
page 70
Vol
Vol/Pan
Range:
-50 to +14 dB
Determines the volume of each drum voice. Since Env3 is permanently routed to the volume of
the voice, this parameter could be thought of as Amp Envelope Amount.
Values above +00 dB are intended to let you compensate for the effects of heavy filtering or
enveloping, and for the fact that some waves simply have less apparent loudness than others.
For example, a percussion sample, which is by nature a quick peak, has less energy than a
sustaining square wave. A higher Vol setting lets you raise the level of such waves to equal that
of “louder” waves.
Warning:
We strongly recommend against setting Vol levels above +00 to all the
waves in your sounds just to make them louder — doing so can result in
clipping (distorting) when you play more than one or two notes.
Pan
Range:
-98 (panned left) to +98 (panned right)
Pans the voice within the stereo mix. A value of +00 centers the voice.
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ENSONIQ KT Musician’s Manual
Section 7 — Drum Sound Parameters
Edit Sound
page 71
Output Bus/VelCurv
Output Bus
Range:
FX1, FX2, or DRY
Each voice within a drum sound can be routed to one of three stereo “busses.” The diagram
below shows the general routing of the signals for each bus. See Section 4 — Understanding Effects
for more on programming specific effects.
DRY
FX1
Effect 1a
Effect 1b
Mix1
L
Effect 2
R
Audio
Outputs
FX2
Mix2
VelCurv
Range:
QUIKRISE, CONVEX, LINEAR, and CONCAVE
This selects which of the four available velocity response curves the envelope will use if the
velocity level control (the LevV parameter on Edit Sound page 61) is set to some value other than
zero.
CONVEX
LINEAR
0
0
50
Keyboard Velocity
100
0
0
50
Keyboard Velocity
ENSONIQ KT Musician’s Manual
100
100
50
50
Output
Output
50
Output
50
CONCAVE
100
Output
QUICKRISE
0
0
50
Keyboard Velocity
100
0
0
50
Keyboard Velocity
100
13
Section 7 — Drum Sound Parameters
Creating a Custom Drum Kit
Let’s say you created a sequence using an r:DRUM ROM sound, but you don’t like certain voices
within that drum kit. How can you change it?
In this procedure, we will show you how you can edit the voices and their key ranges in your
sequenced drum kit, allowing you to create your own custom drum kit.
To Edit the Voices
1. Select the drum kit used in your sequence by pressing the corresponding track button. In this
example, we’ll use the “Rock Kit-EM” drum sound, found on page 80.
2. Press {SELECT_SOUND}.
3. Press the upper {8} button, followed by the lower {0} button to select “Rock Kit-EM.”
4. Whenever you want to do any editing to a sound, you must first place the KT into Edit Sound
mode. This is done by pressing the {EDIT_SOUND} button.
5. Press the upper {0} button, followed by the lower {0} button. The display shows:
Current Key Number
m
Low Key
High Key
m
m
Key=A0 A0 :G2# PUNCHY KICK
i
Wave Name
6.
7.
8.
Decide which voice(s) you want to replace by playing the keyboard. The display will show
the current key number, the wave name, and the key range of that wave.
When you’ve decided which voice to replace, make sure it’s selected and on the display (by
pressing the appropriate key on the keyboard).
Press the upper {0} button, then the lower {1} button. The display looks something like this:
Wave Class
m
Wave=KICK-DRUM PUNCHY KICK
i
Wave Name
9.
Use the Data Entry Slider and/or the {VALUE} buttons to scroll through the different waves
within the defined wave class to find the sound you want. If you want to select a wave from
a different wave class, press the {<} button once. The wave class value will be flashing, and
you can use the Data Entry Slider and/or the {VALUE} buttons to scroll through the
different wave classes.
If you press different keys on the keyboard, the display will show the wave class and wave
name for that particular voice range. By using the Data Entry Slider and the {VALUE}
buttons as described in step 8, you can change all 17 voices within each drum sound.
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ENSONIQ KT Musician’s Manual
Section 7 — Drum Sound Parameters
Setting Key Ranges
“Rock Kit-EM,” like other ENSONIQ drum map sounds, is divided into 17 separate voices as
shown below:
Rock Kit-EM Drum Map
OPEN HAT 1 -KG1
CLOSED
HAT 1-KG1
ROCK SNARE
CLOSED
HAT 2-KG1
PUNCHY KICK
F2#
E1
G2#
RIDE
OPEN
CYMBAL
HAT 2 -KG1
DRY
TOM
CRASH
CYMBAL
PEDAL
HAT -KG1
CHINA
CRASH
DRY
TOM
DRY
TOM
SIDESTICK 1
DRY
TOM
SYNTH
CLAPS
TAMBOURINE
D3#
A2
Although you may have changed your voices, your key range is still identical to the map above.
In our example, we’re going to change some key ranges of the original voices used in “Rock Kit.”
1.
Remember, whenever you want to do any editing to a sound, you must first place the KT into
Edit Sound mode. This is done by pressing the {EDIT_SOUND} button. The display looks
something like this:
Current Key Number
m
Low Key
m
High Key
m
Key=A0 A0 :G2# PUNCHY KICK
i
Wave Name
2.
3.
4.
5.
6.
7.
In our example, we will change the key range of PUNCHY KICK and ROCK SNARE.
Select PUNCHY KICK (by pressing any key within A0 to G2#) and make sure it’s on the
display.
Press the {>} button twice to select the High Key range as shown above.
Press the F2# key. You’ve just changed the range of the PUNCHY KICK. If you play the G2
and G2# keys, you will hear waves from the “hidden” ROM General MIDI Drum Map sound
that lies beneath the key ranges (DRY TOM and PEDAL HAT -KG1 respectively). This is one
way to get additional voices in your custom drum map. All of the “hidden” ROM General
MIDI Drum Map waves can be found earlier in this section.
Select ROCK SNARE (by pressing any key within A2 to D3#) and make sure it’s on the
display.
Press the {>} button once to select the Low Key range.
Press the G2 key. The display automatically selects the High Key range (flashing). Press the
D3# key (we don’t want to change the high key, just the low key). You’ve just changed the
range of the ROCK SNARE. In doing so, you’ve also covered the “hidden” ROM General
MIDI Drum sounds that were exposed by separating the key ranges that covered them.
Remember the “hidden” ROM General MIDI Drum sounds are always there… just lurking
beneath your definable key ranges.
Using this technique, you can create, change, and edit any drum sound key range within the KT.
ENSONIQ KT Musician’s Manual
15
Section 7 — Drum Sound Parameters
Saving Your Edited Drum Kit
Once you’ve settled on your ultimate drum sound, you need to save it so that it will always be
available. Here’s how:
1.
2.
3.
4.
5.
Press the {SAVE} button. The display will read “Save SOUND <Rock Kit>?” This display
allows you to rename your edited drum sound. The name listed is the name of the sound
you began with when editing. We recommend renaming your edited sound so that you do
not confuse it with the original r:DRUM ROM sound.
Select a name of up to 16 characters for your new sound using the Data Entry Controls. The
{CURSOR} buttons select the character to be edited (underlined), while the Data Entry Slider
and {VALUE} buttons scroll through the letters, numbers, and symbols that can be used to
name the sound (moving the Data Entry Slider all the way down gives you a blank space).
Note that using dashes, periods, and slashes between characters can make a sound name look
better when displayed on Sound Bank pages.
After you’ve written your edited sound’s name, press the {SAVE} button.
Select a memory location for your sound using the {BANK} button to toggle between the
i:INT, a:CARD, and b:CARD banks, and the {0} to {9} buttons (remember page locations 8099 are ROM Drum sounds, and can’t be used). These buttons will display the names of the
sounds currently residing in the selected bank’s memory. Look for a memory location that
contains a sound that you no longer want or use. Sounds that are in memory can be
“auditioned” at this point by pressing the {COMPARE} button to toggle between the sound
listed on the display, and the sound in the edit buffer.
When a location has been found, press the {SAVE} button. The display will show a
momentary “Saved.” message before returning to the current parameter.
Now that your “Ultimate Drum Kit” has been created and saved, you need to load it into the
original track in your sequence, so that the sequencer track will recognize the newly edited
sound’s location. To do this:
1.
2.
3.
4.
16
Press the {SEQUENCER/PRESET_TRACK} button that has the original drum track.
Press the {REPLACE_TRACK_SOUND} button.
Press the{BANK} and {0} to {9} buttons to select the memory location where the newly
edited drum sound is stored.
Press the {REPLACE_TRACK_SOUND} button again to install the newly edited drum sound
into the sequencer track.
ENSONIQ KT Musician’s Manual
Section 7 — Drum Sound Parameters
ENSONIQ KT Musician’s Manual
17
Section 8 — Understanding Presets
Section 8 — Understanding Presets
What is a Preset?
A Preset is a combination of up to eight sounds with their corresponding performance
parameters, and one effects algorithm which is common to all eight tracks, that can be instantly
recalled for use in performance. Presets are handy “performance memories” that allow you to
create and save sound combinations, splits, layers, etc. Presets are also used as the basis for
sequencing, encompassing all the performance parameters for the sounds used within a
sequence.
The eight sounds in a preset reside on eight tracks. For each of these eight tracks, the KT
remembers:
• Which sound is assigned to the track
• whether or not the sound is selected or layered
• the values of all Performance Parameters for that track (found on the Edit Track pages)
Selecting Presets
To Select Presets:
• Press {SELECT_SEQ/PRESET}. The {SELECT_SEQ/PRESET} LED will light, indicating that
you are in Select Sequence/Preset mode:
Bank Location
A Preset is selected
l
m
iPSET00
Preset Memory Location
n
Seq/Preset-00
i
Preset Name
On the top line you see “context” information about the current preset, and its memory
location. Across the lower line, the display shows the name of the preset.
When the {SELECT_SEQ/PRESET} LED is on, it indicates that the KT is in Select Seq/Preset
mode, and the upper and lower {0} to {9} buttons will now select sequences or presets (rather
than selecting sounds, as they do when the {SELECT_SOUND} LED is on).
How Many Presets are Available in the KT?
There are four banks of 70 Presets/Sequences and 30 Songs, each available in the KT (i:INT
(RAM), r:ROM, a:CARD and b:CARD). The r:ROM presets were designed to demonstrate the
KT’s ability to create keyboard splits, and layer both KT as well as remote MIDI sound sources.
Although we cannot determine what external MIDI sound sources you will be using, these
Performance Presets can be invaluable tools in understanding and using your KT keyboard.
ENSONIQ KT Musician’s Manual
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Section 8 — Understanding Presets
What is the Difference Between Presets and Sequences?
A Preset is a combination of eight tracks, each having a sound and a set of performance
parameters associated with it. These tracks may or may not be layered.
A Sequence is, in essence, a preset with recorded note data. In fact, a preset forms the foundation
of a sequence, containing all the sounds and performance parameters for each track to be
recorded. A preset can be thought of as a sequence without note data.
At any point, note data can be added to a preset, making it a sequence. The relationship between
presets and sequences looks like this:
Preset
Sequence
Global Effect
Sound & Performance Parameters
Note & Controller Data
Track 1
Sound & Performance Parameters
Note & Controller Data
Track 2
Sound & Performance Parameters
Note & Controller Data
Track 3
Sound & Performance Parameters
Note & Controller Data
Track 4
Sound & Performance Parameters
Note & Controller Data
Track 5
Sound & Performance Parameters
Note & Controller Data
Track 6
Sound & Performance Parameters
Note & Controller Data
Track 7
Sound & Performance Parameters
Note & Controller Data
Track 8
As you can see, a preset is contained within a sequence, acting as a “template” for note data.
2
ENSONIQ KT Musician’s Manual
Section 8 — Understanding Presets
What Are Tracks?
In the KT, the term track refers to one of the eight internal “channels” (16 in a song), each
containing a sound and a complete set of performance parameters, including volume, pan,
controller settings, MIDI channel, keyboard range, and others.
When the KT is used as a multi-timbral sound generator and played from its own sequencer, the
various tracks of the sequencer control the sounds to be played by the KT. Similarly, the
sequencer or the keyboard of the KT can be used to send on MIDI channels to which remote
MIDI devices are connected.
When the KT is controlled from an external MIDI sequencer, the various tracks of the sequencer
can be assigned to different MIDI channels, which in turn control the sounds played by the KT
(when MIDI Mode=MULTI on System•MIDI page 6). Each MIDI channel can be thought of as an
extension of the sequencer’s track.
Whether playing locally, sending MIDI to a remote device, or receiving MIDI from an external
sequencer, we describe this logical construct, comprised of a MIDI channel, a sound and various
performance parameters, as a track.
Each KT preset has eight independent polyphonic tracks that are selected with the eight
{SEQUENCER/PRESET_TRACK} buttons:
Sequencer/Preset Tracks
1
2
3
5
4
6
7
8
Let’s take a look at the tracks:
•
•
Press {SELECT_SEQ/PRESET}. This puts the KT in Select Sequence/Preset mode.
Press the {SEQUENCER/PRESET_TRACK} {1} button. The display looks something like this:
Track Number
Bank Location
m
m
Program Number
m
Trk01 i:INT 00
Dynamic Grand
i
Name of sound on track 1
This displays the sound on Track 1. Pressing other {SEQUENCER/PRESET_TRACK} buttons will
select the other seven tracks.
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Section 8 — Understanding Presets
Three ways to create a preset
There are three basic ways to create presets on the KT: using the {MAKE_DEFAULT_PRESET}
button, building them from “scratch,” or modifying an existing preset. Each is described below.
To create a preset using the default preset
The KT comes with a default preset template (see the heading in this section called “Using the
Make Default Preset button” for the technical details of this template), and you may want to
simply insert your own sounds into the template, which contains two layered tracks (tracks 1 and
2), a split (tracks 3 and 4), and four tracks dedicated to external MIDI sounds (tracks 5-8). You
may also want to copy the template to another location and then customize the copy to more
closely suit your needs. Here’s how to do this:
1. From Select Sound mode, press the (MAKE_DEFAULT_PRESET} button. The KT responds
by selecting a new internal memory location for your preset. It will place the last two
selected sounds into the default preset template. For a complete description of the default
preset’s settings, see the heading titled “To Make a Default Preset Template” located in this
section.
2. Once the default preset template is loaded, make adjustments to it just as you would when
editing any other preset.
3. Save your preset when you are finished making changes by using the {SAVE} button. Once
saved, your customized template will be loaded each time you select its location in internal
memory.
To Build your own preset
Using layers, splits, or a combination of the two, you can build your own presets with the
internal and ROM sounds in the KT. Each sound you select for use in your preset track can be
assigned to perform in a specific way using the track parameters described in the Preset Track
Parameters section of this manual. Here’s a brief description of how to build your own preset:
1. Press the (SELECT_SEQ/PRESET} button. The KT will display the last preset, sequence, or
song that was selected.
2. Using the upper {0} through {6} buttons and the lower {0}through {9} buttons, select a new
location for your preset. Press {ENTER} when you’re done. The next display asks you to
confirm your choice. Press {ENTER} one more time.
3. A display appears asking you to set the time signature. Since the KT doesn’t know whether
you’re creating a sequence or a preset (which are similar processes), press {ENTER} twice to
confirm both parts of the time signature. The next display asks you to name your preset.
Note: If you are going to use your preset as the basis for a sequence, you must set the
time signature here. Since we are only creating a preset, with no intention of recording
with it, keep the time signature at the default setting of 4/4.
4.
5.
6.
7.
8.
4
Using the {<} and {>} buttons, the Data Entry Slider, and the {CURSOR} buttons to spell out
the name of your preset. Press {ENTER} when you’re finished. The display will show the
name of your preset and its location.
Press Sequencer/Preset Track button {1}. The display shows the name of the last sound that
was selected.
Press the {REPLACE_TRACK_SOUND} button. Notice that the {SELECT_SOUND} button is
flashing, meaning that the KT is ready for your to select a new sound for use in track #1 of
your preset.
Select a sound for the first track of your preset using the upper and lower {0} through {9}
buttons, and the {BANK} button (if the sound you want is in a different bank).
Press the {REPLACE_TRACK_SOUND}. The sound you selected is now placed on track 1 of
ENSONIQ KT Musician’s Manual
Section 8 — Understanding Presets
your preset.
9. At this point, you have many options. You could “layer” up to eight sounds, one on each
track, by first selecting a sound for each track and then double-clicking on the second, third,
and higher preset track buttons, each of which selects and “stacks” the sound onto the lower
layers. You could split the keyboard, having different sounds play in selected key ranges by
adjusting the key range for each track in the preset.
When editing the individual tracks within a preset, you can use all of the functions listed
under the lower {0} through {9} buttons (each controls a different aspect of the track) and the
upper {8} button (it changes the effect associated with the preset). Your imagination is the
only limit! Finally, consider using the Layer Lock feature as you make edits. It lets you hear
the current combination of selected and layered tracks while in the edit track mode so that
you can evaluate the overall result of your changes.
10. When you’re done, save your preset by pressing the {SAVE} button twice (once to confirm
the name of the preset, which you could change at this time, and once to save the preset.)
To modify an existing preset
When you have a preset that you already like, but want to create something only slightly
different and still keep the original, consider copying it to a new location. You can then rename it
and modify it as necessary. Here’s how:
Note: You cannot copy presets that reside in the ROM area of memory, only those
that reside in the Internal area (i.e. ones that you created), or on a RAM card. ROM
presets can be imported, however. See Section 11—Sequencer Parameters for details.
1.
2.
3.
4.
5.
6.
In Select Seq/Preset mode, select the preset that you want to modify.
Press the {COPY_PRESET} button. The display asks you to select the preset that you want to
copy. Since you’ve already done this, simply press{ENTER}. A display will appear asking
you to select a location for the preset.
Specify a new location for the preset using the Data Entry Slider and/or the {[} and {]}
Value buttons, and press {ENTER} when you’re done. The KT prompts you to name the
preset.
Use the data entry controls to enter a new name if desired, and press {ENTER}. The KT
copies, renames, and then selects the new location that you specified.
Your preset is now ready for editing. As you make changes to each individual preset track,
consider listening to the effect of your individual edits on the overall preset by using the
Layer Lock feature. If you want to replace one sound in a preset, use the
(REPLACE_TRACK_SOUND} button. Double-click on this button to replace a track along with
its effect.
When you’re done, save your preset by pressing the{SAVE} button twice (once to confirm
the name of the preset, which you could change at this time; and once to save the preset).
ENSONIQ KT Musician’s Manual
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Section 8 — Understanding Presets
Layering Sounds with the Track Buttons
In a preset, a maximum of seven sounds may be layered with the selected sound. You can have
up to eight sounds layered (stacked) on one key, or up to eight different sounds split across the
keyboard by using the Key Range function described later in this section.
To layer sounds in presets:
1. Press {SELECT_SEQ/PRESET}, then select one of the 8 tracks.
2. Double-click (press two times quickly) the {SEQUENCER/PRESET_TRACK} button for the
track you wish to layer. Layered tracks are identified by a flashing LED. If a track is layered
(flashing LED), it can be unlayered by pressing its {SEQUENCER/PRESET_TRACK} button
again.
Using Effects With Performance Presets
All eight tracks in a sequence or preset share the same effects algorithm. Effects settings can be
edited from the Effects pages (press {EDIT_SEQ/PRESET}, then the upper {8} button), with the
same parameters available as in Edit Sound mode. The effects algorithm for the sequence, preset,
or song is inherited from the current sequencer effect at the time they were created. If this effect
is incompatible with other sounds in the preset, sequence, or song, there are several options:
•
•
6
Set the effects routing to DRY for any of the sounds that are incompatible (see
{EDIT_TRACK} page 1, in Section 9 — Preset/Track Parameters).
Change the preset/sequence effect algorithm to be something more suitable (see
Section 3 — Understanding Effects for details on editing the effect parameters).
ENSONIQ KT Musician’s Manual
Section 8 — Understanding Presets
Using the Replace Track Sound Function
Pressing the {REPLACE_TRACK_SOUND} button lights its LED, and places the KT into Replace
Track Sound mode. This mode allows sounds on the individual tracks of a preset/sequence or
song to be assigned and changed.
Replacing the Sound on a Track
To replace the current sound on a track:
1. Press the {REPLACE_TRACK_SOUND} button from either Edit or Select Sequence/Preset
mode. The {REPLACE_TRACK_SOUND} LED will be solidly lit. The display shows the
track number, the bank and program number where the track’s sound is stored and the name
of the sound on the track.
Track Number
Bank Location
m
m
Program Number
m
Trk01 r:ROM 00
KT Grand Piano
i
Name of sound on track 1
2.
3.
4.
•
•
Use the {0} to {9} buttons (or the {VALUE} buttons) to change sounds on the currently
displayed track. In Replace Track Sound mode, the {0} to {9} buttons select new sounds for
the current track, rather than selecting songs, sequences, or parameter pages.
To select a sound from a different bank, either repeatedly press {BANK}, or while holding
down {BANK}, press the lower numbered buttons {0}, {1}, {2}, or {3} to select the desired
bank (i:INT, r:ROM, a:CARD or b:CARD respectively).
Press {REPLACE_TRACK_SOUND} again to exit Replace Track Sound mode, and replace the
sound with the newly selected one.
To change the currently displayed track, press any {SEQUENCER/PRESET_TRACK} button.
The {EDIT_TRACK}, lower {4} button (MIDI Program =###) is automatically updated
whenever a sound is replaced on a track.
Using SoundFinder in Presets Mode
Here’s how to scroll through sounds that have the same defined SoundFinder type in Presets
Mode:
1. Press the {REPLACE_TRACK_SOUND} button from either Edit or Select Sequence/Preset
mode. The {REPLACE_TRACK_SOUND} LED will be solidly lit.
2. Use the {SOUNDFINDER} buttons (which are the {CURSOR} buttons) to scroll through all of
the sounds with the same defined SoundFinder type (found by pressing {EDIT_SOUND}, the
upper {0}, then the lower {6} button). Note that you don’t have to press {BANK} to change
banks — SoundFinder will automatically do that for you.
3. Press {REPLACE_TRACK_SOUND} again to exit Replace Track Sound mode, and replace the
sound with the one you just selected using the SoundFinder feature.
ENSONIQ KT Musician’s Manual
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Section 8 — Understanding Presets
Replacing the Sound along with its Effect on a Track
To copy a sound along with its effect onto a preset track (replacing the current preset effect with
the one in the sound), use the “Replace w/FX” function. This function works slightly differently,
depending on which mode it is performed from.
From Edit Sequence/Preset mode:
1. Press {EDIT_SEQ/PRESET}. The KT will enter Edit Sequence/Preset mode (LED on).
2. Press the {SEQUENCER/PRESET_TRACK} button of the track that you want to replace.
3. Double-click (press twice rapidly) the {REPLACE_TRACK_SOUND} button. Its LED will be
flashing.
4. Use the {BANK}, the {0} to {9}, and/or the {SOUNDFINDER} buttons to find the sound that
contains the effect you would like to install in the current preset.
5. Press {REPLACE_TRACK_SOUND} again to permanently install the newly selected sound and
its effect setting. This exits Replace Track Sound mode, and the KT will return to Edit
Sequence/Preset mode.
Tip:
Holding the {EDIT_SEQ/PRESET} button down while pressing a Track button
causes the KT to enter into Replace Track Sound mode, copies the current sound in
Sounds mode onto a track, and copies its effect into the seq/song effect (like Replace
w/FX).
Replacing Additional Tracks
You can continue replacing track sounds, by skipping step #5, and doing the following:
6.
7.
8.
9.
Press another {SEQUENCER/PRESET_TRACK} button.
Use the {BANK}, the {0} to {9}, {VALUE}, and/or the {SOUNDFINDER} buttons to find the
sound that you would like to install into the newly selected track.
At this point, you can press another {SEQUENCER/PRESET_TRACK} button, and repeat
these steps for as many tracks as you would like to replace.
Press {REPLACE_TRACK_SOUND} to exit Replace Track Sound mode.
From Select Sequence/Preset mode:
1. Press {SELECT_SEQ/PRESET}. The KT will enter Select Sequences/Presets mode (LED on).
2. Select and/or double-click any combination of {SEQUENCER/PRESET_TRACK} buttons to
select and/or layer any desired combination of sounds. The track number shown in the
upper left corner of the display is the one that is selected for editing (the one we will be
replacing with a new sound and its effect settings).
3. Use the {CURSOR} buttons to select the track that you would like to replace. This allows you
to replace the sound on any track and install its effect setting into the preset, without
changing which tracks are selected and/or layered.
4. Double-click the {REPLACE_TRACK_SOUND} button. It’s LED will flash.
5. Use the {BANK}, the {0} to {9}, and/or the {SOUNDFINDER} buttons to find the sound that
contains the effect you would like to install into the current preset.
6. Press {REPLACE_TRACK_SOUND} again to install the newly selected sound and its effect
setting. This exits Replace Track Sound mode, and the KT will return to Select
Sequence/Preset mode. The newly installed sound’s effect setting becomes the current preset
effect. The layered combination of tracks will not change. This allows you to replace the
effect settings for a layered combination of tracks without changing which tracks are selected
and/or layered.
8
ENSONIQ KT Musician’s Manual
Section 8 — Understanding Presets
A Note about Replacing Sounds Used by Sequences/Presets
If you overwrite an i:INT (RAM), a:CARD, or b:CARD sound that was used in a sequence or
preset, the new sound will be selected by that sequence/preset. This is because the
sequence/preset “points to” the sound location only, not the actual sound.
Using Card Sounds in a Seq/Preset or Song
If you have created a sequence/preset or song that uses a sound from either the a:CARD or
b:CARD bank location, and the card isn’t installed, the track will be silenced, and the
Sequence/Preset track will show:
Selected
Track
l
Recorded
Data Symbol
m
Bank
Location
m
Card
Location
m
Trk01£ a:CARD 17
a:CARD Sound #17
i
Sound name changes to show Card Location.
This will also appear if you have a different card installed, and it does not have any recorded
Sound data.
If you have created a sequence/preset or song that uses a sound from either the a:CARD or
b:CARD bank location, and you have a different card installed that does has Sound data, the
track will use the sound from the same Card location. As in the example above, you will hear the
sound from the a:CARD bank location #17, even though it may not be the intended sound. This
is because the sequence/preset recognizes the sound location only, not the actual sound.
ENSONIQ KT Musician’s Manual
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Section 8 — Understanding Presets
About Edit Track (Performance) Parameters
A group of Performance Parameters is associated with each sequence/preset track. These
parameters control various aspects of the track, including some important and useful sound
controls that may be easily adjusted during performance or recorded into the sequencer. The
settings of these track parameters are saved with every preset. These instantly recallable presets
include an effect setup and eight sounds on eight tracks with a full set of programmable
performance parameters, including key ranges, transpositions, and others. The settings of all
performance parameters on preset, sequencer and song tracks are saved for each track and are
maintained while the power is off.
