SE TRANSPOSE REAL - TIME CONTROL MASTER EQ SOUND SELECT ASSIGNABLE SWITCHES VARIATION 1 ZONE 1 ROTARY S/F -24 Hi +15 BRAKE 2 ZONE 2 ON/OFF 3 ZONE 3 CHOR/VIB 4 5 6 ON/OFF LOUD/SOFT ZONE 4 DEPTH VOLUME A -24 MID B C 7 FX1 CHORUS / VIBRATO FX2 DECAY F/S 8 DELAY 9 REVERB PITCH H/L KEY CLICK H I PERCUSSION D E F KB3 G KB3 CHANNEL LAYER ZONE +15 1.4k CATEGORY MODE STORAGE ACTIVE ARP ON/OFF PROGRAM PIANO MULTI STRINGS E.PIANO CLAV BRASS/WINDS ENSEMBLE GLOBAL FREQ 7k LOW +15 1 1 EDIT EXIT PREVIOUS NEXT USER VALUE JUMP 2 2 ABC 9 9 WXYZ KB3 DISTORTION -24 LEADS PADS SYNTHS SYNTH BASS HYBRID GUITAR/BASS VOICES/MISC DRUMS PERCUSSION PROGRAM / MULTI SAVE 200Hz ORGAN 10 0 3 4 3 DEF 4 GHI 11 SPACE 12 INSERT PROGRAM DEMO 5 5 JKL 6 6 MNO 13 14 +/- DELETE DEMO 7 7 PQRS 8 8 TUV 15 CANCEL 16 ENTER PANIC FAVORITES 1 ON/OFF FILT/EQ 1 ZONE 1 FILT/EQ 2 ZONE 2 ATTACK ZONE 3 DECAY/REL ZONE 4 REL/RATE FX1 FX2 DELAY 2 3 4 5 6 7 8 9 10 REVERB ® Written for software release v1.01 and OS 3.44.25701 Part Number 91580-001 i CAUTION The lightning flash with the arrowhead symbol, within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE THE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS INSTRUCTIONS PERTAINING TO THE RISK OF FIRE ELECTRIC SHOCK , OR INJURY TO PERSONS WARNING: When using electric products, basic precautions should always be followed, including the following: 1. Read all the Safety and Installation Instructions and Explanation of Graphic Symbols before using the product. 2. This product must be grounded. If it should malfunction or break down, grounding provides a path of least resistance for electric current to reduce the risk of electric shock. This product is equipped with a power supply cord having an equipmentgrounding conductor and a grounding plug. The plug must be plugged into an appropriate outlet which is properly installed and grounded in accordance with all local codes and ordinances. DANGER: Improper connection of the equipment-grounding conductor can result in a risk of electric shock. Do not modify the plug provided with the product – if it will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use an adaptor which defeats the function of the equipment-grounding conductor. If you are in doubt as to whether the product is properly grounded, check with a qualified serviceman or electrician. 3. Do not use this product near water – for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, or the like. 4. This product should only be used with a stand or cart that is recommended by the manufacturer. 5. This product, either alone or in combination with an amplifier and speakers or headphones, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. 6. This product should be located so that its location or position does not interfere with its proper ventilation. 7. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. 8. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. 9. This product may be equipped with a polarized line plug (one blade wider than the other). This is a safety feature. If you are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety purpose of the plug. 10. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time. When unplugging the power supply cord, do not pull on the cord, but grasp it by the plug. 11. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. 12. The product should be serviced by qualified service personnel when: A. The power supply, power cord or plug have been damaged; B. Objects have fallen, or liquid has been spilled into the product; C. The product has been exposed to rain; D. The product does not appear to be operating normally or exhibits a marked change in performance; E. The product has been dropped, or the enclosure damaged. 13. Do not attempt to service the product beyond that described in the user maintenance instructions. All other servicing should be referred to qualified service personnel. 14. WARNING: Do not place objects on the product’s power supply cord, or place the product in a position where anyone could trip over, walk on, or roll anything over cords of any type. Do not allow the product to rest on or be installed over cords of any type. Improper installations of this type create the possibility of a fire hazard and/or personal injury. RADIO AND TELEVISION INTERFERENCE WARNING: Changes or modifications to the instrument not expressly approved by Young Chang could void your authority to operate the instrument. IMPORTANT: When connecting this product to accessories and/or other equipment use only high quality shielded cables. NOTE: This instrument has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This instrument generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this instrument does cause harmful interference to radio or television reception, which can be determined by turning the instrument off and on, the user is encouraged to try to correct the interference by one or more of the following measures: • ii Reorient or relocate the receiving antenna. • • Increase the separation between the instrument and the receiver. Connect the instrument into an outlet on a circuit other than the one to which the receiver is connected. • If necessary consult your dealer or an experienced radio/television technician for additional suggestions. The normal function of the product may be disturbed by strong electromagnetic interference. If so, simply reset the product to resume normal operation by following the instructions in the manual. If normal function does not resume, please use the product in another location. NOTICE This apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the Radio Interference Regulations of the Canadian Department of Communications. AVIS Le present appareil numerique n’emet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la class B prescrites dans le Reglement sur le brouillage radioelectrique edicte par le ministere des Communications du Canada. SAVE THESE INSTRUCTIONS IMPORTANT SAFETY INSTRUCTIONS 1) Read these instructions. 2) Keep these instructions. 3) Heed all warnings. 4) Follow all instructions. 5) Do not use this apparatus near water. 6) Clean only with dry cloth. 7) Do not block any of the ventilation openings. Install in accordance with the manufacturer’s instructions. 8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet 10)Protect the power cord and power supply adapter from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. 11)Only use power adapters andattachments/accessories specified by the manufacturer. 12)Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/ apparatus combination to avoid injury from tip-over. 13)Unplug this apparatus during lightning storms or when unused for long periods of time. 14)Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. Warning: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids, such as vases, are placed on the equipment. To completely disconnect this equipment from the AC Mains, disconnect the power supply cord plug from the AC receptacle. ©2015 Young Chang Co., Ltd. All rights reserved. Kurzweil® is a product line of Young Chang Co., Ltd. Kurzweil®, Young Chang®, V. A. S. T.®, and Forte SE® are trademarks of Young Chang Co., Ltd. All other trademarks and copyrights are property of their respective companies. Product features and specifications are subject to change without notice. You may legally print up to two (2) copies of this document for personal use. Commercial use of any copies of this document is prohibited. Young Chang Co. retains ownership of all intellectual property represented by this document. iii Kurzweil International Contacts Contact the Kurzweil office listed below to locate your local Kurzweil representative. US Customers: Customers outside the US: American Music & Sound 925 Broadbeck Dr #220 Newbury Park, CA 91320 Young Chang Co., LTD. 178-55, Gajwa-Dong, Seo-Ku Incheon, Korea Post Code: 404-714 Tel: 800-431-2609 Fax: 818-597-0411 Email: [email protected] Tel: +82-32-570-1576 Fax: +82-32-576-2340 www.kurzweil.com [email protected] www.facebook.com/kurzweilmusicsystems/ www.twitter.com/KurzweilMusic www.youtube.com/user/KurzweilTutorials iv Contents Contents Kurzweil International Contacts......................................................................iv Introducing Forte SE.............................................. 1-1 Main Features................................................................................................ 1-1 Do You Have Everything?............................................................................. 1-3 Keeping the Forte SE up to date.................................................................. 1-3 Music Rack (Optional)................................................................................... 1-3 Getting Started........................................................ 2-1 Before You Start…......................................................................................... 2-1 Setting up the Forte SE................................................................................. 2-1 Updating the Forte SE................................................................................... 2-2 Using the Forte SE........................................................................................ 2-2 The Rear Panel.............................................................................................. 2-3 The AC Power Jack....................................................................................... 2-3 The USB Ports............................................................................................... 2-3 The MIDI (IN and OUT) Ports........................................................................ 2-4 Basic MIDI Hookup........................................................................................ 2-4 The Pedal Jacks............................................................................................ 2-4 The Audio (LEFT/MONO and RIGHT) Jacks ............................................... 2-8 Connecting to Your Audio System............................................................... 2-8 Connecting to a Computer ........................................................................ 2-10 Forte SE Sounds......................................................................................... 2-10 Features of the Forte SE........................................ 3-1 Powering Up Defaults................................................................................... 3-1 The Front Panel............................................................................................. 3-2 Real Time Controls........................................................................................ 3-3 Master EQ....................................................................................................... 3-8 Mode Buttons................................................................................................. 3-9 Navigation.................................................................................................... 3-10 i Contents The Edit Button............................................................................................ 3-12 The Save Button.......................................................................................... 3-12 Sound Select................................................................................................ 3-13 Double Button Presses............................................................................... 3-14 Terminology............................................................ 4-1 The Operating Modes............................................. 5-1 Program Mode............................................................................................... 5-1 Multi Mode...................................................................................................... 5-2 Global Mode................................................................................................... 5-3 Functions....................................................................................................... 5-4 Program Edit Mode........................................................................................ 5-6 Multi Edit Mode.............................................................................................. 5-7 Program Mode........................................................ 6-1 About Program Mode.................................................................................... 6-1 Selecting Programs....................................................................................... 6-2 Transposition................................................................................................. 6-7 Parameter Assignments............................................................................... 6-8 Controller Conventions................................................................................. 6-9 The Split and Layer Functions................................................................... 6-10 The Arp Pages............................................................................................. 6-13 Save User Programs................................................................................... 6-14 Changing the Transmit MIDI Channel........................................................ 6-16 Panic............................................................................................................. 6-17 Program Edit Mode................................................. 7-1 About Program Edit Mode............................................................................ 7-1 Differences Between Regular and Advanced User Type........................... 7-1 Selecting Parameters.................................................................................... 7-2 VAST and KB3 Programs.............................................................................. 7-4 VAST Program Structure.............................................................................. 7-4 Editing VAST Programs................................................................................ 7-6 The Parameters (PARAMS) Page............................................................... 7-10 The Program FX (FX) Page......................................................................... 7-13 ii Contents The Layer FX (LYR_FX) Page..................................................................... 7-15 The COMMON Page..................................................................................... 7-16 The KEYMAP Page...................................................................................... 7-19 The LAYER Page.......................................................................................... 7-24 The PITCH Page........................................................................................... 7-30 The AMP Page.............................................................................................. 7-30 The Algorithm (ALG) Page.......................................................................... 7-30 The DSP Control (DSPCTL) Page............................................................... 7-37 The DSP Modulation (DSPMOD) Page....................................................... 7-39 The OUTPUT Page....................................................................................... 7-40 The LFO Page.............................................................................................. 7-43 The ASR Page.............................................................................................. 7-46 The Function (FUN) Page............................................................................ 7-47 The Amplitude Envelope (AMPENV) Page................................................ 7-48 The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages........................... 7-51 The Envelope Control (ENVCTL) Page...................................................... 7-52 The Arpeggiator Function........................................................................... 7-55 The Utility Soft Buttons, HELP Soft Button and Favorites Buttons Functions 7-69 Editing VAST Programs With KVA Oscillators.......................................... 7-71 KB3 Program Structure.............................................................................. 7-79 Editing KB3 Programs................................................................................ 7-81 KB3 Editor: The Parameters (PARAMS) Page.......................................... 7-82 KB3 Editor: The Program FX (FX) Page.................................................... 7-82 KB3 Editor: The COMMON Page ............................................................... 7-82 KB3 Editor: The Tone Wheels (TONEWL) Page........................................ 7-85 KB3 Editor: The Drawbars (DRAWBR) Page............................................. 7-87 KB3 Editor: The Set Drawbars (SetDBR) Soft Button.............................. 7-88 KB3 Editor: The PITCH Page...................................................................... 7-88 KB3 Editor: The AMP Page......................................................................... 7-89 KB3 Editor: The KEYCLICK Page.............................................................. 7-89 KB3 Editor: The PERC1 Page..................................................................... 7-91 KB3 Editor: The PERC2 Page..................................................................... 7-93 KB3 Editor: The EQ Page............................................................................ 7-94 iii Contents KB3 Editor: The OUTPUT Page.................................................................. 7-95 KB3 Editor: The LFO, ASR, FUN, and ARP Pages.................................... 7-95 The Effects Chain Editor........................................ 8-1 The MAIN Page.............................................................................................. 8-1 The MOD Pages............................................................................................. 8-2 FXLFO, FXASR, and FXFUN pages.............................................................. 8-3 INFO page....................................................................................................... 8-3 The Utility Soft Buttons, HELP Soft Button and Favorites Buttons Functions 8-4 Effects Parameters........................................................................................ 8-5 Keymap and Sample Editing................................. 9-1 The Keymap Editor........................................................................................ 9-1 Building a Keymap........................................................................................ 9-9 Editing Samples........................................................................................... 9-10 The TRIM Page............................................................................................. 9-14 Multi Mode............................................................. 10-1 About Multi Mode........................................................................................ 10-1 Selecting Multis........................................................................................... 10-2 About Zones................................................................................................. 10-6 Transposition............................................................................................... 10-6 Parameter Assignments............................................................................. 10-7 The Split and Layer Functions................................................................... 10-9 The ARP Function...................................................................................... 10-12 Save User Multis........................................................................................ 10-12 Multi Edit Mode......................................................11-1 About Multi Edit Mode................................................................................. 11-1 Selecting Parameters.................................................................................. 11-2 Zone Parameters......................................................................................... 11-4 OVERVIEW Page.......................................................................................... 11-5 MAIN Page.................................................................................................... 11-6 KEYVEL (KeyVelocity) Page..................................................................... 11-10 BEND Page................................................................................................. 11-13 CCTLS (CCs/Continuous Controllers) Page........................................... 11-13 iv Contents SWITCH (Switches) Page.......................................................................... 11-24 COMMON Page.......................................................................................... 11-27 ARP1 and ARP2 (Arpeggiator 1 & 2) Pages............................................ 11-28 FX Page...................................................................................................... 11-29 AUXFX 1, AUXFX 2 ................................................................................... 11-30 About Auxiliary Effects............................................................................. 11-31 The Utility Soft Buttons, HELP Soft Button and Favorites Buttons Functions 11-32 Save User Multis........................................................................................ 11-33 Global Mode.......................................................... 12-1 About Global Mode...................................................................................... 12-1 Selecting and Editing Parameters............................................................. 12-2 MAIN Page.................................................................................................... 12-2 MAPS Page.................................................................................................. 12-6 Controller Overrides (CNTRLS).................................................................. 12-9 MIDI Page................................................................................................... 12-11 TOOLS Page............................................................................................... 12-14 DELETE Page............................................................................................. 12-17 RESET......................................................................................................... 12-18 FILE (Storage page)................................................................................... 12-19 STORE........................................................................................................ 12-21 System Mode........................................................ 13-1 Run Forte SE................................................................................................ 13-2 System Update............................................................................................ 13-2 Run Diagnostics.......................................................................................... 13-7 System Reset............................................................................................... 13-8 System Utilities.......................................................................................... 13-10 Troubleshooting................................................... 14-1 Maintenance................................................................................................. 14-1 Common Problems...................................................................................... 14-1 MIDI Problems.............................................................................................. 14-4 Pedal Problems........................................................................................... 14-5 If None of the Above.................................................................................... 14-6 v Contents MIDI Implementation..............................................A-1 Physical Specifications.........................................B-1 Programs.................................................................C-1 KB3 Programs........................................................D-1 Introducing KB3 Programs...........................................................................D-1 Drawbars........................................................................................................D-2 KB3 Mode Buttons........................................................................................D-2 Multis.......................................................................E-1 Effects...................................................................... F-1 Index......................................................................... I-1 vi Introducing Forte SE Main Features Chapter 1 Introducing Forte SE Congratulations on your purchase of the Kurzweil Forte SE® Stage Piano! This manual will help you get acquainted with your new instrument. Be sure to keep the manual on hand as you continue to familiarize yourself with the features and functions of the Forte SE. Main Features Forte SE is Kurzweil’s latest entry in the Forte line of stage pianos. Some of the key specifications include: • FlashPlay technology with support for 2GB of Sound ROM • High Definition Japanese Grand Piano and High Definition Electric Piano • ROM sounds included from Kurzweil’s acclaimed PC3 series, KORE64 expansion, and German D Grand EXP Grand Piano expansion • New Kurzweil String Resonance Simulation • Full KB3 organ simulations with 9 sliders as drawbars • 8 Zone MIDI Controller • Space for 1024 Factory and 1024 User Programs and Multis (16 Categories of Programs) 1-1 Introducing Forte SE Main Features • • • • Arpeggiator with dedicated On/Off button (1 per Program, up to 8 in Multi Mode) MP3 player audio input jack Full 128 voices of polyphony Hundreds of Effects Chains Keyboard and Controllers The Forte SE has an 88-key fully-weighted hammer action keyboard that provides you with a piano-like feel without adding excessive weight to the instrument. The array of physical controllers includes: • • • • • 9 assignable sliders 11 programmable switches A pitch wheel A modulation wheel 2 jacks on the rear panel for up to 4 optional switch pedals or 2 half damper pedals: SW1 (Sustain) & SW2 • 1 jack on the rear panel for an optional continuous controller pedal: CC (Volume) Pedals (Optional) As described above, the Forte SE has three jacks on the rear panel for optional pedal controllers. Two jacks for switch pedals, which are typically used to control two-state (i.e., on / off) parameters such as sustain, sostenuto, and mute Zone. The third jack is for a continuous control (or CC) pedal typically used to control multi-state (i.e., “continuous”) parameters such as volume or wah. Your Kurzweil dealer stocks the following pedals: • • • • 1-2 FS-1 Standard box-shaped switch pedal KFP-1 Single piano-style switch pedal KFP-2S Double piano-style switch pedal unit (one stereo plug) CC-1 Continuous pedal Introducing Forte SE Do You Have Everything? Do You Have Everything? Your Forte SE package should contain the following in addition to your instrument: • Power adapter and cable • Switch pedal • USB cable (Type-A-to-Type-B) • 4 self adhesive feet (see page 2-1) • Forte SE Getting Started Guide If you are missing any of these components, please contact your Kurzweil / Young Chang dealer to get them. Don’t connect anything until you make sure the Forte SE is properly and safely situated. If your Forte SE keyboard has been out in the cold, give it time to warm up to room temperature before starting it, since condensation may have formed inside. Keeping the Forte SE up to date Be sure to check the Kurzweil Music Systems website at www.kurzweil.com for new documentation and the latest software updates for Forte SE. Music Rack (Optional) The optional KMR2 Music Rack attachment is a holder for sheet music or a computer tablet device. Contact your Kurzweil dealer for the KMR2 Music Rack. Please refer to the instructions that come with the KMR2 on attaching the music rack to the Forte SE. 1-3 Getting Started Before You Start… Chapter 2 Getting Started Before You Start… Don’t connect anything until you make sure the Forte SE is properly and safely situated. If your Forte SE keyboard has been out in the cold, give it time to warm up to room temperature before starting it, since condensation may have formed inside. Setting up the Forte SE Set the keyboard on a hard, flat, level surface. Four adhesive-backed rubber feet are provided with Forte SE. Carefully turn the keyboard over onto a soft surface, remove the paper backing from the rubber feet and attach them. NOTE : Unless the instrument will always be used with a keyboard stand, attachment of the rubber feet is strongly advised. Otherwise protruding screws will scratch the tabletop. 2-1 Getting Started Updating the Forte SE Connect the AC power cord to the Forte SE. Before plugging the cable into the power outlet, check that the power is compatible with the Forte SE. The Forte SE runs on AC power and works with voltages from 80-265 volts 50-60 Hz. The voltage level is detected and set automatically by the Forte SE. If your power source does not have the standard three hole outlet, you should take the time to install a proper grounding system. This will reduce the risk of a shock. If your power outlet is not within these ranges it is recommended you use an appropriate adaptor. Plug the power cable into the wall. Plug the Switch Pedal into the marked SW1 (Sustain) Pedal jack on the Forte SE rear panel. Connect stereo headphones to the headphone jack on the rear panel or connect the audio outputs to your mixer or amplifier inputs using standard (1/4-inch) audio cables (use the Left out for mono). Balanced (“TRS” or “Stereo”) cables are recommended if your mixer or amp supports balanced inputs. Make sure your sound system is at a safe volume level. Also make sure that the Forte SE Master Volume slider (on the far left side of the front panel) is all the way down. Updating the Forte SE Please check online at www.kurzweil.com for Forte SE updates. Detailed instructions on updating the Forte SE are available with the update package. It is important that these instructions are followed closely for trouble free updating of the Forte SE. Using the Forte SE Power up the Forte SE using the power switch on the rear left side of the instrument, and then raise the Master Volume slider, and mixer/amp volume. Your Forte SE keyboard starts up in Program Mode by default. Press one of the buttons under the “Mode” label to the right of the display to switch Modes. Master Volume Slider 2-2 Mode select buttons Getting Started The Rear Panel If you are connected to a mixing board and hear distortion, reduce the gain level on your mixing board, or use the pad (a switch that decreases the input audio signal level, typically by 20dB) if it has one. To hear the capabilities of the Forte SE, you can play the demo songs. Press the 13 & 14 Program/Multi buttons simultaneously to listen to a demo song. In Program Mode, scroll through the Programs using the Alpha Wheel, the Previous and Next buttons, or press a Category button to audition the sounds in the Forte SE. The Forte SE has short demos for each of the factory Programs. To hear a Program Demo for the current Program, press the 11 & 12 Program/Multi buttons simultaneously. The Rear Panel The power switch and most of the Forte SE connections are located on the rear panel. The AC Power Jack Please refer to “Setting up the Forte SE” on page 2-1. The USB Ports Use the USB ports to connect the Forte SE to a computer/tablet in order to do the following: • Use the Forte SE as a MIDI controller to play software instruments on a computer. • Use a computer program to sequence multitrack songs on the Forte SE. • Use a computer/tablet to manage the user data contents of the Forte SE. • Update the software and sounds of the Forte SE. • Store custom Programs and Multis on a USB flash drive. Be sure to check the Kurzweil Music Systems website at www.kurzweil.com for new documentation and software updates before using your new instrument. 2-3 Getting Started The MIDI (IN and OUT) Ports The MIDI (IN and OUT) Ports Use the MIDI ports to communicate with other MIDI modules and controllers. The OUT port is the MIDI transmitting port, and the IN port is the MIDI receiving port. Basic MIDI Hookup To use the Forte SE as a MIDI controller for another sound module, use a MIDI cable to connect the MIDI port marked “Out” to the MIDI input port of the module that you want to control. To control the Forte SE using another MIDI controller, use a MIDI cable to connect the MIDI port marked “In” to the MIDI output port of the controller that you will be using. For other MIDI connection scenarios, please refer to the Forte SE Musicians Guide. The Pedal Jacks Use the three pedal jacks to connect controller pedals to the Forte SE. 2-4 Getting Started The Pedal Jacks Switch Pedals Continuous Control (CC) Pedals 1/4 inch tip-sleeve (mono) plug or, 1/4 inch tip-ring-sleeve plug configured as dual switches (TS and RS) or 2 terminal continuous pedal (half-damper). 10 kΩ linear-taper potentiometer, 1/4 inch tip-ring-sleeve (stereo) plug with the wiper connected to the tip. The default function of each pedal can be changed for all Programs and Multis by setting a pedal override on the Global Control Overrides page in Global Mode. Pedals are also independently assignable within each Program or each Zone of every Multi. Here are the default control settings for the five pedals used by Forte SE: SW 1a Pedal Sustain (MIDI 64) SW 1b Pedal Sostenuto (MIDI 66) SW 2a Pedal Sostenuto (MIDI 66) SW 2b Pedal Soft (MIDI 67) CC Pedal Expression (MIDI 11) The SW1 (Sustain) and SW2 Jacks Use the pedal jacks to connect switch pedals. A switch pedal is a physical controller typically used to control two-state (i.e., “on / off”) parameters, such as sustain, sostenuto, soft and Mute Zone. 2-5 Getting Started The Pedal Jacks NOTE : Do not step on the switch pedals when powering up the Forte SE, as the state of the pedal is detected as part of the power up sequence. The Forte SE SW1 and SW2 jacks can support a single or dual switch pedal on each jack, or a single half-damper pedal on each jack. NOTE : It is not recommended to plug CC pedals into the SW inputs. Due to the flexible switch pedal support, CC pedals may not operate as expected in these inputs. If you are not using a Kurzweil switch pedal, make sure it’s connected before you turn on the Forte SE. This ensures that the pedal will work properly (it might function in reverse—off when it’s down and on when it’s up—if you turn on your Forte SE before plugging in the pedal). Similarly, don’t press any of your switch pedals while powering up, as the Forte SE verifies each pedal’s orientation during power-up. If you’re pressing a pedal, you might cause it to work in reverse. Connecting a Dual Switch Pedal You can connect a dual switch pedal with a single stereo plug, such as the Kurzweil KFP-2S, into the SW1 Pedal and SW2 Pedal jacks. Both SW1 and SW2 can support a dual pedal each allowing up to 4 pedals to be utilized by the Forte SE. These are enumerated as SW1a, SW1b, SW2a and SW2b. The Forte SE will recognize dual pedals that are wired as TS and RS, such as the KFP-2S. 2-6 Getting Started The Audio (LEFT/MONO and RIGHT) Jacks If you’re not familiar with traditional piano technique, the sostenuto (center) pedal on a grand piano allows one to hold chords in the bass while continuing to play the melody without the latter notes sustaining. Any keys that are down when you depress the pedal will sustain when you let go of the keys, but new notes played afterward will not be sustained. Releasing the pedal puts things back to normal. Of course it can be programmed to do other functions as well. Connecting a Half Damper Pedal Half Damper pedals where the wiper is connected to the tip (such as the KORG DS-1H) can be connected to the SW1 and SW2 inputs on the rear panel. Some pedals have the wiper connected to the ring, and these pedals will require an adaptor to work with the Forte SE. When connected to the SW1 jack, a Half Damper pedal enables finer control of sustain than a standard switch pedal. Half Damper control is enabled for programs in the Piano category. Programs outside of the Piano category will respond to Half Damper pedals as if they are standard switch pedals. Half Damper pedals can also be used to control external software and sound modules via MIDI. The CC (Volume) Jack A continuous control pedal can be very useful for controlling volume, wah, or other effects by foot. The Kurzweil CC-1 continuous control pedal will work best with the Forte SE, but it is also possible to use third-party continuous control pedals designed for synthesizers. 