All Performance Parameters are found under the lower {0} to {9} buttons in Edit Track mode, as
labeled on the front panel:
0
1
2
3
4
5
Volume
Pan
Output
Bus
Key
Range
Transpose
Channel
Program
MIDI
Status
6
7
Pressure
Type
Sustain
Pedal
8
Timbre
9
Release
Pressing {EDIT_TRACK}, followed by the appropriate lower {0} to {9} button will access the
Edit Track (Performance) parameters. The Edit Track parameters are:
Screen #
Parameter
Description
0
Volume
overall track volume level
0
Pan
stereo panning control for track sound
1
Output Bus
controls routing of track to effects
2
Key Range
set track keyboard ranges or limits
3
Transpose
track pitch transposition
4
(MIDI) Channel
track MIDI channel number
4
(MIDI) Program
track MIDI program number
5
(MIDI) Status
enable or defeat MIDI transmission & reception
6
Pressure Type
type of pressure responded to via MIDI (also enables or
defeats KT Channel Pressure transmission)
7
Sustain Pedal
enables or disables the sustain pedal
8
Timbre
programmable sound variation control
9
Release
sound release time adjustment
These parameters can be used to create complex performance set-ups for your KT and other MIDI
equipment. For a full description of the performance/track parameters and their functions see
Section 9 — Preset/Track Parameters.
10
ENSONIQ KT Musician’s Manual
Section 8 — Understanding Presets
Using the Layer Lock Feature
Normally, when the {EDIT_TRACK} button is pressed, the KT enters Edit Sequence/Preset
mode. So, the last track selected or layered will be selected for parameter editing, and only one
track will be audible at a time. Layering of tracks is not normally available in Edit
Sequence/Preset mode. By using the Layer Lock function, the current combination of selected
and layered tracks can be dynamically “Locked” to allow Track Performance parameter editing
while tracks are layered. This allows you to edit the Performance Parameters for one track, while
still being able to play the full combination of multiple layered tracks, making it possible to adjust
each track’s Performance Parameters relative to the other tracks in the layer combination.
To “Lock” a Track Layer combination:
1. Press {SELECT_SEQ/PRESET}.
2. Press a {SEQUENCER/PRESET_TRACK} button and layer any combination of tracks, by
double-clicking their {SEQUENCER/PRESET_TRACK} buttons.
3. While holding down the {SELECT_SEQ/PRESET} button, press the {EDIT_TRACK} button.
Both the {SELECT_SEQ/PRESET} and {EDIT_TRACK} LEDs will light and the KT will now
be in “Layer Lock” Edit Track mode. All Edit Track Performance Parameter pages are
available as usual: from either successive presses of the {EDIT_TRACK} button, pressing the
{CURSOR} buttons, or by “direct dialing” with the lower {0} to {9} buttons.
4. Pressing a {SEQUENCER/PRESET_TRACK} button will not change the combination of
layered tracks, but instead will select that track for Performance Parameter editing.
5. To exit “Layer Lock” Edit Track mode, press any mode button.
ENSONIQ KT Musician’s Manual
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Section 8 — Understanding Presets
About the “Save Changes?” Page
Along with the notes, controllers and program changes that are recorded on each track, there are
many other parameters that are saved with each sequence or song. These are:
•
•
•
•
•
•
•
•
The name of the sequence or song
The tempo of the sequence or song
The sound assigned to each track
All Edit Track parameters for each track of the sequence or song
Which tracks are selected and layered on the tracks
The setting of the LOOP parameter in the Sequencer Control pages
The setting of the CLICK parameter in the Click pages
Punch-In and Punch-Out points
Whenever you record a track of a sequence or song, these values are automatically saved — that
is, they will be remembered by the KT if you leave the sequence (by selecting another one) and
return to it later. However, if you change any of the above settings, and then select a new
sequence or song before you record any new track data, the following message may appear,
depending on the setting of the SaveChangesMode parameter (press {EDIT_SEQ/PRESET}, the
upper {1}, then the lower {5} button). See the description of this parameter for more information:
Save Changes? <SEQUENCE NAME>
•
•
Pressing {YES} saves the sequence or song, with the current settings of all the parameters
listed above, into sequencer memory.
Pressing {NO} leaves the settings of the parameters listed above as they were when you last
recorded a track.
In either case, the track data (notes, controllers and program changes) is always saved.
Sometimes it’s hard to remember, when you get this page, exactly what you changed. As a rule,
if you are happy with the sequence or song as it is, answer YES. If you have just been
experimenting with different tempos, programs, MIDI configurations, etc., and want to leave the
sequence as it was before your experiments, answer NO.
Tip:
While in Select Sequence/Preset mode, there is one quick way to save any
changes you make to a Preset or Song. Simply press {ENTER} twice. You can also
rename the Preset or Song by pressing {ENTER} once, editing the name, and then
pressing {ENTER} again. Do not attempt this with a Sequence — it will invoke the Tap
Tempo feature (see the Tap Tempo description earlier in this section).
As mentioned above, you can avoid being asked to save changes by setting the Save Changes
parameter to U-SAVE MANUALLY. For live performance, and other applications in which you
want to experiment with tempo, track parameters, etc. without being bothered about saving the
changes, this is the preferred setting.
12
ENSONIQ KT Musician’s Manual
Section 8 — Understanding Presets
Using the Make Default Preset Button
The {MAKE_DEFAULT_PRESET} button performs different functions depending on whether
you are in Select Seq/Preset or Edit Seq/Preset mode. The Make Default Preset function will
only work in the currently selected bank.
To Play The Demo
Holding down the {MAKE_DEFAULT_PRESET} button and pressing the {PLAY} button will
select r:ROM Song 70 and will start playback of the Demo Song. Changes made to the current
sequence will be automatically saved, as if SaveChangesMode=EDITS AUTO-SAVED.
To Make a Default Preset Template
When you are in either Select Sound or Edit Sound mode, or when you are in Edit Seq/Preset
mode and the currently selected bank is i:INT, pressing the {MAKE_DEFAULT_PRESET} button
will define a new i:INT preset location (if one is available). If all 70 locations have been defined,
the display will show “SORRY! No free Seq location.”
When the current Seq/Preset mode bank is a:CARD or b:CARD, pressing the
{MAKE_DEFAULT_PRESET} button will define a new preset location in the current CARD bank
(if one is available). If all 70 locations have been defined, the “SORRY! No free Seq location”
message will be displayed.
When the current Seq/Preset mode bank is r:ROM, pressing the {MAKE_DEFAULT_PRESET}
button will change the Seq/Preset mode bank to i:INT, and then will define a new i:INT preset
location (if one is available). If all 70 locations have been defined, the “SORRY! No free Seq
location” message will be displayed.
If the current Seq/Preset Track parameters have been edited, the “Save Changes?” prompt will
be displayed before the current Seq/Preset settings are overwritten with the Default Preset
settings. (Remember: the “Save Changes?” prompt can be disabled with the SaveChangesMode
parameter ({EDIT_SEQ/PRESET}, the upper {1}, then the lower {5} button). The new preset that
is created is automatically configured as the Default Preset template, as shown here:
Track
1
2
3
4
5
6
7
8
Status
LOCAL
LOCAL
LOCAL
LOCAL
*EXT*
*EXT*
*EXT*
*EXT*
Key Zone
Full
Full
Lower
Upper
Full
Full
Lower
Upper
Channel
Base
Base
Base
Base
Base
Base
Base
Base
Current
Previous
Current
Current
(silent)
(silent)
(silent)
(silent)
Sound
The Default Preset template serves as a standard starting place for MIDI Master Keyboard
operations. It is configured as follows:
•
•
•
•
•
•
•
The sound that was selected in Sounds mode when the {MAKE_DEFAULT_PRESET} button
was pressed is copied to Tracks 1, 3, 4, 5, 7 and 8. Its effects settings will be loaded into the
ESP.
The second-to-last sound that had been selected in Sounds mode will be copied to Tracks 2
and 6. This provides instant access to layering possibilities.
All Track MIDI Channels will default to the Base Channel, as set on System•MIDI page 4.
Tracks 1-4 MIDI Status will default to Status = LOCAL.
Tracks 5-8 MIDI Status will default to Status = *EXT*.
If System•MIDI page 4 Base Channel Status = LOCAL, the Default Preset will have only
Track 1 selected.
If System•MIDI page 4 Base Channel Status = BOTH, the Default Preset will have Track 1
layered with Track 5.
ENSONIQ KT Musician’s Manual
13
Section 8 — Understanding Presets
•
•
•
•
If System•MIDI page 4 Base Channel Status = MIDI or *EXT*, the Default Preset will have
only Track 5 selected.
Tracks 3 and 7 will both have their Key Range default to KeyRange = A0-B3. This provides
instant access to keyboard splits on the lower half of the keyboard, both locally and via MIDI.
Tracks 4 and 8 will both have their Key Range default to KeyRange = C4-C8. This provides
instant access to keyboard splits on the upper half of the keyboard, both locally and via MIDI.
The name of the new preset will default to “Seq/Preset-##” with the ## field defaulting to
the memory location number to which the Preset is automatically saved. This name can be
changed at any time with the “Rename SEQ/Pset” command ({EDIT_SEQ/PRESET}, upper
{4}, then the lower {4} button). For more information about these parameters, see Section 9
— Preset/Track Parameters.
When a Default Preset template is created, it has no time signature. Pressing the {RECORD}
button with a Default Preset template selected will bring up the Time Signature selection page,
prompting you to select a Time Signature, just as if you were creating a new sequence in an
*EMPTY SEQ/PSET* location. Use the Data Entry Controls to set the time signature. When you
press the {ENTER} button, the click (metronome) will start, and you can begin recording. After
pressing the {STOP"CONTINUE} button from Record, you will be prompted to “Keep first ###
bars?” as per normal sequencer operation. From this point onward, the Default Preset template
will behave just like any other sequence.
14
ENSONIQ KT Musician’s Manual
Section 8 — Understanding Presets
To Copy Preset Data
When in Select or Edit Seq/Preset mode, pressing {MAKE_DEFAULT_PRESET} will perform the
Copy Preset function, as labeled on the front panel beneath the button. The Copy Preset function
will copy the Preset data from the currently selected Preset, Sequence, or Song to any other
*EMPTY SEQ/PSET* or *EMPTY SONG* memory location within the same bank. The Copy
Preset function does not, however, copy the time signature or any unsaved edited changes from
the source to the destination. If you want to make an edited version of the current preset settings,
we recommend copying it first, and then editing the copied version. The destination preset will
behave like a Default Preset template, as described above.
When a sequence is selected, you can copy the sequence preset data to any undefined sequence.
When a song is selected, you can copy the song preset data to any undefined song.
To Copy Preset Data to an Undefined Preset/Sequence or Song Location (in the same bank):
1. Choose any defined sequence or preset.
2. Press the {MAKE_DEFAULT_PRESET} button. The display will show:
Copy FROM Preset <Sequence Name>
3.
The display shows the currently selected sequence.
Press {ENTER}. The display shows:
TO Sequence
4.
5.
Location = ##
You can now use the Data Entry Slider or the {VALUE} buttons to select any undefined
preset location.
Press {ENTER} once more. The display shows:
New Name = Sequence-##
6.
7.
On this page, you can rename the copied preset. The name of the copy defaults to the name
of the sequence selected in step #1. You can now use the Data Entry Slider or the {VALUE}
buttons to select various letters, numbers, and icons to create a name and use the {CURSOR}
buttons to choose which character to edit.
When a new name has been written, press the {ENTER} button to complete the command.
The display will briefly read “Command Successful!” to acknowledge the operation.
ENSONIQ KT Musician’s Manual
15
Section 8 — Understanding Presets
About the KT ROM Presets
The KT offers ten great-sounding and useful performance presets built into ROM.
To Select the ROM Presets
1. Press the {SELECT_SEQ/PRESET} button.
2. Press both the upper and lower {0} buttons.
3. If the top line of the display does not show rPSET, press the {BANK} button until it does.
4. Now press one of the lower {0} to {9} buttons to pick one of the ten presets.
Note: If the preset name ends with (i), it indicates that one or more sounds in that
preset are “pointing to” i:INT internal sounds. If you edit an i:INT sound that is used
by the preset, it may alter the characteristics of the preset. You can always return to the
original presets by reinitializing the KT (explained in the Introduction of this manual).
The layers are designed for general playing purposes. Select them using the lower {0} and {1}
buttons. The splits {2} through {8} provide a constant sound on the left half, and a selection of
different sounds for the right. Preset {9}, a split designed for wedding ceremonies, features
various organs on the left hand, and church bells on the extreme right.
List of ROM Presets
rPSET00 — MIDI-Blend
A layer of Dynamic Grand Piano (Track 1), Big Money Pad (Track 2), and Warm Syn & Tines
(Track 3) that simulates a rich MIDI-based piano pad. This demonstrates how presets can be
used for basic programming without getting deep into the world of programming. Track
assignments are as follows:
1
2
Dynamic Grand Big Money Pad
solid
flashing
3
4
5
6
7
8
Warm Syn &
Tines
Warm Syn &
Tines
Warm Syn &
Tines
Dynamic
Grand
Dynamic Grand
Dynamic
Grand
flashing
rPSET01 — OhSoSweet-Rhodes
A sweet-sounding electric piano layer made from Dyno Roads (for the basic electric piano),
Inspiration (an octave higher for added presence), and Sparkle Pad (for added high-end
shimmer). Track assignments are as follows:
1
2
3
4
5
6
7
8
Dyno Roads
Inspiration
Sparkle Pad
Dyno Roads
Dyno Roads
Dyno Roads
Dyno Roads
Dyno Roads
solid
flashing
flashing
16
ENSONIQ KT Musician’s Manual
Section 8 — Understanding Presets
rPSET02 — AcBass/Kybrds(i)
A keyboard split consisting of Stand-up Bass on track 8 on the left side (A0 to E3), and a choice of
up to 7 different instruments for the right side (F3 to C8). The Stand-up Bass remains constant, as
does the keyboard split point as different “right hand” instruments (tracks) are chosen. Only a
single click is required to select any of the other right hand instruments. Right hand instruments
can also be layered with each other by double-clicking on their track buttons. Track assignments
are as follows:
1
2
3
4
5
6
7
8
9’ Grand Piano
Cool B-Three
Authentic 73
Studio Keys
Vibraphone
Piano &
Strings
Nylon & Strings
Stand-up Bass
solid
flashing
rPSET03 — ElBass/Kybrds(i)
The same concept as above but with Woody Bass (electric bass guitar) on the left side of the split
(same split point as preceding preset) and the same palette of “right hand” instruments. Track
assignments are as follows:
1
2
3
4
5
6
7
8
9’ Grand Piano
Cool B-Three
Authentic 73
Studio Keys
Vibraphone
Piano &
Strings
Analog Pad
Woody Bass
solid
flashing
rPSET04 — SynBass/Kbds(i)
Another split with synthesizer bass on the left (A0 to E3) and a choice of up to seven right hand
instruments. The left hand bass remains constant as different right hand instruments are selected
(by pressing their Sequencer/Preset Track button). Track assignments are as follows:
1
2
3
4
5
6
Wheel Mute Clav
Studio Keys
Cool B-Three
Classic Roads
Pad Maker
Analog Pad
7
8
Big Money Pad Syn-Sweep Bass
solid
flashing
rPSET05 — ElecBass/Gtrs(i)
This split features electric bass on the left (A0 to D3+) and a choice of up to seven guitar styles for
the right hand. The left hand bass remains constant as different right hand instruments are
selected. Track assignments are as follows:
1
2
3
4
5
6
7
8
Studio 6-String
Pedal Steel
Muted Guitar
12-String Guitar
Mellow Nylon
Studio Guitar
Nylon & Strings
Woody Bass
solid
ENSONIQ KT Musician’s Manual
flashing
17
Section 8 — Understanding Presets
rPSET06 — Pno/SoloHorns(i)
A split featuring a grand piano in the left hand (A0 to F4) and a choice of up to seven solo horn
instruments in the right hand. Notice that the split point is higher here than on other presets.
This provides the player with the ability to “comp” chords in the left hand using piano and solo
over this with the right hand instrument. Alternately, two-handed piano playing is facilitated
with the split point being at F4. As before, the left hand piano remains constant as different right
hand instruments are selected. Track assignments are as follows:
1
2
3
Breathy Tenor
Muted Trumpet
Solo Trumpet
4
5
6
Solo Flugelhorn Solo Trombone Trump/Tenor/Bon
e
7
8
Clarinet
KT Grand Piano
solid
flashing
rPSET07 — TinePno/Horns(i)
The same concept as above but with a tine piano (Track 8) on the left side of the split. The split
remains the same as before (F4), with a selection of right hand solo instruments that complement
the tine piano. As before, the left hand tine piano remains constant as different right hand
instruments are selected. Track assignments are as follows:
1
2
3
4
5
6
7
8
Breathy Tenor
Muted Trumpet
Soprano Sax
Piccolo
Chiffy Flute
English Horn
Harmonica
Studio Keys
solid
flashing
rPSET08 — PnoStr/Orch (i)
This split features Piano & Strings for the left side (A0 to B3), and a selection of up to seven
different orchestral instruments on the right side. The Piano & Strings sound remains constant as
different right hand instruments are selected. Track assignments are as follows:
1
2
3
4
5
6
7
8
Orchestra
French Horn Sec.
Oboe
Bassoon
English Horn
Clarinet
Concert Flute
Piano &
Strings
solid
flashing
rPSET09 — Wedding Ceremony
This preset is designed for the organist for the traditional wedding ceremony. This preset is
another split, with a number of organs and other appropriate sounds on the left, with church
bells always on the far right. The bells have a key range of C6+ to C8. This track is always active,
as is track 7 which contains the sound Heavenly Voices, with a key range of A0 to C6. The idea
here is that track 7 is “layered” with whichever track (1 through 6) is selected, and Church Bells
(track 8) are always available in the upper octave(s) by themselves (not layered with any sound).
Tracks 1 through 4 contain different organ sounds which get progressively “fuller” with each
new track. Concert Brass is on track 5 and Movie Strings is on track 6. These, just like the organs
on tracks 1-4, can be selected without de-activating tracks 7 and 8, or they can be double-clicked
to make a gigantic organ, choir voices, brass or strings layer. After all, you’ve got 64 voices to
work with! Track assignments are as follows:
1
2
Principal Organ Flute Stop Organ
solid
18
3
4
5
6
7
8
Sunday Pipes
Pipe Organ
Concert Brass
Movie Strings
Heavenly Voices
Church Bells
flashing
flashing
ENSONIQ KT Musician’s Manual
Section 9 — Preset/Track Parameters
Section 9 — Preset/Track Parameters
This section offers detailed descriptions of the parameters available on the Edit track pages.
These parameters affect preset, sequence, and song tracks. For an overview of the concepts
involved, refer to Section 8 — Understanding Presets.
To edit any of the preset/track parameters described below, you must first press the
{EDIT_TRACK} button. The {EDIT_TRACK} LED will light, indicating that the KT is in Edit
Track mode. The {EDIT_SEQ/PRESET} LED will also light, as a reminder that Edit Track mode is
a sub-mode of Edit Seq/Preset mode. In Edit Track mode, pressing the lower {0} to {9} buttons
will view the appropriate Edit Track pages.
Edit Track
page 0
Vol/Pan
The top line of the display shows the bank location (i:INT, r:ROM, a:CARD, b:CARD), the preset,
sequence, or song location, the track which is being edited, and the play status of the track. This
line is the same on each page in Edit Track mode.
Bank Location
m
Sequencer Memory
Location
m
Track #
m
Play Status
m
iPSET00 Trk01 - Vol=127 Pan=+00
Vol
Range:
000 to 127
The Volume parameter enables you to make volume changes to the individual tracks, allowing
you to balance the KT sounds and/or control the volume of external MIDI devices.
All tracks whose MIDI Status is set to BOTH, MIDI, or *EXT* will send a MIDI Volume Change
message (controller #7) with the indicated value whenever this parameter is edited. Sequence
and preset tracks will also send the current volume for each track when a sequence or preset is
selected.
Pan
Range:
-64 to +63
The Pan parameter gives you control over the placement of the track’s sound in the stereo field.
A Pan setting of -64 is hard left, and +63 is hard right.
When a track’s Pan is set to +00, the voices of a sound are panned according to the settings
originally programmed on the sound’s Output page ({EDIT_SOUND} upper {7}, lower {3}) for
each voice. Setting this parameter to any other pan value will override the original settings and
will shift the voices of the sound toward the newly defined stereo-panned location.
ENSONIQ KT Musician’s Manual
1
Section 9 — Preset/Track Parameters
Edit Track
page 1
Output
iPSET01 Trk01 - Output=CONTRLFX
Output
Range:
DRY, FX1, FX2, VOICE, or CONTRL-FX
Normally, different voices in a sound are assigned to one of the three different busses, as set in
the sound’s Output page ({EDIT_SOUND} upper {7}, lower {2}). On this page, you can override
the normal effects routing of the sound for each track. This may be useful when two sounds are
split or layered in a performance preset, and the effect is not appropriate for both.
DRY
FX1
Effect 1a
Effect 1b
Mix1
L
Effect 2
R
Audio
Outputs
FX2
Mix2
The available settings are:
• DRY
forces all voices to the DRY bus
• FX1
forces all voices to FX1
• FX2
forces all voices to FX2
• VOICE
uses normal voice routing as programmed in each sound.
• CONTRL-FX uses normal voice routing as programmed in each sound, and routes controller
information from this track to the effect. This is the default setting when a new
track is defined and/or when the Replace w/FX function is used to install a
sound and its effect. This ensures that any pre-programmed effect modulation
in a sound will still function. See Section 3 — Understanding Effects for more
information.
2
ENSONIQ KT Musician’s Manual
Section 9 — Preset/Track Parameters
Edit Track
page 2
KeyRange
iPSET01 Trk01 - KeyRange=C2 C8
i
Low Key
KeyRange
Range:
i
High Key
D#0 to F8
Each track has its own independent Key Range within which the track will play. Key ranges can
be used to create simple two-sound splits, or to create more complex keyboard layouts. Key
ranges control which keys will be sent out via MIDI as well as which keys will play the local
voices of the KT.
You can divide the keyboard into as many as eight different key ranges by using the eight
sequence/preset tracks. In addition, you can set the key range so that each range overlaps the
next, producing “layered” ranges in which you would hear the sounds from more than one track.
The illustration below shows an example of three tracks with overlapping key ranges. The Piano
is layered with, and partially overlaps, the Cellos on the lower end and the Flute on the upper
end.
Cellos
Piano
Flute
To set a Key Range:
1. Press {EDIT_TRACK}, then the lower {2} button. The Low Key value will flash.
2. Play the key on the keyboard that you want to be the lowest key of the range. The flashing
will automatically move to the right for the High Key of the range.
3. Play the key for the highest key of the range. The new values for the range will be displayed
and the flashing will stop.
4. If you want to reset the range, simply reselect this parameter and repeat the process.
Changing the key range will not affect the playback of sequencer tracks (though it does affect
what is being recorded). Sequencer tracks will play all keys that were recorded, regardless of the
key range at the time of playback. To eliminate notes within a key range from a sequence track,
use the Erase Track command ({EDIT_SEQ/PRESET}, upper {5}, lower {2} button) and define the
key range that you want to eliminate within the command. This is explained in more detail in
Section 11 — Sequencer Parameters.
☞ Warning: If the key range is set to where the High Key is below the Low Key, then the track
will not play. To correct this situation, reselect the KeyRange parameter and reset the key
range values.
ENSONIQ KT Musician’s Manual
3
Section 9 — Preset/Track Parameters
Performance Tip — Creating Keyboard Splits
One of the most common uses of presets is a keyboard split, in which your left hand plays an
“accompaniment” sound and your right hand plays a “solo” sound. This is easy to set up on the
KT by layering the two sounds and assigning them different key ranges. You can save this
arrangement as a preset so that any time you select that preset, you’ll recall the keyboard split.
Since each track in the keyboard split has its own Transpose value, you are not limited to bass
notes on the piano just because it’s on the bottom of the keyboard. Just set the KeyRange to the
keys you want to play, and then transpose the sound up or down until it’s playing in the range
you want.
Once you have a keyboard split, you can change any of the sounds without affecting the split
points by using the {REPLACE_TRACK_SOUND} button.
Edit Track
page 3
Transpose
iPSET01 Trk01 - Transpose=+0 +00
i
Octave
Transpose
i
Semitone
Octave Range: -4 to +4 octaves
Semitone Range: -11 to +11 semitones
The Transpose function provides a way to transpose tracks in real time without changing the
data in the track. Each track can have its pitch transposed (raised or lowered) by octaves and
semitones within an eight octave range. The transpose setting affects both the pitch played by
local KT voices and the key number transmitted via MIDI. Note that this is completely
independent of the {TRANSPOSE_KEYBOARD} button on the front panel.
☞ Warning: Do not transpose a track whose status is MIDI or BOTH while holding keys down
or while the sequencer is running. This could cause the MIDI key-up events to be missed by
a receiving external MIDI device, causing notes to “hang.”
4
ENSONIQ KT Musician’s Manual
Section 9 — Preset/Track Parameters
Edit Track
Chan/Prog
page 4
iPSET01 Trk01 - Chan=03 Prog=000
Chan
i
i
MIDI Channel
MIDI Program Number
Range:
01 to 16
Use this parameter to determine which MIDI channel a track will use to transmit and receive
data. The difference in how this parameter controls the track for transmitting and receiving is
important to understand. You may wish to refer to the sections covering System•MIDI and
Sequencer Applications.
Transmit
Controls which channel the selected track of a preset will send data on. MIDI data will
be transmitted only if the selected track has a MIDI Status of BOTH, MIDI, or *EXT*
({EDIT_TRACK} lower {5}).
Receive
Controls which channel an individual sequencer track will receive data on if MIDI
Mode=MULTI or MONO B is selected on System•MIDI, page 6.
In POLY or MONO A modes, the KT will receive only on the Base MIDI channel no
matter which track, combination of layered tracks, sound, or preset is selected.
Individual preset tracks will not receive on different MIDI channels. For presets, this
becomes a send-only function.
Warning! If MIDI Mode=MULTI or MONO-B on System•MIDI page 6, and more than one track
is set to receive on the same MIDI channel, only the lowest numbered track will receive via MIDI.
Prog
Range:
000 to 127
This parameter lets you choose which MIDI Program Change number will be transmitted via
MIDI when the track is selected. If the track MIDI status has been set to LOCAL, the track will not
send program changes. When a different Track, Preset, Sequence or Song is selected, the KT will
transmit MIDI program change messages for tracks with a status of BOTH, MIDI or *EXT*.