2-7 Getting Started The Audio (LEFT/MONO and RIGHT) Jacks The Audio (LEFT/MONO and RIGHT) Jacks Please refer to “Connecting to Your Audio System” below. The Headphones Jack Use the Headphones jack located on the left rear panel of the instrument to listen to the Forte SE on stereo headphones. You will need a 1/4-inch-to-1/8-inch adapter in order to use headphones that have a smaller mini plug connector. Connecting to Your Audio System After you’ve turned down the level on your sound system, connect the Forte SE analog audio outputs to your sound system using a pair of balanced (TRS or “stereo”) or unbalanced (TS or “mono”) audio cables. Unbalanced cables will always work, but if you’re going into balanced inputs, use balanced cables for a better signal-to-noise ratio and a bit more volume. The Forte SE analog outputs are balanced. You’ll find two 1/4-inch balanced audio output jacks on the rear panel. Connect one end of each audio cable to your mixing board or PA system inputs, and connect the other end to the jacks marked Left (Mono) and Right on the rear panel of the Forte SE. If you have only one input available, use the Forte SE’s Left (Mono) output to get the full signal in mono. Use the jack marked Headphones to listen to Forte SE on headphones. When headphones are plugged in, sound still comes through the Left and Right audio jacks. Forte SE connected to powered speakers and headphones 2-8 Getting Started Connecting to Your Audio System AUDIO OUT Forte SE connected to a mixer, powered speakers and headphones 2-9 Getting Started Connecting to a Computer Connecting to a Computer To connect the Forte SE to a computer/tablet, simply connect the Forte SE using the provided or compatible cable. If you wish to use your own cable, make sure that it is a Type-A-to-Type-B USB cable (the USB port of Forte SE being Type B). By default, the Forte SE will act as a MIDI controller (rather than a hard drive) when connected to a computer. NOTE : Some devices like the iPad® will require you to purchase adaptors to connect a USB cable. Forte SE Sounds The Forte SE supports two types of sounds. The first type is a Program, and these are normally a single instrument, such as a piano, or an organ. A Program is similar to a “preset” or “patch” on other synthesizers. Both factory and User Programs are arranged into 16 categories of 16 sounds each. The other type of sound is the more complex Multi. A Multi is a combination of Programs arranged as layers and splits across the keyboard. They are similar to setups, from the Kurzweil PC series, SP series and K2 series, and are similar to Combis or Multis from other synthesizers. Similar to selecting Programs, the Category buttons allow you to navigate through this list of Multis in groups of 16 Multis at a time, although Multis are not categorized by instrument type. The Forte SE has been designed so that it is quick and easy to select Programs and Multis from the front panel. Use the following guide to audition the factory sounds on the Forte SE. 2-10 Getting Started Forte SE Sounds Selecting Programs and Multis The Forte SE always powers up in Program Mode. If you wish to play a Multi, simply press the Multi Button. The Multi Button will light up to show that Multi Mode is selected. To return to Program Mode, from a different mode, simply press the Program button. If the User button is illuminated, then you are in the User Bank. Press the User button to return to the Factory Bank, and the light will go out. In the Factory Bank, press one of the Category Buttons to change Category, and that Category button will light up. Once you are in your desired Category, press one of the Program/Multi buttons to select the program you want. To select another Program or Multi within the same Category, just press a Program/Multi Button, or use the Alpha Wheel, or Next/Previous Buttons. To select a Program or Multi in another Category, press the desired Category Button, followed by the desired Program/Multi Button. The Alpha Wheel and Next/Previous Buttons will select the next Category once you get to the end of the current Category. Pressing a Category Button will select the Category Default Program/Multi (by default this is set to the first Program/Multi of each category). For details on changing the Category Default Program/Multi see Choosing Category Default Programs on page 6-6 or Choosing Category Default Multis on page 10-5. Controllers The Sliders, Wheels, Pedals and Buttons can control each of the factory Programs and Multis, to produce variations to the sound. Don’t forget to try these out as you explore the factory sounds on the Forte SE. For details on controller assignments see Controller Conventions on page 6-9. Favorites The Forte SE also features Favorites Buttons to quickly recall your favorite sounds. The Favorites buttons store a set of 10 Programs and/or Multis. To assign the currently selected Program or Multi to a Favorites button, press and hold the desired Favorites button for a few seconds until the display indicates that the favorite has been saved. To recall a favorite Program or Multi, simply press the one of the Favorites buttons. The Favorites buttons will work from whichever mode you are currently in, changing to Program Mode or Multi Mode automatically if required. 2-11 Features of the Forte SE Powering Up Defaults Chapter 3 Features of the Forte SE This chapter will help familiarize you with the features of the Forte SE. Many of these features have both general functions and mode-specific functions. For more in-depth descriptions of these features, refer to the chapters on the individual modes. Powering Up Defaults In general, the Forte SE will always remember the last selection made by the user. However, powering up the Forte SE resets some of these settings back to their power-on defaults. Parameters Reset To Defaults At Power-On • Transpose set to 0 semitones. Parameters Remembered After Power-Off • Currently selected MIDI Channel in Program Mode.* • Currently selected Program per MIDI Channel in Program Mode.* • Currently selected Multi.* • User Programs, Multis and Favorites. • Default Program and Multi per Category. • Display View Mode.* • Master EQ On/Off switch setting.* • Global Mode parameters.* * You must exit Global Mode to save settings. 3-1 Features of the Forte SE The Front Panel The Front Panel All the controls for Forte SE, both musical and navigational, are on its front panel. 1 2 3 4 5 6 7 8 9 10 11 3-2 Multi-Function Switches Master EQ Variation button Transpose buttons Pitch and Modulation wheels Volume slider Nine programmable sliders Arpeggiator On/Off button Save and Edit buttons Favorites buttons Soft buttons 12 13 14 15 16 17 18 19 20 21 22 KB3 indicator light LCD display Display contrast knob Alpha Wheel Mode select buttons Category buttons Program/Multi buttons User button Previous/Next buttons Navigation buttons Channel/Layer/Zone select buttons Features of the Forte SE Real Time Controls Real Time Controls Sliders In Program Mode, the sliders are used to control various Program parameters, typically assigned to the functions labeled in white below each slider. If you select a KB3 organ Program the KB3 LED will light and the nine sliders operate in a similar way to a Hammond organ, i.e. pulling the slider towards you increases the drawbar amount. For details on controller assignments see Controller Conventions on page 6-9. In Program mode, press the Edit button to view the Parameters page, where you can view a list of controller assignments for the current program. All Program Slider assignments can be changed in Program Edit Mode. In Multi Mode, Sliders A-D default to controlling volume for Zones 1-4, while Sliders E-I generally default to controlling synthesis parameters and effects. The sliders can also send MIDI continuous controller values to external MIDI equipment. All Multi Slider assignments can be changed in Multi Edit Mode. See Controlling Program Parameter Assignments from Multi Mode on page 11-17 to view or change slider assignments for each Zone. 3-3 Features of the Forte SE Real Time Controls Assignable Switches These nine buttons perform various functions in real time, depending upon the current performance mode and assignment. The Switch Button LEDs illuminate when the switch is active. In Program Mode the switches generally control synthesis parameters and effects as labeled in white on each switch button. If you select a KB3 organ Program the KB3 LED will light and the buttons perform the functions labeled in blue below each switch button. For details on controller assignments see Controller Conventions on page 6-9. In Program mode, press the Edit button to view the Parameters page, where you can view a list of controller assignments for the current program. All Program switch assignments can be changed in Program Edit Mode. In Multi Mode, the first four switches are assigned to mute and enable Zones 1-4, while the remaining switches generally control synthesis parameters and effects. The switches can also send MIDI continuous controller values to external MIDI equipment. All Multi switch assignments can be changed in Multi Edit Mode. See Switch on page 11-24 to view or change switch assignments for each Zone. 3-4 Features of the Forte SE Real Time Controls Variation Button The Variation button is located on the left side of the front panel, just above the Volume slider. The Variation Button is a MIDI controller (default MIDI CC#29) that is programmed in most Programs to modify the sound, such as adding a pad sound, changing the effects or some other variation suited to changing with a switch. For KB3 programs, the Variation Button controls the Rotary Speaker speed, switching between fast and slow. 3-5 Features of the Forte SE Real Time Controls Arp On/Off Button The Arp On/Off button is set by default to turn on and off the Forte SE’s Arpeggiator. It can also be assigned to control other parameters in Multi Edit mode. Transpose Buttons The Transpose buttons are located on the left side of the front panel, just above the Pitch & Modulation Wheels. They can be used to change the tuning of notes played on the Forte SE keyboard in semitones (ST), also known as half steps. This is a convenient way to change the key of a song without learning to play it in a different key. The Transpose buttons also transpose MIDI notes sent to the USB and MIDI out ports. Press the Transpose - or + buttons to transpose the Forte SE keyboard down or up by one semitone. The top line of the display shows the current transposition value. Pressing both Transpose - and + simultaneously will reset the transposition to 0. To transpose up and down by octave intervals (12 ST), press the Octav- and Octav+ soft buttons underneath the display. The maximum transposition value possible is +/–36 semitones. The LEDs of the Transpose buttons indicate whether the current Program is transposed up (Transpose + LED is lit) or transposed down (Transpose – LED is lit). When there is no transposition, neither Transpose button is lit. 3-6 Features of the Forte SE Real Time Controls Pitch Wheel The Pitch Wheel is the left most of the two wheels. It is spring-loaded, such that its center position is restored when it is not being used. That is because the Pitch Wheel is used for pitch-bending notes—its “off” position is in the center. Pushing the Pitch Wheel up bends the pitches of all notes up. Pulling the Pitch Wheel down bends the pitches of all notes down. For some Programs the Pitch Wheel will not bend notes that are held by the sustain pedal. This is how many Guitar and Bass Programs are configured, allowing played notes to be bent over sustained notes. You can adjust the Pitch Wheel bend amount for each Program/Multi by using the parameters on the The COMMON Page on page 7-16 (Program Edit Mode) or Bend Up / Down CT on page 11-13 (Multi Edit Mode). Modulation Wheel The Modulation Wheel is the right most of the two wheels. Unlike the Pitch Wheel, the Modulation Wheel is not spring loaded, and can be set to and left in any position between fully up and fully down. Typically, the Modulation Wheel is assigned to a parameter that alters some aspect of the sound (e.g., vibrato, filter depth) when changed. When a KB3 Program is in use, the Modulation Wheel is assigned to control distortion. Foot Switches and Controllers The Forte SE has sophisticated Pedal controller options allowing up to 4 Switch Pedals or up to 2 Half Damper Pedals as well as a Continous Controller Pedal to be connected. By default the Switch Pedals control SW1a - Sustain, SW1b - Sostenuto, SW2a - Sostenuto and SW2b - Soft. The CC Pedal controls expression (volume) by default. 3-7 Features of the Forte SE Master EQ Pedal assignments can be changed in each Program and saved in a User Program. Each Zone in a factory Multi may have different pedal assignments, and pedals are all independently assignable within each Zone of a user Multi. You can also use Global Mode to set pedal overrides, which will change the assignment of each pedal for all Programs in Program Mode, and act as default pedal assignments for all Multis in Multi Mode. Master EQ The Master EQ allows you to have realtime control over the frequency response of all audio generated in either Program or Multi Modes. When the Master EQ On/Off button is “On”, the rotary knobs can change the high, middle & low frequencies of the audio. If the LED on the Master EQ On/Off button is lit, this indicates that the Master EQ section is now “on.” The HI & LOW EQ’s are shelving type filters, and the MID has an adjustable center frequency with a range of approximately 2 octaves up and down centered around approximately 1.4 kHz HI MID* LOW Frequency Gain (+/-) ~1.4 kHz 15 dB 123 Hz 15 dB ~6.6 kHz 15 dB * center of range When the Master EQ is on, the audio signal flows as per the diagram above. When it is off, the signal flows as per the digram below. 3-8 Features of the Forte SE Mode Buttons Volume Slider This controls the audio output level to external speakers and headphones. Mode Buttons The Mode buttons are located on the right side of the Forte SE front panel. With these buttons you can instantly access the Program, Multi or Global Modes. If you are viewing an edit mode, you will have to press the Exit button before changing modes. On the Program and Multi mode main pages, press the currently selected mode button again to view the Banks page for the currently selected mode. Program Button Pressing the Program button enters Program Mode (described in further detail in Ch. 6 Program Mode). In Program Mode, you can select and play different sounds (or “Programs”). This button’s LED is illuminated when you are in Program Mode. Program Mode is the default Mode— the Forte SE always boots up in this Mode. In Program mode, press the Program button again to view the Banks page (see page 6-2 for details). Multi Button Pressing the Multi button enters Multi Mode (described in further detail, in Ch. 10 Multi Mode). In Multi Mode, you can select different configurations of Programs, controller assignments, and MIDI channel assignments. This button’s LED is illuminated when you are in Multi Mode. In Multi mode, press the Multi button again to view the Banks page (see page 10-2 for details). 3-9 Features of the Forte SE Navigation Global Button Pressing the Global button enters Global Mode (described in further detail, in Ch. 12 Global Mode). In Global Mode, you can edit parameters that control the overall behavior of the Forte SE. These parameters include tuning, transposition, velocity and pressure (aftertouch) sensitivity. Additionally, you can save or load user Programs and Multis to and from a computer connected to the Forte SE via USB as well as perform a Reset. This button’s LED is illuminated when you are in Global Mode. CAUTION: Performing a Reset will erase ALL User Program and User Multis, and will reset Global settings to a factory state. Navigation The navigation section of the Forte SE front panel includes the LCD display, Previous- & Next+ buttons, Channel/Layer/Zone buttons, and the Alpha Wheel. The LCD Display The top line of the display always shows the name current Mode and/or page. The bottom line of the display shows the names of any available Soft Buttons for the current page. On the Program and Multi Mode main pages, the top line of the display shows the MIDI transposition, and Program Mode also shows the current MIDI channel. The middle of the display shows the currently selected Program/Multi ID and name, as well as the name of assignment for the last moved controller. Press the View soft button to switch between Large view and List view. In other modes the display will change depending on the available parameter for the current mode and page. 3-10 Features of the Forte SE Navigation Display Contrast Knob You can adjust the display contrast by turning this small potentiometer knob. Previous (–) and Next (+) Value Buttons Use the Previous and Next buttons to scroll through the list of values for the currently selected parameter. Pressing both the Previous and Next buttons simultaneously is referred to as the Value Jump double button press. Depending on the selected parameter, Value Jump can select the next Category default Program/Multi, jump to commonly used values, and reset parameters to default values. For more information, see Value Jump on page 3-14. Soft Buttons These buttons immediately below the display change their functions depending upon which screen is being displayed. The functions of the soft buttons on each screen are described in the bottom row of the display. Navigation Buttons The Navigation buttons move the cursor in the LCD display and allow you to select the current parameter to be edited. Channel/Layer/Zone Buttons Use the Channel/Layer/Zone buttons to change the current MIDI Channel in Program mode, the current Layer in Program Edit mode, or the current Zone in Multi Edit mode. Alpha Wheel Use the Alpha Wheel to scroll through the list of values for the currently selected parameter—turning the Alpha Wheel counter-clockwise will select the previous value and turning the Alpha Wheel clockwise will select the next value. Turn the Alpha Wheel slowly to change the value by one increment or turn it quickly to jump several increments. 3-11 Features of the Forte SE The Edit Button The Edit Button In Program or Multi Mode, press the Edit button to enter the Program or Multi Editor for the currently selected Program or Multi. In the Program Editor, press the Edit button to enter an editor for the currently selected Effects Chain or FX Algorithm; the Arpeggiator Shift Pattern, Velocity Pattern, or Duration Pattern; and Keymap, Sample, or Algorithm parameters. To change the name of a Program parameter assignment, select a parameter on the EDIT:Prog Parameters page and press the Edit button. In the Program Editor, the Edit button can also be used as a shortcut for viewing modulation sources. For example, if a parameter on the DSP Mod page has Src1 set to LFO1, select the Scr1 field and press the Edit button to jump to the LFO1 page. This also works for sources set to an ASR, FUN, Envelope, or physical controller assigned on the Prog Parameters page. Naturally, you can find every page in the current editor by using the soft buttons, but often it’s easier to use the Edit button shortcut. The Save Button The Save button is located beneath the “Save” label on the left side of the LCD screen. In Program Mode, the Save button’s LED lights up when you have made changes to the current Program either by moving controllers or using Program Edit mode. Pressing the Save button saves the current position of the sliders, switches and wheels as a User Program. 3-12 Sound Select Features of the Forte SE Sound Select The Sound Select section allows you to quickly and easily get access to sounds in either Program or Multi Modes. Select the Category of sound you want, then via the Program/ Multi buttons select any of the 16 sounds in that Category. CATEGORY In Program Mode, the Category buttons allow you to Select and browse Programs in 16 categories of instruments. In Multi Mode, the Category buttons allow you to navigate through this list of Multis in groups of 16 Multis at a time (Multis are not categorized by instrument type). PROGRAM / MULTI When a Category has been selected in Program or Multi Mode, you can select any of the 16 sounds of that Category. The Program/Multi buttons are numbered from 1 to 16 to make the selection easy. The white print on each of these buttons indicates their secondary alphanumeric functions when used for data entry. 3-13 Features of the Forte SE Double Button Presses KB3 LED The KB3 LED is on the right side of the Assignable Switches. If the currently selected Program is a KB3 program, the KB3 button’s LED is lit. This indicates that the front panel KB3 controls (printed in blue) are active. FAVORITES BUTTONS The Favorites buttons can be programmed to immediately take you to your favorite Programs and Multis. To assign the currently selected Program or Multi to a Favorites button, press and hold the desired Favorites button for a few seconds until the display indicates that the favorite has been saved Double Button Presses Several pairs of the buttons on the Forte SE have timesaving secondary functions when pressed simultaneously—think of them as keyboard shortcuts. For convenience of reference, descriptions of all of the double-button press functions appear below. Value Jump 3-14 Features of the Forte SE Double Button Presses In Program Mode, the Value Jump double button press selects the first Program of each Category, as well as the Category Default Program of each Category (if a Category Default Program has been set). For more information on choosing a new Category Default Program, see Choosing Category Default Programs on page 6-6. In Multi Mode, the Value Jump double button press selects the first Multi of each Category, as well as the Category Default Multi of each Category (if a Category Default Multi has been set; see Choosing Category Default Multis on page 10-5). In Program Edit Mode or Multi Edit Mode, pressing the Value Jump double button press can reset certain parameters to a default value, or jump between multiple useful values. Channel Reset In Program Mode, a simultaneous double press of the Channel/Layer/Zone ▲ and ▼ buttons will select MIDI channel 1. 3-15 Features of the Forte SE Double Button Presses Reset Transposition Pressing both Transpose + and Transpose – , or Octave + and Octave - (Soft Buttons) simultaneously will restore the current Program or Multi to having no transposition. Program Demo In Program Mode only, pressing the 11 & 12 Program/Multi buttons performs the Program Demo Function. The Program Demo Function plays the Demo Song for the currently selected Program. If you press these buttons from any other Mode, the display will give you a message indicating you are not in Program Mode. Press the Cancel soft button to exit the Program Demo. A label below the 11 & 12 Program/Multi buttons indicates the Program Demo double button press. 3-16 Features of the Forte SE Double Button Presses Demo Pressing the 13 & 14 Program/Multi buttons performs the Demo Function (described in further detail in Demo on page 3-17). With the Demo Function selected, you can hear a demonstration Song that showcases many of the features of Forte SE. A label below the 13 & 14 Program/Multi buttons indicates the Demo double button press. Panic Pressing the 15 & 16 Program/Multi buttons simultaneously deactivates all sounding notes and control messages and sends an “all notes off” message and an “all controllers off” message on all 16 MIDI channels. A label below the 15 & 16 Program/Multi buttons indicates the Panic double button press. 3-17 Features of the Forte SE Double Button Presses Assign Assign is the secondary function of the Enter button. You can use the Assign function to quickly select parameters or set values for parameters by holding the Enter button while moving Forte SE controllers (Sliders, Switch buttons, Keys, Mod Wheel, and Pedals). This is useful for quickly assigning physical controllers or setting key ranges in Program Edit Mode or Multi Edit Mode, as well as finding existing controller assignments on the Program Edit Parameters page. For Program Edit details see Ch. 7 Assign, on page 7-3, and for Multi Edit details see Ch. 11 Assign, on page 11-3. Parameters that can use the Assign function are indicated by showing the Assign symbol in the top right of the display when selected. 3-18 Terminology Chapter 4 Terminology This chapter provides definitions and descriptions for all of the Forte SE-specific terms used in this manual. Some of the terms are also used by other manufacturers. Since there are no standard definitions for some of these terms, they are described here to avoid confusion. All of these terms appear with the first letter capitalized as proper nouns in this manual to make it easy to distinguish between the generic term and the Forte SE specific term. In addition to the terms below, and to avoid confusion, any Forte SE specific feature, connector or control will have the first letter capitalized to distinguish it from the generic term. Program A Program is an instrument sound that plays on a MIDI channel. The sound of each Program can be modified by parameters that are assigned to the controllers (Sliders, Switch buttons, Mod Wheel, and Pedals). See Program Mode on page 6-1 for more information on Programs. Multi A Multi allows up to 8 instrument sounds (Programs) to be played from the keyboard at once. A Multi has up to 8 Zones, each with its own keyboard range, Program, MIDI channel, and controller assignments. See Ch. 10 Multi Mode, on page 10-1 for more information on Multis. 4-1 Terminology KB3 Kurzweil’s organ modelling simulation of the original Hammond B3 with Leslie rotary speaker emulation. Zone A keyboard region of a Multi that has its own Program, MIDI channel, and controller assignments. See About Zones on page 10-6 for more information on Zones. Split Multi A Split Multi is a Multi containing at least two Zones that have keyboard ranges that don’t overlap. This allows different keyboard ranges to play different instrument sounds. See the Split Function on page 6-11 for more information on Splits. Layer Multi A Layer Mult is a Multi containing at least two Zones that have overlapping keyboard ranges. This allows a single keyboard range to play multiple instrument sounds. See the Layer Function on page 6-12 for more information on Layers. Forte SE Bank MIDI Bank 4-2 A Forte SE Bank is a group of 256 Programs or Multis that can be navigated with the Sound Select buttons. On the main Program Mode or Multi Mode select pages, press the current Mode button to view the Bank Select page for the current mode. After selecting a Forte SE Bank on the Bank Select page, you can use the Sound Select buttons to navigate within the Bank. A group of 128 Programs that can be navigated by MIDI compatible software or hardware. Terminology Mode An operating status with a unique group of operations. See Ch. 5 The Operating Modes, on page 5-1 for more information on Modes. Reset A process that returns Forte SE back to a Factory state. All User Programs & User Multis are erased. All Global Mode parameters are reset back to their default settings as well. Object Anything that can be named, saved, deleted, or edited (i.e., a Program or a Multi). KUF file KUF (Kurzweil Unified File) file is a special file that has the objects and operating system combined that is used to update the Forte SE. 4-3 The Operating Modes Program Mode Chapter 5 The Operating Modes This chapter will help familiarize you with the operating Modes of the Forte SE. Each of the five Modes (Program, Program Edit, Multi, Multi Edit, Global) has its own individual chapter. The four Functions (Split, Layer, Program Demo, and Song Demo) are described in this chapter in Functions on page 5-4. Program Mode Program Mode is the default Mode for the Forte SE. In Program Mode, instrument sounds (Programs) can be selected and played. The sound of each Program can be modified by parameters that are assigned to the controllers (Sliders, Assignable Switch buttons, Zone buttons, Mod Wheel, Pitch Wheel, and Pedals). Modified Programs can be saved as User Programs by pressing the Save button. To enter Program Mode from another Mode, press the Program Mode button. For more detailed information on Program Mode, see Ch. 6 Program Mode. 5-1 The Operating Modes Multi Mode Multi Mode Multi Mode allows you to select and play Multis. A Multi allows up to 8 instrument sounds (Programs) to be played from the keyboard at once. A Multi has up to eight Zones, each with its own keyboard range, Program, MIDI channel, and controller assignments. To enter Multi Mode from another Mode, press the Multi Mode button. For more detailed information on Multi Mode, see Ch. 10 Multi Mode. 5-2 The Operating Modes Global Mode Global Mode CAUTION: THIS MODE CONTAINS CERTAIN OPERATIONS THAT CANNOT BE UNDONE. Read About Global Mode on page 12-1 for info. Global Mode allows you to edit global parameters and MIDI settings, load and save User Programs and Multis, use diagnostic tools, view system information, and restore the Forte SE back to factory default settings. To enter Global Mode from another Mode, press the Global Mode button. 5-3 The Operating Modes Functions Functions In addition to the four primary Modes, there are five Functions. Some Functions are available through dedicated buttons, others are available as Soft buttons accessed via the buttons under the LCD screen. These Functions are not as complex as the primary Modes and are described below. The Split Function Pressing the Split Soft button while in either Program or Multi Mode performs the Split Function. The Split Function allows you to split Programs and Multis such that keys in one region of the keyboard produce different sounds than another region. Creating Splits in Program Mode is slightly different from creating Splits in Multi Mode. See the Split Function on page 6-11 (for Splits in Program Mode) and the Split Function on page 10-10 (for Splits in Multi Mode). The Layer Function Pressing the Layer Soft button while in either Program or Multi Mode performs the Layer Function. The Layer Function allows you to layer Programs and Multis such that more than one sound can be produced by striking one key. 5-4 The Operating Modes Functions Creating Layers in Program Mode is slightly different from creating Layers in Multi Mode. See the Layer Function on page 6-12 (for Layers in Program Mode) and the page 5-5 (for Layers in Multi Mode). Demo Function Pressing the 13 & 14 Program/Multi buttons simultaneously performs the Demo Function. Use the Demo Function to play built-in Demo Songs designed to demonstrate the capabilities of the Forte SE. While using the Demo Function, the top line of the display shows the text “Demo”, the Demo number, and the total number of available Demos. The center of the display shows the ID number and name of selected Demo Song. Use the Alpha Wheel, Value buttons or the Channel/Layer/Zone ▲ or ▼ buttons to select another demo from the list. The 13 & 14 Program/Multi button LEDs blink when using the Demo Function. Press the Cancel Soft button to exit the Demo Function. 5-5 The Operating Modes Program Edit Mode Program Demo Function Pressing the 11 & 12 Program/Multi buttons simultaneously performs the Program Demo Function. In Program Mode, use the Program Demo Function to play a built-in Demo Song that demonstrates the selected Program. The 11 & 12 Program/Multi button LEDs blink when using the Program Demo Function. Press the Cancel soft button to exit the Program Demo Function. Program Edit Mode Program Edit Mode allows you to edit pre-existing Programs. To enter Program Edit Mode press the Edit button while in Program Mode. For more detailed information on Program Edit Mode, see Ch. 7 Program Edit Mode. 5-6 The Operating Modes Multi Edit Mode Multi Edit Mode Multi Edit Mode allows you to edit pre-existing Multis. To enter Multi Edit Mode press the Edit button while in Multi Mode. For more detailed information on Multi Edit Mode, see Ch. 11 Multi Edit Mode. 5-7 Program Mode About Program Mode Chapter 6 Program Mode This chapter will help familiarize you with the features of Program Mode. Programs are essentially the different sounds of a MIDI instrument—they are preset instrument sounds equivalent to the “patches,” “presets,” or “voices” that you find on other keyboards. About Program Mode Program Mode is the default Mode of the Forte SE. It will always boot up in this Mode. To enter Program Mode from another Mode, press the Program Mode button. While you are in Program Mode, the Program button’s LED is illuminated. The Forte SE starts up with Program 1 selected, or the Program that was selected the last time Global mode was exited. If you enter Program Mode from another Mode, the current Program will be the last selected Program on the current MIDI Channel. 