The default program change number is the number of the KT sound assigned to the track. This
number is automatically set whenever a sound is selected for a track. Assigning a new sound to a
Preset track with the {REPLACE_TRACK_SOUND} button automatically updates the program
change number to that of the new sound on the track.
You can set this number to any other legal program number if you wish to override the default
value. Editing this number will change programs on external MIDI devices without changing the
current KT sound. This is a convenient way to try out combinations of KT sounds and external
MIDI devices.
Program Changes in the KT
The sounds in all banks are assigned MIDI Bank Select numbers and program numbers. The
KT’s MIDI Out will send the appropriate MIDI Bank Select message whenever the bank (i:INT,
r:ROM, a:CARD, or b:CARD) is changed.
•
•
•
•
Internal RAM sounds (i:INT banks) are numbered from 001 to 079.
r:ROM sounds are also numbered from 001 to 079.
Card sounds (a:CARD or b:CARD banks) are numbered from 001 to 079.
The r:DRUM ROM sounds are numbered from 080 to 099.
ENSONIQ KT Musician’s Manual
5
Section 9 — Preset/Track Parameters
Bank Select and Program Change Implementation
The way the KT receives program changes is slightly more complex than some other systems,
because the number of sounds that are available to be selected from MIDI is larger than the
number of program change messages available within the MIDI standard. To solve this problem,
the KT uses MIDI Bank Select numbers (LSB 0 to 3) to control how subsequent program changes
will be interpreted. The following chart shows the effect of these four Bank Select messages:
After MIDI Bank Select: Subsequent program changes will select:
LSB 0
000..079 - i:INT sounds
LSB 1
000..079 - r:ROM sounds
LSB 2
000..079 - a:CARD sounds
LSB 3
000..079 - b:CARD sounds
These MIDI Bank Select values need to be sent only once. All subsequent program changes will
be directed to the Bank that was selected by the last Bank Select message received.
Note: Incoming Program Changes 80 to 99 will always select one of the 20 r:DRUM
ROM Sounds.
Selecting a New Sound and its Effect from MIDI
There is a special range of MIDI Bank Select messages, recognized only in MULTI mode, that are
used to select both a sound and its effect for one of the eight sequencer tracks. When Bank Select
value +10 is received on a channel assigned to a sequencer track, then the next program change
received on that track will select a new sound and will also install the effect from that sound as
the new sequence (or song) effect. This can be useful when controlling the KT from an external
sequencer.
After MIDI Bank Select: Subsequent program changes will select:
6
LSB 10
000..079 - i:INT sounds with its effect
LSB 11
000..079 - r:ROM sounds with its effect
LSB 12
000..079 - a:CARD sounds with its effect
LSB 13
000..079 - b:CARD sounds with its effect
ENSONIQ KT Musician’s Manual
Section 9 — Preset/Track Parameters
Edit Track
page 5
Status
iPSET01 Trk01 - Status = BOTH
Status
Range:
BOTH, LOCAL, MIDI, or *EXT*
This page determines the MIDI Status of a track. The four possible settings are:
BOTH
Keys, controllers, etc., will play KT voices and will be sent via MIDI on the selected
MIDI channel. Incoming MIDI will play KT voices.
LOCAL Keys, controllers, etc., will only play KT voices, and will not send any data out via MIDI.
Incoming MIDI will play KT voices.
MIDI
Keys, controllers, etc., will be sent out via MIDI when the track is played from the
keyboard. However, keys played or recorded on the track will not play KT voices.
Incoming MIDI will play KT voices. This is comparable to Local Off on some
keyboards. Use this status when you want to create MIDI-only tracks for sequencing or
playing remote MIDI devices. When MIDI status has been selected for a track, instead
of showing the program name, the display will show “*MIDI-CHAN-#,” indicating its
status and what MIDI channel it is sending on (assuming MIDI-TRK-NAMES=OFF on
System•MIDI page 9; see Section 2 — System•MIDI).
*EXT* Same as MIDI status except that incoming MIDI will not play internal voices. This is
useful when using the KT as a Master MIDI Controller with an external sequencer and a
number of other remote MIDI devices. It is also good for turning off certain tracks when
using the KT as a multi-timbral receiver in MULTI mode, thereby limiting the number of
MIDI channels to which the KT will respond.
This chart details the behavior of sequencer tracks for each MIDI Status:
Track Status
BOTH
LOCAL
MIDI
*EXT*
Playing the keyboard plays KT voices
YES
YES
NO
NO
Playing the keyboard sends out MIDI
YES
NO
YES
YES
Playing the keyboard will be recorded by the sequencer
YES
YES
YES
YES
Incoming MIDI data plays KT voices
YES
NO
YES
NO
Incoming MIDI data will be recorded by the sequencer
YES
YES
YES
*
Playing the sequencer track (pressing {PLAY}) plays local voices
YES
YES
NO
NO
Playing the sequencer track sends out MIDI
YES
NO
YES
YES
*
ENSONIQ KT Musician’s Manual
NO in MULTI or MONO-B modes, YES in OMNI, POLY, and MONO-A modes.
7
Section 9 — Preset/Track Parameters
Edit Track
page 6
Pressure
iPSET01 Trk01 - Pressure=CHANNEL
Pressure
Range:
NONE, KEY, or CHANNEL
This parameter enables you to assign one of three pressure types to each Track. This parameter
controls which pressure type a track will respond to via MIDI. This parameter also enables and
disables track pressure transmission to both KT sounds, and to external MIDI. Remember, the
KT keyboard itself can only generate channel pressure, but it can receive both channel and PolyKey pressure via MIDI.
When Pressure=NONE:
• Voices played from the keyboard or the sequencer will not respond to pressure.
• The sequencer will not record pressure into any tracks you record.
• The sequencer will not play back any Poly-Key or channel pressure messages recorded on the
track.
• The instrument will not transmit or receive pressure of either type via incoming MIDI.
Note: You should select Pressure=NONE whenever you don’t want or need pressure
for a given sound, particularly when sequencing. Pressure data uses up sequencer
memory rapidly, so whenever you record a track with a sound that doesn’t respond to
pressure, set this parameter to NONE. This will avoid wasting valuable sequencer
memory, and will avoid clogging up the MIDI data stream with a lot of unnecessary
pressure information. Existing pressure information can also be removed from a track
using Filter Events on Edit Seq/Preset page 57.
When Pressure=KEY:
• Voices played from the KT keyboard will not respond to pressure.
• The sequencer will record Poly-Key pressure received via incoming MIDI into any tracks you
record.
• The sequencer will play back any Poly-Key pressure messages recorded on the track, and will
ignore any channel pressure on the track.
• The KT keyboard will not transmit any pressure out via MIDI; however,
• Either channel pressure or Poly-Key pressure will be received via incoming MIDI.
When Pressure=CHANNEL:
• Voices played from the KT keyboard will respond to channel pressure only.
• The sequencer will record channel pressure into any tracks you record.
• The sequencer will play back any channel pressure messages recorded on the track, and will
ignore any Poly-Key pressure on the track.
• The KT keyboard will only transmit channel pressure out via MIDI, however.
• Either channel pressure or Poly-Key pressure will be received via incoming MIDI.
Note: The KT sequencer will always record both channel and Poly-Key pressure
(received via incoming MIDI), no matter what the Track Pressure parameter is set to.
8
ENSONIQ KT Musician’s Manual
Section 9 — Preset/Track Parameters
You should consult the MIDI implementation chart of the MIDI device you will be using with the
KT to see which (if any) type of pressure it responds to and transmits. For best results, set the KT
Pressure parameter to match the type of pressure supported by the external MIDI device that will
send to or receive from the track you are setting.
Edit Track
page 7
Sustain Pedal
iPSET01 Trk01 - SustainPedal=ON
Sustain Pedal
Range:
OFF or ON
Allows you to determine whether each individual track will respond to sustain controller events.
The effect of all sustain events, whether from the KT sustain pedal (FtswR=SUSTAIN on
{SYSTEM"MIDI}, page {2}) or sustain commands received from MIDI (controller #64), is
controlled by this switch.
•
•
ON — sustain events will affect all notes played within the active key range for this track.
OFF — sustain events will have no effect on the notes played on this track.
For example, it may be useful to turn off sustain events on a track set up as a bass sound in a split
keyboard configuration. This allows you to play staccato bass lines on the lower part of the
keyboard, while playing chords on the upper part of the keyboard and using the sustain pedal.
The bass notes will not be affected by the sustain pedal (because the bass track sustain is set to
OFF) but the chords will sustain.
ENSONIQ KT Musician’s Manual
9
Section 9 — Preset/Track Parameters
Edit Track
page 8
Timbre
iPSET01 Trk01 - Timbre = 000
Timbre
Range:
000 to 127
Timbre provides an easy way to make useful changes to the character of a sound without getting
into more complex programming. This performance parameter uses the Data Entry Slider and
{VALUE} buttons to control various aspects of the sound, depending on what the programmer
has decided would be useful.
As a voice modulation source, Timbre can be assigned to anything that can be modulated in a
program or effect. The Timbre control can be connected to parameters such as filter cutoff,
waveform modulation, LFO depth, and others. It is a good idea to experiment with the Timbre
setting to hear what it has been programmed to do in each program.
All tracks whose MIDI Status is set to BOTH, MIDI, or *EXT* or will send a MIDI Continuous
Controller message (controller #71) with the indicated value whenever this parameter is edited.
Edit Track
page 9
Release
iPSET01 Trk01 - Release = +00
Release
Range:
-64 to +64
“Release” is the time it takes for the sound to fade away when the key is released. This parameter
enables you to increase or decrease the release time of the sound on a selected track. It is useful
when you need to adjust the release characteristics of a sound for a particular application without
getting more deeply into programming. Higher values lengthen the release time, whereas lower
values shorten the release time.
All tracks whose MIDI Status is set to BOTH, MIDI, or *EXT* will send a MIDI Continuous
Controller message (controller #72) with the indicated value whenever this parameter is edited.
10
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
Section 10 — Understanding the Sequencer
This section contains an introduction to the KT sequencer and all the information you’ll need to
start sequencing.
If you’ve turned here first because you can’t wait to start sequencing, you should turn back to
Section 8 — Understanding Presets. The Presets section contains important information on
choosing and playing tracks, setting performance parameters and MIDI controls, that is integral
to the sequencing process. We recommend that you read that section first, then come back and
familiarize yourself with the many other sequencer controls and functions described in this
section. This is the only way to truly take advantage of the power of the KT sequencer.
Digital Sequencing
Multi-channel audio tape recorders have many physical tape tracks onto which you can
magnetically record complex polyphonic information. Digital sequencers simulate this by
recording events that describe a performance onto virtual tracks in computer memory. When
these sequence tracks are played back, the recorded information can play KT sounds or can be
sent to remotely controlled sound generators to recreate the performance. A digital sequencer
records and plays back the “control information” rather than the actual notes. This means that
there is no degradation of the sound in the recording process no matter how many times you
overdub or re-record a part.
It is important to bear in mind that a sequencer only records what you play. Sequencer memory
is used up by Events (keys struck, controllers, etc.), while a tape recorder’s memory (the tape) is
always used up by the same amount over a fixed period of time.
This means that a digital sequencer will use virtually the same amount of memory to record 100
notes, whether you play those notes over ten seconds or ten minutes. When you strike a key, the
sequencer records a Key Down event. It then counts the clock pulses until you release the key,
when it records a Key Up event. The amount of time between the key down and the key up
doesn’t really affect the amount of memory required to record the note. Compare this to an
audio tape recorder. With tape, time is the important factor. A tape recorder will use the same
amount of tape to record a minute of music, whether the signal contains one note or one
hundred.
You might say that tape is linear — it is spent at a fixed rate — while digital sequencer memory is
dynamic — it is used only as needed. Understanding the difference will help you to manage the
KT sequencer memory. For example, while key events (the notes you play) use up relatively little
memory each, controllers such as mod wheel, pressure, etc., are recorded as a flood of numbers
that can fill the memory quickly. So if you’re trying to squeeze one more track into a sequence
when there isn’t much memory left, you know to go easy on the controllers.
ENSONIQ KT Musician’s Manual
1
Section 10 — Understanding the Sequencer
What is a Sequence?
A sequence is simply a piece of music recorded by the KT. Each sequence can contain up to eight
independent performances (along with an effects algorithm and its settings) — using eight
different sounds — playing together to produce a complete musical arrangement. Each one of
these performances is called a “track.” Each track has its own set of track parameters (volume,
pan, and all the other performance parameters, including MIDI channel, status, etc.) that are
remembered with the sequence.
A sequence has a fixed length (though you can change it at any time) that is set by the length of
the first track you record. A given sequence can be as short or as long as you like (within the
limitations of memory). Each sequence has a 16-character name that is assigned at the time of its
creation, but the name can be changed at any time (press {EDIT_SEQ/PRESET}, the top {4}, then
the bottom {4}).
When you select a new sequence, each track used within that sequence will send out a MIDI
program change and MIDI volume instructions on its designated MIDI channel, unless the track
has been assigned LOCAL only status.
What is a Song?
A KT song is a collection of sequences programmed to play one after another. When a song is
selected, individual sequences are assigned to play in a certain order as a series of Steps with up
to 99 Steps, and up to 99 Repetitions of each Step. Within each Song Step, individual tracks
within the sequence can be muted or transposed.
However, a song on the KT is much more than just a collection of sequences playing in order.
This is because each song has an additional set of eight tracks that are completely independent of
the tracks in its component sequences.
Each Song Track can have its own sound and a full set of track/performance parameters, just like
a sequence track. The length of the song tracks is defined by the combined length of the sequence
steps and repetitions which make up the song. Song tracks are selected with the
{SEQUENCER/PRESET_TRACK} buttons when a song is selected.
This means that after you have completed some sequences and linked them together to form a
song, you have eight more linear tracks that run the entire length of the song. This gives you a
total of 16 tracks to work with (for more information, see “Song Tracks” later in this section).
2
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
About Sequencer Memory
There are four banks of 70 Presets/Sequences and 30 Songs, each available in the KT (i:INT
(RAM), r:ROM, a:CARD and b:CARD):
•
•
•
i:INT — 70 Presets/Sequences and 30 Songs can be stored in the KT Internal RAM Memory
(Random Access Memory). The i:INT sequencer bank contains room for 6500 events.
r:ROM — Additional Presets/Sequences and Songs are permanently stored in ROM (Read
Only Memory). Like the Internal (i:INT) sequencer data the ROM sequencer data is
contained within the KT; but unlike the Internal (i:INT) sequencer data, it cannot be modified
or replaced. The Demo Song is found in r:ROM page location 70.
a:CARD and b:CARD — 140 Presets/Sequences and 60 Songs can be stored in an industrystandard PCMCIA card (70 Presets/Sequences and 30 Songs in group A, and 70
Presets/Sequences and 30 Songs in group B) when it is plugged into the card slot.
Card Sequencer Memory
ENSONIQ MC-512 RAM Cards (or any PCMCIA RAM card) can be used to store two banks of 80
Sounds (which we refer to as a:CARD and b:CARD), and two banks of 100
Presets/Sequences/Songs (also a:CARD and b:CARD). The 100 Presets/Sequences/Songs
available on RAM cards are divided into 70 Presets/Sequences and 30 Songs, just like in the KT
(i:INT and r:ROM).
Sound Data
a:CARD
b:CARD
80 sounds
80 sounds
Sequencer Data
a:CARD
b:CARD
70 Seq/Presets
70 Seq/Presets
30 Songs
30 Songs
6500 events
112,000 events
RAM Card Configuration
Both sounds and sequencer data stored to a PCMCIA RAM card can be played directly from the
card (when it’s properly inserted into the card slot on the KT). Each Preset/Sequence/Song bank
is a world unto itself: for example, songs can only be constructed of sequences from the same
bank. The Preset/Sequence/Song banks are sized as follows:
•
•
The a:CARD Preset/Sequence/Song bank is formatted to exactly the same size as the i:INT
Preset/Sequence/Song bank. It is used mainly for portable backup of the i:INT, and as a
transfer area. The a:CARD sequencer bank contains room for 6500 events.
The b:CARD Preset/Sequence/Song bank is formatted to use all remaining card space
assigned for sequencer data storage. The b:CARD sequencer bank contains room for 112,000
events. This is for your big projects. b:CARD stands for BIG!
ROM Preset/Sequence/Song reside permanently in the KT and cannot be edited. Most of the
sequencer commands are “locked out” when a ROM Preset/Sequence/Song is selected.
However, you can copy any ROM Preset/Sequence/Song into RAM (i:INT) or to a card and edit it
there.
Note: If the sequencer is playing or recording into a card bank (a:CARD or b:CARD)
and you pull out the card, the KT will restart as though the power was turned off and
on. This will also happen if the sequencer is stopped, and the audition page is
displayed for sequencer data on either card bank.
ENSONIQ KT Musician’s Manual
3
Section 10 — Understanding the Sequencer
Sequencer “Transport Controls”
The three buttons at the bottom of the Sequencer section are used to start, stop and continue the
sequencer, and to put it into Record and Overdub modes. Besides these three buttons, either the
basic single damper foot switch (SW-6) or a dual foot switch (the optional SW-10) can be used to
start and stop the sequencer when both hands are busy (see Section 2 — System•MIDI Parameters).
Record
Stop
Continue
Play
SW-10 Dual Foot Switch
Assuming the Auto Punch function is off (see the description of the Auto Punch parameter in
Section 11 — Sequencer Parameters):
•
•
•
•
Press {PLAY} to start the current sequence or song (whichever is selected) from the
beginning.
Pressing {STOP"CONTINUE} while the sequencer is running will stop the current sequence
or song.
Pressing {STOP"CONTINUE} while the sequencer is stopped will play the current sequence
or song from wherever it was last stopped.
Either foot switch can duplicate the behavior of the {STOP"CONTINUE} button by setting
FtswL or FtswR=STOP/CONT on System•MIDI page 2.
Note: If you are using a single foot switch (SW-2 or SW-6) in the Foot Switch jack, the
FtswL parameter on System•MIDI page 2 should always be set to UNUSED. This will
prevent note drones. Remember that the Foot Switch jack is optimized for use with a
stereo Foot Switch (SW-10). When a single foot switch is connected, it behaves like the
right foot switch (FtswR).
•
•
•
4
While holding down {RECORD}, pressing {PLAY} will start the sequencer recording on the
current track from the beginning of the sequence or song.
While holding down {RECORD}, pressing {STOP"CONTINUE} will start the sequencer
recording on the current track from wherever it was last stopped.
Pressing {RECORD} while the sequencer is playing will put the sequencer into “overdub”
mode. It will wait for you to start playing before going into Record on the current track.
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
Sequencer Status
On many sequencer pages the upper right-hand corner of the display indicates the Sequencer
Status. The sequencer is always in one of the following states:
STOP
PLAY
SNGS
SNGP
REC
ODUB
play
rec
odub
mrec
AUDP
AUDS
Sequencer at rest.
Playing current sequence (sequence selected).
Song Stop: sequencer at rest with a song selected.
Song Play: playing current song.
Recording on current track, first pass.
Overdub: re-recording current track.
Countoff playing before going into Play, Record or Overdub.
Record Standby: waiting for you to play before going into Record (first track only).
“Overdub” Standby: waiting for you to play before going into Overdub.
MIDI sync Record Standby: same as Record Standby except that the sequencer
is synced to external MIDI clocks (CLOCK=MIDI on the Control page) and is
waiting for MIDI clocks before going into Record.
Audition Play. This state is entered automatically from Record when the end of
the sequence is reached (assuming LOOP=ON). After leaving Record and
entering Audition Play, the sequence will continue to play in this state, with the
newly recorded track, until you press the {STOP"CONTINUE} or {SAVE} buttons.
The Display will then show “Press ENTER to keep NEW track.”
Audition Stop is entered when you stop the sequencer from the Audition Play
state. To exit Audition Stop and return to the normal stop state, you must first
instruct the KT to KEEP either the NEW or the original OLD track (see KEEP
NEW/OLD screen later in this section).
ENSONIQ KT Musician’s Manual
5
Section 10 — Understanding the Sequencer
Select Sequence Mode Pages
Pressing the {SELECT_SEQ/PRESET} button puts the KT into Select Sequence/Preset mode.
Repeatedly pressing the {BANK} button will scroll through the different sequencer memory
banks: i:INT (RAM), r:ROM, a:CARD, or b:CARD. The {0} to {9} buttons will now select
Sequence/Preset or Song pages. Pages 00 to 69 contain sequences/presets, while pages 70
through 99 hold the songs. Each page contains a sequence/preset or song location that can be
selected by pressing an upper {0} to {9} button for the first digit, and then a lower {0} to {9}
button for the second digit.
Location of sequence
m
m
iSEQ 00 Tempo120 Seq/Preset-00
i
Name of sequence/preset
Preset/Sequence Locations 00 to 69 that have not yet been defined show:
Press ENTER to Make new Pset=##
i
empty location selected
Song Locations 70 to 99 that have not yet been defined show:
Press ENTER to Make new Song=##
i
empty location selected
•
•
Pressing {ENTER} will initiate the Make new Preset or Make new Song function (see
Creating a New Sequence or Song, later in this section).
Pressing {NO} will redisplay the name page for the currently selected
Preset/Sequence/Song.
Selecting a Sequence or Song
1.
2.
3.
4.
6
Press the {SELECT_SEQ/PRESET} button to enter Select Sequence/Preset mode.
Repeatedly press the {BANK} button to select the appropriate bank.
Press a top {0} to {9} button to select the first digit of the Sequences/Presets and Song page.
Press a bottom {0} to {9} button to select the second digit of the page.
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
Choosing Internal, ROM, and Card Sequences/Presets/Songs
In Select Sequence/Preset mode, the display shows the bank and page location, and the name of
the Sequence/Preset or Song:
Bank Location
A Preset is selected
l
m
Sequencer Location
n
iPSET00
Seq/Preset-00
i
Preset Name
There are two methods that can be used to choose between the four banks:
•
•
The {BANK} button — Repeatedly pressing the {BANK} button will step through the various
banks. The bank location in the upper left corner of the display will change.
Direct-Dialing — You can reach any of the banks directly by pressing the {BANK} button,
and while continuing to hold the {BANK} button down, press one of the lower {0} to {3}
buttons.
Select
Sound
Bank Button
i
r
a
b
: INT
: ROM
: CARD
: CARD
0
Bank
i:INT
1
r:ROM
2
a:CARD
3
4
5
6
7
8
9
b:CARD
The lower {0} to {3} buttons are used to choose between i:INT, r:ROM, a:CARD and b:CARD
sequence/presets/songs. Note that if there is no card installed, or there is no sequencer data
on the card, the a:CARD and b:CARD banks will not be recognized.
Playing Sequences and Songs
Try selecting a sequence, and pressing {PLAY}. The selected sequence will begin to play.
Location of currently playing sequence
m
iSEQ 00 Tempo120 Seq/Preset-01
i
Name of sequence
selected to play next
While one sequence is playing, you can select another one. The bottom line of the display will
show the name of the new sequence, with the original sequence continuing to play. When the
first sequence is finished, the upper left hand corner of the display will switch to indicate the new
sequence, and it will play. This is how you can string sequences together in real time, as they
play. The display always shows you which is playing (upper left corner) and which is selected to
play next (bottom line).
Note: If the new sequence uses a different effect algorithm than the previous one, the
audio output will be muted temporarily while the new algorithm is loaded. See Section
3 — Understanding Effects for more information on effect algorithms.
Creating a New Sequence or Song
ENSONIQ KT Musician’s Manual
7
Section 10 — Understanding the Sequencer
To Create a New Sequence:
1. Press the {SELECT_SEQ/PRESET} button to enter Select Sequence/Preset mode.
2. Press the {BANK} button until the upper left corner of the display shows either iPSET,
aPSET, or bPSET. Remember, you can’t create a sequence/preset in r:ROM (Read Only
Memory).
3. Using the {0} to {9} buttons, select any undefined sequence location (pages 00 to 69).
Remember, pages 00 through 69 contain sequences, and 70 through 99 contain songs. When
you select an undefined location, the display will show the following prompt:
Press ENTER to Make new Pset=##
i
currently selected location
4.
Press the {ENTER} button. The display shows:
New Sequence Location = ##
The Data Entry Slider or the {VALUE} buttons will now scroll through all available unused
sequence locations within that bank (when creating a song, the Data Entry Controls scroll
through unused song locations).
Once a location has been chosen, press {>} or the {SAVE} button. The display shows:
Time Signature = 04/4
6.
The {VALUE} buttons will now set the time signature values. The {>} or the {ENTER}
button will advance to the second value. Pressing the {>} or the {ENTER} button a second
time will cause the display to show:
New name = Seq/Preset-##
7.
8.
8
Again, use the Data Entry Slider or {VALUE} buttons to select various letters, numbers, and
icons to create a name and use the {CURSOR} buttons to choose which character to edit.
Now that you’ve selected a location, time signature, and name for your sequence, press the
{ENTER} button again. The display will briefly read “Command Successful!”
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
To Create a New Song:
1. Press the {SELECT_SEQ/PRESET} button to enter Select Sequence/Preset mode.
2. Press the {BANK} button until the upper left corner of the display shows either “i” (for
i:INT), “a” (for a:CARD), or “b” (for b:CARD). Remember, you can’t create a song in r:ROM
(Read Only Memory).
3. Press any top row button from {7} to {9} to select the song locations.
4. Using the lower {0} to {9} buttons, select any undefined song location (pages 70 to 99).
Remember, pages 00 through 69 contain sequences, and 70 through 99 contain songs. When
you select an undefined location, the display will show the following prompt:
Press ENTER to Make new Song=##
i
currently selected location
5.
Press the {ENTER} button. The display shows:
New Song Location = ##
6.
The Data Entry Slider or {VALUE} buttons will now scroll through all available unused song
locations (when creating a sequence the arrows scroll through unused sequence locations).
Once a location has been chosen, press {>} or the {SAVE} button. The display shows:
New name = Song-##
7.
8.
Again, use the Data Entry Slider or {VALUE} buttons to select various letters, numbers, and
symbols to create a name and use the {CURSOR} buttons to choose which character to edit.
Now that you’ve selected a location and name for your song, press the {ENTER} button
again. The display will briefly read, “Command Successful!”
ENSONIQ KT Musician’s Manual
9
Section 10 — Understanding the Sequencer
Erasing All Sequencer Memory
When you want to erase all sequences and songs in the currently selected sequencer bank, first
make sure you have saved any important data to a storage card or to a remote MIDI device using
MIDI system exclusive, then:
1. If not currently in Edit Sequence/Preset mode, press the {EDIT_SEQ/PRESET} button. The
LED in the button will light.
2. Select the Sequencer Control pages by pressing the upper {1} button.
3. Press the lower {7} button. The display shows:
Press ENTER to Erase Seq Memory
4.
Press {ENTER}. The KT display shows:
Erase Seq Memory in Bank xxxxxx ?
5.
•
10
This read-only page displays the selected bank to be erased.
Press the {YES} button. The KT erases all presets, sequences, and songs from the selected
sequence/preset bank. This will not erase any sounds used by the sequencer. After the
memory is erased, there will be one blank sequence and one blank song in locations 00 and 70
respectively (there is always one song and one sequence in memory).
Note that when a ROM Sequence/Preset/Song is selected, this command cannot be
performed, and the display will momentarily show “Cannot edit ROM!”
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
Recording a Sequence
Here we will describe recording a new sequence from scratch. First we will concentrate on
sequencing with the KT alone, and then cover sequencing remote MIDI instruments.
Create a New Sequence:
1. Following the steps outlined earlier in this section, create a new sequence/preset.
2. Press a {SEQUENCER/PRESET_TRACK} button. The display will now read:
Selected Seq/Preset Track
Sound Bank Location
l
m
Sound Page Location
n
Trk01 i:INT 00 <Sound Name>
i
Track Sound Name
Note that if there was any data on the track, there would be an 1/8th note symbol following
the Selected Seq/Preset Track number on the top of the display.
Select a Track:
1. Track 1 is already defined and selected (there is always one track selected in a sequence) and
the current sound has been placed on the track. All other tracks are still -UNDEFINED-.
2. To begin recording the sequence with a track other than Track 1, press the
{SEQUENCER/PRESET_TRACK} button corresponding to that track. This defines the track
and puts the currently selected sound on it. Otherwise, you can just leave Track 1 selected
and start from there.
Select a Sound for the Track:
1. Press the {REPLACE_TRACK_SOUND} button.
2. Select a sound as you normally would, using the {BANK} and {0} to {9} buttons to locate the
sound you want. Each new sound is assigned to the track, replacing the previous one.
3. Press {REPLACE_TRACK_SOUND} again to exit Replace Track Sound mode, placing the
currently displayed sound on the track.
Check the “Click” and “Countoff” settings:
1. Press {EDIT_SEQ/PRESET}. Go to the Click page by pressing the upper {2} button, followed
by the lower {0} button. This page controls the functions of the KT’s internal metronome.
Select the “Click” parameter and set to “Click = RECORD.” This will provide a click track
when you are in record, but not during playback.
2. Select the Countoff page by pressing the upper {1} button, then the lower {0} button. Select
the “Countoff” parameter and set to “Countoff= RECORD”. This will play a one bar countoff
before recording (but not when playing back) all tracks.
ENSONIQ KT Musician’s Manual
11
Section 10 — Understanding the Sequencer
Record the First Track:
The length of the first track defines the length of the sequence. So, there is a special procedure for
recording the first track of a new sequence:
1.
2.
3.
While holding down {RECORD}, press {PLAY}. The click track starts playing, giving the
tempo. The first beat of each measure is accented. The tempo parameter on the Click page is
automatically selected.
Adjust the Tempo. Use the Data Entry Slider or the {VALUE} buttons to set it to the tempo
you want. The bar in which you start playing becomes Bar 1 of the Sequence.
Press {STOP"CONTINUE} to end recording. Note that the foot switch can be used to stop
recording, when set to STOP/CONT on System•MIDI page 2. The display will show:
Trk01 Keep first XXX bars?
4.
5.
12
This will determine the length of the sequence.
Press the {YES} button to keep the track, defining the length of the sequence, or
Press the {NO} button to erase the first track and start over, leaving the sequence length
undefined.
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
Record Additional Tracks:
After you have answered YES to the question “Trk1 Keep first ## bars?” all other recording,
including re-recording the first track, will follow the same basic routine. The length of the
sequence is now defined (by the length of the first track). The rest of the sequence tracks will
automatically have the same length.
1.
2.
3.
4.
Press the second {SEQUENCER/PRESET_TRACK} button, and select a second track (or leave
the first track selected if you want to record over it). The name of the program and all the
track parameters from the previous track are copied onto to the new track.
Select a sound for the track using the {REPLACE_TRACK_SOUND} button, as described
earlier, to put the sound of your choice on the selected track.
While holding down {RECORD}, press {PLAY} to begin recording. The click track will play
for one measure (assuming Countoff=RECORD or CLICK) and then the sequencer will enter
record mode. It will record whatever you play on the new track until:
• the end of the sequence is reached, or
• you press {STOP"CONTINUE} (or press the foot switch when set to STOP/CONT on
System•MIDI page 2).
At the end of the sequence, the KT will leave record mode and (assuming Loop=ON) enter
Audition Play mode. At that time, the Keep NEW/OLD page is shown:
Press ENTER to KEEP NEW TRACK
5.
6.
7.
8.
Press the {NO} button to hear the track as it was before you recorded the new track. The
display then reads “OLD” where it shows “NEW” in the above illustration. This is
invaluable when you begin to do second and third takes, since it allows you to compare the
tracks before deciding which to keep.
Press the {[} button to hear what you just recorded.
Press the {ENTER} button while the display reads “OLD” to leave the track as it was in
memory, and “trash” the one you just recorded. If the track was empty before recording,
pressing {ENTER} will leave it empty.
Press the {ENTER} button while the display reads “NEW” to save the new track into
memory, replacing whatever was on the track before.
The KEEP NEW/OLD Page
The Keep NEW/OLD page appears after all track recording and after most track command
functions. The KT always gives you a chance to audition changes to the track data before
deciding whether to keep them. You’ll find this capability to be of great use for those occasions
when you need to hear both versions back-to-back to make a decision.
ENSONIQ KT Musician’s Manual
13
Section 10 — Understanding the Sequencer
Re-recording a Track
The KT offers two methods for re-recording (or “punching in”) a specific part of a track. When
the Auto Punch function is OFF, you can punch in manually just by playing the keyboard to start
recording. When Auto Punch is ON the KT will enter and exit Record mode automatically at the
precise times that you specify on the Locate page (see the description of the Locate and the Auto
Punch parameters in Section 11 — Sequencer Parameters).
To Punch In manually on a track (Auto Punch=OFF on Sequencer Control page 2):
1. Press the {EDIT_SEQ/PRESET} button, the upper {0} button, then the lower {0} button.
2. Press the {SEQUENCER/PRESET_TRACK} button to select the track you want to record on.
3. Press {PLAY} to start the sequence or song playing.
4. Press {RECORD}. This puts the KT in Overdub Standby — “odub” appears in the upper right
corner of the display and the sequencer waits for you to play keys before going into record.
5. Start playing at the point where you want to punch in. When you play anything, the KT goes
into overdub (or record for a new track) and records what you play, leaving intact the part of
the track before the punch in. Unless you then press {STOP"CONTINUE}, new track data will
be recorded from the point where you punched in to the end of the sequence or song.
6. Press {STOP"CONTINUE}. You will see the Keep NEW/OLD page as shown earlier, letting
you audition the new or the old track before deciding which to keep.
To Punch In and Out automatically on a track (Auto Punch=ON):
1. Press the {EDIT_SEQ/PRESET} button, the upper {0} button, then the lower {3} button.
2. Set “Auto Punch = ON” with the Data Entry Controls.
3. Press the lower {1} button, and use the Data Entry Controls to define the exact bar, beat and
clock at which the KT will enter record.
4. Press the lower {2} button, and use the Data Entry Controls to define the exact bar, beat and
clock at which the KT will exit record.
5. Press the {SEQUENCER/PRESET_TRACK} button to select the track you want to record on.
6. While holding down {RECORD}, press {PLAY} to start the sequencer. It will begin to play,
but will not go into record until the Punch In time is reached. You can play along with the
sequence if you wish without being recorded.
7. When the Punch In time is reached, the sequencer will automatically enter record, and will
record whatever you play until the Punch Out time is reached.
8. At the Punch Out time, the sequencer automatically exits record and goes into Audition mode.
9. Audition the new track as usual from the Keep NEW/OLD page before deciding whether to
keep the new or the old track.
When AutoPunch=ON, the KT will record events only within the window of time specified by
the Edit times, no matter how you enter record. Thus, if you press {PLAY} then {RECORD}, the
KT will wait for you to play before entering record, but recording will only be triggered by notes
within the Edit times window. Notes played before the Punch In time or after the Punch Out
time will not initiate recording.
If Record = LOOPED (on Sequencer Control page 1) and AutoPunch=ON, the sequencer will
continue to go in and out of record at the Edit times each time the sequence repeats, for as long as
you let it play.
Tip:
When the foot switch is set to control sequencer STOP/CONT, depressing the
foot switch while the sequencer is running in Overdub Standby mode (lower case
“odub”), forces the sequencer into Overdub Record mode (upper case “ODUB”). This
allows for hands-free punch ins without using punch times.
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Section 10 — Understanding the Sequencer
Playing along with a Sequence/Auditioning New Sounds and Effects
In Select Sequence/Preset mode, you can play a multi-timbral lead along with sequencer
playback by double-clicking (layering) the {SEQUENCER/PRESET_TRACK} buttons.
The preferred way to audition new sounds, or to just play along while the sequencer is running,
is to use the {REPLACE_TRACK_SOUND} button, as described in Section 8 — Understanding
Presets.
Tip:
When a sequence is playing, pressing {SELECT_SOUND} will load the effect
algorithm for the current sound into the effects processor, replacing the sequence effect.
This does not change the sequence; but by selecting different sounds, you can audition
the sequence with different effects.
Recording Program Changes into the Sequencer
The KT sequencer can record program change events that, when played back, will automatically
change the sounds assigned to sequence or song tracks at the point(s) that the program change
events were recorded.
To record program change events onto a sequence or song track:
1. Select a sequence or song that has at least one track with recorded note data.
2. Press {EDIT_SEQ/PRESET}, the upper {1}, then the lower {1} button, and set the record
mode to Record= ADD.
3. Press the upper {0}, then the lower {0} button. The display shows Locate page 00.
4. Select the track that you want to record program change events on by pressing its
{SEQUENCER/PRESET_TRACK} button.
5. Press {PLAY}, then press {RECORD} to enter “Overdub” Standby recording. The display
shows “odub” in the upper right corner. The KT is now waiting for a note or program
change event to begin recording.
6. Press {REPLACE_TRACK_SOUND}. We do not recommend double-clicking the
{REPLACE_TRACK_SOUND} button (Replace w/FX), as this will permanently change the
sequence or song effect.
7. Use the {BANK}, {SOUNDFINDER}, {VALUE} and/or the upper {0} to {9} buttons to locate
the sound that you want to change to. The sound name will be displayed, and you will hear
the new sound (the sound has not been changed permanently yet).
8. At the point where you want the sound on the track to change, press the lower {0} to {9}
button for the location where the sound resides. This is the second digit on the upper right
side of the display (as shown below):
Press this lower {0} to {9} button
m
Trk01£ i:INT 35 <Sound Name>
The KT enters Overdub Record mode, and records a program change event onto the track at
the point that you pressed the lower {0} to {9} button. The display will return to Locate page
00. If you do not press a lower {0} to {9} button before the sequence or song ends (or loops),
a program change will not be recorded, and the original sound on the track will be restored.
Repeat from step 7 and continue if this should happen.
9. Press {STOP"CONTINUE}, and then press {ENTER} to KEEP NEW TRACK.
10. Now when you press {PLAY}, the original sound on the track will play up to the point that
you recorded the program change; it will then change to the new sound (the one selected in
step 8 ) at the point that you pressed the lower {0} to {9} button.
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15
Section 10 — Understanding the Sequencer
About the “Save Changes?” Page
Along with the notes, controllers and program changes that are recorded on each track, there are
many other parameters that are saved with each sequence or song. These are:
•
•
•
•
•
•
•
•
The name of the sequence or song
The tempo of the sequence or song
The sound assigned to each track
All Edit Track parameters for each track of the sequence or song
Which tracks are selected and layered on the tracks
The setting of the LOOP parameter in the Sequencer Control pages
The setting of the CLICK parameter in the Click pages
Punch In and Punch Out points
Whenever you record a track of a sequence or song, these values are automatically saved — that
is, they will be remembered by the KT if you leave the sequence (by selecting another one) and
return to it later. However, if you change any of the above settings, and then select a new
sequence or song before you record any new track data, the following message may appear,
depending on the setting of the SaveChangesMode parameter (Edit Seq/Preset page 15). See the
description of this parameter for more information:
Save Changes? <SEQUENCE NAME>
•
•
Pressing the {YES} button saves the sequence or song, with the current settings of all the
parameters listed above, into sequencer memory.
Pressing the {NO} button leaves the settings of the parameters listed above as they were
when you last recorded a track.
In either case, the track data (notes, controllers and program changes) is always saved.
Sometimes it’s hard to remember, when you get this page, exactly what you changed. As a rule,
if you are happy with the sequence or song as it is, answer YES. If you have just been
experimenting with different tempos, programs, MIDI configurations, etc., and want to leave the
sequence as it was before your experiments, answer NO.
Tip:
While in Select Sequence/Preset mode, there is one quick way to save any
changes you make to a preset or song. Simply press {ENTER} twice. You can also
rename the preset or song by pressing {ENTER} once, editing the name, and then
pressing {ENTER} again. Do not attempt this with a sequence — it will invoke the Tap
Tempo feature (see the Tap Tempo description in the following section).
You can avoid being asked to save changes by setting the SaveChangesMode parameter to USAVE MANUALLY (Sequencer Control, page 5). For live performance, and other applications in
which you want to experiment with tempo, track parameters, etc. without being bothered about
saving the changes, this is the preferred setting.
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ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
Recording MIDI Tracks
Tracks that are sent out MIDI are treated the same as tracks using KT sounds in terms of recording,
overdubbing, punching in, editing, etc. Follow the same steps outlined earlier in this section for
recording the first track, and then for all additional tracks. Once everything is set up, you can
proceed with recording MIDI tracks exactly as you would for tracks with LOCAL or BOTH status.
For each successive track you record, the procedure will follow the same lines:
1. Define the MIDI status of the track in Edit Track mode (press {EDIT_TRACK}, followed by
the lower {5} button),
2. Define the MIDI channel of the track in Edit Track mode (press {EDIT_TRACK}, then the
lower {4} button),
3. Record the track, and then
4. Either keep or reject the new track from the Keep NEW/OLD page.
MIDI tracks can be selected and stacked from the {SEQUENCER/PRESET_TRACK} buttons (in
Select Seq/Preset mode only), and can be muted or soloed from Edit Seq/Preset, Mute Tracks
page 7, the same as any other tracks. Edit Track parameters such as Volume, Key Range and
Transpose all apply to MIDI tracks just as they do to LOCAL tracks.
Note: You may record sequences and songs that contain both MIDI tracks and
LOCAL tracks. When this is the case, be sure that you assign LOCAL status (as
opposed to BOTH) to the tracks that you want to play only on the KT. This will avoid
sending unintended MIDI data to external instruments.
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Section 10 — Understanding the Sequencer
Mixing, Muting and Soloing Tracks (Track Volume Functions)
Once you have recorded a few tracks of a sequence, you will want to balance the levels of the
tracks, and maybe listen to them one or two at a time. This is done from Edit Track mode and
from the Mute Tracks page.
1.
2.
3.
Select a track by pressing its {SEQUENCER/PRESET_TRACK} button.
Press the {EDIT_TRACK} button. The KT is now in Edit Track mode.
Press the lower {0} button. The display shows:
iSEQ 00 Trk01 P Vol=127 Pan=+00
4.
5.
On this page you can balance the levels of the tracks in your sequence.
Press each {SEQUENCER/PRESET_TRACK} button to adjust the volume of each track. Note
that this only sets the overall track volume level, and does not record real-time volume
changes. If you want to record real-time mix and pan changes, see “Mixing Down Sequence
and Song Tracks in Song Mode,” found later in this section.
Press the top {7} button to display the Track Mute Status parameter. On this page you can
solo and mute individual tracks.
iSEQ 00 Trk01 P Status= PPP-M-PM
iiiiiiii
Sequence Tracks 1 2 3 4 5 6 7 8
or Song Tracks 9 10 11 12 13 14 15 16
6.
18
Press a {SEQUENCER/PRESET_TRACK} button or use the {CURSOR} buttons to select a
track for editing. The Data Entry Controls will now Mute or Solo the current track. P means
Play, M means Mute, and S means Solo. For tracks that have no recorded data, there will be a
dash (-) in the display (see the discussion of Track Mute Status in Section 11 — Sequencer
Parameters for details).
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
Routing Sounds to Effects in Sequence/Preset Mode
When the KT is in Sequence/Preset mode, the effect for the current sequence/preset or song is
edited by pressing the {EDIT_SEQ/PRESET} button, then the upper {8} button.
The upper {8} button calls up the Effect pages. You can then use the lower {0} to {9} buttons to
select the various parameters within the Effect pages.
Normally, the different voices that comprise each sound in a sequence are assigned to the three
different busses (as set in the {EDIT_SOUND} Output pages). In Edit Track mode, you can
override the voice output routings programmed in each sound.
The available Edit Track Output Bus settings ({EDIT_TRACK}, lower {1}) are:
•
•
•
•
•
DRY
FX1
FX2
VOICE
CONTRL-FX
forces all voices to the DRY bus
forces all voices to FX1
forces all voices to FX2
uses normal voice routing as programmed in each sound
uses normal voice routing as programmed in each sound, and routes controller
information from this track to the effect. This is the default setting.
Controllers Routed to Effects
It is sometimes desirable to limit which tracks send controller information to the algorithm. This
is particularly true when transmitting MIDI data on MIDI channels from an external sequencer.
If more than one track is set to CONTRL-FX, “controller fights” can occur. If set to VOICE, the
sound on the track will remain routed to the effects, but its controllers (such as the MOD
WHEEL, PRESSURE, the TIMBRE control, etc.) will not affect the effect.
See Section 8 — Understanding Presets for more information.
ENSONIQ KT Musician’s Manual
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Section 10 — Understanding the Sequencer
Working in Song Mode
The KT’s Song mode is the key to unlocking its true power as a master sequencer. In song mode
you can chain a number of sequences together to form a song. Songs are made up of Steps — for
each song step you can choose a sequence to play and the number of repetitions of that sequence,
as well as mute and transpose status for each track of the sequence. The process for editing song
steps is covered in Section 11 — Sequencer Parameters.
But wait, there’s more! Each KT song also contains its own effect algorithm and set-up and eight
additional tracks that are independent of the tracks in the component sequences that comprise
the song steps. This gives you a 16-track sequencer with tremendous flexibility. You can choose
which musical parts you want to put into the component sequences, and which parts you put in
the song tracks.
Assembling a Song
On the KT, songs are made up of steps. Each step is equivalent to a sequence, and when you
assemble a song, you are “chaining” sequences together. The following procedure explains how
to assemble a song using sequences that you have created. Remember, there are many
parameters that can be adjusted when working with songs. Only those that you will encounter
when assembling sequences into songs are dealt with in this procedure.
To assemble a song
1.
2.
3.
4.
Press the (SELECT_SEQ/PRESET} button. The KT is now in Select Sequence/Preset mode.
Enter a song location from within the internal memory bank using the upper {7} through {9}
buttons and the lower {0} through {9} buttons (internal memory bank, locations 70-99 are
reserved for songs).
Press {ENTER} when you’re done. A display appears with the page number of your song
location flashing. This is the display on which you confirm the location of your song.
Press {ENTER} to confirm the location. The next display asks you to provide a name for your
song.
New name =
Song-71
5.
Using the Data Entry Slider or {VALUE} buttons to select various letters, numbers, and
symbols, and using the {CURSOR} buttons to choose which character to edit, spell out the
name of your song. Press {ENTER} when you’re finished. The display will show the
location of your song, its name, and prompt you to set the tempo.
Flashing
m
iSONG71 Tempo+00
Your Song Name
6.
20
Set the tempo of the song (optional, this step could be done at any time). When you set the
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
7.
8.
9.
tempo of a song, you are really setting the tempo offset, that is how much faster or slower than
the sequence tempo the song will be. The units are percentage points. Press {ENTER} when
you’re finished. The next display prompts you to save the song.
Press{ENTER} to save the song.
Now press the {EDIT_SEQ/PRESET} button. This places the KT in the Edit Sequence/Preset
mode.
Press the upper {3} button to “dial” the song command pages. Then press the lower {6}
button to display the Edit Song Steps page.
iSONG71
SNGS
Edit Song Steps
10. Press {YES}. The next display prompts you to confirm the step of the song you want to
change. Since we are assembling a new song in this example, and not editing an existing one,
we will begin with step 1.
11. Press the {>} button so that the phrase *END OF SONG* is flashing, meaning we can select a
sequence within the same bank and assign it as step 1 of our song.
Rep 1
Step 1
*END OF SONG*
12. Using the {[} button, scroll through the available sequences until the one you want to be step
1 is displayed.
13. Press the {<} button so that the step number is flashing. Then change the flashing “1” to a
“2” by pressing the {[} button once.
14. Repeat steps 11 through 13 until you are finished assembling your song.
15. To hear your song, press the (SELECT_SEQ/PRESET} button, and then press {PLAY}.
See Section 11 — Sequencer Parameters for more information about the Edit Song Step parameters.
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Section 10 — Understanding the Sequencer
Switching Effects in Song Mode
As you are probably aware, when you are playing KT sounds, and you select a sound that uses a
different effect algorithm from the previous one, there is a momentary muting of the audio
output. This is because, like all digital signal processors, the KT requires some time to switch
from one algorithm to another. The software program that defines the algorithm must be
changed for each different effect.
The same holds true when selecting sequences. Each sequence has its own effects set-up, that is
highly programmable and is saved with the sequence. When you select a sequence, if the new
one has a different effect algorithm than the previous one, there will be a brief muting of the
output.
This can pose a problem when playing a song — as a new song step begins to play, if the
sequence in that step has a different effect than the previous one, there might be a muting of the
audio output. Since it is usually not desirable to mute the output during sequencer playback, the
KT offers some alternatives.
The “Song uses effect from=SEQUENCES/SONG” parameter on Sequencer Control page 3 (press
{EDIT_SEQ/PRESET}, the upper {1} button, then the {3} button) determines which effect(s) will
be heard when a song is played:
• When “Song uses effect from=SEQUENCES,” each time a new sequence begins as a step in a
song, its effect will be loaded, resulting in a brief muting of the output (unless the new effect
is the same as in the previous sequence).
• When “Song uses effect from=SONG,” the effect that is stored in the song will be used for all
the song steps and there will never be any muting or “glitching” of the output when new
sequences play.
The setting of this parameter is saved with each song. Whenever a new song is created, it
defaults to “Song Uses Effect from=SONG.” This ensures that there will be no output muting
between sequences, but it also means that a sequence might sound different in a song than when
it was played on its own.
If you do use the “Song uses effect from=SEQUENCES” setting for a given song, you can
minimize the muting by doing the following:
• Whenever possible, use the same effect algorithm in sequences that will be chained together
in the song.
• Program a rest into the beginning of sequences in which the effect will switch to a different
algorithm from the previous one, or create a silent one-bar sequence whose only function is
to switch to a new algorithm. Then make sure the following sequences use the same
algorithm.
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ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
Song Tracks
A Song on the KT is much more than simply a group of sequences chained together. Once you
have created a song and edited its steps, you can record another complete set of eight song-length
tracks. These Song Tracks are completely independent from the individual sequence tracks; each
has its own sound and complete set of track parameters. Song Tracks are shown as 09-16,
whereas sequence tracks are shown as 01-08. The length of the song tracks is determined by the
combined length of the song’s component sequences.
Let’s suppose you have constructed a song. For our example, we will take three sequences, each
using up to eight tracks, and combine those sequences into a song:
• Step 1 of the Song is Sequence 01 (a 4-bar sequence) for 1 Repetition;
• Step 2 is Sequence 02 (an 8-bar sequence) for 1 Repetition; and
• Step 3 is Sequence 03 (a 4-bar sequence) for 1 Repetition.
Your Song would look like this:
Sequence 1
Sequence 2
Sequence 3
Sequence Track 1
Sequence Track 2
Sequence Track 3
Sequence Track 4
Sequence Track 5
Sequence Track 6
Sequence Track 7
Sequence Track 8
Sequence Track 1
Sequence Track 2
Sequence Track 3
Sequence Track 4
Sequence Track 5
Sequence Track 6
Sequence Track 7
Sequence Track 8
Sequence Track 2
Sequence Track 3
Sequence Track 4
Sequence Track 5
Sequence Track 6
Sequence Track 7
Sequence Track 8
Sequence Track 1
Song Length
Now, with the song selected, you can press the {SEQUENCER/PRESET_TRACK} buttons and see
an entirely new set of empty tracks. These are the song tracks. If you are not sure which tracks
you’re viewing, check the track LEDs. They flash when sequence tracks are displayed in Song
mode, and remain solidly lit when song tracks are displayed. Continuing with the above
example, the song tracks might look like this:
Song
Sequence 1
Sequence 2
Sequence 3
Sequence Track 1
Sequence Track 2
Sequence Track 3
Sequence Track 4
Sequence Track 5
Sequence Track 6
Sequence Track 7
Sequence Track 8
Sequence Track 1
Sequence Track 2
Sequence Track 3
Sequence Track 4
Sequence Track 5
Sequence Track 6
Sequence Track 7
Sequence Track 8
Song Track 1
Song Track 2
Song Track 3
Song Track 4
Song Track 5
Song Track 6
Song Track 7
Song Track 8
Sequence Track 1
Sequence Track 2
Sequence Track 3
Sequence Track 4
Sequence Track 5
Sequence Track 6
Sequence Track 7
Sequence Track 8
Sequence
Tracks
Song
Tracks
Song Length
Song tracks are treated like normal sequence tracks whose length is equivalent to the combined
length of all the sequences which make up the song. The length of the song tracks is set
according to the song length at the time the first song track is recorded. Changes made to the
song structure after the first song track is recorded will not affect the length of the song tracks.
• You can change the sound on a song track using {REPLACE_TRACK_SOUND}, just as you
would a sequence track.
• You can enter record (by holding down {RECORD} and pressing {PLAY}) and record on any
ENSONIQ KT Musician’s Manual
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Section 10 — Understanding the Sequencer
•
•
of the eight song tracks. When recording song tracks, follow the same procedures (as
outlined earlier in this section) that you would use when recording sequence tracks. The
only difference is that a song track is associated with the song itself, and not with the
individual sequences that comprise the song.
You can edit the song tracks using any of the Edit Track parameters discussed in Section 9 —
Preset/Track Parameters. Selecting any Edit Track parameter when a song is selected, will
cause the current song track to be edited.
You can solo, mute and adjust the volume of song tracks from the Mute Tracks page and
from Edit Track mode, just as you would with sequence tracks.