6-1 Program Mode Selecting Programs Selecting Programs The Forte SE can provide up to eight Program Banks (Factory Banks A-D and User Banks A-D). Factory Banks B-D are reserved for future Forte SE program updates. When announced, free updates can be downloaded at kurzweil.com. Each Forte SE Bank has space for 256 Programs, for a total of 2048 possible programs. Each Bank is split into 16 categories of 16 Programs each. When you are in Program Mode, there are a few ways to select Programs. • To select a Program in the current Category, press the relevant Program/Multi button. • To select a Program in a different Category, press the Category button of choice and then a Program/Multi button to select from the 16 Programs in the Category. • To select the default Program from a Category, simply press the relevant Category button. • Choosing a Program in the User Categories, while in the factory Categories, or choosing a Program in a factory Category while in a User Category, requires pressing the User button, followed by a Category button and then a Program/Multi button. • The Alpha Wheel and the Next and Previous buttons allow you to advance through the Programs one at a time. When you reach the end of the Category, advancing further will go the the next Category. • If a Program is assigned to a Favorite button, pressing that button will go directly to the assigned Program. • To select a program in a different Forte SE Bank, press the Program mode button while in Program Mode to view the Select Bank page. On the Select Bank page use the navigation buttons to select a Bank and press the OK soft button, then use any of the methods above to select a program in that Bank. • When the Global Mode User Type parameter is set to Advanced, and the Global Mode Sound Sel parameter is set to ID number, programs can be selected by typing in an ID number using the numbers printed on the Program/Multi buttons, followed by pressing the Enter button. For a full list of factory Programs, see Appendix. 6-2 Program Mode Selecting Programs Program Demo If you want to quickly hear what a Program sounds like, try the Program Demo Function. In Program Mode only, pressing the 11 & 12 Program/Multi buttons performs the Program Demo Function. The Program Demo Function plays a Demo Song for the currently selected Program. Press the Cancel soft button to exit Program Demo. 6-3 Program Mode Selecting Programs The Display In Program Mode, the top line of the display shows the current Mode, MIDI transposition, and MIDI Channel. The Program ID number and name are displayed in the center of the display. The current Bank and Category are displayed above the program ID and name. When a controller is moved, the controller assignment and value is briefly displayed below the program ID and name. The Soft buttons are displayed along the bottom line. Changing View The View soft button will toggle the display and allow you to see available Programs as a list. Buttons and controllers will behave as usual. When a controller is moved, the controller name, assignment and value is briefly displayed in the box at left of the screen. KB3 information is also shown if a KB3 program is selected in any MIDI channel: Pop Up Messages Some actions cause the display to show pop up messages. After a short time the display returns to show the current Program. 6-4 Program Mode Selecting Programs Alpha Wheel & Previous (–) and Next (+) Value Buttons Use the Alpha Wheel or the Previous (-) and Next (+) buttons, to the right of the display below the Alpha Wheel, to change the current Program. Turning the Alpha Wheel counterclockwise or pressing the Previous button will select the previous Program and turning the Alpha Wheel clockwise or pressing the Next button will select the next Program. When the highest or lowest Program is reached, the list will wrap back to the last or first Program respectively. When scrolling through the Program list, the list moves through each Category, both factory and User. Value Jump Buttons In Program Mode, the Value Jump double button press selects the first Program of each Category, as well as the Category Default Program of each Category (if a Category Default Program has been set). For more information on choosing a new Category Default Program for each Category, see Choosing Category Default Programs on Choosing Category Default Programs on page 6-6 (for Program Mode) or Choosing Category Default Multis on page 10-5 (for Multi Mode). If the User button is selected, Value Jump works the same way. 6-5 Program Mode Selecting Programs Category & Program/Multi Buttons The Category buttons allow you to select Programs by instrument type simply by pressing a button. You can select one Category button at a time and the current Category button’s LED is lit. Each Category contains 16 Programs of a single instrument type. First select the Category you want, then select one of the 16 Programs by pressing any of the Program/Multi buttons numbered from 1 to 16. You can also press one of the instrument Category buttons, then turn the Alpha Wheel clockwise or press the Next button to advance to the next Program in the Category. When you reach the end of a Category, the Forte SE automatically advances to the beginning of the next Category. This will also work in reverse if you turn the Alpha Wheel counter-clockwise or press the Previous button. In this case when you reach the beginning of a Category, Forte SE automatically advances to the end of the previous Category. The 16 User Categories come after the factory ones, but only non-empty programs can be selected this way. Choosing Category Default Programs You can choose a “Category default program” from each Category that will be recalled each time you press that Category’s button. To save a Category default program, first select a Program using any Program select method (Alpha wheel, Previous-/Next+ buttons, Category buttons, Program/Multi buttons). A Category button for the current Category will have a lit LED. Next, press and hold the currently lit Category button until the display shows the message “Category default program saved.” The Category default program has now been successfully saved. 6-6 Program Mode Transposition Choosing Favorites You can save ten Favorite Programs (or Multis) from any Category to the ten Favorite buttons beneath the display. Once saved, these favorite Programs can be recalled from any Mode with a single button press. To save the currently selected Program to a Favorite button, press and hold a Favorite button until the display shows the message “Favorite (#) saved.” Transposition The Transpose buttons can be used to change the tuning of notes played on the Forte SE keyboard in semitones (ST), also known as half steps. This is a convenient way to change the key of a song without learning to play it in a different key. The Transpose buttons are located to the left of the keyboard, above the Pitch and Mod Wheels. The Transpose buttons also transpose MIDI notes sent to the USB and MIDI Out ports. 6-7 Program Mode Parameter Assignments Press the Transpose - or + buttons to transpose the Forte SE keyboard down or up by one semitone. The top line of the display shows the current transposition value. Pressing both Transpose - and + simultaneously will reset the transposition to 0. To transpose up and down by octave intervals (12 ST), press the Octav- and Octav+ soft buttons underneath the display. The maximum transposition value possible is +/–36 semitones. The LEDs of the Transpose buttons indicate whether the current Program is transposed up (Transpose + LED is lit) or transposed down (Transpose – LED is lit). When there is no transposition, neither Transpose button is lit. Parameter Assignments In Program Mode, each Program has factory-set Program and Effect parameters assigned to physical controllers (Sliders, Switch buttons, Mod Wheel, and Pedals). A parameter assignment can modify an instrument sound during a performance to add variation or expression. Moving a controller changes the value of the parameter. Any time you do this, the display shows the assigned parameter and value. Front panel labels show the typical controller assignments, but these may vary with different Programs. The Variation button often enables an effect or additional Program layer. If you make changes to the current Program using any of the controllers, the Save button’s LED lights to indicate that a change has been made to that Program. For more information on the Save button, see Save User Programs on page 6-14. See Ch. 7 Program Edit Mode for details on changing parameter controller assignments. 6-8 Program Mode Controller Conventions Controller Conventions Forte® SE Controller Conventions Synthesis (Variation 2 (Variation 3 (Amplitude or or Envelope Pad Octave Down) Pad Octave Up) Impact Enable) (Filter Freq or EQ) (Filter Resonance or EQ) (Amplitude Envelope Attack Rate) Wheels/Variation Var Pitch Up/Down Pad Volume/ Tremolo Amount Effects (Release Sample Enable) (Tremolo/Vibrato/ LFO Shape) (Amplitude (Amplitude Envelope Envelope Decay or Release or Release Rate) Tremolo/Vibrato/ LFO Rate) (FX1 Enable) (FX2 Enable) (Delay Enable) (Reverb Enable) (FX1 Amount) (FX2 Amount) (Delay Amount) (Reverb Amount) CC Pedal Expression/Wah SW Pedals Sustain SW Ped 1 Sostenuto SW Ped 2 Sostenuto SW Ped 1 Soft SW Ped 2 Pad/Wah Enable Pitch Mod CCPed 1 SW1a SW1b SW2a SW2b 6-9 Program Mode The Split and Layer Functions The Split and Layer Functions The soft buttons Split and Layer perform slightly different functions, but offer identical parameters. The Split Function allows you to quickly create a Multi such that keys in one region of the keyboard produce different sounds than another region. The Layer Function allows you to layer Programs and Multis such that more than one sound can be produced by striking one key. This is convenient, as you do not need to use Multi Edit Mode to configure Zone key ranges, Programs, and volumes. You can simply hit the soft button while in Program Mode to select the Function. You can then configure additional Zones, each of which may have its own Program and controller assignments. The result may be saved as a new Multi (see Ch. 10 Multi Mode, for more information on Multis). 6-10 Program Mode The Split and Layer Functions Split Function When you create a Split in Program Mode, you are creating a Multi with two active Zones. The Program you were using in Program Mode is used in the right hand of the Split as the Program for Zone 1. After this you can choose a Program that will be used in the left hand of the Split as the Program for Zone 2. The default Program parameter for a Split is 210 P-Bass, and the default keyboard range is C1 - E3. These may be changed, as described below. Other parameters that determine the behavior of the Split are described in “Split/Layer parameters” on page 6-12. Use the navigation buttons to access each of the Split/Layer parameters. 6-11 Program Mode The Split and Layer Functions Layer Function When you create a Layer in Program Mode, you are also creating a Multi with two active Zones, each using the same keyboard range. The Program you were using in Program Mode is used as the Program for Zone 1. After this you can choose a Program that will be used for Zone 2. The default Program parameter for a Layer is 130 Adagio Strings, and the default keyboard range is C1 - G9. Use the navigation buttons to access each of the Split/Layer parameters. Other parameters that determine the behavior of the Multi are described below. Use the navigation buttons to access each of the Split/Layer parameters. Split/Layer parameters Zn and Stat (Zone and Status) Selecting Split or Layer makes Zone 2 active. You can continue to add Zones to the Multi by activating additional Zones with the Stat parameter or the front panel Zone buttons. The Forte SE will display a message if you have already reached the maximum number of active Zones (see Ch. 10 Multi Mode, for more information on Multis). 6-12 Program Mode The Arp Pages Program (Split or Layer Program) The default Program will appear in Zone 2. Choose a different Program using the Category and Program/Multi buttons, the Alpha Wheel, or the Previous-/Next+ buttons. Low/Hi (Keyboard range) The Low and Hi parameters set the keyboard boundaries for each Zone. Using Split sets the boundary between Zone 1 and Zone 2 to E3. Using Layer sets the Zone 2 keyboard range to C1 - G9. The low and high keys for each Zone can be selected using Assign (holding down the Enter button and then striking the desired key on the keyboard). Keys can also be selected by using the Alpha Wheel or the Previous-/Next+ buttons. Vol (Zone Volume) The VOL parameter determines the volumes of each Zone. By default, VOL is set to 127, which results in each Zone having the same volume. To change volumes use the Alpha Wheel or Previous-/Next+ buttons. A Zone volume can be set to any number between 0 and 127. Pan (Zone Pan) To change the panning of a Zone (left/right stereo placement), use the navigation buttons to select the Pan parameter for one of the Zones. To set a Pan value, use the Alpha Wheel, the Previous-/Next+ buttons, or use the keypad function of the Category buttons to type a pan value (0-127) followed by the Enter button. A value of 0 is full left, 64 is center, and 127 is full right. Other values will move the stereo placement in between these positions. A value of “None” will use the last pan value used by the Zone’s MIDI channel. A value of “None” can be entered by scrolling below 0, or by using the keypad function of the Category buttons to type negative 1 by pressing the small +/- button and then the 1 button, followed by the Enter button. Saving a Split or Layer After setting the Split/Layer parameters, the Split can be saved as a Multi so that it can easily be recalled in Multi Mode. Press the Save button to the left of the display to begin the saving process. See Save User Programs below for more details. Once you have saved your Split or Layer as a Multi, you can edit controller assignments and other Multi parameters in Multi Edit Mode (see Ch. 11 Selecting Parameters for details). The Arp Pages Selecting the Arp soft button will call up the Arpeggiator settings on the ARP1page, and put you into Program Edit Mode. See The Arpeggiator Function on page 7-55 for details on using the Arpeggiator function. 6-13 Program Mode Save User Programs Save User Programs If you make changes to the current Program using any of the controllers, the Save button’s LED lights to indicate that a change has been made to that Program. To save the changes you’ve made, press the Save button once to use the Save Dialog. This will allow you to specify the ID number to save to, and to rename the Program if you wish. When viewing the Save Dialog, you can quickly save the Program to the displayed ID number by pressing the Save button again. Changing ID Numbers The display shows the first available ID number and the current Program name. You can save Programs with ID numbers from 1024 to 2047. If you are saving a Program that has not been previously edited, the next available unused ID number will be selected. If you are saving a previously edited User Program, the ID number that the Program was last saved with will be selected. Press the Value Jump double button press (Previous-/Next+) to toggle between selecting the ID number that the Program was last saved with and the next available unused ID number. 6-14 Program Mode Save User Programs To change the ID number, turn the Alpha Wheel or use the Previous-/Next+ buttons to select the new ID number. If you select a previously used ID# the display will show a prompt to allow you to decide whether to replace it. Naming a User Program To rename the Program, first press the Rename soft button. You should see the following in the display: The display shows the current Program name. Program names can total 16 characters in length. To enter the new Program name you may use the letters and numbers printed on the Program/Multi buttons, or use the Alpha wheel or Previous-/Next+ buttons to cycle through the alphabet. Press the center soft buttons (<<< and >>>) or the navigation buttons to move the cursor. The Insert soft button will insert a blank space (the selected character and all characters to the right will move one space to the right), and the Delete button will delete the current character (all the characters to the right will move one space to the left). When you are satisfied with your name, press the OK soft button to return to the Save screen. 6-15 Program Mode Changing the Transmit MIDI Channel Saving a User Program Press the Save button or Save soft button to complete the saving process, or press the Cancel soft button to exit without saving. The display will confirm a successful save by displaying a brief message. After successfully saving, the Program will be selected in Program Mode in the User Bank. To find the Program again later, make sure to press the User bank button under the Mode buttons. Changing the Transmit MIDI Channel The current MIDI Transmit channel is shown on the right side of the top line of the display. A different Program can be selected for each MIDI Channel. All channels can be triggered simultaneously from an external MIDI sequencer or computer. The Aux FX Chains of the Program on the currently selected MIDI Channel are used for Programs on all Channels. Press the Channel/Layer/Zone (▲ or ▼) buttons to change the MIDI Transmit channel Pressing both ▲ and ▼ at the same time will reset the current MIDI Transmit channel to 1. 6-16 Program Mode Panic Panic Pressing the 15 and 16 Program/Multi buttons simultaneously deactivates all sounding notes and resets controller values by sending an “All Notes Off ” message and a “Reset All Controllers” message on all 16 MIDI channels. 6-17 Program Edit Mode About Program Edit Mode Chapter 7 Program Edit Mode This chapter will help familiarize you with the features of Program Edit Mode. About Program Edit NOTE: Before you read thisMode chapter, be sure to read Ch. 6 Program Mode for a full description of Programs. Program Edit Mode allows you to edit and customize Programs. Any Program can be edited in Program Edit Mode and saved to one of the 1024 User locations. To enter Program Edit Mode, first press the Program Mode button to enter Program Mode, then press the EDIT button at the bottom left of the display. Once you are in Program Edit Mode, press the soft buttons at the bottom of the screen to navigate to each of the Program Edit Mode pages. See the following sections for details on navigating and changing parameters. All parameters apply only to the currently selected Program. Differences Between Regular and Advanced User Type When the Global Mode User Type parameter is set to Regular, you can access a Program’s parameter controller assignments, effects, arpeggiator, and common settings. When the Global Mode User Type parameter is set to Advanced, you can access the Regular User Type pages as well as additional VAST or KB3 pages. The User Type parameter can be selected in Global Mode on the Global Main page (see User Type on page 12-3 for details). Note: This chapter describes how Program Edit Mode works when the Global Mode User Type parameter is set to Advanced. Program Edit Mode works the same way when the Global Mode User Type parameter is set to Regular, except that fewer pages are shown, and some settings will be hidden when scrolling through Arpeggiator settings. 7-1 Program Edit Mode Selecting Parameters Selecting Parameters The Display In Program Edit Mode, the top line of the display shows the current Mode, Page, and Layer. Current Page Current Parameter Soft button options for Program Edit mode Alpha Wheel & Previous (–) and Next (+) Value Buttons Use the Alpha Wheel or the Value buttons to the right of the display below the Alpha Wheel, to change the selected parameter value. Turning the Alpha Wheel counter-clockwise or pressing the Previous- button will select the previous value and turning the Alpha Wheel clockwise or pressing the Next+ button will select the next value. 7-2 Program Edit Mode Selecting Parameters Assign Assign is the secondary function of the Enter button. You can use the Assign function to quickly select parameters or set values for parameters by holding the Enter button while moving Forte SE controllers (Sliders, Switch buttons, Keys, Mod Wheel, and Pedals). Parameters that can use the Assign function are indicated by showing the Assign symbol in the top right corner of the display when selected. Assign symbol Pressing a key, switch, or moving a controller while holding down the Enter button will perform Assign in the following cases. Enter + Controller On the Program Edit Mode Parameters page, select any parameter in the Parameter column, hold the Enter button and move a controller (a Slider, Switch button, Mod Wheel or Pedal). Doing this will jump to selecting the parameter that is assigned to the moved controller (if a parameter is assigned to that controller). On the Program Edit Mode Parameters page, select any parameter in the Control column, hold the Enter button and move a controller (a Slider, Switch button, Mod Wheel or Pedal). Doing this will assign the selected parameter to be controlled by the moved controller. On other Program Edit Mode pages, the assign symbol appears whenever the selected parameter can use a MIDI controller as a control source. When the assign symbol appears, hold the Enter button and move a controller (a Slider, Switch button, Mod Wheel or Pedal). Doing this will assign the selected parameter to be controlled by the moved controller. 7-3 Program Edit Mode VAST and KB3 Programs VAST and KB3 Programs It is important to understand the difference between VAST programs and KB3 programs. VAST programs contain up to 32 layers, each of which contains a keymap or KVA oscillator. Keymaps consists of a number of samples assigned to a particular keyboard range. KVA oscillators use powerful DSP (digital signal processors) to generate a range of simple and complex waveforms. See Editing VAST Programs With KVA Oscillators on page 7-71) for more details. See VAST Program Structure below for details on VAST programs. KB3 programs use a much different architecture. There are no layers or algorithms, just a set of oscillators (designed to emulate the tonewheels in a Hammond Organ) that start running as soon as you select a KB3 program. See KB3 Program Structure for details on KB3 programs. VAST Program Structure You might want to take a look at Figure 7-1 on page 7-9, which depicts the hierarchy of a VAST program, from individual samples all the way up to Multis, which can contain up to 16 programs. Every VAST program contains at least one layer. A layer consists of a keymap and an algorithm for processing the samples contained in the keymap. Each sample is a separate digital recording of some kind of sound: musical, vocal, industrial, any sound at all. Individual samples are assigned to specific key ranges (from A 2 to D 3, for example), and are also assigned to be triggered at specific attack velocities. These assignments constitute the keymap. When you trigger a note, the Forte SE looks to the keymap of each layer of the currently active VAST program(s) to determine which samples to play. The sound engine then fetches the requested samples and generates a digital signal representing the sound of the samples. This signal first passes through the DSP functions that make up the algorithm. It then passes through the Forte SE’s effects processor, and finally appears—with some level of effects applied to it—at one or more of the audio outputs. The layer is the VAST program’s basic unit of polyphony, that is, each layer constitutes one of the 128 voice channels the Forte SE can activate at any time. If you have a program that consists of two layers covering the note range from A 0 to C 8, each key you strike triggers two voice channels. Note: One exception to this structure is when using a KVA oscillator, the sound source for that layer is not derived from a keymap, but is generated at the algorithm stage (though keymap information is still used to set key range and maximum amplitude). After this, the structure is the same as described above. See Editing VAST Programs With KVA Oscillators on page 7-71 for more details. 7-4 ProgramProgram Edit Mode Mode VAST Program Structure VAST Program Structure Zone Zone Zone Zone Zone 1 2 3 4 5 MULTI Zone Zone 6 7 Zone 8 16 keyboard zones— 16 keyboard zones— each with independent each withMIDI independent program, channel, program, channel, and controlMIDI assignments and control assignments Selected Selectedfor for performance performance and andediting editingininProgram Program mode; per mode;up upto to32 32 layers layers per program program PROGRAM LAYER keymapprocessed processed AAkeymap throughan analgorithm, algorithm, through modulatedby bycontrol control modulated sources sources Up to 128 sample Up to 128 sample roots, assigned to play roots, assigned to key play at programmable atand programmable key velocity ranges and velocity ranges KEYMAP Individual digital sound recordingsdigital storedsound in Individual ROM; stereo samples recordings stored in use two voices of ROM; stereo samples polyphony use two voices of polyphony SAMPLE ROOTS Figure 6-1 VAST Program Structure Figure 7-1 VAST Program Structure 7-5 6-5 Program Edit Mode Editing VAST Programs Editing VAST Programs The Forte SE offers two powerful editing features: Cascade Mode and Dynamic VAST . • Cascade Mode lets you route any layer of a program into the DSP of any other layer. Any of the 32 layers of a program can go into any other layer. • Dynamic VAST lets you “wire” your own algorithms. You can combine different DSP functions in any order you like, including parallel and serial configurations. The Program Editor is where you begin to modify the Forte SE’s resident sounds, and to build your own sounds around sample keymaps or KVA oscillators (see Editing VAST Programs With KVA Oscillators on page 7-71 for some differences). There’s virtually no limit to the sounds you can create using the tools in the Program Editor. Note: This section describes the Program Editor as it applies to VAST programs. See Editing KB3 Programs on page 7-81 for information about editing KB3 programs. To enter the Program Editor, start in Program mode and press the Edit button. The Program Parameters PARAMS page will appear. The top line of the display indicates your location and which layer you’re viewing, and how many layers there are in the program (if you are viewing a layer specific page). You can use the Channel/Layer/Zone buttons to scroll through the layers, if the program has more than one. Here’s a method for jumping quickly to a specific layer in a program—it’s especially useful in multi-layered drum programs. Hold the Enter button and strike a key. The display will show the layer(s) assigned to that key. If more than one layer is assigned to the same key, repeatedly striking the key (while continuing to hold the Enter button) will cycle through all layers assigned to that key. This method will work in most places within the Program Editor, but there is an exception: if the parameter you have highlighted has a note number or control source as its value, then holding Enter and striking a note will call up that note or control source. For all other parameters, however, this method will switch between layers. 7-6 Program Edit Mode Editing VAST Programs The Soft Buttons in the Program Editor The Program Editor’s soft buttons are labeled by the words that appear in the bottom line of the display. These buttons have two important jobs in the Program Editor: selecting pages, and selecting specific functions. If a soft button is labeled in all uppercase letters, pressing it will take you to the page it describes. If the button is labeled in mixed uppercase and lowercase letters, pressing it will execute the software function described by the label. Pressing the LAYER soft button, for example, will take you to the Layer page, while pressing the Save soft button will initiate the process for saving the currently selected program. There are more pages and functions in the Program Editor than there are soft buttons. Therefore, two of the soft buttons are dedicated to scrolling through the list of pages and functions. If you don’t see the button for the page or function you want to select, press one of the soft buttons labeled more, and the labels will change. This doesn’t change the currently selected page, it merely changes the selection of available soft buttons. Two of the soft buttons in the Program Editor are special cases. They’re the soft buttons that select the editing pages for the first and last DSP functions (Pitch and Level, respectively) of the current program’s algorithm. One of these soft buttons is labeled PITCH, and pressing it will take you to the DSPCTL (DSP Control) page with the Pitch parameter highlighted. The other one of these soft buttons is labeled AMP, and pressing it will take you to the DSPCTL page with the Level parameter highlighted. Pressing the LAYER soft button, for example, will take you to the Layer page, while pressing the ArpSav soft button will initiate the process for saving the current Arpeggiator preset. Assigning VAST Parameters to Control Sources Many Forte SE program parameters can be assigned to be controlled by the Forte SE’s physical controllers or by MIDI CCs from an external MIDI device. For details on controllable parameters of VAST programs, see the following sections: Common DSP Control Parameters on page 7-32 The DSP Control (DSPCTL) Page on page 7-37 The DSP Modulation (DSPMOD) Page on page 7-39 The LFO Page on page 7-43 The ASR Page on page 7-46 The Function (FUN) Page on page 7-47 The Amplitude Envelope (AMPENV) Page on page 7-48 The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages on page 7-51 The Envelope Control (ENVCTL) Page on page 7-52 For KB3 programs, see the following sections: 7-7 Program Edit Mode Editing VAST Programs KB3 Editor: The PITCH Page on page 7-88 KB3 Editor: The AMP Page on page 7-89 KB3 Editor: The PERC1 Page on page 7-91 KB3 Editor: The PERC2 Page on page 7-93 KB3 Editor: The KEYCLICK Page on page 7-89 For each program, the Program Editor can be used to assign the Forte SE’s physical controllers or external MIDI controller CC numbers to control program parameters. When editing a factory program, the Parameters page will list all parameters that have already been assigned to a physical controller or MIDI CC. To add additional controller assignments for parameters that are not listed on the Parameters page, an assignment must be made on one of the VAST pages. In the VAST editor pages, controllable parameters each have a source field. Make assignments to the source field for the desired parameter. Source fields are named differently depending on their page: Src1, Src2, RateCt, Trigger, Input a, Input b, and Source. Internal control sources can also be selected here such as LFOs, Envelopes, Key Number, Key Velocity, Key Pressure, FUNs, Clocks, and more. To assign a Forte SE physical controller, select the source field for the parameter, hold the Enter button and move the controller. To assign a CC number to a source field, enter a number from 1-31 or 64-95 with the alphanumeric pad, then press Enter. A CC number for an external controller can also be set by selecting the source field for the parameter, holding the Enter button, and sending a CC value from the external MIDI controller. The Forte SE’s physical controllers each use one of the available MIDI CC numbers, so you must choose one of the other available CC numbers when using an external MIDI control source or else the parameter will also be controlled by a Forte SE physical controller. See the PARAMETER CONTROLS on page 7-11 for a list of CC numbers used by the Forte SE’s physical controllers. Some MIDI CCs are also hard wired to control certain program parameters or functions such as MIDI 5 (Portamento Time), MIDI 7 (Program Volume), MIDI 10 (Pan), MIDI 11 (Expression/Program Volume), MIDI 64 (Sustain), MIDI 66 (Sostenuto), so if you use one of these numbers the CC will always perform the hard wired function, in addition to any other assignment you make. Note: When assigning a physical controller or CC number to a source field, the source field will either show a MIDI CC number, or the standard MIDI name associated with that MIDI CC number. For example, when assigning a parameter to be controlled by Slider A, the source field will show MIDI 12 when Slider A is selected, because MIDI 12 does not have a standard MIDI name. When assigning a parameter to be controlled by the Mod Wheel, the source field will show MWheel when the Mod Wheel is selected, because MWheel is the standard MIDI name for CC 1. When assigning a parameter to be controlled by MIDI CC 16, the source field will show Ctl A, keep in mind that Ctl A is the standard MIDI name for CC 15 and is unrelated to Slider A. MIDI CCs 17-19 and 80-83 are also respectively named Ctl B-H, but are unrelated to Sliders B-H. 7-8 Program Edit Mode Editing VAST Programs VAST Sources and the Parameters Page When assigning a physical controller or CC number to a source field, a Parameter is automatically added to the Parameters Page with the name of the first assigned VAST parameter. If you are assigning a physical controller or CC number that is already used by a parameter on the Parameters Page, a new parameter will not be added to the Parameters Page. The new assignment will share the existing Parameter on the Parameters Page (Name, Control assignment and initial Value). The previously existing Parameter’s name will not change based on the new assignment. If you have assigned one physical controller/MIDI CC to multiple VAST parameters, you may wish to edit the Parameter name to reflect this. For details on renaming a Parameter see the Parameter Edit page on page <?>. When a VAST parameter source has been assigned to a physical controller or CC number, there will be an associated parameter on the Parameters Page (unless it has been manually deleted from the Parameters Page). To quickly find the associated parameter, select the VAST source field and press the Edit button to jump to selecting the associated parameter on the Parameters Page. When a VAST parameter source is selected which has an associated parameter on the Parameters Page, the top bar of the page will show the Parameter symbol. PARAMETER Symbol Relationship Between Controller Assignments on the Parameters Page and the VAST Pages By default, when a new parameter is automatically added to the Parameters Page, the physical controller or CC number in the Control column will be the same CC number that was selected as a VAST source. If you select a different physical controller or CC number in the Control column of the Parameters page, that physical controller or CC number will now control the VAST parameter, though the CC number that was originally selected as a VAST source will not change. For example, if you make your original VAST source assignment with MIDI 12 (aka Slider A), but then change Slider A to Slider B on the Parameters Page, Slider B will now control the VAST assignment, but the original VAST source will still show MIDI 12. 7-9 Program Edit Mode The Parameters (PARAMS) Page On the Parameters page, you can press the Edit button to see a Parameters Destination field, which shows the CC number that it sends to parameters on the VAST pages. A parameter’s Destination is automatically set when the Parameter is created, and can not be changed. Alternatively, if you have changed Control assignments on the Parameters page and are no longer sure which VAST source assignment goes with which Parameter on the Parameters page, you can quickly find the associated parameter by selecting the VAST source field and pressing the Edit button. This will jump to selecting the associated parameter on the Parameters Page. The Parameters (PARAMS) Page Press the PARAMS soft button to display the Parameters page. Parameter Range Of Values Default Value Parameter Program / Effect Chain dependent - Control Physical controller or MIDI CC None Value None, 0 to 127 None The Parameters page shows a list of every parameter in the current program that has been assigned to be controlled by one of the Forte SE’s physical controllers (or by an external MIDI CC number). The Parameters page allows you to edit the name displayed for each controller assignment, select a different controller assignment, and set an initial MIDI value for each controller assignment. All VAST, KB3 and FX parameters that have been assigned to a controller or MIDI CC number are shown. When controller or MIDI assignments are made on other Program or FX Edit pages, or if an FX Chain is selected which contains controller assignments, these parameters are automatically added to the Parameters page. Parameter The Parameter (left) column shows a list of every parameter in the current program that has been assigned to be controlled by one of the Forte SE’s physical controllers (or by an external MIDI CC number). Effect Chain parameters are named with prefixes based on their effect type, either “INS” for parameters from Insert effects, or “AUX1/AUX2” for parameters from Aux effects. 7-10 Program Edit Mode The Parameters (PARAMS) Page Use the navigation buttons to move up and down in the list. To quickly find a parameter that is already assigned to a controller, select the parameter column, hold the Enter button and move a controller to jump to it’s assigned parameter. Control The Control (middle) column determines which physical controller (or external MIDI CC number) will control the parameter in the selected row. To quickly assign one of the Forte SE’s physical controllers to a parameter, select the control column in the row of the desired parameter, hold the Enter button and move the desired controller. Alternatively, you can use the Alpha Wheel or the Value buttons to select a controller from the list, or type in the controller’s MIDI number followed by the Enter button. See below for a list of Forte SE physical controllers and their associated MIDI numbers. If you want to disable the controller for a parameter, you can select a value of None by scrolling to the bottom of the controller list (using the Alpha Wheel or the Value buttons), or type -1 followed by the Enter button. To choose an external MIDI CC number as a control source, you can enter the number of the controller followed by the Enter button, or use the Alpha Wheel or the Value buttons. The Forte SE’s physical controllers each use one of the available MIDI CC numbers, so you must choose one of the other available CC numbers when using an external MIDI control source or else the parameter will also be controlled by a Forte SE physical controller. The list below shows the available choices for the Control column. MIDI CC numbers associated with the Forte SE’s physical controllers are highlighted in bold type. PARAMETER CONTROLS None Slider E (MIDI 24) Switch 1 (MIDI 80) MIDI 0 Slider F (MIDI 25) Switch 2 (MIDI 81 Mod Wheel (MIDI 1) Slider G (MIDI 26) Switch 3 (MIDI 82) MIDI 2 to MIDI 10 Slider H (MIDI 27) Switch 4 (MIDI 83) MIDI 5 to MIDI 10 Slider I (MIDI 28) MIDI 84 CC Pedal (MIDI 11) Variation (MIDI 29) Switch 5 (MIDI 85) Slider A (MIDI 12) MIDI 30 to MIDI 63 Switch 6 (MIDI 86) Slider B (MIDI 13) Sw. Pedal 1a (MIDI 64) Switch 7 (MIDI 87) MIDI 14 to MIDI 21 MIDI 65 MIDI 88 Slider C (MIDI 22) Sw. Pedal 2a (MIDI 66) Switch 8 (MIDI 89) Slider D (MIDI 23) Sw. Pedal 2b (MIDI 67) Switch 9 (MIDI 90) MIDI 68 to MIDI 79 MIDI 91 to MIDI 127 7-11 Program Edit Mode The Parameters (PARAMS) Page Important note about selecting a Control source When you change the control source for a parameter, the new control source immediately sets its current value for the MIDI value of the current parameter. If the MIDI value of the parameter was set to None before changing the control source, changing the control source will set a new MIDI value, but the Value column for the parameter will still display None (see Important note about values of “None”). This can be troublesome if for example you were to change the Control Source for the Expression parameter, you may accidentally set the MIDI Value to 0, but wouldn’t know it because None would still be displayed. Also, if you set a MIDI Value to None by scrolling below 0, the MIDI value will be 0 until you change the value with the assigned controller (though None will still be displayed). If you edit the parameters of a program and suddenly can’t produce any sound from the program, this may be the cause. In this case, either set the Value for Expression to something other than None, or use the Control Source that you set for Expression to increase the Value. Value The Value (right) column sets the initial MIDI value that the Parameter in the selected row and it’s assigned controller will have when the Program is selected. This value changes as you move the assigned controller, so don’t move the assigned controller if you have set a value that you wish to save. To set a specific value, use the cursor button to highlight the right column and type a value followed by the Enter button (or select a value of None by typing -1, followed by the Enter button). You can also use the Alpha Wheel or Value buttons to enter a MIDI value from 0-127, or a value of None by scrolling below 0. If you set a Value to None by scrolling below 0, the value will be 0 until you change the value with an assigned Important note about values controller (though None will still of be “None” displayed). For factory programs, standard parameters like Expression (program volume), Sustain, and Sostenuto are always set to None by default. If you change one of these values, either on the Parameters page in the Program Editor, or with a physical controller from Program Mode (or the Program Editor,) the same value will be used for any other program you select, if you select another program that uses a value of None for the same parameter. These values remain set even if you don’t save the program. This can be useful, for example, when using an expression pedal to control program volume. By default, all factory programs have their Expression parameter set to a value of None, and Expression (program volume) by default can be controlled by an expression pedal plugged into the CC Pedal jack. With an expression pedal plugged into the CC Pedal jack, you can control the volume of any factory program, but when you select another factory program, it will have the same volume that you set with the expression pedal in the last program. This way, the volume of your programs will stay consistent, and can always be changed by the expression pedal. If you want a program to have a default volume, you must set a Value other than None for the Expression parameter. For all parameters with a Value of None, any values set with a physical control will not be saved when saving the program. You must set the Value column for that parameter to something other than None in order to set and save a value. These values will remain set until changed with a controller, or until a program is loaded on the current MIDI channel that does not have a value of None for these parameters. 7-12 Program Edit Mode The Program FX (FX) Page The Parameter Edit Page When the Global Mode User Type parameter is set to Advanced, press the Edit button with a Parameter selected to view the Parameter Edit page. The Parameter Edit Page allows you to view the Parameter’s Destination (MIDI CC that it sends to VAST parameters), as well as the currently assigned Control, Text name, and Value. Press the Edit button again to enter the Parameter Text page, where you can change the name displayed for the Parameter. You can also press the Delete soft button to delete the current Parameter. Press Exit or the Back soft button to return to the Parameters page The Program FX (FX) Page Press the FX soft button to call up the Program FX (FX) page. This is the page that you will use to apply effects to a program, and to configure the routing of the various pre- and postFX audio signals. Effects chosen on this page affect every layer of the current program. The section The Layer FX (LYR_FX) Page on page 7-15 contains information on using layerspecific effects. The FX page looks like this: Parameter Range of Values Default Insert Chain List 0 None Aux 1, Aux 2 Chain List 0 None Output Auxiliary Send Parameters Aux Modulation Main, Sec. Main Aux Send (dB) off, -95 to 24 decibels 0 Aux Send (%) 0 to 100% 0 Aux Pre/Post Insert Post, Pre Post Type dB, % dB Control Source List On On the Forte SE, a program can have up to 11 insert effects and 2 aux effects using up to 16 DSP “units.” An insert is essentially just an effect that you apply to a program or layer, while aux effects receive signal from all active programs’ aux sends. Note the 0/0 Units in the middle of the top line of the page. This figure indicates how many of the total units are being used by the highlighted insert; the left-hand number is the size of the insert, and the righthand number is the total number of units being used by the program. 7-13 Program Edit Mode The Program FX (FX) Page If you exceed the maximum number of DSP units, the Forte SE will notify you that you have done so, and no effects will be applied to the program. Insert The Insert effect is the effects chain that is applied to the main audio bus. When the Insert field is selected, you can press the Edit button to edit the current Chain. For details on Chain editing see Chapter 8, The Effects Chain Editor. Aux 1, Aux 2 The Aux effect is the effects chain that is applied to the selected auxiliary audio bus. When the Aux 1 or Aux 2 field is selected, you can press the Edit button to edit the current Chain. For details on Chain editing see Ch. 8 The Effects Chain Editor. Auxiliary Send Parameters The Auxiliary Send parameters determines the level of the program signal sent to the auxiliary effects chain. Aux Send The Aux Send parameter determines the level of the program signal sent to the auxiliary effects chain. Pre/Post Insert The Pre/Post Insert parameter determines the point at which the auxiliary effect is applied to the signal. When this parameter is set to Post, the Forte SE applies the auxiliary effect to the signal post-insert, i.e., after the insert effect has been applied. When this parameter is set to Pre, the Forte SE applies the auxiliary effect to the signal pre-insert. To hear a program put through two effects in series (i.e., through two cascaded effects), choose your desired effects for the Insert and either Aux (for whatever Aux you choose, the other should be set to 0 None), set each bus’ Output to Main, and set the Aux Send parameter to either 0 dB or 100%. Then, set the Pre/Post Insert parameter to Post. To hear a program put through two effects in parallel (i.e., through two distinct effects), choose your desired effects for the Insert and either Aux (again, for whatever Aux you choose, the other should be set to 0 None), set each bus’ Output to Main, and set the Aux Send parameter to either 0 dB or 50%. Then, set the Pre/Post Insert parameter to Pre. With respect to each other, the Auxes are always in parallel, that is, they cannot be cascaded. 7-14 Program Edit Mode The Layer FX (LYR_FX) Page Type The Type parameter determines how the selected wet aux signal (i.e., with effects applied) is mixed into the final signal. Additionally, it determines the units in which the Aux Send parameter values are. When Type is set to dB, the Aux Send parameter values are in units of decibels (dB). The value specified in the Aux Send parameter is the amount of program signal sent to the aux effects chain. To hear equal parts wet signal and dry signal (the signal with no effects applied) on the main audio output, set the main Insert effect to 0 None and the Insert Output to Main, and set the Aux 1 effect to your desired effect and the Aux 1 Output to Main. Then, set the Aux1 Send to 0dB. If you want only wet signal on the main audio output, set the main Insert Output to Sec.—keep in mind that by this method, the dry signal is sent to the auxiliary audio outputs. When Type is set to %, the Aux Send parameter values are in units of percent (%). The value specified in the Aux Send parameter is the percentage of which the wet auxiliary signal comprises the final signal—the insert signal comprises the rest of the final signal. To hear equal parts wet signal and dry signal on the main audio output, set the main Insert effect to 0 None and the Insert Output to Main, and set the Aux 1 effect to your desired effect and the Aux 1 Output to Main. Then, set the Aux1 Send to 50%. If you want to hear only the wet signal, set the Aux1 Send to 100%. Aux1 Mod, Aux2 Mod The Aux Mod parameter gives you real-time control over the amount of program signal sent to the aux effects chain. You can set the Aux Mod parameter to any Forte SE control source. The amount that you specify for the Aux Send parameter is the maximum value that the Aux Mod control source can send—the minimum value is 0. The Layer FX (LYR_FX) Page Press the LYR_FX soft button to call up the Layer FX (LYR_FX) page. On this page, you can apply layer-specific effects. There are three Layer FX Modes: Use Program FX, Layer-Specific FX, and Use Another Layer’s FX. Use Program FX Mode With Use Program FX Mode selected, the current layer will use the effects configured on the Program FX (FX) page. See The Program FX (FX) Page on page 7-13 for more information on program FX. Layer-Specific FX Mode With Layer-Specific FX selected, you can configure the effects for the current layer. This mode’s parameters are similar to those of the FX page. This mode is shown in the following display: 7-15 Program Edit Mode The COMMON Page All of the Layer-Specific FX mode parameters have the same functions and ranges of values as their corresponding parameters on the FX page. See The Program FX (FX) Page on page 7-13 for more information on these parameters. Use Another Layer’s FX Mode With Use Another Layer’s FX selected, you can put the current layer through the effects of another layer. You can specify the layer through whose effects you wish to put the current layer. The COMMON Page The COMMON page is reached by pressing the COMMON soft button in the Program Editor. Here’s where you find 12 frequently-used parameters that affect the entire current program, not just the current layer. Notice that when the Monophonic parameter is set to its default value of Off, the five monophonic parameters do not appear on the page. 7-16 Parameter Range of Values Default Pitch Bend Range Up ± 7200 cents 200 Pitch Bend Range Down ± 7200 cents -200 Monophonic Off, On Off (Legato Play) Off, On Off (Portamento) Off, On Off (Portamento Rate) 1 to 3000 keys per second 70 (Attack Portamento) Off, On On (Mono Sample XFade) Off, On Off Globals Off, On Off Program Edit Mode The COMMON Page Parameter Range of Values Default Output Gain -96 to 24 decibels 0 Output Pan ± 64 0 Output Pan Mode Fixed, +MIDI +MIDI Demo Song Demo Song List 0 None Pitch Bend Range Up and Down Use these parameters to define how much the pitch will change when you move your Pitch Wheel. For both Pitch Bend Range parameters, positive values will cause the pitch to bend up, while negative values will cause the pitch to bend down. Large positive values can cause samples to bend to their maximum upward pitch shift before the Pitch Wheel is fully up (or down). This will not happen when bending pitch down. Monophonic When off, the program is polyphonic—it can play up to 128 notes at a time. Notice that when the Monophonic parameter is off, the LegatoPlay parameter and the three Portamento parameters do not appear on the COMMON page. This is because only monophonic programs can use portamento. When On, the program will play only one note at a time. This makes it possible to use and to determine the behavior of the portamento feature. Do not set Ignore Release On (page 6-20) when you are using Monophonic programs, since the lack of Note Off messages will prevent you from switching programs properly. Legato Play When Legato Play is on, a note will play its attack only when all other notes have been released. This is useful for realistic instrumental sounds. 7-17 Program Edit Mode The COMMON Page Portamento This parameter is either on or off. The default value of Off means that portamento is disabled for the current program. Portamento is a glide between pitches. On actual acoustic instruments like violin and bass, it’s achieved by sliding a finger along a vibrating string. On most keyboards that offer portamento, it’s achieved by holding down a key that triggers the starting note, then striking and releasing other keys. The pitch glides toward the most recently triggered note, and remains at that pitch as long as the note remains on. The Forte SE gives you two ways to get portamento. See the Attack Portamento parameter below. When applying portamento to multi-sampled sounds (Acoustic Guitar, for example), the Forte SE will play more than one sample root as the pitch glides from the starting pitch to the ending pitch. This may cause a small click at each sample root transition. You can eliminate clicks by using the Mono Sample XFade parameter below. Portamento Rate The setting for Portamento rate determines how fast the current note glides from starting pitch to ending pitch. The value of this parameter tells you how many seconds the note takes to glide one semitone toward the ending pitch. At a setting of 12 keys/second, for example, the pitch would glide an octave every second. The list of values is nonlinear; that is, the increments get larger as you scroll to higher values. Attack Portamento This parameter toggles between two types of portamento. When set to On, the Forte SE remembers the starting pitch so you don’t have to hold a note on to achieve portamento. The pitch always glides to each new note from the previously triggered note. When set to Off, the pitch will glide to the most recently triggered note only when the previous note is still on (in other words, you must use legato fingering). Mono Sample XFade When applying portamento to multi-sampled sounds (Acoustic Guitar, for example), the Forte SE will play more than one sample root as the pitch glides from the starting pitch to the ending pitch. This may cause a small click at each sample root transition. You can eliminate clicks by setting the Mono Sample XFade parameter to On. When the Mono Sample XFade parameter is set to On, the Forte SE performs a crossfade at each sample root transition to eliminate clicks. 7-18 Program Edit Mode The KEYMAP Page Globals This is another toggle, which affects LFO2, ASR2, FUNs 2 and 4. When off, these three control sources are local; they affect each individual note in the layers that use them as a control source. They begin operating each time a note in that layer is triggered. When the Globals parameter is set to On, these control sources become global, that is they affect every note in every layer of the current program, they’re not specific to any one layer. When these control sources are global, they begin operating as soon as the program is selected. When Globals are on, LFO2, ASR2, and FUNs 2 and 4 will appear on their respective pages preceded by the letter G to indicate that they’re global. You’ll use global control sources when you want to affect all notes in a program uniformly, and local control sources when you want to affect each note independently. For example, you’d use a global LFO controlling pitch to create a Leslie effect on an organ sound, since you want the effect applied to all the notes you play. You’d use a local LFO controlling pitch to create a vibrato for a solo violin, since you want to be able to vary the rate and depth of the vibrato for each note. Output: Gain, Pan, and Pan Mode The Output parameters on the COMMON page allow you to adjust the final-stage gain and panning of the post-FX signal. Use the OutGain parameter to cut or boost the signal. Use the OutPan parameter to pan the signal; negative values pan the audio signal to the left channel, positive values to the right, and a value of zero pans to the center. When the OPanMode is set to Fixed the pan position remains as defined with the OutPan parameter, ignoring MIDI pan messages. When the OPanMode is set to +MIDI, MIDI pan messages (MIDI 10) will shift the sound to the left or right of the Pan parameter setting. Message values below 64 shift it left, while those above 64 shift it right. The KEYMAP Page Press the KEYMAP soft button to call up the KEYMAP page. The parameters on this page affect sample root selection, i.e., which samples are played on which keys. 7-19 Program Edit Mode The KEYMAP Page Parameter Range of Values Default Keymap Keymap List 1 Piano f Left Transpose -128 to 127 semitones 0 Key Tracking ± 2400 cents per key 100 Velocity Tracking ± 7200 cents 0 Alt Method Switched, Continuous Switched Stereo Off, On Off Timbre Shift ± 60 semitones 0 Playback Mode Norm, Rvrs, Bidirectional, Noise Normal Alt Control Control Source List Off Piano Resonance Off, On Off Stereo You’ll use this parameter when you’re working with stereo samples. When you set this parameter to On, the KEYMAP page changes slightly: An additional Keymap parameter appears. The two keymap parameters are distinguished as Keymap 1 and Keymap 2. The KEYMAP page parameters will affect both keymaps. When the Stereo parameter is set to On, the OUTPUT page for the current layer will show an additional pair of Pan parameters. The Forte SE contains both stereo and mono samples. Keymaps designed for stereo use are labeled with names beginning with “Stereo” or ending in “Left,” “Right,” “L,” or “R.” For stereo keymap playback, set Stereo “On” and assign corresponding Left and Right keymaps to Keymap1 and Keymap2 respectively. For keymaps beginning with “Stereo,” assign the same keymap to both Keymap1 and Keymap2. If you select the same keymap for Keymap1 and Keymap2, the Forte SE automatically uses the left side for Keymap1 and the right side for Keymap2. 7-20 Program Edit Mode The KEYMAP Page Once you have the keymaps assigned, go to the OUTPUT page and set the panning for each sample as desired. Keep in mind that using stereo keymaps reduces the polyphony of the program. For example, if you had a two-layer program with stereo keymaps in each layer, each note you play would use 4 of your 128 voices, allowing a total of 32 notes before all the voices have been used. If you’re not using stereo samples, you should set this parameter’s value to Off. Keymap Assign a keymap from ROM to the current layer. Keymaps are collections of samples assigned to note and velocity ranges. With the Keymap parameter selected, press the Edit button to enter the Keymap editor (see Ch. 9 Keymap and Sample Editing for details). Transpose (Xpose) Transpose the current keymap up as much as 127 semitones (ten octaves and a perfect fifth) or down as much as 128 semitones (ten octaves and a minor sixth). Key Tracking (KeyTrk) This is one of the six common DSP control parameters. On the KEYMAP page, key tracking affects the interval between notes. The default value of 100 cents (a cent is a hundredth of a semitone) gives you the normal semitone interval between each note. Higher values increase the interval; lower values decrease it. Negative values will cause the pitch to decrease as you play higher notes. When you make changes to this parameter, you’ll need to keep in mind that KeyTrk on the KEYMAP page works in conjunction with KeyTrk on the PITCH page. Therefore, you’ll need to check the KeyTrk value on both pages to see how key tracking works within a program. Unless you’re looking for nonstandard note intervals, the values of the KeyTrk parameters on the PITCH and KEYMAP pages should add up to 100 cents. Velocity Tracking (VelTrk) This is another common DSP control parameter. As with the other parameters on the KEYMAP page, this shifts the position of the keymap. Different attack velocities will play different pitch shifts of the sample root assigned to that note range. If the shift is great enough, the next higher or lower sample root will be played, which in some cases (many drum programs, for example) will play an entirely different sound. Positive values will play higher pitches of the sample root when you use hard attack velocities (they shift the keymap downward), while negative values will play lower pitches. 7-21 Program Edit Mode The KEYMAP Page Method (AltMethod) See Alternative Switch (AltControl and AltMethod) on page 7-22. Timbre Shift This parameter works only on multi-sample keymaps, and changes the root selection for each key you play. With this parameter you can radically alter the current layer’s timbre (basic sound characteristics). The nature of the change depends on the timbre itself, so this parameter calls for experimentation. Basically, timbre shifting changes a note’s timbre by imposing different harmonic qualities onto the note. A timbre-shifted note retains its original pitch, but its harmonics are those of the same timbre at a higher or lower pitch. Positive values for this parameter tend to brighten a sound, while negative values darken. Here’s an example. If you shift the timbre up 4 semitones, then playing C 4 will result in the pitch C 4, but will actually play the sample normally assigned to G# 3, and shift its pitch up four semitones. This will increase the playback rate of the sample, so although the pitch remains normal, the timbre is brighter. You’d get the same effect by setting the Xpose parameter on the KEYMAP page to -4 semitones, then setting the Adjust on the PITCH page to +4 semitones. For multi-sample layers with narrow key ranges, large amounts of timbre shifting will cause different sample roots to be played back. Playback Mode This gives you numerous options for manipulating the samples in the current layer as you trigger them. Normal leaves the samples unaffected, while Reverse plays them in reverse. At a value of Reverse, the samples will continue to loop as long as notes are sustained. To play them just once in reverse, you would adjust the length of the layer’s amplitude envelope (explained later in this chapter). BiDirect (bidirectional) causes the samples to loop infinitely, alternating between normal and reversed playback. Noise replaces the samples with a white noise generator. Alternative Controller (AltControl) See Alternative Switch (AltControl and AltMethod) below. Alternative Switch (AltControl and AltMethod) Many, but not all, Forte SE sample roots have been pre-assigned a carefully chosen alternate sample start point that can be selected using the Alternate Switch feature (AltControl and AltMethod parameters). This feature allows you to control the sample playback start/end time triggered by any control source. (The alternate sample start point can be adjusted by 7-22 Program Edit Mode The KEYMAP Page editing a sample, see Editing Samples on page 9-10 and The TRIM Page on page 9-14 for details). Use the AltControl parameter to specify a control source that will cause the sample to begin or end at the Alt point. Then use the AltMethod parameter to choose between switched and continuous calculation of the Alt point. If the value of AltMethod is Switched, the Forte SE will use the Alt point when the relevant control source is at a value greater than 64 at Note Start. If AltMethod is Continuous, the Alt point will vary depending on the value of the relevant control source at Note Start. As an example, suppose you’re working with a flute keymap and wish to control the amount of chiff heard at the beginning of the sound. On the KEYMAP page in the Program Editor, set AltControl to MWheel. Now the Mod Wheel controls how much of the initial sample attack is used. If you set AltMethod to Switched and move the Mod Wheel at least halfway up, at Note Start the sample will begin at the pre-set alternate start point (in this case, slightly past the initial chiff). If you set the AltMethod to Continuous, the Forte SE will interpolate the sample’s starting point based on the position of the Mod Wheel. If the Mod Wheel is 75% of the way up at Note Start. the sample will begin 75% of the way between normal and alternate start points. Emulating Legato Play If you place the Alt point after the initial attack transients of the sample, then you can use the Alt Switch to emulate legato playing in an acoustic instrument. As an example, set Keymap to 14 Flute. Now set the AltControl parameter to Chan St (Channel State). Now if you play notes separately, the initial breathy chiff will be heard. But if you play the notes legato (connecting them smoothly), the Alt point is used and you do not hear the chiff. This is because the Chan St is turned on as long as any note is being held. Most of the Forte SE’s ROM samples have their Alt points set for purposes of legato play. In most cases the difference in attacks is subtle, but for some sounds, like drums, the difference can be more noticeable. Pno.Resonanc (Kurzweil String Resonance) Sympathetic string resonance in an acoustic piano is the phenomenon of undamped piano strings resonating as a result of sound from other notes/keys. This can be observed if one plays a C, continues holding down the key after the sound has decayed, and then forcibly presses and quickly releases another C key. The undamped strings of the held-down C key will audibly ring, providing a highly tuned “echo”, commonly known as sympathetic string resonance. The Pno.Resonanc parameter works in conjunction with the FX preset “600 String Resonance” to emulate the sound of strings resonating in an acoustic piano. When combined, these two components create KSR (Kurzweil String Resonance). Factory programs in the Piano category are set up to use KSR, and they provide a good example of how the two components should be used. When making your own program with KSR, it may be easiest to use an FX Chain from one of these programs, since they already contain controller 7-23 Program Edit Mode The LAYER Page assignments for KSR. In these Programs and Chains the dry/wet mix of the KSR effect can be controlled with slider F, and the effect can be enabled or disabled with assignable switch 6. When making your own Chain, the FX preset “600 String Resonance” should be used for the first box of the Program’s insert Chain. When a layer has the Pno.Resonanc parameter set to On, the FX preset “600 String Resonance” monitors which keys are being held on that layer and uses them to tune the algorithm in the FX preset. Any audio that passes though the FX preset while these keys are held will cause emulated strings to resonate based on this tuning. When using KSR, layers which contain samples of piano notes should have the Pno.Resonanc parameter set to On. Layers that do not play samples of piano notes (such as layers for mechanical key release noise, pedal noise, string/synth layers etc) should have the Pno.Resonanc parameter set to Off. (Layers set to Off will still resonate any other strings that have been emulated.) If more than one layer in a program is set to play piano notes for the exact same velocity and key range, the FX preset will function the best if only one of those layers has the Pno.Resonanc parameter set to On. In an acoustic piano, it is possible to strike and hold a key very lightly so that a note is not played, but the key’s strings will still become undamped and will resonate when other keys are played. KSR can simulate this behavior. To do so, select the layer in the program which has the lowest velocity range and which has the Pno.Resonanc parameter set to On. On the Layer page, set the Enable parameter to GAttVel, and set the Enable Min parameter to 2. This will allow notes played with a velocity of 1 to tune the algorithm in FX preset “600 String Resonance”, without playing a note. (This only works for velocities of 1. Velocities above 1 will not tune the algorithm without playing a note, even if the Enable Min parameter is set to a higher value.) The LAYER Page Press the LAYER soft button to call up the LAYER page. Here you’ll set a number of parameters that affect the current layer’s keyboard range, attack and release characteristics, and response to various controls. 