Viewing Sequence Tracks in Song Mode
When a song is selected, what the display shows for the Sequencer/Preset Tracks and the Edit
Track parameters depends on the setting of the “Song Edit Tracks Displayed” parameter on the
Sequencer Control page.
•
•
When “Song Edit Tracks Displayed=SONG,” the display shows the Track and Edit Track
parameters for the song tracks. Any changes you make will affect the song tracks only.
When “Song Edit Tracks Displayed=SEQ,” the Track and the Edit Track parameter pages will
show the tracks of the individual sequences that make up the song steps. Any changes made
to these tracks when a song is selected will not be remembered after the song step is done
playing. To change anything about a sequence track, you must first select the sequence and
then change it there.
When a song is selected and “Song Edit Tracks Displayed=SEQ,” the LEDs in the
{SEQUENCER/PRESET_TRACK} buttons will flash to remind you that the track data is for the
currently selected sequence in the song step and not the actual song tracks. Song Tracks are
displayed as Tracks #09 - 16.
Tip:
There is a shortcut for toggling the Song Edit Tracks Displayed parameter
between SEQ and SONG: While in Edit Sequence/Preset mode, rapidly double-click
any of the {SEQUENCER/PRESET_TRACK} buttons. This switches between the song
tracks and the sequence tracks, just as if you had changed the setting of the “Song Edit
Tracks Displayed” parameter. The LEDs in the {SEQUENCER/PRESET_TRACK}
buttons flash when you are looking at sequence tracks; they remain solidly lit when the
song tracks are displayed.
Mixing Down Sequence and Song Tracks in Song Mode
After you have created and edited a song, you can “mixdown” the volume and pan of the song
tracks and/or sequence tracks that make up the song steps. The mixdown process does not affect
the data in the individual sequences that compose the song steps; it creates a song-length
Mixdown Track (which is a part of the song track) on which you can record volume and pan
changes that will affect the song and/or sequence tracks over the course of the entire song. You
can use this function to fine-tune the dynamics of certain tracks during part of a song, or to
simply fade them out at the end of the song.
To Record Mix or Pan Changes to Sequence Tracks in a Song
1.
2.
24
Select a song containing sequence tracks you want to mixdown.
Press {EDIT_SEQ/PRESET} and select the Sequencer Control page by pressing the upper {1}
button, followed by the lower {1} button.
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
3.
4.
Set the record parameter to “Record = MIXDOWN.”
Press the lower {4} button, and set the “Song Edit Tracks Displayed” parameter to “Song Edit
Tracks Displayed=SEQ.”
5. Press the {SEQUENCER/PRESET_TRACK} button of the sequence track that you want to mix
down. If you select Track 3, for example, the volume and pan changes you are about to
record will affect whatever is on Track 3 of each sequence throughout the song.
6. Press the {EDIT_TRACK} button, and press the lower {0} button, which contains the volume
level for the track, with the current track’s setting displayed (or select the Pan parameter to
record dynamic panning changes).
7. While holding down {RECORD}, press {PLAY}. The KT enters Overdub.
8. Use the Data Entry Slider or the {VALUE} buttons to mix the volume (or pan) of the selected
track. All changes you make will be recorded.
9. At the end of the song, or when you press {STOP"CONTINUE}, the Keep NEW/OLD page
appears. Here you can audition the changes before deciding whether to keep the new or the
original track.
10. To mix another track, press a different {SEQUENCER/PRESET_TRACK} button, select the
Volume or Pan parameters and then repeat the procedure.
To Record Mix or Pan Changes to a Song Track
1.
2.
3.
4.
Select a song containing song tracks you want to mix down.
Press {EDIT_SEQ/PRESET}, and select the Sequencer Control page by pressing the upper {1}
button, followed by the lower {1} button.
Set the record parameter to “Record = MIXDOWN.”
Press the lower {4} button, and set the “Song Edit Tracks Displayed” parameter to “Song Edit
Tracks Displayed=SONG.”
Note: With a song selected, you can toggle between Song tracks and Sequence tracks
by double-clicking any of the eight {SEQUENCER/PRESET_TRACK} buttons while in
Edit Seq/Preset mode. The track’s LED will flash when the sequence tracks are being
displayed, and remain solidly lit when song tracks are shown. Note also that song
tracks are always shown as 09-16, where sequence tracks are shown as 01-08.
5.
Press any of the {SEQUENCER/PRESET_TRACK} buttons and select the song track that you
want to mix down. If you select Track 3, for example, the volume and pan changes you are
about to record will affect whatever is on Song Track 3 (listed as Track 11) throughout the
song.
6. Press the {EDIT_TRACK} button, and press the lower {0} button, which contains the volume
level for the track, with the current track’s setting displayed (or select the Pan parameter to
record dynamic panning changes).
7. While holding down {RECORD}, press {PLAY}. The KT enters Overdub.
8. Use the Data Entry Slider or the {VALUE} buttons to mix the volume (or pan) of the selected
track. All changes you make will be recorded.
9. At the end of the song, or when you press {STOP"CONTINUE}, the Keep NEW/OLD page
appears. Here you can audition the changes before deciding whether to keep the new or the
original track.
10. To mix another track, press a different {SEQUENCER/PRESET_TRACK} button, select the
Volume or Pan parameters and then repeat the procedure.
ENSONIQ KT Musician’s Manual
25
Section 10 — Understanding the Sequencer
More About Mixdown Mode
Mixdown Volume and Mixdown Pan are recorded on the song track in a special form of ADD
mode. When you record Mixdown Volume or Pan, the information is added to the data in the
song tracks. This means that:
•
•
•
The Mixdown data is always recorded into the current song track, whether you are mixing a
sequence track or a song track.
If you have recorded Mixdown volume or pan into a track and want to erase and re-record it,
you must first remove the original volume or pan using the Filter Events command in the
Track Commands pages (see Section 11 for details). Otherwise, new Mixdown information
would be added to (and conflict with) the existing Mixdown information.
If you erase the song track, the Mixdown volume and pan data will be lost. Recording notes,
controllers, etc. on the song track does not affect the Mixdown information, but erasing the
track (using the Erase Track command on the Track Commands page) will remove the
Mixdown data.
Whenever possible, you should use this function as the last step in the production chain, after
you have finished changing the song length, recording and erasing song tracks, etc.
Tip:
There is another way to record dynamic volume changes into a sequence or
song track. You can use the optional CVP-1 Foot Pedal to record volume changes into
a sequence track while the sequence is selected, or into a song track. Just set
“CV-Pedal=VOL #7” on {SYSTEM"MIDI} page 3, and then record the Foot Pedal
changes in ADD mode. This will record Volume (MIDI controller #7) messages onto
the track that are separate from the mixdown volume described above.
Delay Times/Tempo BPM Chart
This chart shows the relationship between delay times and tempo beats per minute. Values
shown are accurate to 2 decimal places—since most delay devices are not accurate to 2 decimal
places, you may have to round off these values. You can use this chart to set the effect delay
times to sync to your sequence or song.
BPM
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
26
1/4 NOTE
1500.00
1463.41
1428.57
1395.35
1363.64
1333.33
1304.35
1276.60
1250.00
1224.49
1200.00
1176.47
1153.85
1132.08
1111.11
1090.91
1071.43
1052.63
1034.48
1016.95
1000.00
983.61
967.74
952.38
937.50
923.08
909.09
895.52
882.35
869.57
857.14
1/8th NOTE
750.00
731.71
714.29
697.67
681.82
666.67
652.17
638.30
625.00
612.24
600.00
588.24
576.92
566.04
555.56
545.45
535.71
526.32
517.24
508.47
500.00
491.80
483.87
476.19
468.75
461.54
454.55
447.76
441.18
434.78
428.57
1/8 TRIPLET
500.00
487.80
476.19
465.12
454.55
444.44
434.78
425.53
416.67
408.16
400.00
392.16
384.62
377.36
370.37
363.64
357.14
350.88
344.83
338.98
333.33
327.87
322.58
317.46
312.50
307.69
303.03
298.51
294.12
289.86
285.71
1/16th NOTE
375.00
365.85
357.14
348.84
340.91
333.33
326.09
319.15
312.50
306.12
300.00
294.12
288.46
283.02
277.78
272.73
267.86
263.16
258.62
254.24
250.00
245.90
241.94
238.10
234.38
230.77
227.27
223.88
220.59
217.39
214.29
BPM
71
72
73
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
100
101
1/4 NOTE
845.07
833.33
821.92
810.81
800.00
789.47
779.22
769.23
759.49
750.00
740.74
731.71
722.89
714.29
705.88
697.67
689.66
681.82
674.16
666.67
659.34
652.17
645.16
638.30
631.58
625.00
618.56
612.24
606.06
600.00
594.06
1/8th NOTE
422.54
416.67
410.96
405.41
400.00
394.74
389.61
384.62
379.75
375.00
370.37
365.85
361.45
357.14
352.94
348.84
344.83
340.91
337.08
333.33
329.67
326.09
322.58
319.15
315.79
312.50
309.28
306.12
303.03
300.00
297.03
1/8 TRIPLET
281.69
277.78
273.97
270.27
266.67
263.16
259.74
256.41
253.16
250.00
246.91
243.90
240.96
238.10
235.29
232.56
229.89
227.27
224.72
222.22
219.78
217.39
215.05
212.77
210.53
208.33
206.19
204.08
202.02
200.00
198.02
1/16th NOTE
211.27
208.33
205.48
202.70
200.00
197.37
194.81
192.31
189.87
187.50
185.19
182.93
180.72
178.57
176.47
174.42
172.41
170.45
168.54
166.67
164.84
163.04
161.29
159.57
157.89
156.25
154.64
153.06
151.52
150.00
148.51
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
BPM
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
BPM
177
178
179
180
181
1/4 NOTE
588.24
582.52
576.92
571.43
566.04
560.75
555.56
550.46
545.45
540.54
535.71
530.97
526.32
521.74
517.24
512.82
508.47
504.20
500.00
495.87
491.80
487.80
483.87
480.00
476.19
472.44
468.75
465.12
461.54
458.02
454.55
451.13
447.76
444.44
441.18
437.96
434.78
431.65
428.57
425.53
422.54
419.58
416.67
413.79
410.96
408.16
405.41
402.68
400.00
397.35
394.74
392.16
389.61
387.10
384.62
382.17
379.75
377.36
375.00
372.67
370.37
368.10
365.85
363.64
361.45
359.28
357.14
355.03
352.94
350.88
348.84
346.82
344.83
342.86
340.91
1/4 NOTE
338.98
337.08
335.20
333.33
331.49
1/8th NOTE
294.12
291.26
288.46
285.71
283.02
280.37
277.78
275.23
272.73
270.27
267.86
265.49
263.16
260.87
258.62
256.41
254.24
252.10
250.00
247.93
245.90
243.90
241.94
240.00
238.10
236.22
234.38
232.56
230.77
229.01
227.27
225.56
223.88
222.22
220.59
218.98
217.39
215.83
214.29
212.77
211.27
209.79
208.33
206.90
205.48
204.08
202.70
201.34
200.00
198.68
197.37
196.08
194.81
193.55
192.31
191.08
189.87
188.68
187.50
186.34
185.19
184.05
182.93
181.82
180.72
179.64
178.57
177.51
176.47
175.44
174.42
173.41
172.41
171.43
170.45
1/8th NOTE
169.49
168.54
167.60
166.67
165.75
1/8 TRIPLET
196.08
194.17
192.31
190.48
188.68
186.92
185.19
183.49
181.82
180.18
178.57
176.99
175.44
173.91
172.41
170.94
169.49
168.07
166.67
165.29
163.93
162.60
161.29
160.00
158.73
157.48
156.25
155.04
153.85
152.67
151.52
150.38
149.25
148.15
147.06
145.99
144.93
143.88
142.86
141.84
140.85
139.86
138.89
137.93
136.99
136.05
135.14
134.23
133.33
132.45
131.58
130.72
129.87
129.03
128.21
127.39
126.58
125.79
125.00
124.22
123.46
122.70
121.95
121.21
120.48
119.76
119.05
118.34
117.65
116.96
116.28
115.61
114.94
114.29
113.64
1/8 TRIPLET
112.99
112.36
111.73
111.11
110.50
ENSONIQ KT Musician’s Manual
1/16th NOTE
147.06
145.63
144.23
142.86
141.51
140.19
138.89
137.61
136.36
135.14
133.93
132.74
131.58
130.43
129.31
128.21
127.12
126.05
125.00
123.97
122.95
121.95
120.97
120.00
119.05
118.11
117.19
116.28
115.38
114.50
113.64
112.78
111.94
111.11
110.29
109.49
108.70
107.91
107.14
106.38
105.63
104.90
104.17
103.45
102.74
102.04
101.35
100.67
100.00
99.34
98.68
98.04
97.40
96.77
96.15
95.54
94.94
94.34
93.75
93.17
92.59
92.02
91.46
90.91
90.36
89.82
89.29
88.76
88.24
87.72
87.21
86.71
86.21
85.71
85.23
1/16th NOTE
84.75
84.27
83.80
83.33
82.87
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
329.67
327.87
326.09
324.32
322.58
320.86
319.15
317.46
315.79
314.14
312.50
310.88
309.28
307.69
306.12
304.57
303.03
301.51
300.00
298.51
297.03
295.57
294.12
292.68
291.26
289.86
288.46
287.08
285.71
284.36
283.02
281.69
280.37
279.07
277.78
276.50
275.23
273.97
272.73
271.49
270.27
269.06
267.86
266.67
265.49
264.32
263.16
262.01
260.87
259.74
258.62
257.51
256.41
255.32
254.24
253.16
252.10
251.05
250.00
248.96
247.93
246.91
245.90
244.90
243.90
242.91
241.94
240.96
240.00
164.84
163.93
163.04
162.16
161.29
160.43
159.57
158.73
157.89
157.07
156.25
155.44
154.64
153.85
153.06
152.28
151.52
150.75
150.00
149.25
148.51
147.78
147.06
146.34
145.63
144.93
144.23
143.54
142.86
142.18
141.51
140.85
140.19
139.53
138.89
138.25
137.61
136.99
136.36
135.75
135.14
134.53
133.93
133.33
132.74
132.16
131.58
131.00
130.43
129.87
129.31
128.76
128.21
127.66
127.12
126.58
126.05
125.52
125.00
124.48
123.97
123.46
122.95
122.45
121.95
121.46
120.97
120.48
120.00
109.89
109.29
108.70
108.11
107.53
106.95
106.38
105.82
105.26
104.71
104.17
103.63
103.09
102.56
102.04
101.52
101.01
100.50
100.00
99.50
99.01
98.52
98.04
97.56
97.09
96.62
96.15
95.69
95.24
94.79
94.34
93.90
93.46
93.02
92.59
92.17
91.74
91.32
90.91
90.50
90.09
89.69
89.29
88.89
88.50
88.11
87.72
87.34
86.96
86.58
86.21
85.84
85.47
85.11
84.75
84.39
84.03
83.68
83.33
82.99
82.64
82.30
81.97
81.63
81.30
80.97
80.65
80.32
80.00
82.42
81.97
81.52
81.08
80.65
80.21
79.79
79.37
78.95
78.53
78.13
77.72
77.32
76.92
76.53
76.14
75.76
75.38
75.00
74.63
74.26
73.89
73.53
73.17
72.82
72.46
72.12
71.77
71.43
71.09
70.75
70.42
70.09
69.77
69.44
69.12
68.81
68.49
68.18
67.87
67.57
67.26
66.96
66.67
66.37
66.08
65.79
65.50
65.22
64.94
64.66
64.38
64.10
63.83
63.56
63.29
63.03
62.76
62.50
62.24
61.98
61.73
61.48
61.22
60.98
60.73
60.48
60.24
60.00
27
Section 10 — Understanding the Sequencer
Tip:
Assign a controller to modulate the effect delay times, and select a specified
minimum and maximum range so that you can create unique poly-rhythms in real
time. See Section 3 — Understanding Effects for information on assigning effect
modulators.
28
ENSONIQ KT Musician’s Manual
Section 10 — Understanding the Sequencer
ENSONIQ KT Musician’s Manual
29
Section 12 — The MIDI Connection
Section 12 — The MIDI Connection
This section gives you step by step procedures for using MIDI with the KT, covers some
advanced sequencer applications, and describes using the KT with external MIDI devices. This
section also offers an introduction and overview of General MIDI, and explains how to use it
with the KT.
About MIDI
MIDI stands for Musical Instrument Digital Interface — that magical connection that lets you
play one instrument (or a whole roomful of them) from another. MIDI is a standard that has
been agreed upon by manufacturers for translating musical events into specific numbers which
are transmitted and received by MIDI instruments.
For instance, when you play middle C on the KT, it instantly sends to its MIDI Out jack a series
of numbers representing a Key Down event, along with the location of the note on the keyboard
and how hard the key was struck. When you release the key, the KT sends a number meaning
Key Up. A MIDI instrument connected to the KT can receive and translate those numbers, and
will play the middle C. The same thing happens whenever you move a controller, such as the
Pitch or Mod Wheel, or when you select a new sound — each of these events is translated into a
series of numbers which are transmitted out the MIDI Out jack.
Controlling Remote MIDI Devices from the KT — MIDI Connections
You can use the KT sequencer to drive external MIDI devices, greatly enhancing the number of
available voices and timbres. On Edit Track page {5}, a sequence/preset or song track’s MIDI
status can be set to:
MIDI — so that it plays only out MIDI
LOCAL — so that it will play only
locally on the KT
BOTH — so that it will play a local
sound and send on its designated MIDI
channel.
Remote MIDI Device #2
MIDI In
MIDI Thru
MIDI Thru
Remote MIDI Device #3
MIDI In
MIDI Thru
MIDI In
Remote MIDI Device #1
To additional
MIDI Devices
When controlling multiple remote
MIDI Out
MIDI devices, first connect the various
devices to the KT, and to each other, as
shown here. Connect a MIDI cable
from the MIDI Out jack of the KT to
the MIDI In jack of device #1. Then
connect the MIDI Thru jack of device
#1 to the MIDI In jack of device #2.
Connect the MIDI Thru jack of device
#2 to the MIDI In jack of device #3. And so on for as many devices as you will be using.
With this arrangement, once you set up the proper MIDI channels, etc., each remote MIDI device
will receive and play only the data that is intended for it, and will “pass along” all other data.
Also, each can be played from its own keyboard (as well as from the KT’s) without affecting the
others, because MIDI Thru jacks only pass along incoming MIDI data, and do not transmit what
is played on the instrument.
ENSONIQ KT Musician’s Manual
1
Section 12 — The MIDI Connection
This set up is ideal for controlling everything right from the KT. Simply by selecting the track
that is set to the same MIDI channel as a particular instrument, you can:
•
•
•
Play the remote MIDI device from the KT keyboard
Record a track that will play back on the MIDI device when you play the sequence or song
Send the remote MIDI device program changes and adjust its volume (assuming the device
receives MIDI Volume)
In other words, once you have made the appropriate connections and set up the MIDI
configuration of the tracks and all remote MIDI devices, you can use the KT’s keyboard and its
front panel to control and record all the remote MIDI devices in your rig.
Setting up Remote MIDI Devices to Receive MIDI from the KT
The next step is to set up each remote MIDI device to receive only the MIDI information that is
intended for it. When each receiving unit is set to receive on a different MIDI channel (or a
number of them, for multi-timbral units), you can control them all right from the KT. For each
destination instrument:
•
•
Set to POLY (or OMNI OFF) or MULTI Mode. Each remote MIDI device must be in a mode
where it receives only on its selected MIDI channel (or channels). This is usually referred to
as POLY (or OMNI OFF) mode for receiving on a single channel, or MULTI mode for
receiving independently on multiple channels. Consult the owner’s manual if there is any
question about a particular instrument.
Select a MIDI channel or channels. The best idea is to assign each destination instrument its
own MIDI channel(s) and leave it that way. For instance, if you know that a certain synth is
always set to receive on MIDI channel 4, you can quickly set up a track to drive that synth by
simply selecting an undefined track, then assigning that track MIDI Status and MIDI channel
4 in Edit Track mode. Also when each destination instrument is always set to its own distinct
MIDI channel, it means that different sequences and songs recorded at different times will
always play the right instrument on the right track.
Once you have assigned MIDI channels to each instrument in your rig, write them down, and
keep the paper handy for quick reference.
Creating a Sequence/Preset For Controlling Remote MIDI Sound Sources
After you have made the MIDI connections and set up your destination instruments as described
above, you can now configure the tracks of a preset to send to those remote MIDI devices. You
can create a “template” (saved as a preset) that sends multi-timbral information to do this. This
allows you to send MIDI information to other sound sources so that you can use the voices of
other MIDI devices within a KT sequence, or in a live performance situation. A KT
sequence/preset can use voices from external MIDI instruments, greatly enhancing the number
of available voices and timbres.
For each track that you want to drive a remote MIDI device, set the track’s MIDI Status and select
a MIDI channel and program number that matches the receiving devices. These parameters are
covered in detail in Section 9 — Preset/Track Parameters.
Once you have made the appropriate connections and set up the MIDI configuration of the tracks
and all remote devices, you can use the KT’s sequences/presets to create a template using all the
instruments in your rig.
Note: The KT allows MIDI transmission of release velocity (how fast the key is let
up). Some modern keyboards and synth modules respond to this feature allowing you
to better articulate your sound. However, the KT voices do not respond to release
velocity.
2
ENSONIQ KT Musician’s Manual
Section 12 — The MIDI Connection
Setting Track Parameters for MIDI Controller Application
After you have made the MIDI connections and set up your remote instruments as described
above, you can now configure the tracks of a sequence/preset to send MIDI information to those
instruments. Let’s suppose that you want to use several external instruments for sequencing.
For each track that you want to drive a remote MIDI sound:
1. Press {SELECT_SEQ/PRESET}.
2. Press the {SEQUENCER/PRESET_TRACK} button.
3. Press the {EDIT_TRACK} button.
4. Press the lower {4} button, and hold it down for a moment.
5. Using the {VALUE} buttons, select the Chan parameter to match the MIDI channel of the
sound in your remote MIDI device.
6. Press the {>} button.
7. Using the {VALUE} buttons, select a MIDI Program Number that matches the program
number of the sound you wish to use in your remote MIDI device.
8. Press the lower {5} button.
9. Using the {VALUE} buttons, set the track’s MIDI Status to “Status = MIDI.”
Repeat the above steps for each track that you want to drive a remote MIDI sound. Once you’ve
created a template, you can save it internally in the KT:
1.
2.
3.
4.
Press the {SAVE} button. Depending on whether or not you’ve created a sequence using
your template, the display will read either “Save SEQ <seq name>?” or “Save PRESET <seq
name>?” (The name listed is the name of the sequence/preset you began with when editing).
Select a name of up to 16 characters for your template using the Data Entry Controls. The
{CURSOR} buttons select the character to be edited, while the Data Entry Slider and
{VALUE} buttons scroll through the letters, numbers, and icons that can be used to name the
sound.
After you’ve written your template’s name, press the {ENTER} button.
The display will show a momentary “SAVED” message before returning to the current
parameter.
Now that your template has been created and saved, you can select it at any time by pressing the
{SELECT_SEQ/PRESET} button followed by the appropriate {0} to {9} buttons to select its
memory location.
Note: The Make Default Preset function can also be used to configure the tracks of a
sequencer/preset to send MIDI information, and is explained in Section 8 — Understanding
Presets.
ENSONIQ KT Musician’s Manual
3
Section 12 — The MIDI Connection
Using External MIDI Sequencers
MIDI In
External MIDI Interface
(if applicable)
MIDI Out
MIDI In
MIDI Out
Internal card,
parallel port,
modem, or
printer port
Computer (with MIDI Interface) connected to KT Keyboard
Connecting the KT to a computer (or other MIDI sequencer)
The following steps describe how to connect your KT to a computer or other MIDI sequencer.
Refer to the above illustration when making these connections.
1. Power down all electronic devices before making any connections.
2. Using a MIDI Cable, connect the MIDI In jack of the KT to the MIDI Out jack of the
computer/hardware sequencer/sequence player. This allows MIDI data that is transmitted
from the external sequencer to be received and played back by the KT.
3. With a second MIDI cable, connect the MIDI Out jack of the KT to the MIDI In jack of the
external sequencer or computer. This allows notes and controllers that are played on the KT
to be transmitted to the external sequencer for recording.
Note: Many computers do not have MIDI jacks built into them, and require an
additional MIDI Interface connector between the computer and the KT.
4.
Make sure the proper amplification is connected to the KT, and power on the computer, the
KT keyboard, and the amplification system (in that order).
Selecting MULTI Mode — Receiving on up to 8 MIDI Channels
MULTI mode is the key to unlocking the potential of the KT as a multi-timbral MIDI receiver for
use with external MIDI sequencers/controllers. In MULTI mode, the 8 tracks of the current
sequence or song can receive MIDI information independently and polyphonically on up to 8
different MIDI channels. Here’s how to select MULTI mode:
1.
Press {SYSTEM"MIDI}, followed by the lower {6} button. The display looks like this:
Flashing
m
MIDI Mode=OMNI Xctrl = 002
2.
4
Using the Data Entry Controls, select the MIDI Mode parameter and set it to MULTI.
ENSONIQ KT Musician’s Manual
Section 12 — The MIDI Connection
Creating a Preset for use with MIDI Sequencing
After selecting MULTI mode, as described above, the next step in the process is to create a preset
that will configure the KT for MIDI transmission and reception.
1. Press the (SELECT_SEQ/PRESET} button. The KT will display the last preset, sequence, or
song that was selected.
2. Using the upper {0} through {6} buttons and the lower {0}through {9} buttons, select a new
location for your preset. Press {ENTER} when you’re done. The next display asks you to
confirm your choice. Press {ENTER} one more time.
3. A display appears asking you to set the time signature. Since the KT doesn’t know whether
you’re creating a sequence or a preset (which are similar processes), press {ENTER} twice to
confirm both parts of the time signature. The next display asks you to name your preset.
4. Using the {<} and {>} buttons, the Data Entry Slider, and the {CURSOR} buttons to spell out
the name of your preset. Use a name that describes the special use of this preset, “MIDI
PRESET”, for example. Press {ENTER} when you’re finished. The display will show the
name of your preset and its location.
5. Press the {EDIT_TRACK} button, then the first {SEQUENCER/PRESET_TRACK} button.
6. Press the lower {5} button to select the MIDI Status page.
iPSET55 Trk01 Status = LOCAL
7.
Use the {VALUE} buttons to change the Status parameter to “BOTH”.
iPSET55 Trk01 Status = BOTH
8.
9.