7-24 Parameter Range of Values Default Low Key C -1 to G 9 C0 High Key C -1 to G 9 C8 Program Edit Mode The LAYER Page Parameter Range of Values Default Low Velocity ppp to fff ppp High Velocity ppp to fff fff Bend Off, Key, All All Trig Normal, Reversed, Pedal Down, Pedal Up Normal Delay Control Control Source list Off Minimum Delay 0 to 25 seconds 0 Maximum Delay 0 to 25 seconds 0 Layer Enable Control Source list On Enable Sense Enable Min Enable Max Normal, Reversed ± 127 ± 127 Normal 64 127 Opaque Layer Off, On Off Sustain Pedal Off, On, On2, On3 On Sostenuto Pedal Off, On On Freeze Pedal Off, On On Ignore Release Off, On Off Hold Through Attack Off, On Off Hold Until Decay Off, On Off Low Key (LoKey) This sets the lowest active note for the current layer. This parameter’s value cannot be set higher than the value for HiKey. The standard MIDI key range is C 1—G 9 (0-127). Middle C is C 4. High Key (HiKey) Here you set the highest active note for the current layer. This parameter’s value cannot be set lower than the value for LoKey. Low Velocity (LoVel) With this parameter you define the lowest attack velocity at which the layer will be enabled (generate a sound). The values for this parameter and the next are expressed in the standard musical dynamics markings, similar to the values available for the velocity maps. Attack velocities that are below this threshold will not trigger notes. If you set this parameter’s value higher than the HiVel value, the layer will not play at all. 7-25 Program Edit Mode The LAYER Page High Velocity (HiVel) Similarly, this will set the highest attack velocity at which the layer will be enabled. Attack velocities above this threshold will not trigger notes in this layer. Using LoVel and HiVel, you can set up velocity switching between up to eight layers. If you need even more, you can do it using the Enable and Enable Sense (S) parameters on page 7-27. Pitch Bend Mode (Bend) This determines how Pitch bend control messages will affect the current layer. A value of All bends all notes that are on when the Pitch bend message is generated. A value of Key bends only those notes whose triggers are physically on when the Pitch bend message is generated (notes held with the sustain pedal, for example, won’t bend). This is great for playing guitar solos on top of chords—play a chord, hold it with the Sustain pedal, then play your licks and bend them all you want; the chord won’t bend with it. A value of Off disables Pitch bend for the current layer. To apply the same Pitch Bend Mode setting to the entire program, make sure to set the same setting for each layer. Trigger (Trig) The Trigger parameter determines how notes in the current layer are triggered. The default setting is Norm, which causes notes to be triggered when a key is pressed down and a MIDI note on message is received by the layer. A setting of Rvrs causes notes to be triggered when a key is released and a MIDI note off message is received by the layer (velocity is determined by the release velocity of the released key). A setting of PdlDN or PdlUP causes a note to be triggered when the sustain pedal is respectively pressed down or released (typically used for triggering mechanical pedal noise samples). The sustain pedal will trigger MIDI note 60 with a velocity of 64. Delay Control (DlyCtl) Here you select, from the Control Source list, a control source that will delay the start of all notes in the current layer. The length of the delay is determined by MinDly and MaxDly (described below). You’ll assign a continuous control like MWheel for the DlyCtl parameter when you want to vary the delay time, and a switch control if you want the delay to either be its minimum value (switch off), or its maximum (switch on). The delay control will affect only those notes triggered after the delay control source is moved; the delay time is calculated at each note start, based on the status of the delay control source at that time. 7-26 Program Edit Mode The LAYER Page Minimum Delay (MinDly), Maximum Delay (MaxDly) The length of the delay is determined by these two parameters. When the control source assigned to DlyCtl is at its minimum, the delay will be equal to the value of MinDly. The delay will be equal to the value of MaxDly when the control source is at its maximum. If DlyCtl is set to OFF, you get the minimum delay. If it’s set to ON, you get the maximum delay. This doesn’t change the note’s attack time, just the time interval between the Note On message and the start of the attack. The delay is measured in seconds. Enable This assigns a control source to activate or deactivate the layer. When the value of the assigned control source is between the minimum and maximum thresholds set by the Sense (S) parameter, the layer is active. When the value of the assigned control source is below the minimum or above the maximum, the layer is inactive. By default, many layers have the Enable parameter set to ON, so the minimum and maximum thresholds don’t matter. They’re relevant only when Enable is set to a specific control source (like MWheel). Some local control sources (KeyNum and AttVel, for example) are not valid for the Enable parameter. In these cases, you should use the global equivalent (GKeyNum and GAttVel in this example). Enable Sense (S) This parameter determines how and when a layer is enabled by the control source assigned for the Enable parameter. Enable Sense has three values: orientation, minimum, and maximum. Suppose for a moment that you’re editing a program, and in the current layer you’ve set the value of Enable to MWheel, which causes the Mod Wheel to control whether the layer is active. The default values for Enable Sense are as follows: orientation is Norm; minimum is 64, and maximum is 127. This means that when the Mod Wheel is less than halfway up, the layer is disabled. The layer plays only when the Mod Wheel is more than halfway up. Change the orientation to Rvrs, and the layer plays only when the Mod Wheel is less than halfway up. Change the orientation back to Norm, and change the minimum to 127. Now the layer plays only when the Mod Wheel is all the way up. You could use this parameter to set up a two-layer program that would let you use a MIDI control to switch between layers, say a guitar sound and a distorted guitar. Both layers would have their Enable parameters set to the same control source, say MWheel. One layer would have its Enable Sense orientation set to Norm, and the other would have it set to Rvrs. Both layers would have their Enable Sense minimums set to 64, and their maximums to 127. The first layer would play when your Mod Wheel was above its midpoint, and the second layer would play when the Mod Wheel was below its midpoint. (You could achieve the same effect by having the Enable Sense orientation in both layers set to Norm, and the minimum and 7-27 Program Edit Mode The LAYER Page maximum values set as follows: minimum 0 and maximum 63 for one layer; minimum 64 and maximum 127 for the other). Using this parameter in conjunction with the Enable parameter, you can easily create velocity-switching for as many layers as you have in your program. This is useful for drum programs, since you can define a different velocity-trigger level for each of the 32 layers available in drum programs. First, set the Enable parameter for the Layer 1 to a value of GAttVel (global attack velocity). This causes the layer to play based on the attack velocity of your keystrokes. Then set the Enable Sense (S) parameter to a value of Norm, and adjust its minimum and maximum values (the two numerals to the right of Norm) to a narrow range. Don’t use negative values, since they don’t apply when you’re using GAttVel as the layer enabler. Repeat this for each layer in the program. Bear in mind that if you want to set up 32 different velocity levels for a program, with equal intervals between each layer, then you have a range of 4 for each level (Layer 1 is 0–3, Layer 2 is 4–7, and so on). It won’t be easy to play precisely enough to trigger the layer you want. On the other hand, if you’re using Song mode or an external sequencer, you can edit attack velocity levels, and get exactly the results you want. Opaque An opaque layer blocks all higher-numbered layers in its range, allowing only the opaque layer to play. This is an easy way to change a small range of notes in a program, leaving the original sound playing above and below the new sound. Start with a one-layer program, and create a new layer (Layer 2) with the NewLyr soft button. On the KEYMAP page for Layer 2, select the keymap you want to use, then on the LAYER page, set Layer 2’s range (say, C 3 to D 3), and set its Opaque parameter to On. Then go to Layer 1, and duplicate it (with the DupLyr soft button); the duplicate layer becomes Layer 3. You now have a three-layer program. Delete Layer 1 (the original layer); Layer 2 (the new layer you created) becomes Layer 1, and Layer 3 becomes Layer 2. Now Layer 2 blocks out Layer 3 (the duplicate of the original layer) at the notes C 3–D 3. Sustain Pedal (SusPdl) When this parameter is on, the layer will respond to all sustain messages (Controller destination 64, Sustain). When off, the current layer will ignore sustain messages. On2 means that the sustain pedal will not catch the release of a note that is still sounding when the sustain message is received; this can be very useful in a program that uses amplitude envelopes with a long release time. 7-28 Program Edit Mode The LAYER Page On3 enables the use of half damper pedal techniques when using a compatible continuous switch pedal (such as the Korg DS-1H). On3 emulates the behavior of an acoustic piano’s sustain pedal by increasing the release portion of the current layer’s amplitude envelope as the pedal is pressed down, before becoming fully sustained. This allows you to use a sustain pedal to control note release length and sustain. Sostenuto Pedal (SosPdl) When Sostenuto is on, the layer will respond to all sostenuto messages (Controller destination 66, Sostenuto). When off, the layer ignores sostenuto messages. Sostenuto, as you may know, is a feature found on pianos that have three pedals. Pressing the Sostenuto pedal on a piano (usually the middle pedal) sustains the notes whose keys you were holding down when you pressed the pedal. Notes played after the pedal is already down do not get sustained. Freeze Pedal (FrzPdl) This parameter activates or deactivates the layer’s response to Freeze pedal messages (Controller destination 69, Freeze). The Freeze pedal control causes all notes that are on to sustain without decay until the Freeze pedal control goes off. If a note is already decaying, it will freeze at that level. Ignore Release (IgnRel) When IgnRel is off, the layer responds normally to Note Off messages. When on, the layer will ignore all Note Off messages that it receives. This should be used only with sounds that decay to silence when a note is held, otherwise the sounds will sustain forever (press the Cancel and Enter buttons simultaneously to stop sustained notes). This parameter can come in handy when your Forte SE is slaved to a drum machine or sequencer, which sometimes generates Note Ons and Note Offs so close together that the envelope doesn’t have time to play before the note is released. If used in combination with ThrAtt or TilDec (see below). IgnRel allows you play staccato, yet still hear the entire length of the attack and decay sections of the amplitude envelope. Hold Through Attack (ThrAtt) When on, this parameter causes all notes in the layer to sustain through the entire first attack segment of their amplitude envelopes, even if the notes have been released. If you have a sound with a slow attack, or an attack that’s delayed with the delay control, setting this parameter to On will make sure your notes reach full amplitude even if you’re playing fast. When set to Off, notes will release as soon as you release the note (generate a Note Off). If the first attack segment of the layer’s amplitude envelope is very short, you probably won’t notice a difference between values of On and Off. 7-29 Program Edit Mode The PITCH Page Hold Until Decay (TilDec) When on, this parameter causes all notes in the layer to sustain through all three attack segments in their amplitude envelopes even if the notes have been released. Looped amplitude envelopes will not loop, however, if the notes are released before reaching the end of the final attack segment. Notes will go into their normal releases if they are released after the envelope has looped. When set to Off, notes will release as soon as a Note Off message is generated. The PITCH Page Pressing the PITCH soft button takes you to the DSPCTL page with the Pitch function highlighted. See The DSP Control (DSPCTL) Page on page 7-37 for more information on the Pitch function. The AMP Page Pressing the AMP soft button takes you to the DSPCTL page with the Amp function (labeled as “Level”) highlighted. See The DSP Control (DSPCTL) Page on page 7-37 for more information on the Amp function. The Algorithm (ALG) Page Press the ALG soft button to call up the Algorithm (ALG) page. The top line of the display gives you the usual mode reminder, and tells you which layer you’re looking at, as well as how many layers are in the current program. You can view the ALG pages of any other layers in the program by using the Channel/Layer/Zone buttons. The basic definition: an algorithm is the “wiring” (signal path) of a sample to the audio outputs, through a series of digital signal processing (DSP) functions that you select. The Forte SE’s algorithms are the core of Variable Architecture Synthesis Technology. The DSP functions are synthesis tools (filters, oscillators, etc). that you assign to the various stages of the algorithm. The DSP functions you choose determine the type of synthesis you use. 7-30 Program Edit Mode The Algorithm (ALG) Page The central portion of the page shows the algorithm for the currently selected layer. You see the number of the algorithm (from 1 to 28, 101 to 131, and the IDs for any user-defined algorithms) and a graphic representation of the signal path, as well as the currently selected DSP functions within the signal path. To use a different algorithm, select the Algorithm parameter and use any data entry method to select a different one. To change the DSP function within an algorithm, move the cursor to the block you want to change, then use the Alpha Wheel or Plus/Minus buttons. There’s a staggering number of combinations of algorithms and DSP functions alone, not to mention the numerous controls that can be used to modify the DSP functions. Note: Changing a layer’s algorithm can affect the layer’s sound drastically. It’s a good idea to bring down the volume of your Forte SE or your sound system before changing algorithms. See Algorithm Basics below for information on editing algorithms. Algorithm Basics Each of the 59 available algorithms represents a preset signal path. With our new Dynamic VAST feature, you can edit any preset signal path and make your own, unique algorithms, but that will be explained further on in this section. Take a look at Algorithm 1 in the diagram below. It’s one of the simplest algorithms. The DSP functions are represented by the rectangular blocks. The lines connecting the blocks together indicates the flow of the digital signal from left to right; they represent what we call the “wire” of the algorithm: the actual physical path that the signal follows through the algorithm. Selecting different algorithms can be compared to connecting different DSP functions with different wiring diagrams. Think of the left side of each block as its input, and the right side as its output. Depending on the algorithm, the signal may split into two wires, enabling part of the signal to bypass certain portions of the algorithm. Split wires may rejoin within the algorithm, or they may pass all the way through as split signals. If the last block has two wires at its output, we call it a double-output algorithm. If it has one wire, it’s a single-output algorithm, even if there are two wires in earlier portions of the algorithm. 7-31 Program Edit Mode The Algorithm (ALG) Page Each block of the algorithm represents a certain function in the signal path. In every noncascaded algorithm (see Alt Input for Algorithms (Cascade Mode) on page 7-35 below), the signal flows first through a one-stage DSP function that controls the pitch of the samples in the keymap (this function is represented as a block labeled PITCH in the upper right-hand corner of the display). In fact, the first DSP function in each algorithm always controls pitch, even though it doesn’t apply in every instance and, as will be explained later in this section, it is bypassed in cascaded algorithms. Similarly, the last DSP function always controls the final amplitude of the signal (this function is represented as a block labeled AMP in the upper right-hand corner of the display). The number of function-parameters a DSP function can have depends on the relative size of its function-block on the Algorithm page (four slots is the largest block size). For instance, a function-block that is three slots long can have up to three function-parameters, whereas a function-block that is two slots long can have up to two function-parameters. For each function-parameter, there’s a corresponding “subpage” on both the DSPCTL and DSPMOD pages. On the DSPCTL subpages, there are fine adjust and hard-wired parameters with which you can make fixed adjustments to the function-parameter. On the DSPMOD subpages, there are programmable parameters that you can assign to any control source in the Controller List to modulate the function-parameter. The above italicized parameter-types are described in Common DSP Control Parameters on page 7-32. More information on the subpages can be found in The DSP Control (DSPCTL) Page on page 7-37 and The DSP Modulation (DSPMOD) Page on page 7-39. Highlighting any of the function-blocks on the ALG page and pressing the Edit button takes you to the DSPCTL page. Common DSP Control Parameters The type of DSP function available for any function block depends on the algorithm. Some of the specialized functions like the PANNER are always located just before the final AMP function. Others, like the two-input functions, appear only in algorithms that are structured for two-input functions. You can change the nature of each layer of a program simply by assigning different DSP functions to the layer’s algorithm. Your level of control goes much deeper than that, however. Each DSP function has one or more parameters to which you can patch a variety of control sources to modify the behavior of the DSP functions themselves. The parameters on the various control-input pages are very similar; in fact, there are six parameters that appear on almost every page. Consequently we refer to them as the common DSP control parameters. Although the parameters on the control-input pages differ slightly from function to function, you can expect to see some or all of the common DSP control parameters whenever you select the control-input page for any of the DSP functions. 7-32 Program Edit Mode The Algorithm (ALG) Page You’ll recognize the common DSP control parameters, along with several other parameters. Keep in mind that there’s a set of common control parameters for each of the DSP functions; in this case we’re describing them only as they apply to the pitch control function. Function-parameter Unlike the other five common DSP parameters, the function-parameters are accessible on both the DSPCTL page and the DSPMOD page. They are listed along the left-hand side of each page; any changes made to them on one page are reflected in the other. The label of each function-parameter depends on its function in the current program’s algorithm. For example, the Pitch function’s function-parameter is labeled Pitch; whereas the two-block Lopass function’s function-parameters are labeled LP Frq and LP Res. By adjusting the function-parameter, you can add a fixed amount of adjustment to any DSP function. For the Pitch function, adjusting the function-parameter will change the pitch in semitone increments. Use this as a starting point to set the pitch where you want it to be normally. This will shift the pitch of the currently selected layer, and will affect the playback rate of sampled sounds. Sampled sounds have an upper limit on pitch adjustment. It’s normal for the pitches of sampled sounds to “pin” (stop getting higher) when you adjust the pitch upward in large amounts. The oscillator waveforms can be pitched higher. Any sound can be pitched downward without limit. The primary use of adjusting the function-parameter or fine adjust parameter (which will be explained under the next heading) is to offset the cumulative effects of the other DSP function parameters. For example, you might set a high value for key tracking (defined below) for a dramatic change in effect across the keyboard. The effect might be too much at one end of the keyboard, however, so you could use one of the adjust parameters to reduce the initial amount of that effect. The Forte SE always uses real values of measurement, rather than just arbitrary numbers, for adjustable parameters. This means that you specify pitch in semitones (ST) and cents (ct), and amplitude in decibels (dB). Remember that the parameters on the control-input pages are cumulative—they can add to or subtract from the effects of the other parameters on the page, depending on their values. For example, even if you’ve adjusted the pitch of a sample so high that it pins, the effects of the other parameters may bring the pitch back down to a workable range. 7-33 Program Edit Mode The Algorithm (ALG) Page Fine Adjust Parameter You can add slight detuning to the pitch with the fine adjust parameters. Notice that there are actually two fine adjust parameters for the Pitch function: one that changes the pitch in cents (100ths of a semitone), and one that changes it according to its frequency (in increments of Hertz—cycles per second). Since we’re discussing the universal control sources here, and not specifically pitch, we’ll move on for now, as the Hz parameter applies only to pitch-related functions. See The PITCH Page on page 7-30 for a more thorough description of Hz. Hard-wired Parameters Key Tracking This is a quick way to get additional control based on the MIDI note number of each note you trigger. Key tracking applies a different control signal value for each note number. In the case of pitch, key tracking enables you to change the tuning of each note relative to its normal pitch. Middle C is the zero point. Regardless of the key tracking value, there is no effect on Middle C. If you set a nonzero value for key tracking, the effect increases for each note above or below Middle C. In the case of pitch, for example, say you assign a value of 5 cents per key for the key tracking parameter. Triggering Middle C (C 4 on the Forte SE) will play a normal C 4. Triggering C# 4 will play a note 5 cents higher than C# 4. Triggering D 4 will play a note 10 cents higher than D 4, and so on. Notes below Middle C will be tuned lower than their normal pitches. If you set a negative value for key tracking, notes above Middle C will be tuned lower than their normal pitches. Keep in mind that key tracking on the PITCH page works in conjunction with the key tracking parameter on the KEYMAP page. This is why you can set the KeyTrk parameter on the PITCH page to 0ct/key, and notes still increase in pitch by 100 cents/key as you go up the keyboard. It’s because the KeyTrk parameter on the KEYMAP page is already set at 100 cents per key. Velocity Tracking A positive value for velocity tracking will raise the pitch as you trigger notes with higher attack velocities. This is great for getting a trace of detuning based on your attack velocity, especially in drum programs, where you can make the pitch of the drum samples rise slightly with higher-velocity Note Ons, just as drums do when you strike them harder. Negative values will lower the pitch as you increase the attack velocity. Programmable Parameters Source 1 (Src1) This parameter takes its value from a long list of control sources including every MIDI control number, a host of LFOs, ASRs, envelopes and other programmable sources. 7-34 Program Edit Mode The Algorithm (ALG) Page Src1 works in tandem with the parameter beneath it on the page: Depth. Choose a control source from the list for Src1, then set a value for Depth. When the control source assigned to Src1 is at its maximum, the pitch will be altered to the full depth you set. For example, if you set Src1 to MWheel, and set Depth to 1200 ct, the pitch will rise as you push the Mod Wheel up on your Forte SE or MIDI controller, reaching a maximum of 1200 ct (12 semitones, or one octave). Source 2 (Src2) This one’s even more programmable. Like Src1, you choose a control source from the list. But instead of setting a fixed depth, you can set a minimum and maximum depth, then assign another control source to determine how much depth you get. Try this example. (Make sure Src1 is set to OFF first, so the two sources don’t interact). Start with Program 199, and press Edit. Press the PITCH soft button to select the PITCH page. Set the Src2 parameter to a value of LFO1, then set the Minimum Depth parameter to 100 ct, and Maximum Depth to 1200 ct. Then set the Depth Control parameter to MWheel. This lets you use the Mod Wheel to vary the depth of the oscillation in pitch generated by the LFO. Now, when the Mod Wheel is down, the pitch will oscillate between a semitone (100 ct) up and a semitone down (the default waveform for LFO1 is a sine wave, which goes positive and negative). With the Mod Wheel up, the pitch will oscillate between an octave up and an octave down. Since the Mod Wheel is a continuous control, you can achieve any amount of depth control between the minimum and maximum. If you had set the Depth Control to Sustain, for example, then you’d get only two levels of depth control: the maximum (1200 cents) with your MIDI controller’s sustain pedal down, or the minimum (100 cents) with the sustain pedal up. Alt Input for Algorithms (Cascade Mode) Cascade mode is a particularly powerful feature of the Forte SE that allows you to create unique algorithms of previously unattainable levels of complexity. The following three figures show the signal path of a program configured using the Forte SE’s Cascade mode: 7-35 Program Edit Mode The Algorithm (ALG) Page On the ALG (Algorithm) page of every layer, the Alt Input parameter lets you select any other layer to go through the current layer’s DSP. You can set it up so that layer 1 goes into layer 2 into 3 (as shown above). If you turn down the volume on layers 1 and 2, then you are hearing true cascading—it’s like a big chain with each algorithm feeding into the next, and what you hear is layer 3’s output. You can also have the volumes of all three layers turned up, which will mix the signal of all three layers. You could, in the same program, also decide to run layer 4 into 5 into 6 into 13 into 25 if you wanted. Any of the 32 layers can go into any other layer. The Cascade mode algorithms (very much like triple mode on a K2600) start at ID 101. Note in the above figures how algorithm 101 looks very similar to algorithm 1. Each Cascade mode algorithm corresponds to its non-cascade equivalent, which has the same ID number minus 100. For example, algorithm 105 is a cascade mode version of algorithm 5. On the Alg page, select which layer you want to have running through your cascade layer with the Alt Input parameter. Make sure to turn down the Amp volume on your source layers if you only want to hear what’s coming out of the final cascade layer. Dynamic VAST The Dynamic VAST editor is yet another particularly powerful feature of the Forte SE that allows you to edit the wiring of an algorithm. With Dynamic VAST, literally thousands of wiring schemes are possible. Using Cascade mode in conjunction with Dynamic VAST gives you almost infinite control over your program’s sound and behavior by enabling you to create your own unique, complex algorithms. To enter the Dynamic VAST editor, select the ALG (Algorithm) page by pressing the ALG soft button. Highlight the Algorithm parameter, select an algorithm, and press the edit button. This action calls up the Edit Algorithm (EditAlg) page in which you can edit the wiring of the selected algorithm. 7-36 Program Edit Mode The DSP Control (DSPCTL) Page Parameter Range of Values Default Inputs 1, 2 1 Outputs 1, 2 1 Number of Blocks 1 to 4 2 Output Mode Normal, Sep. L/R Normal In addition to having a selectable function, each function block has three editable parameters: number of inputs, number of outputs, and block size (the Output Mode parameter is an editable parameter of the algorithm as a whole). When you first enter the EditAlg page, there will be a cursor in the parameter field, and the first block of the algorithm will be highlighted. To select a block for editing, move the cursor down the display until no parameter field is highlighted; then, using the < and > buttons, highlight the block you wish to edit. Press the ^ button to move the cursor back into the parameter fields, and then select the parameter you wish to edit. The Output Mode parameter determines the number of outputs from the algorithm. With Output Mode set to Normal, the algorithm has one output. With Output Mode set to Sep. L/R, the algorithm has two outputs, each of which is sent to a separate stereo channel. To edit the signal path, select either an input of a block or an output of the entire algorithm. By scrolling with Alpha Wheel or the Previous- and Next+ buttons, you can see every possible configuration for that selected signal path. The DSP Control (DSPCTL) Page Before reading further, be sure to read Algorithm Basics on page 7-31 and Common DSP Control Parameters on page 7-32. Press the DSPCTL soft button to call up the DSP Control (DSPCTL) page, which is displayed below: 7-37 Program Edit Mode The DSP Control (DSPCTL) Page Function Parameter Range of Values Default Pitch -128 to 127 semitones 0 Fine Adjust ± 100 cents 0 Hertz Adjust ± 10.00 Hertz 0 Key Tracking ± 2400 cents/key 0 Velocity Tracking ± 7200 cents 0 (Function) (Function-Parameter) (Depends on Function) (Depends on Function) (Function) (Function-Parameter) (Depends on Function) (Depends on Function) (Function) (Function-Parameter) (Depends on Function) (Depends on Function) (Function) (Function-Parameter) (Depends on Function) (Depends on Function) Level -96 to 24 decibels -6 Key Tracking ± 2.00 decibels/key 0 Velocity Tracking ± 96 decibels 35 Pitch Level Each field in the left-hand column of the page is a function-parameter of the current layer’s algorithm. You can coarsely adjust the function-parameter in these left-hand fields—as noted in Common DSP Control Parameters, any adjustments made to the function-parameters on the DSPCTL page are reflected in the corresponding function-parameters on the DSPMOD page. The right-hand side of the DSPCTL page is the subpage of the highlighted functionparameter—on the subpage are the fine adjust parameters and hard-wired parameters. To access the parameters on the subpage, highlight the function-parameter you wish to edit, and then press the > button to move the cursor into the subpage.The label of a functionparameter depends on its corresponding function-block in the current layer’s algorithm. The above DSPCTL page corresponds to the following algorithm: 7-38 Program Edit Mode The DSP Modulation (DSPMOD) Page The DSP Modulation (DSPMOD) Page Before reading further, be sure to read Algorithm Basics on page 7-31 and Common DSP Control Parameters on page 7-32. Press the DSPMOD soft button to call up the DSP Modulation (DSPMOD) page, which is displayed below: Parameter Range of Values Default Source 1 Control Source List Off Depth (Depends on Function) 0 Source 2 Control Source List Off Depth Control Control Source List Off Minimum Depth (Depends on Function) 0 Maximum Depth (Depends on Function) 0 Each field in the left-hand column of the page is a function-parameter of the current layer’s algorithm. You can coarsely adjust the function-parameter in these left-hand fields—as noted in Common DSP Control Parameters, any adjustments made to the function-parameters on the DSPMOD page are reflected in the corresponding function-parameters on the DSPCTL page. The right-hand side of the DSPCTL page is the subpage of the highlighted functionparameter—on the subpage are the programmable parameters. To access the parameters on the subpage, highlight the function-parameter you wish to edit, and then press the > button to move the cursor into the subpage. Each function-parameter’s subpage contains the programmable parameters of the highlighted function-parameter. By assigning control sources to modulate a function-parameter, you can enable real-time control of your program’s sound and behavior. You can assign Src1 to any control source, and can specify its maximum value with the Depth parameter. Src2 is different—you can assign it to any control source, but can also assign a control source to its maximum value with the DptCtl parameter. You can then specify the range of Src2’s depth with the MinDepth and MaxDepth parameters. 7-39 Program Edit Mode The OUTPUT Page Note: The Forte SE features an easy shortcut for quickly assigning any of the Forte SE’s realtime controllers (sliders, wheels, buttons, etc). to a currently selected parameter (such as the Src1 and Src2 parameters above). Simply hold the Enter button and move the desired controller. The label of a function-parameter depends on its corresponding function-block in the current layer’s algorithm. The above DSPMOD page corresponds to the following algorithm: The OUTPUT Page Press the OUTPUT soft button to get to the OUTPUT page, where you set the layer’s preand post-FX panning. There are actually four different configurations of the OUTPUT page; which one you see depends on whether the current layer uses a stereo keymap, and whether it uses program FX or layer-specific effects (more on this in The Program FX (FX) Page on page 7-13 and The Layer FX (LYR_FX) Page on page 7-15). Regardless of the page’s configuration, there are parameters for adjusting the pan position, the pan mode, the pan table (if any), the crossfade control, and the crossfade sense. Layers that use stereo keymaps, or that use layer-specific FX, have additional parameters on their OUTPUT pages. The following page is for a mono keymap program that uses program FX: 7-40 Parameter Range of Values Default Pan (or Pan 1) ± 64 0 (Pan 2) ± 64 63 Pan Mode Fixed, +MIDI, Auto, Reverse +MIDI Program Edit Mode The OUTPUT Page Parameter Range of Values Default (Output Pan) ± 64 0 (Output Gain) -96 to 48 decibels 0 (Output Pan Mode) Fixed, +MIDI +MIDI Pan Table Pan Table List 0 None Crossfade Control Control Source List Off Crossfade Sense Normal, Reversed Norm Drum Remap Off, Kurz1, Kurz2 Off Exclusive Zone Map Zone Map List 0 None Pan Use this parameter to position the current layer’s pre-FX signal. Negative values pan the signal to the left channel, positive values pan to the right, and a value of zero pans to the center. To adjust the post-FX, final-stage gain and panning of the current program, go to the COMMON page and adjust the Output parameters (see The COMMON Page on page 7-16); or to adjust a layer’s post-FX audio signal individually, go to the LYR_FX page and set the Layer FX Mode parameter to Layer-Specific FX (see The Layer FX (LYR_FX) Page on page 7-15), and then return to the OUTPUT page and adjust the output parameters. An additional pan parameter (Pan2) appears if you have the Stereo parameter on the KEYMAP page set to a value of On. Pan Mode When the mode is Fixed the pan position remains as defined with the Pan parameter, ignoring MIDI pan messages. When the mode is +MIDI, MIDI pan messages (MIDI 10) will shift the sound to the left or right of the Pan parameter setting. Message values below 64 shift it left, while those above 64 shift it right. A setting of Auto assigns the pan setting of each note based on its MIDI note number. In this case, Middle C (MIDI note number 60) is equivalent to the Pan parameter’s setting. Lower notes shift increasingly left, while higher notes shift increasingly right. A setting of Reverse shifts low notes right, and high notes left. MIDI pan messages will also affect the pan position when values of Auto and Reverse are selected. 7-41 Program Edit Mode The OUTPUT Page Output: Pan, Gain, and Mode When the Layer FX Mode parameter is set to Layer-Specific FX on the LYR_FX page, three additional parameters appear on the OUTPUT page: Out Pan, Out Gain, and Out Pan Mode. These parameters are analogous to the output parameters on the COMMON page, but are layer-specific—the COMMON output parameters apply to all layers. You can use the output parameters on the OUTPUT page to adjust the panning and gain of the post-FX signal of the current layer. Pan Table The factory preset pan tables are key-specific panning schemes by which the note that each key produces is uniquely panned. These tables are particularly useful for producing the stereo image of a drum set when creating percussion programs, or for producing the stereo image of a piano when creating piano programs. Crossfade and Crossfade Sense (XFadeSense) The Crossfade parameter lets you select a control source to fade the current layer’s amplitude from zero to maximum. When XFadeSense is Normal, the layer is at full amplitude when the Crossfade control is at minimum. With XFadeSense set to Reverse, the layer is at zero amplitude when the Crossfade control is at minimum. This parameter is similar to the Src1 and Depth parameters for the Amp function on the DSPCTL and DSPMOD pages, but the attenuation curve for the Crossfade parameter is optimized specifically for crossfades. To crossfade two layers in the same program, assign the same control source for the CrossFade parameters in both layers, then set one of their XFadeSense parameters to a value of Norm, and the other’s to Rvrs. 7-42 Program Edit Mode The LFO Page Drum Remap The Drum Remap parameter should generally not be changed. This parameter lets the Forte SE know how drum programs are mapped so that drum sounds can be properly remapped when using the General MIDI (GM) drum map (see below). Kurz1 designates that the current drum program was originally a PC2 program, and that it uses the PC2 drum map (programs 113-119 use this map). Kurz2 designates that the current drum kit uses the new Forte SE drum map (all other factory drum programs use this map: 120, 241-248, 369-376). The new drum map is similar to that of the PC2, except tom-tom sounds have been moved into octave C3-C4, so they are more easily playable with the main kick and snare drum sounds in that octave. When editing a kit, make sure to follow the layout of the drum map being used if you want to be able to properly remap the kit to the GM drum map. Programs that have the Drum Remap parameter set to Off will not be viewed by the Forte SE as drum programs and will not be affected when remapping to the GM drum map. In most keyboards and synthesizers, drum programs are mapped as dictated by the General MIDI (GM) industry standard. The GM drum map isn’t optimally intuitive in terms of playability, so we developed our own unique keymap that is more intuitive and lends better to performance. However, the GM drum map is so commonplace that many players feel most comfortable playing drum programs with the GM drum map. So, we designed the Forte SE such that you can remap drum programs to the GM drum map. You can set drum programs to remap to the GM drum map in Master Mode. On the Master Mode MAIN page set the drum remap parameter to GM. To return drum programs to their original maps, set this parameter to None. See Drum Remap on page 7-43 in the Master Mode chapter for more information. Exclusive Zone Map The Exclusive Zone Map is another parameter that applies principally to drum programs. When using a drum program, you may want the closed hi-hat sounds to “cut off” open hihat sounds. Since you can remap the keymaps of drum programs, this parameter remaps “cut off keys” accordingly. Like Drum Remap, you can use this parameter on any program, but you probably won’t want to do this. The LFO Page LFOs are low-frequency oscillators. LFOs are used to automate the modulation of a parameter based on the shape and frequency of an audio waveform. You’ll use the LFO page to define the behavior of the two LFOs available to each layer. LFOs are periodic (repeating) control sources. The basic elements are the rate, which defines how frequently the LFO repeats, and shape, which defines the waveform of the modulation signal it generates. 7-43 Program Edit Mode The LFO Page With the Forte SE, you can set upper and lower limits on each LFO’s rate, and assign a control source to change the LFO’s rate in realtime, if you wish. Because of its periodic nature, the LFO is perfect for creating effects like vibrato (cyclic variation in pitch) and tremolo (cyclic variation in amplitude). When you’re editing LFOs, or any control source, remember that it must be assigned to control some parameter before you’ll hear the effects of your edits. LFO1 is always local, meaning that it’s triggered with each Note On event, and runs independently for each note in the layer. LFO2 is local by default, but can be made global. This is done on the COMMON page, by setting the Globals parameter to On, which causes LFO2, ASR2, FUN2 and FUN4 all to become global. Global controls uniformly affect every note in each layer. Parameter Group (Available for each of LFO1 and LFO2) Range of Values Default Minimum Rate 1/4 note, 1/8 note, 1/8 triplet, 1/16 note, 0 to 24 Hz 0.00 Maximum Rate 0 to 24 Hz 0.00 Rate Control Control Source List Off LFO Shape LFO Shape List (Ref. Guide) Sine LFO Start Phase 0, 90, 180, 270 Degrees 0 Minimum Rate This is the slowest rate at which the LFO runs. When its Rate Control is set to OFF, or when the control source assigned to it is at its minimum, the LFO runs at its minimum rate. As previously mentioned, the values 1/4 note, 1/8 note, 1/8 triplet, and 1/16 note sync the Minimum Rate with the Forte SE’s system tempo. Of course, if you choose to tempo sync your LFO, then the LFO rate is fixed, and you can specify neither Maximum Rate nor Rate Control. The display changes as shown below: 7-44 Program Edit Mode The LFO Page Maximum Rate This is the fastest possible rate for the LFO. When its Rate Control is set to ON, or when the control source assigned to it is at its maximum, the LFO runs at its maximum rate. Rate Control Assign any control source in the list to modulate the LFO’s rate between its minimum and maximum. A continuous control like the Mod Wheel is a natural choice, enabling you to get just about any rate between minimum and maximum. But you can use a switch control too, to get just the minimum or maximum with nothing in between. Assigning MPress (aftertouch) as the rate control for an LFO vibrato gives you an easy way to increase the vibrato rate in realtime, as you can on many acoustic instruments. LFO Shape The shape of the LFO waveform determines the nature of its effect on the signal its modulating. An easy way to check the effects of the different LFO shapes is to set LFO1 as the value for the Src1 parameter on the PITCH page, and set the Depth for Src1 to 400 cents or so. Then go to the LFO page, set the Min and Max rates for LFO1 at 0.00 Hz and 4.00 Hz or so, and set the Rate control to MWheel. Now play your MIDI controller and you’ll hear the LFO’s rate change when you move its Mod Wheel. Select different LFO Shapes and check out the effect on the pitch. LFO Phase Use this parameter to determine the starting point of the LFO’s cycle. One complete cycle of the LFO is 360 degrees. 0 degrees phase corresponds to a control signal value of 0, becoming positive. Each 90-degree increment in the phase represents a quarter-cycle of the LFO. When an LFO is local, the phase parameter gives you control over the starting point of the LFO for each note (for example, you could make sure every vibrato started below the pitch you played instead of at the pitch you played). The LFO’s phase also affects global LFOs, although it’s often indistinguishable, since global LFOs start running as soon as the program containing them is selected, even if you don’t play any notes. 7-45 Program Edit Mode The ASR Page The ASR Page ASRs are three-section unipolar envelopes—attack, sustain, and release. The Forte SE’s ASRs can be triggered by a programmable control source, and can be delayed. ASR1 is always a local control. ASR2 is local by default, but becomes global if the Globals parameter on the COMMON page is set to On. ASRs are frequently used to ramp the depth of pitch or amplitude in a vibrato or tremolo, enabling delays in those effects. The ASR page consists of two rows of five parameters, one row for each of the ASRs. Parameter Range of Values Default Trigger Control Source List Off Mode Normal, Hold, Repeat Normal Delay 0 to 30 seconds 0 seconds Attack 0 to 30 seconds 0 seconds Release 0 to 30 seconds 0 seconds Trigger This defines the control source that starts the current layer’s ASRs. The ASR starts when the trigger switches from off to on. If the Trigger parameter is set to ON, a global ASR starts running immediately when you select a program that contains it. A local ASR starts running as soon as you trigger a note in the layer that contains it. Switch controls are better suited for ASR triggers because of their binary (on/off) nature. A continuous control will trigger the ASRs when its signal value is above its midpoint. Mode This parameter sets the sustain section of the ASR. The ASR’s mode determines what the ASR does when it finishes its attack section. If the Mode parameter is set to Normal, the ASR will run directly from its attack section to its release section (no sustain). At a setting of Repeat, the ASR will cycle through the attack and release sections, then loop forward and cycle through again until the ASR’s trigger switches off. If the mode is set to Hold, the ASR maintains its position at the end of the attack section until the ASR’s trigger switches off. 7-46 Program Edit Mode The Function (FUN) Page The ASR then goes into its release section. If the ASR’s trigger switches off before the attack section is complete, the ASR goes directly to its release section. Delay When the ASR’s trigger switches on, the ASR will start immediately if this parameter is set to zero. Nonzero values will cause a corresponding delay between the ASR trigger and the start of the ASR. Attack This defines how long the ASR takes to ramp up from minimum to maximum effect on whatever it’s patched to. Release This defines how long the ASR takes to fade to minimum from its maximum. If the ASR’s trigger switches off before the ASR has reached maximum, the ASR releases from that level. The Function (FUN) Page FUN is short for function. The Forte SE’s four FUNs greatly extend the flexibility of the control sources. Each FUN accepts input from any two control sources, performs a selectable function on the two input signals, and sends the result as its output, which can be assigned like any other control source. Using the FUNs involves defining them on the FUN page, then assigning one or more of them as control sources. The FUN page looks like this: There are three parameters for each FUN. Inputs a and b can be any control source from the Control Source list. The control sources you want to combine are the ones you’ll assign as the values for these parameters. The Function parameter determines what mathematical function is applied to the two inputs. When a FUN has been assigned as a control source, the Forte SE reads the values of the two control sources defined as Inputs a and b. It then processes them according to the setting for the Function parameter, and the resulting value is the FUN’s output. 7-47 Program Edit Mode The Amplitude Envelope (AMPENV) Page The Amplitude Envelope (AMPENV) Page Amplitude envelopes have three sections: attack, decay, and release. The attack section determines how long each note takes to reach its assigned amplitude level after you trigger a Note On event. The decay section determines how quickly and how much a sustained sound fades before a Note Off is triggered. The release section determines how quickly a sound fades to silence after a Note Off is triggered. Press the AMPENV soft button to reach the Amplitude Envelope page. For many programs, it will look like the diagram below, which tells you that the amplitude envelope for the current layer is the sample’s default “natural” envelope. Many factory ROM programs use the natural envelope, which is custom designed for each sample and waveform during its original development process. A natural envelope usually contains more detail than a user envelope, and may make samples of acoustic instruments sound more realistic. If you want to build your own amplitude envelope, just turn the Alpha Wheel a click. The value Natural will change to User, and a set of AMPENV parameters will appear. The sound will change when you do this, because the default settings for the User envelope, as shown in the diagram below, take effect as soon as you leave Natural mode. Returning to Natural mode applies the original amplitude envelope once again. 7-48 Program Edit Mode The Amplitude Envelope (AMPENV) Page You’ll tweak the parameters on the AMPENV page when you want to shape the amplitude characteristics of your sounds. A graphic view of the amplitude envelope will appear on the display to give you a visual sense of the envelope’s characteristics. The dots along the envelope graphic indicate the breakpoints between the envelope’s various segments. The AMPENV page’s top line gives you the usual location reminder, points out the currently selected layer, and tells you the relative scale of the envelope’s graphic view. The envelope graphic shrinks in scale as the segment times get longer. This auto-zoom feature maximizes the available display space. Try lengthening one of the segment times. The envelope graphic will stretch to fill the display from left to right. When it fills the display, it will shrink to half its size, and the top line will indicate that the scale has changed (from [1/1] to [1/2], for example). Each parameter on this page has two values, as listed below. For the envelope segments, the first (upper) value is the duration of the segment, and the second is the amplitude level at the completion of the segment. For the Loop parameter, the values define how the envelope loops, and how many times the loop cycles. Parameter Group Attack Segment 1, 2, 3 Decay Segment Release Segment 1, 2, 3 Loop Parameter Range of Values Time 0 to 60 seconds Level 0 to 100% Time 0 to 60 seconds Level 0 to 100% Time 0 to 60 seconds Level 0 to 150% (Release Segment 3 is always set to 0%) Type Off, Forward, Bidirectional # of loops Infinite, 1 to 31 times Attack Segment Times These indicate how long it takes for the current layer’s amplitude to reach its final level from its starting level. Attack Segment Levels These are the final levels that each segment achieves at completion. The levels are expressed as percentages of the maximum possible amplitude for the current layer. Attack segment 1 always starts at zero amplitude, and moves to its assigned level in the time specified by its time value. So the default settings of 0 seconds and 100% mean that the first segment of the attack section moves instantly from zero amplitude to 100% amplitude. Increase the time of Attack segment 1 if you want the sound to ramp up more slowly. 7-49 Program Edit Mode The Amplitude Envelope (AMPENV) Page Attack segments 2 and 3 affect the sound only when you set a nonzero value for time. They will then move to their assigned levels in the time specified. Their starting levels are equal to the final levels of the preceding segment. Decay Segment The decay section has only one segment. It has values for time and level, just as for the attack section. The decay section begins as soon as the attack section has been completed. It starts at the same amplitude level as the attack segment preceding it, and moves to its assigned level in the time specified. You’ll hear a note’s decay section only when the attack section is completed before a Note Off message is generated for that note. To create a sustaining envelope, simply set the Decay segment’s level to a nonzero value. Release Segments Like the attack and decay sections, each of the three segments in the release section has values for time and level. Each segment reaches its assigned level in the time specified for that segment. Release segment 1 starts at the Note Off event for each note, at the current amplitude level of that note—whether it’s in the attack section or the decay section. It then moves to its assigned level in the time specified. Release segments 2 and 3 start at the final levels of the segments before them. Release segments 1 and 2 can be set to any level from 0 to 150%. Release segment 3 always has a level of 0%, so you can’t adjust its level. In place of its Level parameter you see a parameter that lets you toggle between User envelopes and the sound’s preprogrammed natural envelope. Loop Type There are seven different values for Loop type. A value of Off disables looping for the current layer’s amplitude envelope. Values of seg1F, seg2F, and seg3F are forward loops. In each case, the amplitude envelope plays through the attack and decay sections, then loops back to the beginning of the first, second, or third attack segments, respectively. Values of seg1B, seg2B, and seg3B, are bidirectional loops. The amplitude envelope plays through the attack and decay sections, then reverses and plays backward to the beginning of the first, second, or third attack segment, respectively. When it reaches the beginning of the assigned attack segment, it reverses again, playing forward to the end of the decay section, and so on. 7-50 Program Edit Mode TheEnvelope2(ENV2)andEnvelope3(ENV3)Pages Number of Loops A value of Inf makes the amplitude envelope loop until a Note Off is generated. Values of 1 through 31 indicate how many times the loop will repeat after the amplitude envelope has played once through its normal cycle. Regardless of the loop type and the number of loops, each note goes into its release section as soon as its Note State goes off (that is, when a Note Off is generated). The envelope will continue to loop as long as Note State remains on, whether it’s held on by a pedal, by the IgnRel parameter (described in the section entitled The LAYER Page on page 6-17), or anything else. The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages The Forte SE offers two envelopes in addition to AMPENV. Like AMPENV, ENV2 and ENV3 can be assigned like any other control source. Unlike AMPENV, however, ENV2 and ENV3 can be bipolar. This means that you can set negative values for them. (Obviously, you can’t have an amplitude less than zero, so AMPENV is unipolar—the values range from either 0 to 100% or 0 to 150%). A bipolar envelope controlling pitch, for example, could modulate the pitch both above and below its original level. Another difference is that AMPENV always controls the amplitude of the layer, so even if you use it as a control source for other functions, it will still affect the layer’s amplitude. ENV2 and ENV3 affect only those layers that have them assigned as a control source. Also, AMPENV uses an exponential attack (the amplitude rises much faster at the end of the attack segment than it does at the beginning), while ENV2 and ENV3 use linear attacks (the attack segment increases at the same rate from start to finish). The pages for Envelopes 2 and 3 are reached with the soft buttons ENV2 and ENV3. When you select these pages, you’ll find a display that looks very much like the AMPENV page. The only differences are that you can program an amount for Rel3; the Rel1 and Rel2 limits, which are ±100%; and in the envelope graphic, which has a dotted line running horizontally across the display. This is the zero level line; negative level values for the various envelope segments will cause the envelope graphic to dip below this line. 7-51 Program Edit Mode The Envelope Control (ENVCTL) Page The Envelope Control (ENVCTL) Page The Envelope Control page gives you realtime control over the rates of each section of the amplitude envelope for both natural and user envelopes (see The Amplitude Envelope (AMPENV) Page on page 7-48). Press the ENVCTL soft button to reach the ENVCTL page. The display’s top line reminds you of the current layer. The column on the left lists the three section types of the amplitude envelope, and each corresponding line lists the values for the five DSP control parameters that are available for each section type. The DSP control parameters are: Adjust, Key tracking, Velocity tracking, and Source/Depth, which are listed at the top of each corresponding column. When AMPENV is set to User mode, the Attack and Release sections on this page apply to the attack and release sections on the AMPENV page. It’s important to keep in mind that the values for the various parameters are cumulative, meaning that if for example you set attack to be controlled by Keytrk and VelTrk, the resulting change on Attack would be affected by the combination of the values produced by KeyTrk and VelTrk. Also note that unlike previous Kurzweil models, ENVCTL does affect the attack sections of natural envelopes. Additionally, the bottom line of this page lets you make use of the Impact feature, which lets you boost or cut the amplitude of the first 20 milliseconds of a note’s attack. The parameters and values in the following parameters list (see below) apply to each of the three envelope sections—attack, decay, and release. We’ll describe them only once, since their functions are largely the same for each envelope section. The only difference is with velocity tracking, which is only available as a parameter to control attack sections of the amplitude envelope (however, you can assign attack velocity as the value for the Source parameter in each of the sections). The values of each of these parameters multiply the rates of the envelope sections they control. Values greater than 1.000x make the envelope sections run faster (they increase the rate), while values less than 1.000x make the envelope sections run slower. Say for example that on the current layer’s AMPENV page you had set the Decay section’s time at 2.00 seconds, and its level at 0%. This sets the layer’s amplitude to fade to silence two seconds after the completion of the last attack segment. The decay time is two seconds; the decay rate is 50% per second. Now if you select the ENVCTL page and set the Decay Adjust parameter to a value of 2.000x, you’ve increased the decay rate by a factor of two, making it twice as 7-52 Program Edit Mode The Envelope Control (ENVCTL) Page fast. The rate increases to 100% per second, and the decay time is now one second instead of two. Note: Since 0 multiplied by any number equals 0, the envelope parameters on this page will have no effect on any AMPENV sections set to 0 seconds. A way around this is to change any AMPENV sections set to 0 to 0.02 seconds. Parameter Group (Available for each of Att, Dec, Rel, Imp) Range of Values Adjust 0.018 to 50.000x (-24.0 to 24.0 dB for Imp) Key Tracking 0.018 to 50.000x (-2.00 to 2.00 dB for Imp) Velocity Tracking 0.018 to 50.000x (Not available for Dec or Rel; -24.0 to 24.0 dB for Imp) Source Control Source List Depth 0.018 to 50.000x (-24.0 to 24.0 dB for Imp) Adjust This is the familiar Coarse adjust found on many other pages. Use it here to change the rate of one of the envelope sections without reprogramming the envelope itself. This parameter doesn’t give you realtime control over the envelope. It is, however, a good way to adjust the natural envelopes without switching to a User envelope and trying to approximate the Natural envelope. Key Tracking This uses the MIDI note number of each key as the control input for the current layer’s corresponding envelope section. When the value of this parameter is greater than 1.000x, notes above C 4 will make the envelope section run faster, while notes below C 4 will make it run slower. When the value of this parameter is less than 1.000x, notes above C 4 will make the envelope section run slower, and notes below C 4 will make it run faster. This gives you realtime envelope control right from your MIDI controller. You might use it, for example, to cause an acoustic guitar sound to decay quicker at the high end of the keyboard (set the key tracking to a positive value). 7-53 Program Edit Mode The Envelope Control (ENVCTL) Page Velocity Tracking Use your attack velocity as the control input for the current layer’s attack section (this parameter doesn’t apply to decay or release). When the value of this parameter is greater than 1.000x, attack velocities greater than 64 make the attack section run faster, and attack velocities below 64 make it run slower. This gives you realtime attack control over the envelope. Source, Depth These two parameters work together to let you assign a control like the Mod Wheel to affect the current layer’s amplitude envelope in realtime. The value of the Source parameter defines which control affects the envelope section, and the value of the Depth parameter defines how much the rate is multiplied when the control is at its maximum value, 127. No effect is had when the control is at its minimum value, 0, and Depth values are scaled for controller values in between. Note: For each note triggered, you can only set the controller value that will scale the Depth parameter of an envelope section before that section of the envelope is triggered. For controllers assigned for Attack, the controller value used will be the last received before the note is triggered. For controllers assigned for Decay, the controller value used will be the last received before the final section of the attack envelope reaches its maximum amplitude. For controllers assigned for Release, the controller value used will be the last received before the note is released. To put it another way, for each envelope section, you cannot change the rate of a note’s envelope once that section of the envelope has been triggered. Impact Impact can boost or cut note volume by up to 24 dB during the first 20 milliseconds of the attack of an envelope. This feature is an easy way to get more “thump” from your bass and drum sounds. 7-54 Program Edit Mode The Arpeggiator Function The Arpeggiator Function The Arpeggiator takes note input from the keyboard (or via MIDI) and outputs a rhythmic and/or melodic pattern of MIDI notes. The Arpeggiator can affect both the internal programs and external MIDI instruments. The Arpeggiator processes notes by playing them repeatedly, and/or transposing them up and down the keyboard. You have control over note output velocity, order, duration, transposition, and more. You can control several arpeggiator parameters in real time. You can also assign and edit specific patterns for note shifting, velocity shifting, and duration, either as separate patterns, or as a combination of all three in Step Sequencer mode. The Arpeggiator also has several different “latch” settings, which allows the arpeggiator to continue to play after you have released the keys. Arp Switch (On/Off) Forte SE Programs use a global arpeggiator, which can be toggled on and off with the Arp switch. This changes the “State” parameter of the Program Arpeggiator, which can also be switched on using Controller number 147 (ArpOn) and switched off using Controller number 148 (ArpOff). These controllers can, of course, be assigned as the destination of a Forte SE physical controller other than the Arp Switch. Arp soft button Hitting the Arp soft button brings upthe Arpeggiator editor, where you can adjust many parameters. 7-55 Program Edit Mode The Arpeggiator Function Some Arpeggiator parameters may be determined by the ArpPreset, which can be saved with the Program. An ArpPreset of 0 (none) will default to the parameter values shown below. ARP1 Page 7-56 Parameter Range of Values Default Arp Preset 0-148 factory presets; 1024 user presets 0 (None) State On/Off Off Arp Mode Classic, StepSeq (see ARP2 page for further parameters) Classic Tempo System, 20-320 bpm System Latch Standard, Overplay, Arpeg, Add, Auto, AutoHold, 1NoteAuto, 1NoteAutLo, 1NoteAutHi Standard Limit Option Stop, Reset, Unipolar, Bipolar, Float Res, Float Uni, Float Bip Unipolar KeyRange all keys C1 - G9 Beats 1/1 (Whole Notes) to 1/384 (96 notes per beat) 1/16 (16th Notes) Program Edit Mode The Arpeggiator Function Parameter Range of Values Default ShiftMode Alg (algorithm) or Patt (pattern) Alg ShiftLimit 0-60 semitones 24 Shift (Alg) Shift Pattern (Patt) ± 88 Semitones 1-69 Preset patterns 0 Off Play Order Played, Upwards, Downwards, UpDown, UpDown Repeat, Random, Shuffle, Walking, Simultaneous Played Arp Preset Use the Arp Preset parameter to recall factory or user created Arpeggiator settings. An Arp Preset contains settings for all of the parameters on the Arp1 and Arp2 pages (except for the State parameter). Scrolling through the Arp Presets is an easy way to discover the different possibilities of the arpeggiator, or to find a preset similar to what you want and continue to edit it from there. You can save your current settings as an Arp Preset by pressing the ArpSav soft button. If you select a different Arp Preset before saving your current Arpeggiator settings, the current Arpeggiator settings will be replaced by the settings from the preset without showing a warning. Be sure to save your settings as an Arp Preset if you want to be able to recall them after making additional changes. Even if you don’t save the current Arpeggiator settings as an Arp Preset, the most recent settings will always be saved with the program when the program is saved. State Use the State parameter to turn the Arpeggiator On or Off. The State parameter does the same thing as the front panel Arp On/Off switch. If you save a Program with the Arp State On you may then use the Arp switch to change the state to Off as you play. Arp Mode The two Arpeggiator modes, Classic and StepSeq, offer different means of shaping and editing Arpeggiator patterns. Depending upon this mode, the ARP2 page will provide access to different options and editable patterns. In Classic mode, ARP2 will offer factoryprogrammed note-Shift Patterns, and editable Velocity and Duration patterns. In StepSeq mode, you can use ARP2 to edit sequences step-by-step, specifying Note, Velocity, Duration and Beat for each step in a sequence. 7-57 Program Edit Mode The Arpeggiator Function Tempo The Arpeggiator tempo parameter specifies beats-per-minute. When set to System it will use the the value set on the TEMPO page in Global Mode (see TEMPO on page 12-16) for details). If a specific Arpeggiator tempo is saved with an Arp Preset, the Global tempo will be set to that value when the preset is selected. For quick access to the Global TEMPO page from any other page, press the left and right navigation buttons simultaneously. You can then use the Alpha Wheel for real time control over the Arpeggiator tempo, overriding the saved preset value. Latch Latch determines how the Arpeggiator responds to notes when they are they are triggered. Keys means that the Arpeggiator plays only while you are holding one or more keys down (or note triggers on). As you play different notes, they get added to the Arpeggiator, and as you release notes, they get taken out. If you play notes faster than the Arpeggiator’s current tempo, each subsequent note will be added to the arpeggiation at the next division of a beat. This can cause a lag between the time you play the note and the time you hear it in the arpeggiation. In the next three modes, the Arpeggiator latches notes only when MIDI Controller 157 (Latch) sends a value of On (64 or higher). An easy way to experiment with these modes is to assign the Mod Wheel to send MIDI 157. In Overplay mode, the Arpeggiator latches any notes that are being held when Latch turns on, and continues playing them, even after you let them go, until Latch turns off. Any notes that you play after Latch is already on do not get arpeggiated, even if they’re in the arpeggiation range. Arpeg is similar: any notes held when Latch goes on are latched and arpeggiated, and keep going until Latch goes off. Any notes you play outside the arpeggiation range play normally. Notes that you play inside the arpeggiation range do not play normally; rather, if you hold them on, they become part of the arpeggiation. They drop out of the arpeggiation as soon as you release them. Like Overplay and Arpeggiation, Add means that all notes being held when Latch goes on get latched, and keep playing until Latch goes off (even if you’ve released the notes). Any notes you play after Latch is already on also get latched. Auto is independent of Latch; every note you play is automatically latched, and the Arpeggiator runs as long as you hold at least one arpeggiated note. As long as you keep holding on at least one note (it doesn’t have to be the same note the whole time), every note you play in the arpeggiation range gets latched. Pedals is sort of a combination of Keys, Add, and Overplay modes. It relies on both Latch (MIDI 157) and Latch2 (MIDI 158). If neither latch controller is on, notes will arpeggiate only while you are holding down keys (similar to Keys mode). If you activate Controller 158, the keys currently held down will latch, and any additional keys played while Controller 158 7-58 Program Edit Mode The Arpeggiator Function is on will also latch (similar to Add mode). When Controller 158 is off, any keys that are not currently held down will be removed from the arpeggiation. If you activate Controller 157, keys currently held down will latch, and any additional keys played while Controller 157 is on will play normally (similar to Overplay mode). This mode is called Pedals mode because you might want to assign Footswitch 1 to Latch (Controller 157) and Footswitch 2 to Latch2 (Controller 158) to make the pedals function similarly to sustain and sostenuto pedals. Additionally, you could assign one Footswitch to SusLatch (Controller 160)—doing this makes the Footswitch act as a sustain pedal when Arp is off, and as a Latch pedal when Arp is on. Autohold is similar to Auto. Holding at least one arpeggiated note on and playing other notes latches those notes. Unlike in Auto mode, if you stop holding at least one arpeggiated note on, the arpeggiation continues playing (although you can’t latch any more notes). In this case, if you strike another key within the Multi’s arpeggiation range, you start a new arpeggiation sequence. Autohold is useful for arpeggiating chords: when you play a chord, it gets latched, and continues arpeggiating after you release the chord. When you play another chord, the previous chord gets unlatched, and the new one gets latched. You can use the Panic soft button to stop arpeggiation at any time. 1NoteAuto is similar to Autohold, except only the last note played is latched (even if previously played notes are still being held.) 1NoteAuto is specifically designed for use with Shift Patterns (see above) because Shift Patterns are designed to be played from one note at a time (though you can use 1NoteAuto without a Shift Pattern as well.) Using 1NoteAuto for zones that use a Shift Pattern ensures that Shift Patterns will sound correct by only allowing one note at a time to trigger the pattern. You can use the Panic soft button to stop arpeggiation at any time. 1NoteAutoLow and 1NoteAutoHi are also designed for use with Shift Patterns. They work similarly to 1NoteAuto, except 1NoteAutoLow always latches the lowest note when holding multiple notes, and 1NoteAutoHi always latches the highest note when holding multiple notes. You can also use these latch types without a Shift Pattern if desired. Limit Option This parameter determines what the Arpeggiator does when it has shifted the currently latched notes up (or down) to the shift limit. Stop causes the Arpeggiator to stop when it reaches the shift limit. Reset causes the Arpeggiator to return to its original pitch and repeat the latched cycle of notes, transposing each cycle according to the settings for Shift Amount and Shift Limit. If the limit allows the notes to go out of MIDI range (for example, if you set Shift to 12, set the limit to 60, and play C6), then those “ghost” notes don’t sound, but they take up rhythmic space: the Arpeggiator waits for the cycle to play itself out before starting over. Unipolar means that after playing up to the shift limit, the Arpeggiator begins shifting notes in the opposite direction, until it reaches the original pitch, where it reverses again. To determine the next note when it reaches the shift limit, the Arpeggiator calculates the interval between the shift limit and what the next note would be if the shift limit weren’t there. It then plays the note that is the calculated interval lower than the last note before the 7-59 Program Edit Mode The Arpeggiator Function shift limit. The same thing happens in reverse when the arpeggiated notes get back down to the original pitch. The following table makes this easier to visualize by showing the result of arpeggiating one note (C4) in Unipolar mode, with Shift Amount set to 3 ST and various values for Shift Limit. Shift Limit Resulting Arpeggiation (When LimitOption is Unipolar) Comment Up Down Up 6 ST (F#4) C4, D#4, F#4, D#4, C4 D#4, … Same notes play in both directions when Shift Limit is a multiple of Shift Amount 7 ST (G4) C4, D 4, F 4, E4, C 4, D 4, … Last upward note before shift limit is F#4, next upward note would be A4, which is 2 ST from shift limit (G4); therefore first downward note is E4 (2 ST below last upward note) 8 ST (G#4) C4, D#4, F#4, F4, D4, D#4, … A4 is 1 ST from shift limit, therefore first downward note is F4 (1 ST lower than last upward note) 9 ST (A4) C4, D#4, F#4, A4 F#4, D#4, C4, D#4, … All symmetrical again; now A4 is within shift limit 10 ST (A#4) C4, D#4, F#4, A4, G4, E4, C#4, D#4, … Next upward note would be C5, which is 2 ST from shift limit 11 ST (B4) C4, D#4, F#4, A4, G#4, F4, D4, D#4, … C5 is 1 ST from shift limit 12 ST (C5) C4, D 4, F 4, A4, C5, A4, F 4, D 4, C4, D#4, … Symmetrical again, including C5 # # # # # # # # Bipolar starts out the same way as Unipolar, but during downward note shifting, it continues past the original pitch until it hits the shift limit in the opposite direction, where it reverses again. Float Res adds a bit of apparent randomness to the process. “Float” means that when the Arpeggiator reaches the shift limit, it resets—but not to its original pitch as with plain Reset. Like Unipolar and Bipolar, it looks at the first note that would exceed the shift limit, and calculates the interval between that note and the shift limit. It then restarts the cycle of latched notes, transposing the entire cycle by the interval it just calculated, then shifting each subsequent cycle by the value of Shift Amount, until it reaches the shift limit again. Here’s a very simple example. Suppose that the only note in the Arpeggiator cycle is C4, Shift Amount is 4 (a third), and Shift Limit is 7 (so notes won’t get shifted above G4). The Arpeggiator plays C4, then E4. The next note should be G#4, but that’s above the shift limit—so the Forte SE calculates the difference between that G#4 and the shift limit (G4): one semitone. It adds that difference to the original starting note (C4) and plays that note next—C#4. The next note (F4) is within the shift limit, but the next note (A4) isn’t, so it gets translated into D4—and so on. 7-60 Program Edit Mode The Arpeggiator Function Float Uni uses the same concept and applies it to Unipolar mode: when the Arpeggiator reaches the shift limit, it calculates the difference between the next note and the limit, and transposes the next cycle of notes down by that interval, then shifts each subsequent cycle down until it reaches the original pitch. Float Bip is similar to Float Uni, but the downward shift limit isn’t the original pitch, it’s the negative of the Shift Limit value. The Arpeggiator can be a lot of fun, even if you don’t always understand exactly what it’s doing. Keep in mind that the stranger the algorithm you set up, the more unlikely the notes will stay close to one key, so if you want to create something that’s going to sound at all diatonic, keep it simple. Key Range (Low Key and High Key) The Arpeggiator processes notes within the range of these parameters. Notes outside the specified range play normally, and do not become part of the arpeggiation sequence. Set the LoKey and HiKey parameters using the data entry wheel or buttons. Beats The Beats parameter sets the number of notes per beat. The tempo is based on quarter notes. Therefore, if you set Beats to 1/4, you will get one note per beat of the clock. At 1/16, you will get 4 notes per beat, and so forth. The maximum value is 96 notes per beat (1/384), but at most tempos, divisions smaller than 1/64 will sound pretty much the same. To find a Beats value, multiply the notes you want per beat by 4. For example, 4 notes per beat (16th notes) would be 4*4=16, a Beats value of 1/16. Three notes per beat (8th note triplets) would be 3*4=12, a Beats value of 1/12. Six notes per beat (16th note triplets) would be 6*4=24, a Beats value of1/24. Shift Mode The Alg (algorithm) option will let you create note sequences based upon a fixed Shift Amount. When you select Patt (pattern), the ShiftPatt parameter option will appear, allowing you to select one of several factory- defined patterns. Shift Limit Limit determines how far up or down the Arpeggiator shifts from the original note. The minimum value is 0, and the maximum is 60. When the Arpeggiator reaches the limit, the Arpeggiator responds according to the setting for the Limit Option parameter. Shift (Shift Amount) You can tell the Arpeggiator to transpose all of the currently latched notes each time it plays through them. Shift Amount determines how much transposition will occur for each cycle of notes. For example, if you have latched C4 and F4, and you assign a Shift Amount of 2, the Arpeggiator will play C4, F4, D4, G4, E4, A4, and so on until it reaches the Limit value. The Shift Amount values can range from -88 to 88, with 0 (the default) being no transposition. 