Select each of the remaining seven tracks of the preset by pressing their
{SEQUENCER/PRESET_TRACK} button and change the Status parameter from “LOCAL” to
“BOTH”.
After you’ve set the MIDI status to “BOTH” for all eight tracks, save your preset by pressing
the {SAVE} button twice (once to confirm the name of the preset, which you could change at
this time, and once to save the preset).
Assigning MIDI Reception Channels
The final step in using the KT with an external multi-track MIDI sequencer is to assign each track
in the current KT sequence or song to receive on the desired MIDI channel.
Each of the 8 tracks of the current sequence or song are controlled independently in MULTI
mode. The KT defaults to the MIDI channel assignments shown in the diagram below. You can
change these assignments as necessary, and set any of the 8 tracks to receive on any of the 16
available MIDI channels. You can also set a track’s MIDI Status to *EXT* so that it does not
receive incoming MIDI at all (press the lower {5} button to select the MIDI Status page).
ENSONIQ KT Musician’s Manual
5
Section 12 — The MIDI Connection
MODE=MULTI
Track 1 Chan=1
Track 2 Chan=2
Track 3 Chan=3
Track 4 Chan=4
Track 5 Chan=5
Track 6 Chan=6
Track 7 Chan=7
Track 8 Chan=8
KT
MIDI Out
MIDI In
MIDI In
MIDI Out
External MIDI
Sequencer
MIDI Thru
To additional remote MIDI devices
If you do not want to use these default settings, you can change the MIDI channel assignments.
Here’s how:
1.
Press {EDIT_TRACK}, followed by the lower {4} button. The following Edit Track page
appears:
iSEQ 00 Trk01 P
Chan=01 Prog=000
2.
After selecting a track by pressing its {SEQUENCER/PRESET_TRACK} button, you can use
the {VALUE} buttons to change each track’s channel assignment, if desired.
Note: Only one track can receive on a given MIDI Channel. If two (or more) tracks are
set to the same MIDI Channel, the lower-numbered track will receive on that channel
and any higher-numbered track(s) set to the same channel will not receive at all.
Using the KT with a Drum Machine
There are basically three ways to use the KT with a drum machine or another rhythm sequencer:
•
•
•
Sync the drum machine’s clock to the KT
Sync the KT’s clock to the drum machine
Sequence the drum machine’s internal sounds from the KT (just as you would an external
synthesizer)
To Sync a Drum Machine to the KT:
1.
2.
3.
4.
Connect the MIDI Out of the KT to the MIDI In of the drum machine.
Set the drum machine to sync to MIDI clocks.
Set the drum machine to receive on an unused MIDI channel, OMNI Off; or disable channel
information. You don’t want the drum machine playing KT sequence data intended for other
instruments. MIDI Clocks, Start, Stop, and Continue are System real-time commands, and
are sent and received regardless of MIDI channel or mode.
The drum machine should now sync to the KT’s clock. Pressing {PLAY} or
{STOP"CONTINUE} will start, stop, and continue the drum machine, assuming it receives
those commands.
To Sync the KT to a Drum Machine:
1.
2.
3.
6
Connect the MIDI Out of the drum machine to the MIDI In of the KT.
Press {EDIT_SEQ/PRESET}, the upper {1} button, then the lower {2} button.
Using the Data Entry Controls, select the Clock parameter and set it to “Clock=MIDI.”
ENSONIQ KT Musician’s Manual
Section 12 — The MIDI Connection
4.
5.
This sets the KT to sync to MIDI clocks.
Set the drum machine to not send channel information, or to send it on a MIDI channel that is
not being used by any of the KT tracks. Again, MIDI Clocks, Start, Stop, and Continue are
sent and received regardless of MIDI channel or mode.
The KT should now sync to the drum machine’s clock. Starting, stopping, or continuing the
drum machine will start, stop, and continue the KT.
To Sequence a Drum Machine from a Track of the KT:
1.
2.
3.
4.
5.
Connect the MIDI Out of the KT to the MIDI In of the drum machine.
Set the drum machine to Tape Sync or Internal Clock, or any setting other than External or
MIDI Clock. This way it will not play its own patterns, but will act only as a soundproducing device, sequenced from a track of the KT.
Set the drum machine to POLY (OMNI Off) mode, and select a MIDI channel.
From Edit Track mode, assign a track on the KT to Status = MIDI, and set it to the same MIDI
channel you assigned the drum machine.
You should now be able to play the drum machine from the KT keyboard. You can then
record a track on the KT, from the KT keyboard, which will play on the drum machine — just
as if you were sequencing an external synthesizer.
The advantage of this approach is that some drum machines respond better to velocity when
played from MIDI than when played from their own front panels. Thus, you may get more
dynamic range out of your drum machine if you use this approach. The disadvantage is that you
use up KT sequencer memory to sequence the drum machine.
Song Position Pointers
The KT sends and receives Song Position Pointers via MIDI. Song Position Pointers are MIDI
commands that tell a sequencer or drum machine where to locate within a song or sequence.
When the KT receives a Song Position Pointer, it will locate to the appropriate place in the
selected song or sequence.
The KT sends a Song Position Pointer over MIDI whenever you use the Auto Locate control (the
Goto function on the Locate page). Any receiving unit that recognizes Song Position Pointers will
locate to the same spot. Not all devices recognize Song Position Pointers. To determine if any
other sequencing device you are using does, consult its manual.
MIDI Song Selects
MIDI Song Selects allow a sequencer such as the KT to instruct a remote MIDI sequencer or drum
machine to select a new song whenever you select a Sequence or Song on the KT. Whether or not
the KT transmits and receives them depends on the setting of the Song Select parameter on
System•MIDI page 8.
The KT transmits and receives MIDI Song Selects in Sequence mode as well as Song mode
(depending again on the setting on the “Song Select” parameter). This allows you to select any
KT sequencer location from a remote sequencer, computer or drum machine, and vice versa.
They are set up as follows:
MIDI Song Selects 00-99 will select KT Sequence/Song locations 00-99. Selecting Sequence/Song
locations 00-99 will cause the KT to transmit MIDI Song selects 00-99.
ENSONIQ KT Musician’s Manual
7
Section 12 — The MIDI Connection
Using the KT with a MIDI Guitar Controller
The KT makes an ideal voice module to use with any MIDI guitar controller that can send in
MONO mode. MONO mode (MIDI mode 4) allows a guitar controller to send the notes played
by each string on a different MIDI channel. This has the advantage of letting each string send
pitch bends independently, allowing the guitarist to bend some notes, while holding others.
Some earlier guitar synths do not support MONO mode. You will have to consult the manual of
your particular model to see if it does. If you have a guitar synth that only sends in POLY mode
(i.e., sends all six strings on the same MIDI channel) you should use the KT in POLY mode (or
OMNI mode) and set the guitar controller to send on the MIDI channel that is selected as the Base
Channel on System•MIDI page 4.
For MIDI guitar controllers that do support MONO mode, the KT provides two types of MONO
mode reception. The first is MONO A mode, which is a simple and straightforward way of using
MONO mode without getting involved with tracks or other complications:
1.
2.
3.
4.
Connect the MIDI Out of the guitar controller (or its MIDI converter) to the MIDI In of the
KT.
Set your guitar controller to send in MONO mode on channels 1-6 (some models have an
easy shortcut for getting into this state).
On System•MIDI page 4, set the Base MIDI Channel to “Base Channel= 01.”
On System•MIDI page 6, set the MIDI mode parameter to “MIDI Mode=MONO A.” This
sets up the KT to respond monophonically to eight consecutive MIDI channels, starting from
the Base Channel. However, you will probably need only six MIDI channels, since most
guitar controllers only have six strings (see Section 2 — System•MIDI Parameters for a more
complete description of MONO mode).
You can now select sounds or presets on the KT, either from the front panel or from MIDI
program changes, and the guitar controller will play those sounds exactly as if they were played
from the keyboard.
If you are a little more adventurous, and would like the flexibility to put a different sound
program on every string of the guitar, you can use MONO B mode, in which each track of the
current sequence receives monophonically on its own MIDI channel, and can receive program
changes independently. Where MONO A is like POLY mode with monophonic reception,
MONO B is just like MULTI mode, except that each track is monophonic.
1.
2.
3.
4.
8
On System•MIDI page 6, set the MIDI mode to “MIDI Mode= MONO B.” Each of the eight
tracks of the current Preset will now receive monophonically on its own MIDI channel.
Create a new Preset. You might want to name it “MONO-B IN,” or something similar, to
indicate that it is specially set up for this type of reception.
Select each of the first six tracks, defining them and putting the current sound on them. You
can leave tracks 7 and 8 undefined.
Press {EDIT_TRACK}, followed by the lower {4} button. Here you select the MIDI channels
for the different tracks. Select each track (by pressing its {SEQUENCER/PRESET_TRACK}
button) and edit it accordingly. Unlike MONO A, in this mode the consecutive MIDI channel
assignments are not automatic. You must manually set the tracks to six consecutive MIDI
channels.
ENSONIQ KT Musician’s Manual
Section 12 — The MIDI Connection
Now you’re ready to play. A few things to keep in mind:
• Notes played on each string will play only the corresponding track. Each string/track
combination is totally independent.
• You can change the program for each track manually from the KT’s front panel (using the
Replace Track Sound function) or by sending program changes from the controller via MIDI.
• Each track will accept program changes independently. Sometimes you will want to have the
guitar controller send the same-numbered program change on all six channels so that all six
strings play the same sound. You can, however, send the KT a different program change for
each track. You could use this effect to have, for example, a bass sound play on the bottom
two strings and a piano sound on the top four. Or, if you are feeling experimental, you could
play a different sound on each string.
• It’s a good idea to set up and save a special preset that you always use with the guitar
controller. This way you won’t accidentally change the sounds on the tracks of an existing
sequence.
• If your guitar controller can send certain MIDI controllers on their own MIDI channels, have
it send any controllers you want to affect all the tracks (such as the “whammy bar”) on the
Base-Channel-minus-1. When the Base Channel=1, Global controllers should be sent on
Channel 16.
What is General MIDI?
The KT completely conforms to the full General MIDI Specification. This allows
you to play back any General MIDI-based sequence via incoming MIDI and
always get predictable results.
General MIDI (GM) is an industry standard for program mapping that defines
128 sounds and their locations. This means that if a device conforms to the GM standard, MIDI
Program Change #1 will always call up an acoustic piano. MIDI Program Change #62 will
always call up a brass section, etc. Although the actual sounds (tone and quality) will vary from
product to product, each specific MIDI Program number will always call up the same type of
sound.
Sound Map
The General MIDI Sound Map (found later in this section) lists the 128 General MIDI sounds in
the KT ROM and their assigned General MIDI Program Change numbers.
Percussion
General MIDI also includes a Percussion Key Map, defining specific drum voices for each key.
To avoid confusion, General MIDI always assigns percussion to MIDI channel 10. The General
MIDI Percussion Key Map can be found after the General MIDI Sound Map.
GS/MT-32 Compatibility
GS is an extended MIDI sound specification originated by Roland® Corp. Although we provide
the GS Drum Maps (listed later) and MT-32 Program Change Map for Roland Sound Canvas™
compatibility, the KT is not GS compatible and does not contain the GS Alternate Sound Banks.
Other General MIDI Requirements
A General MIDI sound module must respond to all 16 MIDI channels, with dynamic voice
allocation, and a minimum of 24 voices. It also must respond to velocity, pitch bend, mod wheel,
ENSONIQ KT Musician’s Manual
9
Section 12 — The MIDI Connection
volume and pan, expression, sustain, and the All Notes Off and Reset All Controllers messages.
With these controllers supported, a composition that relies on note articulations and mix settings
can be played back and still sound correct when played by any GM sound module. The KT
supports all of the above MIDI messages, and fully conforms to the General MIDI Specification.
Why use General MIDI?
While the KT instruments are a superb sound source, with greater fidelity and more
programmability than most GM modules, there are interesting applications for General MIDI that
can enhance your music making.
1.
2.
There is an interesting genre of music software (for your computer) that creates backing
patterns for you to play along with, for pleasure and study. These programs include:
Band in a Box
For more information contact:
PG Music Inc.
266 Elmwood Avenue
Suite 111
Buffalo, NY 14222
Voice 1-800-268-6272 or 905-528-2368
FAX 905-628-2541
Jammer
For more information contact:
Soundtreck
3384 Hill Dr.
Duluth, GA 30136
Voice 404-623-0879
FAX 404-623-3054
MiBac Jazz
For more information contact:
MiBac Music Software
PO Box 468
Northfield, MN 55057
Voice 507-645-5851
Many pre-recorded pieces of music can be purchased for home listening, solo performance
backing tracks (e.g., instant karaoke), and other applications. Note that this application
requires a computer/hardware sequencer/sequencer player and some type of computer
software (such as those listed above). Look through current issues of music/computer
software magazines for listings (these products must conform to the Standard MIDI File
[SMF] format* in order to use them properly).
* A Standard MIDI File (SMF) is a MIDI protocol designed for sharing sequences between different products.
3.
4.
10
There is an ever-increasing amount of educational software that uses General MIDI for such
applications as ear training, music lessons, etc.
Some computer games offer General MIDI as an optional sound source. The KT will provide
high quality sound variations for this enjoyable leisure activity, enhancing the excitement
and thrill of your computer games.
ENSONIQ KT Musician’s Manual
Section 12 — The MIDI Connection
General MIDI Sound Map
The following map shows the General MIDI sound name and program change number of each
sound as they appear in the KT. This map also shows how General MIDI divides the instruments
into 16 categories of similar sounds:
PROG
#
1-8
1
2
3
4
5
6
7
8
INSTRUMENT
PROG
#
33-40
33
34
35
36
37
38
39
40
INSTRUMENT
9-16
9
10
11
12
13
14
15
16
17-24
17
18
19
20
21
22
23
24
CHROM
PERCUSSION
Celesta
Glockenspiel
Music Box
Vibraphone
Marimba
Xylophone
Tubular Bell
Dulcimer
ORGAN
Drawbar Organ
Perc. Organ
Rock Organ
Church Organ
Reed Organ
Accordion
Harmonica
Bandoneon
25-32
25
26
27
28
29
30
31
32
GUITAR
Nylon Guitar
Steel Guitar
Jazz Guitar
Clean Guitar
Muted Guitar
Overdrive Gtr
Dist. Guitar
Gtr.Harmonics
PIANO
Grand Piano
Bright Piano
ElectricGrand
HonkyTonk Pno
Elec. Piano 1
Elec. Piano 2
Harpsichord
Clavinet
INSTRUMENT
BASS
Acoustic Bass
Fingered Bass
Picked Bass
Fretless Bass
Slap Bass 1
Slap Bass 2
Synth Bass 1
Synth Bass 2
PROG
#
65-72
65
66
67
68
69
70
71
72
41-48
41
42
43
44
45
46
47
48
STRINGS
Violin
Viola
Cello
Contra Bass
TremoloStrngs
Pizzicato
Harp
Tympani
73-80
73
74
75
76
77
78
79
80
PIPE
Piccolo
Flute
Recorder
Pan Flute
Bottle Blow
Shakuhachi
Whistle
Ocarina
49-56
49
50
51
52
53
54
55
56
ENSEMBLE
Strings
Slow Strings
SynthString 1
SynthString 2
Choir Ahhs
Voice Oohs
Synth Voice
Orchestra Hit
81-88
81
82
83
84
85
86
87
88
SYNTH LEAD
Square Wave
Saw Wave
SynthCalliope
Chiffer Lead
Charang
Solo Vox
5th Saw Wave
Bass & Lead
57-64
57
58
59
60
61
62
63
64
BRASS
Trumpet
Trombone
Tuba
Mute Trumpet
French Horn
Brass
Synth Brass 1
Synth Brass 2
89-96
89
90
91
92
93
94
95
96
SYNTH PAD
New Age Pad
Warm Pad
Poly Synth
Space Voice
Bowed Glass
Metal Pad
Halo Pad
Sweep Pad
REED
Soprano Sax
Alto Sax
Tenor Sax
Baritone Sax
Oboe
English Horn
Bassoon
Clarinet
PROG
#
97-104
97
98
99
100
101
102
103
104
105112
105
106
107
108
109
110
111
112
113120
113
114
115
116
117
118
119
120
121128
121
122
123
124
125
126
127
128
INSTRUMENT
SYNTH
EFFECTS
Ice Rain
Soundtrack
Crystal
Atmosphere
Brightness
Goblin
Echo Drops
Star Theme
ETHNIC
Sitar
Banjo
Shamisen
Koto
Kalimba
Bagpipes
Fiddle
Shanai
PERCUSSIVE
Tinkle Bell
Agogo
Steel Drum
Wood Block
Taiko
Melodic Tom
Synth Drum
ReverseCymbal
SOUND
EFFECTS
Gtr.FretNoise
Breath Noise
Seashore
Birdsong
Telephone
Helicopter
Applause
Gunshot
Note that the names listed above are as they appear in the KT, and not as they appear in the
General MIDI Spec. The only differences are in spelling.
ENSONIQ KT Musician’s Manual
11
Section 12 — The MIDI Connection
GM and GS Percussion Key Maps (Channel 10)
MIDI
Note #
35
36
____37
38
____39
40
41
____42
43
____44
45
____46
47
48
____49
50
____51
52
53
____54
55
____56
57
____58
59
60
____61
62
____63
64
65
____66
67
____68
69
____70
71
72
____73
74
____75
76
77
____78
79
____80
81
____82
83
84
____85
86
____87
88
12
B1
C2
C2+
D2
D2+
E2
F2
F2+
G2
G2+
A2
A2+
B2
C3
C3+
D3
D3+
E3
F3
F3+
G3
G3+
A3
A3+
B3
C4
C4+
D4
D4+
E4
F4
F4+
G4
G4+
A4
A4+
B4
C5
C5+
D5
D5+
E5
F5
F5+
G5
G5+
A5
A5+
B5
C6
C6+
D6
D6+
E6
1 - STANDARDKIT
33 - JAZZ-KIT
Kick Drum 2
Kick Drum 1
Side Stick
Acoustic Snare
Hand Clap
Electric Snare
Low Floor Tom
Closed Hi-Hat
High Floor Tom
Pedal Hi-Hat
Low Tom
Open Hi-Hat
Low-Mid Tom
High-Mid Tom
Crash Cymbal 1
High Tom
Ride Cymbal 1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal 2
Vibraslap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short Whistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Belltree
Castanets
Mute Surdo
Open Surdo
9 - ROOM-KIT
17 - POWER-KIT
25 - ELCTRNCKIT
Kick Drum 2
Kick Drum 1
Side Stick
Acoustic Snare
Hand Clap
Electric Snare
Low Room Tom
Closed Hi-Hat
Low Room Tom 2
Pedal Hi-Hat
Mid Room Tom
Open Hi-Hat
Mid Room Tom
High Room Tom
Crash Cymbal 1
High Room Tom
Ride Cymbal 1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal 2
Vibraslap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short Whistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Belltree
Castanets
Mute Surdo
Open Surdo
Kick Drum
Mondo Kick
Side Stick
Gated Snare
Hand Clap
Electric Snare
Low Room Tom
Closed Hi-Hat
Low Room Tom 2
Pedal Hi-Hat
Mid Room Tom
Open Hi-Hat
Mid Room Tom
High Room Tom
Crash Cymbal 1
High Room Tom
Ride Cymbal 1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal 2
Vibraslap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short Whistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Belltree
Castanets
Mute Surdo
Open Surdo
Kick Drum
Elec Bass Drum
Side Stick
Electric Snare
Hand Clap
Gated Snare
Elec Low Tom
Closed Hi-Hat
Elec Low Tom
Pedal Hi-Hat
Elec Mid Tom
Open Hi-Hat
Elec Mid Tom
Elec High Tom
Crash Cymbal 1
Elec High Tom
Ride Cymbal 1
Reverse Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal 2
Vibraslap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short Whistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Belltree
Castanets
Mute Surdo
Open Surdo
ENSONIQ KT Musician’s Manual
Section 12 — The MIDI Connection
GM and GS Percussion Key Maps (Channel 10)
MIDI
Note #
35
36
____37
38
____39
40
41
____42
43
____44
45
____46
47
48
____49
50
____51
52
53
____54
55
____56
57
____58
59
60
____61
62
____63
64
65
____66
67
____68
69
____70
71
72
____73
74
____75
76
77
____78
79
____80
81
____82
83
84
____85
86
____87
88
26 - TR-808-KIT
41 - BRUSH-KIT
B1
Kick Drum 2
Kick Drum 2
C2
C2+
D2
808 Bass Drum
808 Rim Shot
808 Snare Drum
Kick Drum 1
Side Stick
Brush Tap
D2+
E2
Hand Clap
Electric Snare
Brush Slap
Brush Swirl
F2
F2+
G2
G2+
A2
A2+
B2
C3
C3+
D3
D3+
E3
F3
F3+
G3
G3+
A3
A3+
B3
C4
C4+
D4
D4+
E4
F4
F4+
G4
G4+
A4
A4+
B4
C5
C5+
D5
D5+
E5
F5
F5+
G5
G5+
A5
A5+
B5
C6
C6+
D6
D6+
E6
808 Low Tom
808 Closed Hi-Hat
808 Low Tom
808 Closed Hi-Hat
808 Mid Tom
80 Open Hi-Hat
808 Mid Tom
808 High Tom
808 Cymbal
808 High Tom
Ride Cymbal 1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
808 Cowbell
Crash Cymbal 2
Vibraslap
Ride Cymbal 2
High Bongo
Low Bongo
808 High Conga
808 Mid Conga
808 Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
808 Maracas
Short Whistle
Long Whistle
Short Guiro
Long Guiro
808 Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Belltree
Castanets
Mute Surdo
Open Surdo
Low Floor Tom
Closed Hi-Hat
High Floor Tom
Pedal Hi-Hat
Low Tom
Open Hi-Hat
Mid Tom
High Tom
Crash Cymbal 1
High Tom
Ride Cymbal 1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal 2
Vibraslap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short Whistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Belltree
Castanets
Mute Surdo
Open Surdo
ENSONIQ KT Musician’s Manual
49 - ORCHPERCSN
Concert Bass Drum
Concert Bass Drum
Side Stick
Concert Snare
Drum
Castanets
Concert Snare
Drum
Tympani F
Tympani F#
Tympani G
Tympani G#
Tympani A
Tympani A#
Tympani B
Tympani C
Tympani C#
Tympani D
Tympani D#
Tympani E
Tympani F
Tambourine
Splash Cymbal
Cowbell
Concert Cymbal 2
Vibraslap
Concert Cymbal 1
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short Whistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Belltree
Castanets
Mute Surdo
Open Surdo
Applause
128 - MT-32-KIT
Acoustic Bass
Drum
Bass Drum 1
Rim Shot
Acoustic Snare
Hand Clap
Electric Snare
Acoustic Low Tom
Closed Hi-Hat
Acoustic Low Tom
Open Hi-Hat
Acoustic Mid Tom
Open Hi-Hat
Acoustic Mid Tom
Acoustic High Tom
Crash Cymbal
Acoustic High Tom
Ride Cymbal 1
Tambourine
Cowbell
High Bongo
Low Bongo
Mute High Conga
High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short Whistle
Long Whistle
Quijada
Claves
Applause
Wind Chime
13
Section 12 — The MIDI Connection
•
14
There are four additional sounds assigned to keys in the MT-32-KIT:
90 (F6+) Crash 92 (G6+) Train 93 (A6) Jet 94 (A6+) Helicopter
ENSONIQ KT Musician’s Manual
Section 12 — The MIDI Connection
Using General MIDI in the Real World
MIDI Out
External MIDI Interface
(if applicable)
MIDI In
Internal card,
parallel port,
modem, or
printer port
Computer (with MIDI Interface) connected to KT-76 Keyboard
Using KT General MIDI Sounds with an External GM Sequencer
Connecting the KT keyboard to a computer (or other General MIDI sequencer)
1. Power down all electronic devices before making any connections.
2. Using a MIDI Cable, connect the MIDI In jack of the KT to the MIDI Out jack of the
computer/hardware sequencer/sequence player.
Note: Many computers do not have a MIDI jack built into them, and require an
additional MIDI Interface connector between the computer and the KT.
3.
Make sure the proper amplification is connected to the KT, and power on the computer, the
KT keyboard, and the amplification system (in that order).
Tip:
Headphones connected to the Phones jack of the KT will work fine in General
MIDI mode, and allow you to work late hours without disturbing others.
ENSONIQ KT Musician’s Manual
15
Section 12 — The MIDI Connection
Enabling General MIDI on the KT
General
MIDI
All Notes Off
To Enable General MIDI
1.
2.
Press the {GENERAL_MIDI} button.
If the sequencer is running, the “SORRY! Sequencer must be stopped.” message will be
displayed. You must stop the sequencer to enter General MIDI mode.
If the sequencer is stopped, pressing the {GENERAL_MIDI} button lights its LED, and the KT
enters General MIDI mode. Changes made to the current preset/sequence/song will be
saved or discarded, according to the setting of the SaveChangesMode parameter (found by
pressing the {GENERAL_MIDI} button to exit General MIDI mode, then pressing
{EDIT_SEQ/PRESET}, the upper {1}, then the lower {5} button). See Section 11 — Sequencer
Parameters for more information about the SaveChangesMode parameter.
In General MIDI mode, all buttons except the {CURSOR} buttons, the {VALUE} buttons, the
{TRANSPOSE_KEYBOARD} button, and the {GENERAL_MIDI} button are disabled. The KT
will display the General MIDI mode page as follows:
Track/Channel Number
GM Sound Number
l
m
Receive Status
n
Ch=01 Snd=001 ON
GM:Grand Piano
i
General MIDI Sound Name
The KT behaves as though an enlarged 16-track sequence has been selected, and as though
the current MIDI Mode=MULTI. Incoming MIDI will be received on all 16 MIDI channels, to
16 discrete inbound Track/Channels. The default effect algorithm (EQ-CHORUS + REVERB)
will be installed, and all Track/Channels will be routed through the effect.
When you now run the external computer or hardware sequencer, you will hear the proper
sounds played from the KT as program changes and note/controller data is transmitted to the KT
via the MIDI In jack.
MIDI Out in General MIDI Mode
The KT keyboard will always play the sound assigned to the currently displayed Track/Channel
number. Local playing on the KT keyboard and controllers will be transmitted via the MIDI Out
jack on the displayed MIDI Channel number. This allows you to connect the KT MIDI Out jack
to the MIDI In jack of a computer sequencer/hardware sequencer/other MIDI sound module.
This feature adds MIDI Controller capability to the KT while in General MIDI mode.
16
ENSONIQ KT Musician’s Manual
Section 12 — The MIDI Connection
KT General MIDI Parameters
Track/Channel Number
Range:
01 to 16
This parameter is used to select and view the sounds assigned to each MIDI Channel. When this
parameter is selected, the Data Entry Controls will scroll through all 16 Track/Channels.
Track/Channel 10 is permanently assigned to play Drum Maps only. When Ch=10 is selected,
the GM Sound Number parameter will scroll through the nine available GM/GS Drum Maps.
Playing on the KT keyboard will always be transmitted on the displayed MIDI channel.
GM Sound Number
Range:
001 to 128
The General MIDI Sound number parameter determines which sound will be assigned to each
MIDI channel. When this parameter is selected, the Data Entry Controls will change which of
the 128 General MIDI ROM sounds is assigned to the currently displayed Track/Channel. The
corresponding Program Change message will be transmitted via MIDI whenever this parameter
is edited.
Program Changes received on MIDI channels 1-9 and 11-16 will assign programs to the 16
Track/Channels from the 128 General MIDI sounds in ROM. MIDI Channel 10 can only access
the nine GM/GS Drum Maps, and will receive the corresponding GS Drum Map Program change
value (1=STANDRD-KIT, 9=ROOM-KIT, 17=POWER-KIT, 25=ELCTRNC-KIT,
26=TR-808-KIT, 33=JAZZ-KIT, 41=BRUSH-KIT, 49=ORCH-PERCSN, 128=MT-32-KIT).
The KT keyboard will always play the sound assigned to the displayed Track/Channel number.
Receive Status
Range:
ON or **
This parameter is set to receive MIDI data by default (ON). By changing the value for each MIDI
channel, you can define how many Track/Channels you want to receive data via MIDI.
Setting this parameter to “**” will disable reception of MIDI notes, controllers and program
changes on the displayed MIDI channel. Sounds can still be played from the keyboard, and live
playing will still transmit via MIDI on the displayed MIDI channel.
When set to “**,” the Track/Channel volume will be set to full on (127), so that your live playing
can use the full dynamic range. Resetting the status to ON will reset the Track/Channel volume
back to the General MIDI default value of 100.
Tip:
When set to **, this parameter allows for “music-minus-one” applications in
General MIDI mode. By setting this parameter to **, you disable incoming MIDI for
the selected Track/Channel, boost the volume, and can play the assigned sound live
from the keyboard as the remaining sequence tracks play back via incoming MIDI.
No matter what the setting of this parameter, a CVP-1 Pedal connected to the CV•Pedal jack will
always control the volume of the selected Track/Channel.
ENSONIQ KT Musician’s Manual
17
Section 12 — The MIDI Connection
Manually Assigning GM Sounds to Each MIDI Channel
1.
2.
Use the Data Entry Controls to select the GM Sound Number parameter.
Use the Data Entry Slider or the {VALUE} buttons to scroll through the different GM
sounds.
The General MIDI sound names change when you use the Data Entry Controls. These sound
names and their associated GM Program numbers are listed on the General MIDI Sound Map
found earlier in this section.
Note: Most sequence data contains MIDI Program Change messages intended to
assign the correct sounds to each MIDI Track/Channel. These incoming MIDI
program changes will probably change any manually assigned sounds. If you wish to
prevent this from happening, you should disable program change transmission from
the external MIDI sequencer.
General MIDI “All Notes Off” button
Some remote MIDI devices may leave notes and controller values “dangling,” causing
Track/Channels to function improperly. The KT has a solution to this problem — the General
MIDI “All Notes Off” button. Pressing {GENERAL_MIDI} twice will invoke the All Notes Off
function:
All Notes Off!
All KT and MIDI voices on all 16 Track/Channels will be silenced. The following MIDI messages
will be transmitted on all 16 MIDI channels: All Notes Off, Reset All Controllers, key-ups for all
keys down, sustain and sostenuto pedal ups, and controllers will be normalized to the General
MIDI default values. Program Changes will be transmitted corresponding to the sounds
assigned to each of the 16 Track/Channels.
System and MIDI Control Settings in GM Mode
The following System•MIDI parameter settings are installed in General MIDI mode (see
Section 2 — System•MIDI Parameters for information about these parameters). All other
parameters are reset to values appropriate for General MIDI reception:
•
•
•
•
•
•
System•MIDI page 0, Tune and PTbl settings are retained.
System•MIDI page 1, Touch setting is retained.
System•MIDI page 2, FtswL is set to SOSTENUTO if it was previously set to any value other
than UNUSED. If it was set to UNUSED, it will remain UNUSED.
System•MIDI page 2, FtswR is set to SUSTAIN.
System•MIDI page 3, CV-Pedal is set to VOL #7.
System•MIDI page 8, SYS-EX setting is set to ON.
Exiting General MIDI will restore your original settings.
18
ENSONIQ KT Musician’s Manual
Section 12 — The MIDI Connection
Disabling General MIDI
To Disable General MIDI
Press the {GENERAL_MIDI} button once.
This exits General MIDI mode, momentarily displays “All Notes Off!” turns off its LED, and
returns to Sounds mode, with the last Select Sounds mode sound selected.
Note: You can also disable General MIDI by turning the KT off, and then back on.
However, any track sound assignments you may have made will not be preserved.
Enabling/Disabling General MIDI with System Exclusive Messages
General MIDI can also be enabled/disabled using Universal System Exclusive (SysEx) messages:
Turning General MIDI On using SysEx Messages
F0
7E
<Device ID>
09
01
F0 7E
<Device ID>
09
01
F7
Universal non-real-time SysEx header
ID of target device (suggest using 7F: Broadcast)
sub-ID #1=General MIDI message
sub-ID #2=General MIDI On
EOX (end of SysEx)
Turning General MIDI Off using SysEx Messages
F0
7E
<Device ID>
09
02
F0 7E
<Device ID>
09
02
F7
F7
F7
Universal non-real-time SysEx header
ID of target device (suggest using 7F: Broadcast)
sub-ID #1=General MIDI message
sub-ID #2=General MIDI Off
EOX (end of SysEx)
More about SysEx Messages
•
•
•
•
The System•MIDI page 8, SysEx parameter must be set to ON in order to receive Universal
SysEx messages.
A Universal SysEx General MIDI On message acts the same as pressing the
{GENERAL_MIDI} button, and displays the General MIDI mode page. The SysEx message
will be ignored if the sequencer is running, or if the system is already in General MIDI mode.
Any unsaved edits to the currently selected Preset/Sequence/Song will be saved/discarded
according to the setting of the SaveChangesMode parameter.
If the KT is already in General MIDI mode, a Universal SysEx General MIDI Off message acts
the same as pressing the {GENERAL_MIDI} button. This exits General MIDI mode and
returns to Sounds mode, with the last Select Sounds mode sound selected.
When in General MIDI mode, the Universal SysEx General MIDI Off message is the only
SysEx message that will be received; all other SysEx messages are ignored.
ENSONIQ KT Musician’s Manual
19
Section 12 — The MIDI Connection
Sound Canvas MT-32 Mode Program Change Map
The Roland® MT-32 was an early, pre-General MIDI multi-timbral sound module. It used a
different MIDI Program Change Map than General MIDI. The Roland Sound Canvas™ provides
an MT-32 emulation mode, and some Standard MIDI Files are set up to use this. An MT-32
Program Change Map has been included in the KT to provide Sound Canvas MT-32 emulation
capability.
Roland products use the Bank Select MSB (MIDI Controller 0) to change sound banks; in the Sound
Canvas, sound bank 127 is designated as the MT-32 Emulation mode bank. After the KT has
received a Bank Select value of MSB 127, subsequent MIDI program changes on that MIDI channel
will select the GM Sounds remapped to the Roland MT-32 Program Change Map, as below:
PROG
#
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
INSTRUMENT
Grand Piano
Bright Piano
ElectricGrand
Elec. Piano2
ElectricGrand
Elec. Piano1
Elec. Piano1
HonkyTonk Pno
Drawbar Organ
Rock Organ
Perc. Organ
Drawbar Organ
Church Organ
Church Organ
Church Organ
Accordion
Harpsichord
Harpsichord
Square Wave
Clavinet
Clavinet
Clavinet
Celesta
Celesta
Synth Brass 1
Synth Brass 1
Synth Brass 2
Synth Brass 2
Synth Bass 2
Harpsichord
Saw Wave
Synth Bass 2
PROG
#
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
INSTRUMENT
New Age Pad
Sweep Pad
Choir Ahhs
Bowed Glass
Soundtrack
Atmosphere
Music Box
Solo Vox
Poly Synth
Ice Rain
Poly Synth
Echo Drops
Bass & Lead
Reed Organ
Glockenspiel
Square Wave
Strings
Strings
SynthString 1
Pizzicato
Violin
Violin
Cello
Cello
Contra Bass
Harp
Harp
Nylon Guitar
Steel Guitar
Clean Guitar
Clean Guitar
Sitar
PROG
#
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
INSTRUMENT
Acoustic Bass
Acoustic Bass
Fingered Bass
Synth Bass 2
Slap Bass 2
Slap Bass 1
Fretless Bass
Fretless Bass
Flute
Flute
Piccolo
Piccolo
Recorder
Pan Flute
Alto Sax
Soprano Sax
Tenor Sax
Baritone Sax
Clarinet
Clarinet
Oboe
English Horn
Bassoon
Harmonica
Trumpet
Trumpet
Trombone
Trombone
French Horn
French Horn
Tuba
Brass
PROG
#
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
INSTRUMENT
Brass
Vibraphone
Vibraphone
Dulcimer
Tinkle Bell
Glockenspiel
Tubular Bell
Xylophone
Marimba
Koto
Bandoneon
Shakuhachi
Whistle
Whistle
Bottle Blow
Bottle Blow
Tympani
Melodic Tom
Synth Drum
Synth Drum
Synth Drum
Taiko
Wood Block
ReverseCymbal
Wood Block
Tinkle Bell
Orchestra Hit
Telephone
Birdsong
Breath Noise
Crystal
Breath Noise
After receiving a Bank Select value of MSB 127 on MIDI Channel 10, any subsequent MIDI
program changes on MIDI channel 10 will always select the MT-32 Drum Map.
Transmitting a Bank Select value of 0-126 MSB will return the MIDI channel to normal MIDI
program change reception, selecting sounds from the General MIDI Sound Map as described on
the previous page.
20
ENSONIQ KT Musician’s Manual
Section 12 — The MIDI Connection
MIDI Controller Implementation in General MIDI Mode
When in General MIDI mode, many of the KT controllers function differently than noted in the
MIDI Implementation chart, and are described in the following chart.
General MIDI Mode Controller Implementation Chart
Function…
Transmitted
Recognized
Notes
Velocity
Note ON
Note OFF
YES
YES
YES
NO 1
Aftertouch
Key
Channel
NO
NO
NO
NO
Pitch Bender
YES
YES
Defaults to a value of 64 (center).
Controller 0
(Bank Select MSB)
YES
YES
Always transmitted as 0. An MSB value of 127 received will select the MT-32
Program Change Sound Map.
Controller 1
(Mod Wheel)
YES
YES
Defaults to a value of 0.
Controller 4
(Foot Pedal)
NO
NO
Controller 6
(Data Entry MSB)
NO
YES
For recognized Registered Parameters only after controllers 100 & 101 are received.
Controller 7
(Volume)
YES
YES
Defaults to a value of 100. Disabling receptor will default the Track/Channel volume
to 127. Devices connected to the CV•Pedal jack will control volume.
Controller 10
(Pan)
NO
YES
Defaults to a value of 64 (center).
Controller 11
(Expression)
NO
YES
Defaults to a value of 127. Expression messages received will be responded to as Mix.
Controller 32
(Bank Select LSB)
YES
NO
Always transmitted as 0.
Controller 38
(Data Entry LSB)
NO
YES
For recognized Registered Parameters only after controllers 100 & 101 are received.
Controller 64
(Sustain)
YES
YES
This defaults to a value of 0. The right foot switch will always function as Sustain.
Controller 66
(Sostenuto)
YES
YES
This defaults to a value of 0. The left foot switch can function as Sostenuto, if a stereo
foot switch is connected.
Controller 71
(Harmonic Content)
NO
NO
ENSONIQ Timbre.
Controller 72
(Release Time)
NO
YES
Defaults to a value of 64 (center).
Controller 91
(External Effects {Reverb} Depth)
NO
YES
Controls effect bus switching and the FX2 wet/dry mix in the General MIDI effect.
Controller 93
(Chorus Depth)
NO
YES
Controls effect bus switching and the FX1 wet/dry mix in the General MIDI effect.
Controller 100
(Reg Param Select LSB)
NO
YES
Values of 0, 1, and 2.
Controller 101
(Reg Param Select MSB)
NO
NO
Controller 120
(All Sounds Off)
NO
YES
Responded to as All Notes Off.
Controller 121
(Reset All Controllers)
YES
YES
Reset Controller messages received will normalize only the controllers supported in
General MIDI mode. It is received independently on each of the 16 General MIDI
Track/Channels.
Controller 123
(All Notes Off)
YES
YES
Registered Parameters:
0 Pitch Bend Range
1 Fine Tuning
2 Coarse Tuning
NO
NO
NO
YES
YES
YES
Program Change
YES
YES
ENSONIQ KT Musician’s Manual
1 The KT voice architecture does not support Release Velocity.
All Notes Off messages received will be responded to regardless of the setting of the
ALL-OFF parameter on the MIDI Control page. It is received independently on each
of the 16 General MIDI Track/Channels.
These Registered Parameters are received independently on each of the 16 General
MIDI Track/Channels.
0-127.
21
Section 13 — Storage
Section 13 — Storage
The Storage functions found on Edit Sound page 90 and Edit Seq/Preset page 90 enable you to:
•
•
transfer Sounds or Sequencer data to or from KT-compatible PCMCIA memory cards, and
transmit dumps containing Sounds or Sequencer data via MIDI System Exclusive messages.
Memory Card Storage
The KT uses industry standard PCMCIA memory cards for sound and sequence storage (the
same used by many notebook computers). These cards are readily available through mail-order
companies, computer/software stores, and from ENSONIQ (MC-512 and KTC Series).
•
•
•
•
The KT will only work with SRAM (Static RAM) PCMCIA Cards.
The KT will not work with Flash PCMCIA cards.
The KT can format SRAM PCMCIA RAM Cards ranging in size from 512 KBytes to 2
MegaBytes. However, the KT will always format all cards to the same size (512 KBytes). The
ENSONIQ MC-512 cards are of this type.
The KT will read (but will not write to) the 64 kByte PCMCIA ROM Cards. These ROM cards
are used by the ENSONIQ KTC Series sound library. ROM Cards are formatted like RAM
Cards, but a:CARD and b:CARD Preset/Seq/Song Banks are smaller.
Installing the Battery in a RAM Card
To maximize battery life, MC-512 (and most SRAM PCMCIA) RAM Cards are shipped without a
battery. Before using these cards, you must first install the correct size battery, following the
instructions below:
1.
2.
3.
4.
5.
Slide the switch away from the battery drawer to release the battery drawer. Note that the
other switch is the write-protect switch, and is used to prevent accidental erasure of card files.
Pull gently on the plastic tab at the top of the card to open the battery drawer.
Insert the battery in the battery drawer with the flat (+) side of the battery facing up.
Slide the the battery drawer closed.
Slide the switch toward the battery drawer to lock the battery drawer closed.
Battery
Drawer
1
2
+
Front Label
side of card
+
Battery
3
Write-Protect
Switch
5
Write-Protect Switch
4
Front Label
side of card
Connector Edge
Tip:
If you replace the battery while the card is plugged into the KT, with the KT
power on, you will not lose the data stored on the card. Do not turn off the KT’s power
while the card is installed with the battery removed, or any data on the card will be
lost.
ENSONIQ KT Musician’s Manual
1
Section 13 — Storage
Memory Card Configurations
PCMCIA (or ENSONIQ MC-512) RAM Cards can be used to store two banks of 80 Sounds (which
we refer to as a:CARD and b:CARD), and two banks of 100 Presets/Seqs/Songs (also a:CARD
and b:CARD). The 100 Presets/Seqs/Songs available on RAM cards are divided into 70
Presets/Sequences and 30 Songs, just like in the KT (i:INT and r:ROM).
Sound Data
a:CARD
b:CARD
80 sounds
80 sounds
Sequencer Data
a:CARD
b:CARD
70 Seq/Presets
70 Seq/Presets
30 Songs
30 Songs
6500 events
112,000 events
RAM Card Configuration
Both sounds and sequencer data stored to a RAM card can be played directly from the card
(when it’s properly inserted into the card slot on the KT). Each Preset/Seq/Song bank is a world
unto itself: for example, songs can only be constructed of sequences from the same bank. The
Preset/Seq/Song banks are sized as follows:
•
•
The a:CARD Preset/Sequence/Song bank is formatted to exactly the same size as the i:INT
Preset/Sequence/Song bank. It is used mainly for portable backup of the i:INT, and as a
transfer area. The a:CARD sequencer bank contains room for 6500 events.
The b:CARD Preset/Sequence/Song bank is formatted to use all remaining card space
assigned for sequencer data storage. The b:CARD sequencer bank contains room for 112,000
events. This is for your big projects. b:CARD stands for BIG!
Formatting a Blank Memory Card
When you first install the battery in a PCMCIA RAM card, the card will not be recognized by the
KT until it is formatted. Formatting a card is done by simply copying either the i:INT (Internal)
sounds to the a:CARD location (described later in this section), or by saving the internal
sequencer memory to the card.
More about PCMCIA RAM Memory Cards
Card Sound Data
• Copying the Internal sounds (i:INT) will put 80 sounds in the a:CARD location, leaving the
rest of the card memory empty.
• Once you have copied sounds into the a:CARD location, you can copy another group of
sounds to the b:CARD location, or you can save the internal sequencer memory to the card
(either a:CARD or b:CARD).
Card Sequencer Data
• Starting from a blank PCMCIA memory card, saving the internal sequencer memory to either
the a:CARD or b:CARD location, will format the card, and will copy your data to the selected
card sequencer bank. The other card sequencer bank will be initialized with a default
seq/preset (location 00) and song (location 70).
• Once you have copied sequencer data into the a:CARD or b:CARD location, you can copy
another group of sequencer data to the other location, or you can save the i:INT or r:ROM
sounds memory to the card (either a:CARD or b:CARD).
Tip:
If there is sound or sequencer data already on a card, you can erase it all by
removing the battery for five minutes (exact time varies), and then replacing it.
2
ENSONIQ KT Musician’s Manual
Section 13 — Storage
SOUNDS
Copying Sounds Between Internal and Card Memory
The functions described here are used to do “bulk copies” of the 80 internal (i:INT) sounds to the
memory card, or vice-versa. Also, as noted above, it is necessary to copy the internal sounds to
the a:CARD location before the card can be used to store sounds at all. If you wish to copy a
single sound to a different location, use instead the procedure described in Section 5 —
Understanding Sounds.
To copy sound banks between Internal and Card memory:
1. Press the {EDIT_SOUND} button.
2. Press the upper {9} button. The display shows:
Press ENTER to Store Sound Data
3.
4.
Press {ENTER}. The display now lets you choose which type of storage to use.
Use the {VALUE} buttons to select “Storage Type=MEMORY CARD,” as shown below:
Storage Type = MEMORY CARD
5.
Press {ENTER}. The display now offers four choices:
Operation = COPY i:INT TO a:CARD
This command copies the entire contents of the internal (i:INT)
sound bank to the a:CARD location.
Operation = COPY i:INT TO b:CARD
This command copies the entire contents of the internal (i:INT)
sound bank to the b:CARD location.
Operation = COPY a:CARD TO i:INT
This command copies the entire contents of the a:CARD sound
bank to the internal (i:INT) memory. This can be useful for
copying ROM card data into i:INT (RAM) so that you can edit
and save ROM card sounds.
Operation = COPY b:CARD TO i:INT
This command copies the entire contents of the b:CARD sound
bank to the internal (i:INT) memory. This can be useful for
copying ROM card data into i:INT (RAM) so that you can edit
and save ROM sounds.
6.
7.
Once you have selected the operation you want from the four options above, press {ENTER}.
The copy function is almost instantaneous. The display will read “Command Successful”
after the sounds have been copied.
ENSONIQ KT Musician’s Manual
3
Section 13 — Storage
SEQUENCES
Saving Sequencer Data to a PCMCIA Memory Card
You can save the contents of the KT sequencer memory to a PCMCIA (or an MC-512) RAM card.
To Copy sequencer memory between Internal and Card memory:
1. Press the {EDIT_SEQ/PRESET} button.
2. Press the upper {9} button. The display shows:
Press ENTER to Store Seq Data
3.
4.
Press {ENTER}. The display now lets you choose which type of storage to use.
Use the {VALUE} buttons to select “Storage Type=MEMORY CARD,” as shown below:
Storage Type = MEMORY CARD
5.
Press {ENTER}. The display now offers four choices:
Operation = COPY i:INT TO a:CARD
This command copies the entire contents of the internal (i:INT)
sequencer bank (0-9) to the a:CARD location. Use this when
you want to save, or “back up” your sequences and songs to
the card.
Operation = COPY i:INT TO b:CARD
This command copies the entire contents of the internal (i:INT)
sequencer bank (0-9) to the b:CARD location. Use this when
you want to save, or “back up” your sequences and songs to
the card.
Operation = COPY a:CARD TO i:INT
This command copies the entire contents of the a:CARD
sequence bank to the internal (i:INT) memory. Use this when
you want to reload data previously saved to the card.
Operation = COPY b:CARD TO i:INT
This command copies the entire contents of the b:CARD
sequence bank to the internal (i:INT) memory. Use this when
you want to reload data previously saved to the card.
6.
7.
Once you have selected the operation you want from the four options above, press {ENTER}.
The copy function is almost instantaneous. The display will read “Command Successful”
after the sequencer data has been copied.
About Sequence Memory
The a:CARD sequencer data bank is formatted to exactly the same size as the i:INT sequencer
bank, and should be used for portable back-up of the i:INT bank, and as a transfer area. The
b:CARD sequencer bank is formatted to use the remaining card space, and is much larger than the
a:CARD and i:INT sequencer banks.
As a result, it is possible that an attempt to load all sequence data from the b:CARD bank into the
i:INT bank will result in the message “Sorry! Seq data too big to save.” Since sequencer data
stored to a PCMCIA RAM card can be played directly from the card, this should not be a
problem — this is simply a limitation of the storage medium.
Data in the b:CARD sequencer bank can be backed-up via MIDI System Exclusive to any device
that can record Sys Ex data (such as an ASR-10, TS-10, or TS-12).
4
ENSONIQ KT Musician’s Manual
Section 13 — Storage
MIDI Sys-Ex Storage
What are System Exclusive Messages?
Some MIDI information—such as key events, controllers, program changes, etc.— is understood
by virtually all MIDI devices, regardless of the manufacturer. The common ability to send and
receive these messages is what allows you to play any MIDI synth from any other, to change
programs and volume remotely, to start and stop sequencers and drum machines together, and
the many other performance miracles we have come to expect from MIDI.
There are other messages which each manufacturer has reserved for communicating specific
information with a specific machine (or family of machines). These machine-specific messages
are called System Exclusive (or Sys Ex) messages, since they are meant to be recognized only by a
particular device and ignored by all others (i.e., they are exclusive to a particular system).
The KT, for example, can transfer sounds, or sequencer data to another KT. It is a lot like sending
a file from one computer to another via modem. The 1’s and 0’s that make up the data in
memory are sent out the MIDI port. This data can be received and understood by another KT, or
by a computer running the proper librarian software. Only KT data can be transmitted/received
as Sys Ex messages. All other forms will be ignored.
“Generic” System Exclusive Storage
It is not strictly necessary, however, for the receiving system to understand the data it receives, if
the purpose is to store it for later reloading into the original system (just as it’s not necessary for a
file cabinet to understand the pieces of paper you file there). The KT can transmit a MIDI System
Exclusive message without the receiving device having the slightest notion of what it means or
what type of device it came from. When you want to send the data back to the KT, you just send
the data from the remote MIDI device back into the KT, which will then retransmit the message
exactly as it was transmitted.
Sending MIDI Sys-Ex Messages to another KT or to a Storage Device
The KT can send MIDI system exclusive dumps of sounds, either singly or in banks, as well as
sequencer dumps containing either the entire sequencer memory or the current sequence/song.
These dumps can be understood by another KT, or can be recorded by a remote MIDI device that
has MIDI Sys-Ex Recorder capabilities (such as the ENSONIQ TS-10, ASR-10, or a computer), to
be stored and later retransmitted to the KT.
Banks of sounds or Presets/Seqs/Songs are always transmitted from the currently selected bank
(i:INT r:ROM, a:CARD, or b:CARD). The Store Sound Data and Store Seq Data Commands will
support Sys-Ex transmission from both the currently selected location, and the currently selected
bank (including r:ROM), for Sounds and Presets/Seqs/Songs.
ENSONIQ KT Musician’s Manual
5
Section 13 — Storage
SOUND DATA
Sending One or All Sounds out via MIDI Sys-Ex
1. Press the {EDIT_SOUND} button.
2. Press the upper {9} button. The display shows:
Press ENTER to Store Sound Data
3.
4.
Press {ENTER}. The display now lets you choose which type of storage to use.
Use the {VALUE} buttons to select “Storage Type=MIDI SYS-EX,” as shown below:
Storage Type = MIDI SYS-EX
5.
Press {ENTER}. The display now offers two choices:
Operation = SAVE
CURRENT SOUND
This command will transmit the currently selected sound as a
MIDI System Exclusive message. The sound to be
transmitted can be in any bank, including the i:INT, r:ROM,
a:CARD or b:CARD banks.
Operation = SAVE
i:INT SOUND BANK
This command transmits the entire contents of the i:INT
internal RAM sounds bank as a MIDI System Exclusive
message. The dump contains data for the complete set of
80 internal sounds.
6.
6
Once you have selected either SAVE CURRENT SOUND or SAVE i:INT SOUND BANK,
press {ENTER}. The display will show “Please wait . . . sending data” while the data is being
transmitted. When the transfer is complete, the display will return to the “Press ENTER to
Store Sounds” display.
ENSONIQ KT Musician’s Manual
Section 13 — Storage
SEQUENCER DATA
Sending Sequences/Songs out via MIDI Sys-Ex
1. Press the {EDIT_SEQ/PRESET} button.
2. Press the upper {9} button. The display shows:
Press ENTER to Store Seq Data
3.
4.
Press {ENTER}. The display now lets you choose which type of storage to use.
Use the {VALUE} buttons to select “Storage Type=MIDI SYS-EX,” as shown below:
Storage Type = MIDI SYS-EX
5.
Press {ENTER}. The display now offers two choices:
Operation = SAVE
CURRENT SEQ/PSET
This command will transmit the currently selected sequence
or song as a MIDI System Exclusive message.