7-61 Program Edit Mode The Arpeggiator Function Shift Pattern (ShiftPatt) When the Shift Mode is set to Pattern, ShiftPatt engages a step sequencer for arpeggiator note patterns. The inputted note number of each played key is shifted according to a sequenced pattern, thus “Shift Pattern.” The Forte SE has 69 pre-programed shift patterns including many useful chords, intervals, and rhythms. (You can also create your own custom patterns using the StepSeq editor.) Steps are played back at the rate set for Beats. Keep in mind that Shift Patterns are affected by every parameter on the ARP1 page, which can be the cause of unexpected variation, or a way to add interesting variation to a pattern. Shift Patterns are most easily used and understood when triggered by only one key at a time. One way to prevent triggering from multiple keys is to use one of the Latch types 1NoteAuto, 1NoteAutoLow, or 1NoteAutoHi when using a shift pattern. Triggering shift patterns from one key allows the pre-programed patterns to sound like what you would expect from their names. If no other keys are playing, patterns will start over each time a key is pressed (there are some exceptions to this when using Arpeggiator Latch parameters other than “Keys,” though a newly triggered pattern will always start at step 1). When triggering Shift Patterns from more than one key at a time, each consecutive step of the pattern shifts the note from a different inputted key, the order of which is decided by the Play Order parameter on the ARP1 page. This means that each key will not be shifted by every step of the pattern, causing you to only hear part of the pattern from each key, often making the pattern unrecognizable. Though triggering a Shift pattern from multiple keys can be used creatively, it can also make it hard to predict what the output will be. Play Order This parameter determines the order in which the Forte SE plays arpeggiated notes. Played causes them to play back in the chronological order in which you played and latched them. Upwards means that notes play in ascending pitch order, regardless of their chronological order. Downwards means descending pitch order. UpDown causes notes to play from lowest pitch to highest, then from highest pitch to lowest, repeating the cycle until you stop the arpeggiation. The notes at the very top and very bottom only play once. UpDown Repeat is similar to UpDown, except that the notes at the top and bottom play twice (repeat) when the Arpeggiator reverses direction. Random plays the currently latched notes in completely random order. Shuffle plays them at random, but keeps track of the notes so that no note repeats until all of the others have played. Walk is a “random walk” order: each successive note is either the next or previous note (in chronological order). For example, suppose you’ve latched four notes—G4, B4, D5, and F5—in that order. The first note the Arpeggiator plays is the G4. The second note will be either B4 (the next note chronologically), or F5 (the “previous” note chronologically— that is, the last latched note). If the second note is B4, the third note will be either D5 or G4. If the second note is F5, the third note will be either G4 or D5. 7-62 Program Edit Mode The Arpeggiator Function Simultaneous makes the Arpeggiator latch each note you play and repeat it in time with the Tempo value, sort of like a digital delay with no decay. If you play a C and hold it while you play an E and a G, the Arpeggiator will play all three notes at the same time and at the same tempo. Simultaneous also works well with Shift and Limit, allowing you to shift multiple notes simultaneously. The ARP2 Page Editing Patterns in Classic Mode The ARP2 page will allow you to set different parameters depending upon the Arp Mode selected. When set to “Classic” the ARP2 page will give access to these parameters: With Arp Mode set to Pattern, Velocity Mode and Duration Mode include step sequencers for note and velocity shifting, allowing you to more precisely control how your Arpeggiator (or MIDI note input) is processed. Velocity Mode First, Played, Last, Aftertouch, MIDI 109, Fixed, Pattern (1-74 factory patterns plus user created patterns) Human1-4, Chimp1-4, MissNotes1-9 Played Velocity (Fixed) 1 to 100 100 Duration Mode Fixed, Pattern Duration (Fixed) 1% to 100% 100% ShftPattrn (Shift Pattern) Off, 1-69 factory patterns Off Velocity Mode Velocity sets the attack velocity of the played notes. With Velocity set to First, all notes play at the velocity of the first played note. With Velocity set to Played, each note repeats with the same velocity you played it at. With Velocity set to Last, all notes play at the velocity of the most recently played note. With Velocity set to Aftertouch, the velocities are controlled by keyboard pressure: as you hold and push down on any key, the velocities get higher, and as you ease up they get lower. 7-63 Program Edit Mode The Arpeggiator Function With Velocity set to MIDI 109, MIDI controller 109 continually sets the arpeggiator velocity. This works well when MIDI controller 109 is set to a knob or expression pedal. With Velocity set to Fixed, all notes play with the same velocity. The default Fixed velocity is 100. Like MIDI 109, You can control this velocity amount in real-time by assigning a controller to VelFixed, controller destination number is 175. Input from any physical controller assigned to send VelFixed (or any entry value for a controller assigned to send VelFixed) overrides the programmed value of the Velocity parameter, disabling it until you select a different Multi (or in Program mode, until you select a different control setup on the MIDI‑mode TRANSMIT page). Velocity Pat The Pattern option engages a step sequencer for arpeggiator velocity patterns, which shifts the velocity of each arpeggiated note according to a sequenced pattern. There are XX pre programed velocity patterns to choose from, some of which create rhythms by using velocity values of -127 or “none” to leave rests in the arpeggiation. The sequencer uses the velocity received from the first note played as the center position to shift velocities up or down from. If no other keys are playing, patterns will start over each time a key is pressed (there are some exceptions to this when using ARP1 Latch parameters other than “Keys,” though a newly triggered pattern will always start at step 1.) When triggering velocity patterns from more than one key at a time, each consecutive step of the pattern shifts the velocity from a different inputted key, the order of which is decided by the Play Order parameter on the ARP1 page. Note: For patterns with negative velocity values, if the velocity of the first played note is low enough that a pattern step could result in a velocity of zero, some notes may have a velocity of zero and therefore produce no sound. 7-64 Program Edit Mode The Arpeggiator Function Editing Velocity Patterns You can edit the included patterns by pressing the Edit button when a pattern is highlighted in the VelocityPat field. The top line of the “EditVelocityPatt” page displays the pattern’s name and total number of steps. Each pattern can have up to 48 steps, and each step can shift velocities by ± 127 steps. You can insert a step with a value of “none” by entering -127 and then shifting down one more step. A step with the value “none” causes the arpeggiator to play nothing for that step, allowing you to create rhythmic patterns by using “none” to leave spaces. Pressing Stepremoves the last step in the list, pressing Step+ inserts a new velocity step at the end of the list (the pattern editor remembers the values of removed steps until you save or exit.) Use the navigation buttons to move between pattern steps, use the Alpha Wheel, or Previous-/Next+ buttons to enter the velocity shift amount for each step. Press More to see a second page for patterns with more than 24 steps. Press Delete to delete the pattern from memory. Press Rename to rename the pattern and save. Pressing Save gives you the option to save the pattern or rename and save. To create a new VelPatt, edit an existing pattern and choose Rename when saving. Press Exit to return to the ARP2 page. When exiting the Progam editor, it will automatically give you the option to save the pattern with a User Program if changes have been made. The Velocity Modes Human1 through Human4 randomly change played note velocity within a range in order to make arpeggiation sound more human like, with each note varying slightly in velocity. The Human settings use the velocity received from the first note played as the center of the randomization range. Each note of the arpeggiator will randomly choose a velocity within the given range. (See the table below for velocity ranges.) The Velocity Modes Chimp1 through Chimp4 function in a similar fashion to the Human settings (see above.) Like the Human settings, the Chimp settings randomly change played note velocity within a range, but the Chimp settings have larger randomization ranges. The Chimp settings use the velocity received from the first note played as the center of the randomization range. Each note of the arpeggiator will randomly choose a velocity within the given range. (See the table below for velocity randomizationranges.) Note: For Human and Chimp modes, if the velocity of the first played note is low enough that the selected randomization range could result in a velocity of zero, some notes may have a velocity of zero and therefore produce no sound.. 7-65 Program Edit Mode The Arpeggiator Function Velocity Setting Velocity Randomization Range Human1 ±3 Human2 ±6 Human3 ± 10 Human4 ± 15 Chimp1 ± 25 Chimp2 ± 35 Chimp3 ± 50 Chimp4 ± 64 Velocity Modes MissNotes1 through MissNotes9 makes the Forte SE randomly miss playing a percentage of inputted notes. See the table below for percentages and their equivalent settings. Each of these settings also randomly changes some of the inputted velocities in a range of ± 5, with the purpose of simulating a more human played sound. Note: Missed Notes are actually output as notes with a velocity of zero. Velocity Setting Approximate % of Notes Missed MissNotes1 % 10 MissNotes2 % 20 MissNotes3 % 30 MissNotes4 % 40 MissNotes5 % 50 MissNotes6 % 60 MissNotes7 % 70 MissNotes8 % 80 MissNotes9 % 90 Duration Duration determines how long each arpeggiated note plays. 100% means that a note sustains until the next one sounds—very legato. 50% means that the note fills half the space between itself and the next note. The lowest value is 1%—stacattissimo. This parameter has no effect on percussion sounds or other sounds whose duration is fixed. Duration Pattern Selecting Pattern as the Duration Mode engages a step sequencer for arpeggiator note duration patterns. There are 7 pre-programed duration patterns you may choose from, and 1024 locations in which to save user-generated patterns. 7-66 Program Edit Mode The Arpeggiator Function Editing Duration Patterns Press the Edit button when a pattern is highlighted in the DurationPatt field to access the editor. The top line of the “Edit:DurationPatt” page shows the pattern number and name. This page also displays the pattern’s total number of steps, as well as pattern direction. Pressing Stepremoves the last step in the list, pressing Step+ inserts a new note step at the end of the list (the pattern editor remembers the values of removed steps until you save or exit.) Use the navigation buttons to move between pattern steps, use the Alpha Wheel, alphanumeric pad, or Previous-/Next+ buttons to enter the note shift amount for each step. Press More to see a second page for patterns with more than 24 steps. Press Delete to delete the pattern from memory. Press Rename to rename the pattern and save. Pressing Save gives you the option to save the pattern or rename and save. To create a new Duration pattern, edit an existing pattern and choose Rename when saving. Press the Exit button to return to the ARP2 page. Your pattern will be available in the Duration Patt parameter. Press the ArpSave soft button to save your new pattern as an Arp Preset. When you hit Exit to leave the Program editor, you will be given the option to save a new User Program with any changes you have made. See Save User Programs on page 6-14 for details. Editing Patterns in StepSeq Mode Many ArpPresets use StepSeq for the ArpMode. In this mode, the ARP2 page will give you the ability to create a unique Arpegiattor pattern step-by-step. Select a parameter using the navigation buttons (to change steps, first put the cursor on the Step line, then move left or right). Use the soft buttons as labelled to add or subtract steps. 7-67 Program Edit Mode The Arpeggiator Function The Step Seq specifies four fixed parameters: for each step Note, Velocity, Duration and Beat. Use the navigation buttons to move between pattern steps, use the Alpha Wheel, alphanumeric pad, or plus/minus buttons to enter the parameter values for each step. Note values create the shift pattern for the Step sequence. Notes are specified in half-steps from the last latched note (represented as 0). Thus, this series of notes: 0, 4, 7 will play a triad in sequence. Note values can range from -128 to +127, with negative numbers shifting below the latched note. Velocity values shift each steps velocity up or down from the last latched note played or received. Values range from -127 to +127 (with 0 representing the origin value). Duration is specified in cents, from 0-100, as a percentage of the specified Beat. Beats sets the pattern rhythm, using fractions of the Beat rate set by the Tempo parameter. A Beat to 1/4 will be a quarter note based on the clock Tempo. To find a Beats value, multiply the notes you want per beat by 4. For example, 4 notes per beat (16th notes) would be 4*4=16, a Beats value of 1/16. Three notes per beat (8th note triplets) would be 3*4=12, a Beats value of 1/12. Six notes per beat (16th note triplets) would be 6*4=24, a Beats value of 1/24. ArpSave If you have adjusted any Arpeggiator settings, you have the option of saving a new Arp Preset to a User location, where it will be available to use with other Programs and Multis. The Arp Preset is saved independently from the Program itself. Press ArpSave to initiate a save. You will have the option to select the location and name for your Arp Preset, using the Alpha Wheel or alphanumeric buttons. When you hit Exit to leave the Program editor, you will be given the option to save a new User Program with any changes you have made. See Save User Programs below for details. 7-68 Program Edit Mode TheUtilitySoftButtons,HELPSoftButtonandFavoritesButtonsFunctions The Utility Soft Buttons, HELP Soft Button and Favorites Buttons Functions Some of the soft buttons in Program Edit Mode perform a function when pressed, as well as some of the Favorites buttons. The soft buttons described below appear when the Global Mode User Type parameter is set to Advanced. New Layer (NewLyr) Create a new layer, numbered one above the highest existing layer. When you press this button, the Forte SE will tell you that it is creating a new layer, then will return to the page you were on. The new layer becomes the current layer, and is the highest-numbered layer in the program. If the current program already has its maximum number of layers, the Forte SE will tell you that you can’t add any more. Duplicate Layer (DupLyr) Create a copy of the current layer, duplicating the settings of all its parameters. The copy becomes the current layer, and is the highest-numbered layer in the program. Import Layer (ImpLyr) Copy a specific layer from another program into the current program. This button brings up a dialog that prompts you to select a layer number and a program number. The dialog tells you the currently selected layer, and the total number of layers in the program. Use the Layer– or Layer+ soft buttons (or the alpha wheel) to change the layer number. If the current program has only one layer, pressing these buttons will have no effect. Use Prog– or Prog+ soft buttons (or the alpha wheel) to change the program number. While you are in this dialog, you can listen to the layer you are selecting to import, along with all other layers in the current program. If you want to hear the layer to be imported by itself, you must mute the other layers. When you have selected the desired layer from the desired program, press the Import soft button, and the selected layer will be copied from the selected program, becoming the current layer. Importing layers is a convenient alternative to creating layers from scratch. If you have a favorite string sound, for example, and you want to use it in other programs, just import its layer(s) into the program you’re building. This will preserve the envelopes and all the control settings so you don’t have to reprogram them. 7-69 Program Edit Mode TheUtilitySoftButtons,HELPSoftButtonandFavoritesButtonsFunctions Delete Layer (DelLyr) Delete the current layer. When you press this button, the Forte SE asks you if you want to delete the layer; press the Yes soft button to start the deletion process, or the No soft button to cancel it. This prompt prevents you from accidentally deleting a layer. Delete Press the Delete soft button to delete the current Program (factory Programs can not be deleted). Press Delete, and you will be given a choice to Delete or Cancel. Press Delete again, and an “Are You Sure?” message will appear. Press Yes to delete the Program, or Cancel to cancel. Help Press the HELP soft button to view the Help page, where you can view a description of functions assigned to the Favorites buttons. Favorites 1: Help Press the Favorites 1 button to view the HELP page. Favorites 2: Compare Press the Favorites 2 button to temporarily recall an unedited version of the program, allowing you to compare your edited program with the original program. Press the Favorites 2 button again to return to the edited version of the Program Favorites 3: Solo Layer Press the Favorites 3 button to temporarily solo the currently selected Layer. Press the Favorites 3 button again to un-solo the currently selected Layer. Favorites 4: Mute Layer Press the Favorites 4 button to mute the currently selected Layer. Press the Favorites 4 button again to un-mute the currently selected Layer. Favorites 5: Bypass FX Press the Favorites 5 button to temporarily bypass the Insert and Aux FX Chains. Press the Favorites 5 button again to re-enable the Insert and Aux FX Chains. Bypassing the FX is useful for checking the output level of a program with and without its FX Chains. If the output level of a program is the same with and without the FX being bypassed, it will prevent sudden jumps in volume that can occur when switching programs while notes are being held. When a new program is selected while notes from the last program are still being held, the FX Chains from the last program may be “stolen” by the 7-70 Program Edit Mode Editing VAST Programs With KVA Oscillators new program if there are not enough FX resources for both programs. You may hear a sudden jump in volume If the output of a program is too quiet or too loud without its FX Chains. To fix this, usually the output gain in the last box of the Insert Chain should be adjusted until the program volume is the same with and without bypassing the FX. Afterwards, you may need to adjust the Common Page OutGain of the program to match its level with other programs. Favorites 6: New Parameter When assigning a physical controller or CC number to a VAST source field, a Parameter is automatically added to the Parameters Page (unless the physical controller/MIDI CC is already being used by an existing Parameter on the Parameters Page). In other cases it may be desirable to manually create a new Parameter. Press the Favorites 6 button to create a new Parameter. At the prompt, choose a Destination and then name the Parameter. The Parameter Destination is the default MIDI CC number that the Parameter will send to the Program. The Destination also becomes the default Control for the Parameter. Once the parameter is created, you can change its Control on the Parameters Page. Editing VAST Programs With KVA Oscillators The Forte SE uses KVA oscillators as another way to generate sounds in VAST programs. Unlike keymaps, which play samples stored in ROM, KVA oscillators create DSP-generated waveforms every time they are triggered. The KVA oscillators can create a range of waveforms, from high quality simple waveforms familiar to users of classic analog synths, to complex waveforms which take advantage of the Forte SE’s internal processing power and complex signal routing capabilities. Though the Forte SE does have keymaps containing samples of basic synth waveforms, the use of KVA oscillators provides users with better portamento, more modulation options, higher sound quality, and other advantages which will be explained in this section. Learning to use KVA oscillators instead of keymaps (where appropriate) is simple and will increase the versatility of your VAST editing capabilities. VAST programs using layers with KVA oscillators can also be combined with other layers using keymaps. Basic Use of KVA Oscillators Minimal Settings for Basic Use of KVA Oscillators: These are the minimal settings that a KVA layer needs in order to function in the style of a classic analog synth: 1. EditProg:KEYMAP Page: Set the Keymap parameter to 999 Silence. 2. EditProg:AMPENV Page: Set the Envelope mode to User, and adjust the amplitude envelope to your liking (see The Amplitude Envelope (AMPENV) Page on page 7-48). 7-71 Program Edit Mode Editing VAST Programs With KVA Oscillators 3. EditProg:ALG Page: Pick an Algorithm and set an Oscillator (see Setting KVA Oscillator Type on page 7-72). Further basic VAST settings that you will likely want to adjust are: • Monophonic On/Off (see The COMMON Page on page 7-16) • Level Velocity Tracking (see The DSP Control (DSPCTL) Page on page 7-37) Read the Setting KVA Oscillator Type section below to learn about how to set each type of oscillator. After doing this, you can experiment with making KVA programs by following the above settings, and then setting and listening to each type of oscillator. Once you understand how to do this, read on to the Advanced Use Of KVA Oscillators on page 7-74 (see below) to learn how to make your KVA patches more expressive through the use of DSP modulation. Pitch Settings for KVA Oscillators Each oscillator (except for noise functions) has its own pitch parameters, and is unaffected by pitch settings that would normally affect keymaps (such as those on the Keymap page). On a program layer, the coarse pitch parameter for the oscillator in use can be found on both the DSPCTL and DSPMOD pages, in the parameters list below the standard Pitch parameter for keymaps. For each oscillator, its coarse pitch parameter is named by an abbreviation of the oscillator name followed by “Pch.” For example, the coarse pitch parameter for a saw wave oscillator will be called Saw Pch. On the DSPCTL sub page for any oscillator Pch. parameter, you can adjust fine pitch by cents and Hertz, as well as KeyTrk and VelTrk settings for pitch. Note: Be sure to differentiate between the different pitch parameters, each used either only for keymaps or only for KVA oscillators. The Pitch parameter on the top left of the DSPCTL and DSPMOD pages always appears in VAST programs but only affects the pitch of keymaps. If a KVA oscillator is being used, this Pitch parameter will have no affect on the layer’s pitch, in which case the oscillator Pch. parameter described above must be used to control the pitch of the oscillator. Setting KVA Oscillator Type The Forte SE comes with 22 Different KVA oscillators. There are 11 high quality anti-aliased oscillators (free of digital artifacts) and 11 oscillators that exhibit some aliasing (digital artifacts) in the higher octaves. The anti-aliased oscillators use up more DSP resources than the ones with aliasing, but the improvement in sound quality is quite noticeable. We strongly recommend using the anti-aliased oscillators for most applications. 7-72 Program Edit Mode Editing VAST Programs With KVA Oscillators The tables below list KVA oscillators by type and function block size. Before setting an oscillator, you must choose an algorithm which includes a block that matches the block size for the oscillator that you wish to use. See The Algorithm (ALG) Page on page 7-30 and Algorithm Basics on page 7-31 for more on selecting algorithms. Once you have picked an algorithm with the desired block size, highlight the block and use the Alpha Wheel to scroll through the available functions until you find the desired oscillator. The SYNC SQUARE oscillator is an 8 block oscillator that requires the use of two layers (4 blocks each) and the Alt Input feature of cascade mode. See below for details on setting up the Sync Square oscillator. Note: If you put more than one oscillator in an algorithm, you will only hear the output of the last oscillator in the algorithm, unless an algorithm is used to route the earlier oscillator around the last oscillator and into a MIX function block, or if the last oscillator processes its audio input. Anti-Aliased Oscillators Size Name/Type Aliased Oscillators Size 1 Block Name/Type 1 Block LPNOIZ (noise + low pass filter) 2 Blocks SINE SAW SINE+ TRI SAW SQUARE RES NOISE (noise + low pass filter with resonance) NOISE SQUARE SINE+ 3 Blocks PWM (Pulse Width Modulation) SAW+ 4 Blocks SYNC SAW NOISE+ SUPER SAW TRIPLE SAW 8 Blocks SYNC SQUARE (master) >>, >>SYNC SQUARE (slave) (4 blocks each) SINE SW+SHP (Sawtooth + Shaper) 2 Blocks SHAPED SAW PWM (Pulse Width Modulation) Setting Up The Sync Square Oscillator: The Sync Square oscillator is actually comprised of two oscillators, a master and a slave, set up to emulate the way sync square oscillators worked on classic analog synthesizers. To create a program using Sync Square, select Program 1023 Editor Template. Select “none” on the Keymap page. Select “user” on the Ampenv page for an amp envelope. On the ALG page, select Algorithm 5 at the top of the page. Use the cursor buttons to select the function block and use the alpha wheel to select the “SYNC SQUARE (master) >>” function. Next, press the << soft button to change soft button pages until you see “DupLyr.” Press DupLyr to 7-73 Program Edit Mode Editing VAST Programs With KVA Oscillators duplicate the layer, creating layer 2. In layer 2, on the ALG page, change the function block to “>> SYNC SQUARE (slave)”, and set the Alt Input parameter to “Layer 1.” The final step is to go to Layer 1’s DSPCTL page and turn the Level parameter all the way down, to -96dB (this ensures that you will only hear the output of the slave oscillator on layer 2, which is the intended function of Sync Square). Now the Sync Square oscillator should be working. The “Syncoff” parameter, Sync Offset, is the main parameter for shaping the tone of this sound. Syncoff sets the sync offset between the master and slave square waves in each corresponding oscillator, which changes the shape of the waveform output by the slave oscillator. The Sync Square oscillator is most expressive when the Syncoff parameter is modulated during performance. Use the DSPMOD page to assign an envelope or continuous controller like the Mod Wheel for this parameter to hear the effect (see The DSP Modulation (DSPMOD) Page on page 7-39, as well as The DSP Control (DSPCTL) Page on page 7-37 and Common DSP Control Parameters on page 7-32 in Algorithm Basics on page 7-31, for details on setting up modulation and other ways to control parameters, and see The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages on page 7-51 for details on using envelopes as modulation sources). See Advanced Use Of KVA Oscillators on page 7-74 below for some similar examples of how to set and control modulation for oscillator specific functions and other parameters. To add a DSP function to the Sync Square oscillator, you’ll need to use cascade mode. For example, to add a filter, duplicate one of the layers to create layer 3. On layer 3, select the ALG page and choose one of the cascade mode algorithms, algorithms 101-131. For this example, lets use alg 105 with the filter “4Pole Mogue LP” selected for the function block. For the Alt Input parameter, select Layer 2. This routes a pre-Level parameter copy of Layer 2’s output into Layer 3. Go to layer 2’s DSPCTL page and turn its level down to -96dB (otherwise the un-filtered sound from layer 2 will be audible as well as the filtered sound in layer 3). Now you can hear the Sync Square from layers 1 and 2 running through the filter in layer 3. See Advanced Use Of KVA Oscillators on page 7-74 below for examples of how to set and control modulation of filter parameters. Advanced Use Of KVA Oscillators Read the KVA sections above before moving on to this section. If you have tried the program described above in Basic Use of KVA Oscillators, you may have noticed that there is no variation in the notes played aside from pitch. Layers and programs created with KVA oscillators can become much more expressive by introducing variation with DSP modulation. For a KVA oscillator layer, you can use DSP modulation just as you would for keymap layers (see Common DSP Control Parameters on page 7-32, The DSP Modulation (DSPMOD) Page on page 7-39, and The DSP Control (DSPCTL) Page on page 7-37). Several KVA oscillators also have their own modulation parameters that must be accessed to control the oscillator’s intended function. Aside from these methods, KVA layers can also be altered by using keymaps with natural amplitude envelopes. See below for details on each method. 