Operation = SAVE
CURRENT SEQ BANK
This command will transmit the entire contents of the
currently selected seq/preset bank as a MIDI System
Exclusive message. The dump contains data for the
complete set of 70 sequence locations and 30 song
locations.
6.
Once you have selected either SAVE CURRENT SEQ/PSET or SAVE CURRENT SEQ BANK,
press {ENTER}. The display will show “Please wait . . . sending data” while the data is being
transmitted. When the transfer is complete, the display will return to the “Press ENTER to
Store Sequences” display.
ENSONIQ KT Musician’s Manual
7
Section 13 — Storage
Receiving MIDI Sys-Ex Messages
The receiving of data dumps is initiated automatically by System Exclusive messages sent from
the transmitting unit. No front panel commands are necessary to receive dumps if the receiving
of System Exclusive messages is enabled. When Sys-Ex data for a bank of sounds is received via
incoming MIDI, it will always be written to the i:NT Sounds bank. When Sys-Ex data for a bank
of presets/seqs/songs is received via incoming MIDI, it will be written to the currently selected
Seq/Preset bank (if it’s r:ROM, it will be ignored).
To Enable Reception of System Exclusive messages:
1. Press the {SYSTEM"MIDI} button.
2. Press the lower {8} button.
3. Using the Data Entry Controls, set “SysEx=ON.”
When a single-sound MIDI Sys-Ex message is received, three things happen:
• the display briefly shows “Press ENTER to Save New Sound”.
• the new sound is placed in the edit buffer.
• the KT enters Edit Sound mode, with the Edit Sound LED flashing, so that you can hear, edit
and/or save the new sound that has been received.
When a one-Seq/Song message is received, the new sequence will be placed in the lowestnumbered empty sequence location in the current sequencer bank. Or, if a song is received, it
will be placed in the lowest-numbered empty song location in the current sequencer bank. After
it is received, the new sequence or song will be selected.
8
ENSONIQ KT Musician’s Manual
Section 13 — Storage
Storage Prompts and Error Messages
These messages are diplayed for one second and indicate either successful completion or nonfatal error conditions encountered during a storage operation:
Command
successful!
This message indicates that the storage operation was
completed successfully and without errors.
SORRY! Install a RAM card first.
This message appears if you attempt to copy i:INT TO a:CARD
or i:INT TO b:CARD when there is no card installed, or when a
ROM (Read Only Memory) card is installed.
SORRY! Install a card first.
You will get this message if you attempt to copy a:CARD TO
i:INT or b:CARD TO i:INT when there is no card installed.
SORRY! Write to a:CARD first.
This message appears if you attempt to copy i:INT TO b:CARD
before you have copied sounds to the a:CARD bank. The
a:CARD bank must be written before you can copy sounds to
the b:CARD bank.
SORRY! a:Card Sound Bank empty
You will get this message if you attempt to copy a:CARD TO
i:INT when the card is formatted but does not contain sound
data in the a:CARD bank.
SORRY! b:Card Sound Bank empty
You will get this message if you attempt to copy b:CARD TO
i:INT when the card is formatted but does not contain sound
data in the b:CARD bank.
SORRY! Card Seq Banks are empty.
You will get this message if you attempt to copy either a:CARD
TO i:INT or b:CARD TO i:INT when the card is formatted but
does not contain any sequencer data.
SORRY! Write to card failed.
This message will appear whenever the KT fails to verify data
that it has written to the card. It could mean that the card is a
ROM card and cannot be written, or that the card is writeprotected or possibly defective.
SORRY! Seq data too big to save.
This will be displayed if the Preset/Seq/Song data being saved
won’t fit into the target memory location. This applies to card
data and Sys-Ex data received.
SORRY! Card is Write-Protected.
This message will be displayed if the currently installed card is
write-protected, or if it’s a ROM card, and you try to write to the
card, either manually from RAM, or remotely via incoming MIDI
Sys-Ex.
Card Battery Low See manual!
If this message appears when a RAM card is inserted into the
card slot, it means that the battery in the card is getting low and
should be replaced as soon as possible. To replace the battery,
see earlier in this section under “Installing the Battery in a RAM
Card.” If you replace the battery while the card is plugged into
the KT, with the KT power on, you will not lose the data stored
on the card. Do not turn off the KT’s power while the card is
installed with the battery removed, or any data on the card will
be lost.
ENSONIQ KT Musician’s Manual
9
Section 13 — Storage
10
ENSONIQ KT Musician’s Manual
Appendix
Appendix
KT MIDI Implementation
The KT features an extensive MIDI (Musical Instrument Digital Interface) implementation. For
normal applications, you will find all the information you need regarding the KT’s MIDI
functions in this manual. You can also refer to the MIDI Implementation Chart on the next page
for a summary of the KT MIDI implementation.
If you are writing a computer program to communicate with the KT via MIDI, or otherwise
require a copy of the full KT System Exclusive Specification, it is available free of charge by
writing to:
ENSONIQ Corp
MIDI Specification Desk
155 Great Valley Parkway
P.O. Box 3035
Malvern PA 19355-0735
USA
Include in your written request your name and address, and indicate that you would like a copy
of the “KT System Exclusive Specification.” Please allow 2 to 3 weeks for delivery.
Registered Parameters
Registered parameters are transmitted (as four sequential continuous controller messages) by the
KT whenever certain parameters are edited from the front panel. The two registered parameter
controllers select the parameter and the following two data entry controllers specify the value.
Controllers
Number
Name
Value
100
Registered Parameter Select LSB
00 or 01
101
Registered Parameter Select MSB
always 0
6
Data Entry MSB (Most Significant
Byte)
(see below)
38
Data Entry LSB(Least Significant
Byte)
(see below)
Registered Parameters
Number
Name
KT parameter range
00
Pitch Bend Range
0..12
01
Fine Tuning
0..255 (displayed -99..+99)
02
Coarse Tuning (GM Mode only)
0..127 (displayed -64..+63)
In most system modes, registered parameters 0 and 1 affect System page Tune & Bend
parameters respectively when received on the base MIDI channel only. In General MIDI
mode, registered parameters 0, 1, and 2 are received multi-timbrally, and affect each
Track/Channel independently.
The parameter values are sent as two Data Entry controller messages:
Parameter
Data Entry MSB (6)
Data Entry LSB (38)
Pitch Bend Range
0..12
0
Master Tune
0..127 (internal bits 1..7)
64 or 0 (internal bit 0)
For Fine Tuning, which is an 8-bit value internally, the most significant 7 bits are offset by 64 and
shifted once before being sent as Data Entry MSB (Controller 6). The least significant bit of the
internal value is transmitted as bit 6 of Data Entry LSB (Controller 38).
ENSONIQ KT Musician’s Manual
I
Appendix
MODEL: KT
Function…
Basic
Channel
MIDI Implementation Chart
Transmitted
Recognized
1
1-16
1
1-16
Default
Messages
Altered
True Voice
1
1, 3, 4, MULTI
current mode is memorized
X
X
X
X
Global Controllers in MONO
Mode
21-108
21-108
Note ON
Note OFF
Key
Channel
O
O
O
X
X
O
O
O
O
O
Default
Channels
Mode
Note
Number
Velocity
After
Touch
Pitch Bender
0
1
4
6
7
Control
Change
32
38
64
66
71
72
100
101
Program
Change
System Exclusive
: Song Pos
: Song Sel
: Tune
System : Clocks
Real Time : Commands
: Local On/Off
Aux.
: All Notes Off
Messages : Active Sense
: Reset
Notes
Mode 1= OMNI ON, POLY
Mode 3= OMNI OFF, POLY
II
2
Bank Select MSB
Mod Wheel
Foot (Pedal)
Data Entry MSB3
Volume
Bank Select LSB
Data Entry LSB 3
Sustain
Sustenuto
Harmonic Content4
Release Time
Reg. Param. Select LSB5
Reg. Param. Select MSB 6
True Number 0-127
System
Common
Version: 1.0
Remarks
PolyKey pressure
0-127 External Controller 1
0 Bank Select MSB
1 Mod Wheel
4 Foot (Pedal)
6 Data Entry MSB3
7 Volume
10 Pan
32 Bank Select LSB
38 Data Entry LSB 3
64 Sustain
66 Sustenuto
71 Harmonic Content4
72 Release Time
100 Reg. Param. Select LSB5
101 Reg. Param. Select MSB 6
1
2
assignable XCtrl
always 0
3
for Reg. Params only after
100 & 101 are transmitted or
received.
4
Timbre
5
values of 0 & 1 only
always 0
6
0-99
O
O
O
O
X
O
O
X
O
O7
O
O7
X
X
X
X
X
O8
X
X
see KT SysEx Spec.
7
Start, Stop, Continue
8
In MULTI and MONO-B
modes.
Refer to Section 12 — The MIDI Conection for information about
Controller Implementation in General MIDI mode.
Mode 2= OMNI ON, MONO
Mode 4= OMNI OFF, MONO
O = YES
X = NO
ENSONIQ KT Musician’s Manual
Index
KT Index
C
0 to 9 Buttons 4
8-VOICE CHORUS 53
A
A=440 21
AC line voltage iv
AcBass/Kybrds(i) 143
ADD 190
ADSR 77
After-touch 11, 76
Algorithms 49
Defined 40
Listing 42
Programming 41
All Notes Off 245
Alpha 24
AM Min and Max 61
Amp pages 119
Amplification
Using with KT v
Append Sequence 210
Atck 57
AtckV 92
Audio outputs 2
Audition 167
Auto Locate 183
Auto Punch 185, 187, 191
AutoStep 189
B
Bank
Button 4
Location 183
Select messages 36, 150
Select MSB 247
Banks
About 4
Direct-Dialing 4
Bar/Beat 184
Base Channel 31
Pressure 32
Battery vii
Beta 24
Bnd 22
Breath Controller 75
Bus 42
Busses 122
Button Names x
BW 50
ENSONIQ KT Musician’s Manual
Card 135
Memory 157, 250
Sounds 135
Carlos 24
Chaining 174
Chan 149
Change Length 211
Channel Pressure 11, 32, 76
Channels 129
Chorus
Center 53, 54, 65
Depth 53, 54, 65
Feedback 53
Level 54, 66
Rate 53, 54, 65
Cleaning the KT ii
Click
Pages 195
Pan 195
Parameter 195
Volume 195
Clipping 104, 121
Clock 191
Color-coded text x
Color-coding x
Scheme 3
Command successful! 257
Compare Button 5
About 68
Compression 63
Constant-Time Portamento 90
Controller 7, 4
Fights 173
Numbers 34
Controllers 35
Routed to Effects 173
Copy Preset Data 141, 199, 209
Copy Sequence 206
Copy Song 197
Copy Track 219
Countoff 188
Create Sequence/Preset 205
Create SONG/Pset 196
Current Seq Bank Free Memory 194
Cutoff frequency 102
CV pedal 2, 30, 57
CVP-1 Control Voltage Foot Pedal xi, 2, 30, 75,
180
1
Index
D
Data Editing 18
DDL
Regen 55
Send 55
Time 55
DDL-CHORUS+REVB 56
Decay
Bias 45, 51
Parameter 57
Time 52, 64
Default Envelope Values 96
Default Preset template 139
Delay Time 83, 181
Delay Times/Tempo BPM Chart 180
Demo Song 16
Destination Bus 42
Detune Depth 52
Detune Rate 52
Diffusion 52
Digital Oscillator Chip 39
Digital Sequencing 155
Direct-Dialing 14, 17, 161
Banks 4
Direction 83
Display 4
Dist 65
Distortion 61
Level In/Out 63
DISTWAH-CHO+REVB 65
Doppler 61
Double-click 132
Drum machine 234, 235
Sequencing from a track 235
Syncing the KT to a 234
Syncing to the KT 234
Drum Sound 111
About 71
Creating 123
Saving 125
Setting Key Ranges 124
Voice Architecture 71
Wave list 114
DRY 42
DRY/BYPASSED 49
DUAL EQ+REVERB 50
E
Song Steps 200, 202
Song Steps page 175
Sound 68
Sound Button 6
Times 186
Track 136
Track Button 6
Track mode 145
EDITS AUTO-SAVED 192
Effect
Algorithms 49
Modulators 46
Selector 41
Effects 39
Listing 42
Mixing 42
Multiple function routing 43
Parameters 49
Signal routing between 40
Single function routing 43
Understanding 39
ElBass/Kybrds(i) 143
ElecBass/Gtrs(i) 143
ENSONIQ drum map 117
Env Amt 57
Env Pages 91
ENVCF-CHO+REVERB 57
Envelope
Diagram 77
Envelopes
ADSR 77
Default Values 96
Defined 77
ENV 1 74, 77
ENV 2 74, 77
ENV 3 74, 77
Preset Defaults 95
EQ-CHORUS+REVERB 54
EQ-DDL+REVERB 55
Equal-temperament tuning 22
Erase Sequence/Preset 207
Erase Song/Preset 198
Erase Track 220
ESP chip 39
Event Edit Track 215
Event — Event Type Filter 215
Events 155
EVS-6 xi
External controller 75
External MIDI controllers 34
Edit
Buffer 68
(Drum) Sound mode 111
(Standard) Sound mode 79
Seq/Preset Button 6
2
ENSONIQ KT Musician’s Manual
Index
F
Fc 57, 65
Feedback 54, 59, 60, 66
Filter 61
Cutoff frequency 100
Events 225
Pages 100, 119
Filters 100
About high pass filters 102
About low pass filters 102
Configurations 103
To change the cutoff frequency 102
To Modulate 102
What is a Pole 102
Fine 88
Fixed Gate Duration 189
FL-CMP-DIST+REVB 63
Flange
Center 59
Depth 59
Rate 59, 63
FLANGER+REVERB 59
Fly
On the 186
FM Min and Max 61
Foot Switch 1
FtswL 1, 29
FtswR 1, 29
Front panel 3
Diagram 3
FX1 42
FX1 F 50
FX1 L/R Routing 65
FX2 42
FX2 F 50
G
Gain 50
Gamelan 23
Gamma 24
Gate 189
General MIDI
Button 5
Controller Implementation 248
Cool Logo 237
Defined 237
Disable 246
Drum Map 115
Hidden 116
Enable 243
GS/MT-32 Compatibility 237
MIDI Out 243
Percussion 237
ENSONIQ KT Musician’s Manual
Requirements 237
Sound Map 237, 239
Using 242
Why use 238
Glide
Modes 90
Parameter 90
Time 90
Global controllers 34
GM Map 115
Goto function 184
Ground Loops
About Ground Loops iv
GS Drum Maps 237
H
Headphone
Impedance warning 10
Headphones 10
HF Bandwidth 52
HF Damping 52, 64
Hidden ROM General MIDI Drum Map 116
HiPass Cutoff 63
Home stereo vi
I
ID 37
Import Sequence 212
Import Song 203
Inertia 61
INHARMONIC 81
Input Invert 59, 60
INSERT Bars 211
INSERT/REMOVE 202
Internal clock 191
Interval 195
K
Kbd Amt 58
Keep NEW/OLD page 167
Key Down event 155
Key Groups
Defined 114
Key Range 147, 215
Setting a 147
Key Up event 155
KEYBD 46
KeybdScale 105
Keyboard
Filter tracking 101
Layouts 147
Pitch Tracking 89, 118
3
Index
Splits
Creating 148
Stands ii
Tracking 76
Transpose 8
KeyRange 107
KTC Series ROM Cards xi
L
Latching Pressure with Sustain or Sostenuto 29
Layer Lock 137
Layering 132
Left foot switch 29
Left/Mono Output 2
LEGATO 90
Legato Envelope/Wave Retrigger 90
Legato Glide 90
Levels 91
LevV 92
LFO 74, 89, 97
Frequencies 97
Pages 97
Rate 97
Line Conditioner iv
Line-level vi
Locate information ix
Locate page 183, 184
Lock 137
LOOP 188
MIDI Loop 38
LOOPED 190
LoPass Cutoff 64
Low Frequency Oscillator 74, 97
M
Make Default Preset
Button 7
Making a template 139
Playing the demo 139
Using the button 139
Master tuning 21
MC-512 RAM 10
MC-512 RAM Cards xi
Memory 13
Merge Track 221
Metronome 195
Mic-level input vi
MIDI
About 229
Assigning reception channels 233
Bank Select 36
Breath Controller 75
Channel 149
4
Assignments 234
Clock 191
Connection 229
Connections 1
Controller application 231
Devices
Connecting 229
Controlling from the KT 229
Guitar controller 236
Implementation Chart II
In 1
Loop 38
Mode 33
Mode and Channel 230, 234
Out 1
Parameters 21, 31
Powering Up vi
Program change 35
Program Change number 149
Song position pointers 235
Song Select messages 37
Song Selects 235
Status 32, 151, 229
System Exclusive 37
Thru 1
Track configuration 235
Tracks 171
Recording 171
TrkName 38
Using external sequencers 232
MIDI-Blend 142
MINIMODE 90
Mix 62, 65
Mixdown 178, 190
Mode 180
Track 178
Mode 3, 84
Modulation
About 73
Amount 46
Destination 46
Source 46
Sources 74
Wheel 75
Modulation (Mod) Wheel 11
Modulators 74
MONO mode 33
Mono pressure 11, 76
MS-1 Music Stand xi
MT-32 237, 247
MULTI mode 33, 232
Multi-sampled 81
Waves 84
Music software 238
ENSONIQ KT Musician’s Manual
Index
N
Noise generator 74
Noise Rate 97
Notch Depth 59, 60
Note memory 90
Number of clocks to shift by 223
O
Oct 88
OhSoSweet-Rhodes 142
Optional accessories xi
OTTO 39
Out 50, 51
Output 104, 146
Bus 108, 122
Pages 104, 121
P
Page
Defined 4
Location headings ix
Pages
About ix
Pan 109, 145
Parameter
Changing a 18
To change a 19
Parameters
Multiple 19
Parametric Programming 18
Partch 24
PBEND 46
PCMCIA
Card 10
Card Slot 10
RAM or ROM cards 10
PEDAL 46, 75
Pelog 23
Percussion Key Map 237
Performance
Controllers 11
Memories 127
Parameters 136
Accessing 136
Phaser
Center 60
Depth 60
Rate 60
PHASER+REVERB 60
Phones 10
PITCH 75
Pitch bend 22
ENSONIQ KT Musician’s Manual
Wheel 11, 75
Pitch page 118
Pitch pages 88
Pitch-table 22
Parameter 22
Various 22
Pitch-tables
Arabic
ARABIC-1 23
ARABIC-2 23
ARABIC-3 23
ARABIC-4 23
Chinese
CHINESE-1 23
CHINESE-2 23
Equal stepped
19-TONE-EQU 24
24-TONE-EQU 23
31-TONE-EQU 24
53-TONE-EQU 24
Greek
GRK-CHROMAT 22
GRK-DIATONC 22
GRK-ENHARM 22
HARMONIC 24
INDIAN-RAGA 23
Java
JAVA-COMBI 23
JAVA-PELOG1 23
JAVA-PELOG2 23
JAVA-PELOG3 23
JAVA-SLNDRO 23
JUST INT-C 22
MEANTONE-C 22
NORMAL 22
PARTCH-43 24
PYTHAGRN-C 22
REVERSE 24
THAILAND 23
TIBETAN 23
TURKISH-A 23
VALLOTTI-C 22
Wendy Carlos
CARLOS-BETA 24
CARLOSALPHA 24
CARLOSGAMMA 24
WRKMEISTR-C 22
Pno/SoloHorns(i) 144
PnoStr/Orch (i) 144
Polarization iii
Pole 102
Poly-Key™ Pressure 11, 76
Poly-rhythms 181
Polyphonic pressure 11, 32, 76
Polyphony
5
Index
Understanding 67
Portamento 90
Power iii
Preset
Copy data 199, 209
Creating for MIDI sequencing 233
Preset/track parameters 145
Presets 127
Creating a 130
Building your own 130
Modify an existing preset 131
Using the default preset 130
Described 128
How Many 127
How to make 139
ROM
Defined 142
Selecting 16, 127
Selecting ROM 142
PRESSR 46
Pressure 11, 25, 32, 76, 152
Latching 29
Priority 108
Prog 149
Prog Change 35
Program changes 149
Recording into the Sequencer 169
Punch In 168, 185
Punch In times
Setting in real time 186
PUNCH OUT 186
Pythagorean 22
Q
Qc 57, 65
Quantize to nearest 227
Quantize Track 227
Quick-Start Guide ii
R
Ragas 23
RAM Card Configuration 157
Ramps 46, 47
Real World 242
Rear panel
Connections 1
Diagram 1
Reboot viii
Record 190
Registered Parameter Select 21, 22
Reinitializing viii
Release 154
Rels 57
6
Remote MIDI Devices
Controlling 230
Set up 230
REMOVE Bars 212
Rename SEQ/Preset 208
Rename SONG/Pset 199
Rep 201
REPLACE 190
Replace Track Sound
Button 7
How to 133
How to replace a sound along with its effect
134
Replace w/FX 134
Replacing Sounds 135
Resources
Additional xi
Restrike 85
Rev 51
Reverb to Cmprss Feedback 64
Reverb variations 45
AMBIENCE 1 45
AMBIENCE 2 45
BRITEHALL 45
BRITEPLATE 45
CANYON 45
DARK PLATE 45
EARLY REFL 45
INVERSE RM 45
LONGPLATE 45
MED.HALL 45
MED.ROOM 45
SMALL HALL 45
STONEHALL 45
STRNGHALL 45
WAREHOUSE 45
WARM ROOM 45
Right /Mono Output 2
Right foot switch 29
ROM Drum Map 116
ROM Presets 142
ROTARY SPKR+REVB 61
Rotor Speed 61
S
Sample Shift 84
Save Changes 192
About 170, 193
Mode 192
Page
About 138
Scale Track 224
Select Seq/Preset Button 5
Select Sequence Mode Pages 160
ENSONIQ KT Musician’s Manual
Index
Select Sound Button 3
Semi 88
SEQ (or SONG) PUNCH IN 185
SEQ (or SONG) PUNCH OUT 186
Sequence
Append 210
Change Length 211
Command pages 205
Copy 206
Defined 128, 156
Effect 39
Goto control 184
Import 212
Info 208
Location 183
Status 183
Sequencer
Control pages 188
Creating a song 163
Erasing memory 194
Free memory 194
Memory Configuration 16, 157
Parameters 183
Selecting 160
Status 159
Sequencer/Preset Track Buttons 7
Sequences
Creating a 162
How to erase all 164
How to record 165
Playing 161
Re-recording a track 168
Record Additional Tracks 167
Record the First Track 166
Select a Sound for the Track 165
Select a Track 165
Selecting 16
Set Track Range 214
SHIFT ALL 84
Shift Track 223
SHOW PROMPT 192
Signal processor 39
Slendro 23
Song
Assembling a 174
Command pages 196
Defined 156
Edit Tracks Displayed 178, 192
Erase 198
Import 203
Information 198
Position Pointer 235
Rename 199
Tracks 177
Uses effect from 191
ENSONIQ KT Musician’s Manual
Song mode
Definition 174
Switching Effects in 176
Viewing sequence tracks 178
Song Select 37
Song Steps
Editing 202
Songs
Selecting 16
SOSTENUTO 29
Sound
Canvas™ 247
Effects 39
Memory Configuration 13
What is a KT Sound 67
SoundFinder 86
About 15
Presets 133
SoundFinder Type 86
ACOUBASS 86
ACPIANOS 86
ALTKEYS 86
ALTPLUCK 86
BELL 86
BRASSECT 86
CUSTOM 86
ELECBASS 86
ELPIANOS 86
GUITARS 86
HYBRDLYR 86
MALLET 86
ORGANS 86
OTHER 86
PERCUSSN 86
SOLOBRAS 86
SOLOSAX 86
SOLOSTRG 86
SOLOWIND 86
SOUND-FX 86
SPLITS 86
STRGSECT 86
SYNBASS 86
SYNLEAD 86
SYNOTHER 86
SYNPAD 86
TUNEPERC 86
UTILITY 86
VINTGSYN 86
VOCALS 86
WINDSECT 86
Sounds
Changing Locations 69
Saving to Memory 69
Selecting 12
Speed Max 61
7
Index
Speed Min 61
Splits 147
Srutis 23
Staccato Glide 90
Standard sound 70
Start Index 83
Status 32, 151, 201
Step 190, 201
Step Entry 188
Stereo bus 42
STOP/CONT 29
STRETCH ONE 84
Sub-pages
About ix
Surge/Spike Suppressor iv
Sust 57
SUSTAIN 29
Sustain Pedal 153
SUSTN 46
SW-2 29
SW-6 Single Foot Switch 1, 29, 158
SW-10 Dual Foot Switch xi, 1, 29, 158
SynBass/Kybds(i) 143
SysEx 37
System Exclusive messages 37, 246
Defined 253
System Exclusives
Generic 253
System•MIDI
Button 6
Mode 21
T
Tap
Spinal 63
Tempo 187
Temperature Guidelines v
Template 128
Tempo 187, 195
Tetra chord 22
Thailand 23
TIMBRE 46, 75, 154
TinePno/Horns(i) 144
Touch 25
Track 129, 156
Command pages 214
Copy 219
Described 129
Erase 220
Merge 221
Mute Status 172
Quantize 227
Range 214
Replacing sounds 133
8
Scale 224
Shift 223
Status 32, 228
Transpose 222
Tracks
Layering 132
Mixing, Muting, and Soloing 172
Recording MIDI 171
Volume Functions 172
Transport Controls 7, 158
Transpose 148, 201
Transpose Keyboard 8, 9
Button 8
Transpose Track 222
TRANSWAVE 81, 83
Trig Mode 57
TRIGGER 90
Tufnel theorem 63
Tune 21
U
U-SAVE MANUALLY 192
Unexpected Event messages viii
UNUSED 29
V
Vel Window 109
VelCurv 92, 122
VELOC 46
Velocity 76
Curve Diagram 26
Curves 25
Level 92
Level Control 120
Response 25
Response Curves 26, 92, 122
Vibrato 89
Voice
Allocation 67
Configuration Chart
Drum Sound 71
Standard Sound 70
Muting 30
Restrike Decay Time 85
Status 80
Stealing 93, 120
Voices
Understanding 67
Vol 121
Volume 145
Volume Slider vi
ENSONIQ KT Musician’s Manual
Index
W
Wah
Modulaton note 66
Walkman™ 10
WARM CHAMBER 52
Wave classes 81
Wave pages 79, 111
WAVE-LIST 82
WAVEFORM 81
Waves 79
Wedding Ceremony 144
Weighted-action i
Werkmeister 22
WHEEL 46, 75
WHL+PR 75
X
XCtrl 34, 46, 75
ENSONIQ KT Musician’s Manual
9
Index
10
ENSONIQ KT Musician’s Manual
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