7-74 Program Edit Mode Editing VAST Programs With KVA Oscillators Examples of Simple DSP Control and Modulation: Select the Program 1023 Editor Template, and press the Edit button. Go to the KEYMAP page and set Keymap to 999 Silence. Next, go to the AMPENV page, and set the mode to User, set Att1 time to .002, Rel1 time to .260, and Dec1 time to 30.0 and 0% (this gives you basic control of attack, decay and release envelopes with sliders C, D, and E). Press the ALG soft button and select Algorithm 8. Select the leftmost empty function block and use the alpha wheel to scroll to the PWM oscillator. Play some notes to hear the sound of the PWM oscillator. You should immediately hear a difference in the sound of the program, because the LOPASS function is set by default to cut some of the high frequencies from any signal that passes through it, in this case the PWM signal is passing through. With the LOPASS function still selected, press the Edit button. This brings you to the main parameter for the LOPASS object on the DSPCTL page, which is LP Frq (you can also reach this page using the DSPCTL soft button). Here you can adjust the initial value of the function, in this case it is cut off frequency for the low pass filter. For this example, leave this initial value set to its default. With the LP Frq parameter selected, press right on the cursor button to get to this function’s sub page (the right half of the display). Select the Veltrk parameter and use the alpha wheel or alpha numeric pad to turn it all the way up to 10800ct. Now keyboard velocities will affect the LP Frq parameter. A velocity of 127 will cause the filter’s cut off frequency to move up 10800 cents from its initial value, a velocity of 0 will have no effect on the cut off frequency, and values in between will increase the cut off frequency by a scaling between 0 and 10800 cents. Overall, this will cause higher played velocities to increase the cut off frequency, making the oscillator sound brighter, and lower velocities to lower the cut off frequency, making the oscillator sound duller. This method can be used to control any DSP function that is loaded into an algorithm. See Common DSP Control Parameters on page 7-32, for other control parameters available on the DSPCTL page. Alternatively, you could assign cut off frequency to be controlled by any continuous controller, such as the Mod Wheel. Start again with the unedited Program 1023 Editor Template. Follow the same steps as above, but instead of changing any parameters on the DSPCTL page, press the DSPMOD soft button to reach the DSP Modulation page. On the left side of the screen, choose the parameter for LP Frq, and then press the right cursor button to reach the LP Frq sub page. On this sub page, you can assign any continuous controller to control the cut off frequency of the LOPASS function (or the main parameter for any function loaded in the current algorithm). Select the Src1 parameter, hold the Enter button and move the Mod Wheel to quickly select MWheel (the Mod Wheel) as your control source. Next, press the cursor down button to select the Depth parameter, then use the alpha wheel or alpha numeric pad to turn it all the way up to 10800ct. Now the Mod Wheel will affect the LP Frq parameter. Moving the Mod Wheel all the way up (a value of 127) will cause the filter’s cut off frequency to move up 10800 cents from its initial value, moving the Mod Wheel all the way down (a value of 0) will have no effect on the cut off frequency, and values in between will increase the cut off frequency by a scaling between 0 and 10800 cents. Now you have the same control over cut off frequency as you did in the previous example, but now it is controlled by the Mod Wheel. Overall, moving the Mod 7-75 Program Edit Mode Editing VAST Programs With KVA Oscillators Wheel up will increase the cut off frequency, making the oscillator sound brighter, and moving the Mod Wheel down will lower the cut off frequency, making the oscillator sound duller. This is useful to control a classic “filter sweep” sound. The above method can be used to control any DSP function that is loaded into an algorithm, and you can choose any continuous controller as a control source. Oscillator Specific Control And Modulation Parameters: Several KVA oscillators also have their own modulation parameters that must be accessed to control the oscillator’s intended function. Below is a list of these oscillators and their distinctive parameters, grouped by block size. Though the following parameters could be left at one setting, utilizing one of the DSPCTL or DSPMOD techniques described in the above examples will expose a wider range of expression from each oscillator. 1 Block: LPNOIZ A noise generator combined with a low pass filter. Use the Noiz Frq parameter to control the cut off frequency of the filter. NOISE A simple noise generator. Use the Noise parameter to control the noise initial amplitude. SW + SHP (Sawtooth + Shaper) This oscillator is capable of basic FM Synthesis. Its distinctive parameter is Pch Coar. This oscillator must come after the sound source in an algorithm (either keymap or oscillator) in order to hear the effect of Pch Coar, which can radically change whatever the oscillator receives as an input. Works well placed after a Sine source. SINE+ [Aliased (not recommended)] Same as 2 block version, but without the Sine+Am parameter. SAW+ [Aliased (not recommended)] A saw oscillator that can add an input signal to its output. NOISE+ [Aliased (not recommended)] A noise oscillator that can add an input signal to its output. 2 Block: SINE+ A sine oscillator that can add an input signal to its output. The Sin+ Pch and Sine+ Am parameters affect the pitch and amplitude of the sine waveform without affecting the pitch of the input source. 7-76 Program Edit Mode Editing VAST Programs With KVA Oscillators RES NOISE A noise generator combined with a low pass filter with resonance control. Use the Noiz Frq parameter to control the cut off frequency of the filter. Use the Noiz Q parameter to control the amplitude of the resonance (a boost or cut at the cut off frequency). One technique for use of this function is to set a high value for Noiz Q (so that you hear a the resonance create a tone,) and then on the DSPCTL page set C4 as an initial frequency for Noiz Frq, and set Keytrk to 100ct/key on the Noiz Frq sub page. Doing this causes the noise resonance frequency to match the note of the key played. SHAPED SAW The Shaped Saw oscillator is a sawtooth oscillator with the ability to morph its output shape between sawtooth and sine wave (without crossfading). This oscillator’s distinctive parameter is Shape, which controls the morphing. With Shape set to 0, the oscillator produces a pure sawtooth wave. With Shape set to 127, the oscillator produces a pure sine wave. Values in between morph between the two wave shapes. PWM (Pulse Width Modulation) [Aliased (not recommended)] This oscillator’s distinctive parameter is PWM Wid, which adjusts pulse width from values of 1-99. With PWM Wid set to a value of 50, PWM produces a square wave. The further the PWM Wid parameter is set from 50, the narrower the pulse width becomes, changing the shape of the output waveform and thus altering the oscillator’s tonal quality. 3 Block: PWM (Pulse Width Modulation) [Anti-Aliased (recommended)] Same as 2 Block PWM, See above. 4 Block: SYNC SAW Sync Saw consists of two saw waves, one that you hear (the slave) and one that controls the slave (the master). This oscillator’s distinctive parameter is SyncOff, which controls the offset of the slave and master waves. With SyncOff set to 0, the master has no effect on the slave. When an offset is set, the slave restarts its wave cycle every time the master wave completes a cycle. Offsets cause the slave to restart its cycle in the middle of normal sawtooth cycles, which causes the slave’s waveform shape and sound to be altered. SUPER SAW The Super Saw oscillator consists of two saw waves. This oscillator’s distinctive parameter is Detune, which has settings from 0-50 cents, allowing you to detune both of the saw waves by up to 50 cents away from the root pitch of the key played. Detune affects both saw waves, one is detuned above the original root pitch, and the other is detuned below the original root pitch. 7-77 Program Edit Mode Editing VAST Programs With KVA Oscillators TRIPLE SAW The Triple Saw oscillator consists of three saw waves. This oscillator’s distinctive parameter is Detune, which has settings from 0-50 cents, allowing you to detune two of the saw waves by up to 50 cents away from the root pitch of the key played. Detune affects two of the saw waves, one is detuned above the original root pitch, and the other is detuned below the original root pitch. The third saw wave always plays the root pitch and is not affected by Detune. 8 Block: SYNC SQUARE (master) >>, >>SYNC SQUARE (slave) See above, Setting Up The Sync Square Oscillator: on page 7-73. Use Of Keymaps and Natural Amplitude Envelopes With KVA Oscillators: Keymaps are important in layers using KVA oscillators, even though their samples are not usually heard in these layers (see the note below for exceptions). Keymap selection is important because the maximum amplitude set for each key in the keymap is applied to the oscillator. For most uses of KVA oscillators, users will want to use the 999 Silence keymap because each key in the keymap is set to the same maximum amplitude, unlike many instrument keymaps. The 999 Silence keymap ensures uniform amplitude behavior of an oscillator, and with the amplitude envelope set to user mode, users can easily shape all aspects of an oscillator’s amplitude. The Forte SE also has the ability to apply natural amplitude envelopes to oscillators. With an amplitude envelope set to natural mode, each oscillator note takes on the amplitude qualities of each sample in a keymap (with each note relative to sample key placement). Each sample in a keymap has a natural envelope that was created during it’s original development process. Natural envelopes have much more detail than what is possible to create with the user amplitude envelope, and they are useful when trying to mimic specific instrument amplitude envelopes. When using this technique, remember that the maximum amplitude of each key is set by the current keymap. You can still control the overall parameters of a natural envelope by using the ENVCTL page. Note: The samples from a keymap are not heard when using an oscillator, unless an algorithm is used to route the keymap signal around the oscillator and into a MIX function block, or unless it is an oscillator that processes its audio input. 7-78 Program Edit Mode KB3 Program Structure KB3 Program Structure There’s nothing quite like the sound of the classic Hammond™ B-3 tone wheel organ, especially when played through a Leslie™ rotating speaker system. We’ve done extensive testing and analysis with several tone wheel organs, and created our own models to emulate the unique tone wheel sound. We even took into account the way that older organs start to sound different (and arguably better) as their capacitors begin to leak—and we included a parameter that lets you vary the amount of grunge (leakage) in your sound. KB3 programs use oscillators to emulate the tone wheel sound. Each oscillator operates independently, and has its own pitch and amplitude control. You can control how many oscillators are used for a KB3 program. There are two oscillators per voice, for a total of 256. You can use up to 91 of them in a KB3 program (the 92nd is reserved to produce key click). Because the oscillators start running as soon as you select a KB3 program, there are always voices available—unlike VAST programs, which start “stealing” notes when you reach the polyphony limit. The oscillators—we’ll call them tone wheels from here on—are divided into an upper and lower group. The upper tone wheels use the samples in the Forte SE’s keymaps to generate sound, while the lower tone wheels use sine waves. You can change the keymap of a KB3 program’s upper tone wheels to produce a large array of sounds. By changing the keymap from sine to a saw wave it is possible to emulate the sound of classic combo organs like the Vox™ and Farfisa™ models. KB3 programs are also routed through vibrato, rotary speaker, preamp and distortion effects, see below for details. KB3 Mode KB3 programs are different enough from VAST programs that we use the term KB3 mode to describe what’s going on when you play a KB3 program. Whenever you play a KB3 program, you are in KB3 mode. The blue LED on the front panel will light when the current program is a KB3 program. You can play KB3 programs only on a single channel at a time. If you want to create your own KB3 program, start by editing an existing KB3 program. KB3 Effects And Real-time Controls You have real-time control over many components of KB3 programs directly from the front panel. The sliders emulate the drawbars that are so essential to the tone wheel sound, while the buttons above them (the Assignable Switches) can control the KB3 effects: Leslie, vibrato, chorus, and percussion. 7-79 Program Edit Mode KB3 Program Structure Drawbars One of the standard performance features of many tone wheel organs is the set of drawbars for emulating the stops on a pipe organ. Moving the drawbars controls the amplitude of either the fundamentals or the harmonics of the notes. The Forte SE’s sliders serve as the nine drawbars found on most tone wheel organs. Pushing the sliders up is the equivalent of pushing the drawbars in (removing fundamentals or harmonics). Subharmonics Fundamental Harmonics 16’ 5 1/3’ 8’ 4’ 2 2/3’ 2’ 1 3/5’ 1 1/3’ 1’ Slider A Slider B Slider C Slider D Slider E Slider F Slider G Slider H Slider I Table 7-1 Standard Drawbar Settings for the Hammond B3 KB3 Mode Effects Buttons (Assignable Switches) When using a KB3 program, the switches above the sliders control KB3 effects, and the blue KB3 LED is lit. The KB3 function is labeled below each switch, their LEDs indicate the status of the various effects for the current KB3 program. This status is saved as part of each program. You can change the effects in real time by pressing the switches. In KB3 mode these switches also respond to and send MIDI Controller messages. Effect Category Rotary Vibrato Percussion Button Name LED Color (relative to button name/ state) Corresponding Page and Parameter Fast / Slow red/green MISC: SpeedCtl On / Off red/off MISC: VibChorCtl Chorus / Vibrato red/green MISC: VibChorSel Disabled if Button 2 is off Depth 1 / 2 / 3 green/orange/red MISC: VibChorSel Disabled if Button 2 is off On / Off red/off PERC: Percussion Volume Loud / Soft red/green PERC: Volume Disabled if Button 5 is off Decay Fast / Slow red/green PERC: Decay Disabled if Button 5 is off Pitch High / Low red/green PERC: Harmonic Disabled if Button 5 is off Comments Table 7-2 KB3 Mode Effects Buttons and Corresponding Parameters Additional Controller Assignments In KB3 Mode Other default assignments for factory KB3 programs include: CC Pedal 1 (volume) controls preamp volume, which emulates the volume control of an organ preamp. The PreampResp parameter must be set to On for this to work (the default setting). See PreampResp on page 7-83 for details. 7-80 Program Edit Mode Editing KB3 Programs The Mod Wheel controls Distortion Drive. Switch Pedal 1 (sustain) controls the SpeedCtl parameter, which toggles the Rotary speed between slow or fast. See SpeedCtl on page 7-83 for details. This has the same effect as using Rotary S/S (Variation button). Editing KB3 Programs You can edit a wide assortment of any KB3 program’s parameters. You can also create your own KB3 programs, though you must start with an existing KB3 program to do this. A regular Forte SE program cannot be turned into a KB3 program. If you’re not sure whether the current program is a KB3 program, check the KB3 button (located above the right most slider). If the blue LED is on, then the current program is a KB3 program. Enter the KB3 program editor by pressing the Edit button while a KB3 program is selected in program mode. You’ll quickly see that the KB3 editor differs from the standard VAST program editor. KB3 Programming Tips This following section provides some starting points for creating your own KB3 programs. The most prominent difference between organ vintages is the number of tone wheels used. Keep in mind, however, that the sound of an actual tone wheel organ will depend not only on its age, but also on how well it has been maintained. Octave folding, where an octave (or part of an octave) is repeated at the top or bottom of the keyboard, is handled automatically by KB3 Mode, emulating the folding done on actual tone wheel organs. Early Tone Wheel Organs. Instruments of this period had 91 tone wheels. To get this sound, go to the TONEWL page, select 91 tone wheels, and set lowest pitch to C 1. Start with the Junky Wheel Volume Map and Bob’s Organ Map. You may also want to increase the Key Click level, since this tends to become louder on older organs. Middle Period Organs. To model one of these instruments, set 82 tone wheels and a low note of A 1. Use the Mellow Wheel Volume Map and Eric’s Organ Map. Set Key Click to a moderate level. The Classic B-3. For this sound, choose 79 tone wheels and set the low note to be C 2. The best settings here are the Bright Wheel Volume Map and Peck’s Organ Map. You may also want to reduce the Key Click level. 7-81 Program Edit Mode KB3 Editor: The Parameters (PARAMS) Page KB3 Editor: The Parameters (PARAMS) Page This page is the same as the VAST editor Parameters page; see The Parameters (PARAMS) Page on page 7-10. KB3 Editor: The Program FX (FX) Page This page is the same as the VAST Program editor FX page (see page 7-13) except for one important difference: there is no Pre/Post insert parameter for the auxiliary sends. KB3 Editor: The COMMON Page The COMMON page contains an assortment of control parameters, including Leslie speed control and vibrato/chorus selection. 7-82 Parameter Range of Values Preamp/Expression Response Off, On Leakage -96.0 to 0.0 dB, in 0.5-dB increments Leak Mode None, Type A, Type X, Type Y, Type Z, Type R Speed Control Slow, Fast Vibrato/Chorus Control Off, On Vibrato/Chorus Type Selection Vib1, Vib2, Vib3, Chor1, Chor2, Chor3 Volume Adjust -96 to 96 dB Bend Range Up ± 7200 cents Bend Range Down ± 7200 cents Program Edit Mode KB3 Editor: The COMMON Page Parameter Range of Values Sustain Off, On Sostenuto Off, On Leslie Pedal None, Sustain, Sost, Soft PreampResp Set this parameter On or Off to enable or disable the preamp+expression pedal part of the KB3 model. Turning this On (the default) makes KB3 programs function like stock organs. The expression pedal in this case is more than a volume pedal; it actually functions like a “loudness control,” varying the frequency response to compensate for the ear’s sensitivity at different volumes. In addition, the preamp provides a de-emphasis curve to compensate for the built-in tone wheel volume pre-emphasis. Turning preamp response Off emulates organs that have been modified to have a direct out (before the preamp and expression pedal). Leakage Controls the level of the simulated crosstalk and signal “bleed” of adjacent tone wheels in the model. This is provided to help “dirty up” the sound to make it a bit more realistic. A setting of ‑96 dB gives the purest tones; other values add more simulated leakage. This level is scaled by the drawbar levels, as well as the expression pedal level. The leakage level can also be controlled by MIDI CC 90; value 0 = -96 dB, value 127 = 0 dB, values between 0 and 127 scale between -96 dB and 0 dB. When using CC 90, the value displayed for the Leakage parameter will not change. LeakMode Selects between different leakage models, determining which leakage harmonics are emphasized. TypeA provides an overall tone wheel leakage, with all tone wheels leaking a small amount. TypeX, TypeY, TypeZ, and TypeR emulate different degrees of drawbar leakage, where the leakage components correspond to the nine drawbars, instead of all the tone wheels. SpeedCtl Select either Fast or Slow to choose the speed of the rotary speaker emulation. You can toggle between fast and slow speed using the Rotary S/F button (Variation). 7-83 Program Edit Mode KB3 Editor: The COMMON Page VibChorCtl Choose On or Off to turn on or off either vibrato or chorus (as selected with the VibChorSel parameter). You can toggle between on and off using Assignable button 2 (labeled [Chorus/ Vibrato] On/Off). VibChorSel Choose the vibrato or chorus program (there are three of each) you wish to use with this KB3 program. Note that you must set VibChorCtl (also on the MISC page) to On to hear the effect. You can select the vibrato or chorus you want using Assignable buttons 3 and 4 (labeled [Chorus/Vibrato] Chor/Vib and Depth). VolAdjust Provides an overall volume adjust for the KB3 model. Use this parameter to “normalize” KB3 programs with other programs. BendRngUp, BendRngDn Respectively control the upward and downward pitch bend ranges of the KB3 program. Sustain Set On or Off to enable or disable response to MIDI sustain (MIDI 64). By default MIDI sustain (MIDI 64) is sent by Switch Pedal 1. Sostenuto Set On or Off to enable or disable response to MIDI sostenuto (MIDI 66). By default MIDI sostenuto (MIDI 66) is sent by Switch Pedal 2. LesliePedal Set the pedal source (Sustain=Switch Pedal 1, CC 64 by default, Sost=Switch Pedal 1, CC 66 by default, Soft=Switch Pedal 3, CC 67 by default) to toggle between Fast and Slow for the Leslie™ speaker rotation speed. 7-84 Program Edit Mode KB3 Editor: The Tone Wheels (TONEWL) Page KB3 Editor: The Tone Wheels (TONEWL) Page KB3 Mode uses DSP-generated waveforms for the lower half of its tone wheels and samples for the upper half of its tone wheels. Using the parameters on the TONEWL page, you can specify which sample you wish to use, the number of tone wheels (which will affect how many other voices are available to you), and other related settings. Parameter Range of Values Upper Tone Wheel Keymap Sample List Upper Volume Adjust -96 to 96 dB Number of Tone Wheels 24 to 91 Organ Map Equal, Peck’s, Bob’s, Eric’s Wheel Volume Map Equal, Bright, Mellow, Junky Globals On, Off Lower Transposition -120 to 127 semitones Upper Transposition -168 to 87 semitones Upper Tone Wheel Keymap Use this parameter to indicate the keymap (and thereby the samples) to use for the upper tone wheels. You can use any keymap from ROM, though you must specify a keymap that uses looped samples for KB3 Mode to work correctly. When in Program mode, the keymap assigned to the program appears in the info box. Upper Volume Adjust Since sample volumes can vary, while the volume of DSP-generated waveforms will remain consistent, you may find it necessary to adjust the level of the sample-based tone wheels. This parameter lets you adjust the amplitude of the upper (sample-based) tone wheels relative to amplitude of the waveform-generated tone wheels. 7-85 Program Edit Mode KB3 Editor: The Tone Wheels (TONEWL) Page Number of Tone Wheels This parameter lets you specify the number of tone wheels used by a KB3 program. The classic tone wheel organs used 91 tone wheels, though the lowest 12 were for the pedals only. Therefore, you may find 79 a good number of tone wheels to specify for realistic organ emulations. This would leave you 88 voices for other programs. You can specify up to 91 tone wheels. The number of Forte SE voices used by a KB3 program is (number of tone wheels + 1) / 2, rounded to the next highest whole number if the result is a fraction. So, for example, with 79 tone wheels specified you would use 40 voices. Keep in mind that these voices are permanently allocated and running while the KB3 program is selected, and cannot be stolen. The additional voice used by KB3 programs is for keyclick. Organ Map The organ map controls the relative amplitude of each key, per drawbar. Like the wheel volume maps, these maps are based on measurements we’ve made on actual organs. Equal uses the same volume for each key and drawbar, and is not based on a real B3. Peck’s is a good normal map, from a B3 in good condition. Eric’s is a bit more idealized; it’s smoothed out, but less realistic. Bob’s is more uneven, based on an old B3. Wheel Volume Map The wheel volume map determines the volume level for each tone wheel. We’ve provided several tone wheel volume maps here, based on measurements we’ve taken on different organs. Equal is a map with all tone wheels at the same volume. It’s not based on a real B3. Bright is a good normal map, based on a B3 in good condition. Junky is based on a B3 with an uneven, rolled-off response. Mellow is somewhere between Bright and Junky. You can also apply EQ to control wheel volumes based on the frequencies of each tone wheel. See KB3 Editor: The EQ Page on page 7-94. Globals This is another toggle, which affects LFO2, ASR2, FUNs 2 and 4. When off, these three control sources are local; they affect each individual note in the layers that use them as a control source. They begin operating each time a note in that layer is triggered. When the Globals parameter is set to On, these control sources become global, that is they affect every note in every layer of the current program, not just the one to which they’re applied. When these control sources are global, they begin operating as soon as the program is selected. When Globals are on, LFO2, ASR2, and FUNs 2 and 4 will appear on their respective pages preceded by the letter G to indicate that they’re global. You’ll use global control sources when you want to affect each note in a given layer uniformly, and local control sources when you want to affect each layer’s note independently. 7-86 Program Edit Mode KB3 Editor: The Drawbars (DRAWBR) Page Lower Transpose / Upper Transpose These two parameters let you transpose the upper and/or lower tone wheels in semitone steps away from their default tunings. KB3 Editor: The Drawbars (DRAWBR) Page Press the Drawbr soft button to view the DRAWBR Page. This page lets you edit KB3’s drawbars. Mode When you set Mode to Preset, the preset drawbar settings on this page will be installed at program selection. The drawbar values will immediately change, however, as soon as you move the corresponding drawbar. Set Mode to Live if you want the drawbar volume settings at program selection to be determined by the positions of the drawbar controllers (sliders). With either setting, any engagements of the drawbar controllers subsequent to program selection will affect drawbar volumes. Steps This parameter lets you specify the increments by which drawbar volumes will change. Choose either 0–8, to approximate the drawbar settings on actual organs, or choose 0–127 for a finer degree of resolution. Volume This parameter appears only if you’ve set Mode (see above) to Preset. Use the Volume parameter to set the preset volume of each of the nine drawbars. The available values will be 0–8 or 0–127, depending on the setting of the Steps parameter. 7-87 Program Edit Mode KB3 Editor:The Set Drawbars (SetDBR) Soft Button Tune This parameter lets you tune each of the nine drawbars up or down in semitone steps. The values for the Tune parameter on the DRAWBR page shown above represent standard drawbar settings on a real B3, as shown in the table below. Subharmonics Fundamental Harmonics 16’ 5 1/3’ 8’ 4’ 2 2/3’ 2’ 1 3/5’ 1 1/3’ 1’ Slider A Slider B Slider C Slider D Slider E Slider F Slider G Slider H Slider I Figure 7-2 Standard Drawbar Settings for the Hammond B3 KB3 Editor: The Set Drawbars (SetDBR) Soft Button Press the SetDBR soft button to capture the current position of the drawbars, and use those positions as the preset drawbar positions on the DRAWBR page. KB3 Editor: The PITCH Page The PITCH page parameters for KB3 programs is much like the PITCH page parameters for VAST programs. The only difference is that for KB3 programs, there are no Hz, KeyTrk, or VelTrk parameters. For a full description of the PITCH-page parameters, see Common DSP Control Parameters on page 7-32, The DSP Control (DSPCTL) Page on page 7-37 and The DSP Modulation (DSPMOD) Page on page 7-39. 7-88 Program Edit Mode KB3 Editor: The AMP Page KB3 Editor: The AMP Page The AMP page parameters for KB3 programs is much like the AMP page parameters for VAST programs. The only difference is that for KB3 programs, there are no KeyTrk or VelTrk parameters. For a full description of the AMP page parameters, see Common DSP Control Parameters on page 7-32, The DSP Control (DSPCTL) Page on page 7-37 and The DSP Modulation (DSPMOD) Page on page 7-39. KB3 Editor: The KEYCLICK Page The Key Click feature adds a decaying burst of pitched noise to the attack of notes. Unlike the percussion, the key click is “multi-triggered,” which means that every new note will trigger it. The parameters on this page primarily control the decay, volume, and pitch of the key click. Parameter Range of Values Key Click Off, On Volume -96.0 to 0.0 dB, in 0.5-dB increments Decay 0.005 to 1.280 seconds, in 0.005-second increments VelTrk 0 to 100% Pitch 1 to 120 Random 0 to 100% 7-89 Program Edit Mode KB3 Editor: The KEYCLICK Page Parameter Range of Values Retrig Thresh -96.0 to 0.0 dB, in 0.5-dB increments Note Attack Normal, Hard, PercHard Note Release Normal, Hard KeyClick This is where you turn Key Click on or off. With KeyClick set to Off, you may still hear a click depending on your Note Attack and Note Release settings (see below). Volume This parameter sets the level of the keyclick; the noise decays from the level you set here. This level is scaled by the drawbar levels, as well as the expression pedal level. Keyclick volume can also be scaled by MIDI CC 89; value 0 = -96 dB, value 127 = the level set for the Volume parameter. Values between 0 and 127 scale between -96 dB and the level set for the Volume parameter. When using CC 89, the value displayed for the Volume parameter will not change. Decay Sets the basic decay time of the noise envelope. Smaller values produce a shorter burst. VelTrk Controls the degree to which key velocity affects the key click volume. A value of zero means that the key velocity has no effect on the key click volume (which is like a real tone wheel organ). Other values add volume as the velocity increases. Pitch Sets the basic pitch of the key click noise, relative to the highest tonewheel’s pitch. The pitch is controlled by a steep lowpass filter applied to white noise. The filter’s cut off frequency is controlled relative to key number, higher keys move the cutoff frequency up, lower keys move the cutoff frequency down. Random Controls the degree to which a random amount of amplitude variation is added to the key click. 7-90 Program Edit Mode KB3 Editor: The PERC1 Page ReTrigThresh This parameter lets you set the volume level below which key click must decay before it will be retriggered. Note Attack Controls the attack characteristic of notes. Normal provides a smoothed attack, while a setting of Hard has an instant attack and will produce an audible click, in addition to any amount of key click specified with the other parameters on this page (you might prefer not to specify any additional key click when you use this setting). PercHard sets a hard attack level for percussion only; notes without percussion use a normal attack. Note Release Controls the release characteristic of notes. A setting of Normal has a smoothed release, while a setting of Hard has an instant release. Hard will produce an audible click. KB3 Editor: The PERC1 Page Percussion is a characteristic feature of tone wheel organs. It’s especially useful while soloing, since percussion adds an extra “plink” (actually an extra tone at a defined harmonic) to the attack. You can reach the percussion parameters by pressing the Perc1 and Perc2 soft buttons. Parameter Range of Values Percussion Off, On Volume Soft, Loud Decay Slow, Fast Harmonic Low, High Velocity Tracking 0 to 100% Low Harmonic Drawbar 1 to 9 High Harmonic Drawbar 1 to 9 Steal Bar Drawbar 1 to 9 7-91 Program Edit Mode KB3 Editor: The PERC1 Page Percussion This is where you turn the percussion effect on or off. Percussion is created by a decaying envelope applied to one of the nine drawbars. The percussion effect is “single-triggered,” which means that once it’s triggered, it won’t trigger again until all keys (or whatever you’re using to trigger notes) go up. So if no keys are down, and you play a chord, percussion gets applied to all notes in the chord (and in fact, to all notes that are triggered during the short duration of the percussion envelope). Once the envelope runs its course, any notes you play while at least one key is held down get no percussion. You can turn percussion on or off by pressing Assignable button 5 (labeled [Percussion] On/Off). Volume This parameter switches between loud and soft percussion settings. The actual amplitude is set on the PERC2 page. You can toggle between loud and soft by pressing Assignable Button 6 (labeled [Percussion] Loud/Soft). Decay This parameter switches between fast and slow percussion settings. The actual decay rate is set on the PERC2 page. You can toggle between slow and fast decay by pressing Assignable button 7 (labeled [Percussion] Decay F/S). Harmonic This parameter switches between high and low harmonic percussion settings. The actual pitch is controlled by the LowHarm and HighHarm parameters. You can toggle between low and high harmonics by pressing Assignable Button 8 (labeled [Percussion] Pitch H/L). VelTrack Here is where you specify the degree to which key velocity controls percussion volume. A value of zero corresponds to no velocity tracking, which is like a real tone wheel organ. Other values add velocity tracking, so that increased velocity results in louder percussion. LowHarm Controls which drawbar is used as the basis for the percussion when Harmonic is set to Low. On an actual tone wheel organ, this is Drawbar 4 (2nd harmonic). The actual pitch obtained depends on the drawbar tuning. 7-92 Program Edit Mode KB3 Editor: The PERC2 Page HighHarm Controls which drawbar is used as the basis for the percussion when Harmonic is set to High. On an actual tone wheel organ, this is Drawbar 5 (3rd harmonic). The actual pitch obtained depends on the drawbar tuning. StealBar Controls which drawbar is disabled when the percussion effect is turned on. On an unmodified tone wheel organ, the ninth drawbar is the one disabled. Any drawbar can be selected. KB3 Editor: The PERC2 Page Parameter Group (Available for each combination of the Volume and Decay parameters on the PERC1 page) Range of Values Percussion Level 0 to 24.0 dB Decay Time 0.01 to 5.10 seconds, in 0.02-second increments Organ Volume Level -12.0 to 12.0 dB PercLevel, DecayTime, OrgLevel With these parameters you can control the amplitude and decay time of the percussion effect for all combinations of the Volume and Decay parameters (on the PERC1 page). You can also adjust the level of the organ relative to the percussion, for accurate emulation of classic organs. 7-93 Program Edit Mode KB3 Editor: The EQ Page KB3 Editor: The EQ Page The four column headers on this page represent two shelving bands of equalization and two parametric bands. The KB3 EQ offered here, though, is not implemented as a true EQ section; instead, it adjusts the volume of the tone wheels based on frequency. If the tone wheels are based on sine waves, then this acts similarly to a real EQ. Parameter Group (Available for each EQ band) Range of Values Gain -24.0 to 24.0 dB, in 0.2-dB increments Frequency 16 to 25088 Hz, in varying increments Width -128 to 128 Semitones, in 2-semitone increments Each EQ section has Gain (G), Frequency (F), and Width (W) controls. Frequency controls the center frequency of the band. Width controls the bandwidth. Gain controls the amount of boost or cut. 7-94 Program Edit Mode KB3 Editor: The OUTPUT Page KB3 Editor: The OUTPUT Page Use this page to route the current program’s post-FX signals. The two Pan parameters correspond to those of the VAST Program editor OUTPUT page (See page 7-40 ). The Out Gain parameter corresponds to those of the VAST Program Editor COMMON page (See page 7-16). Exp Pedal Use this parameter to set which rear panel CC Pedal input will control volume for the current KB3 program. With a setting of Expression/Foot, volume can be controlled by a CC pedal plugged into either the rear panel input labeled CC Pedal 1 (volume), or the rear panel input labeled CC Pedal 2 (wah). With a setting of Expression, volume can be controlled by a CC pedal plugged into the rear panel input labeled CC Pedal 1 (volume). With a setting of Foot, volume can be controlled by a CC pedal plugged into the rear panel input labeled CC Pedal 2 (wah). With a setting of None, volume control from both CC pedal inputs is disabled. KB3 Editor: The LFO, ASR, FUN, and ARP Pages The rest of the pages—LFO, ASR, FUN, ARP1 and ARP2 — are the same for KB3 programs as they are for VAST programs, so we won’t describe them again here. For descriptions of these pages see: The LFO Page on page 7-43 The ASR Page on page 7-46 The Function (FUN) Page on page 7-47 The Arpeggiator Function on page 7-55 7-95 Chapter 8 The Effects Chain Editor The Effects Chain Editor The MAIN Page Pressing the Edit button while a Chain (other than 0 None) is highlighted—on any of the various effects pages—will call up the Chain editor. From the Program editor, the program’s Insert and Aux Chains can be edited from the PROGFX and LYRFX pages. In Effect mode Chains selected for Aux overrides can be edited from the Aux 1 Override and Aux 2 Override pages. In Multi Edit Mode, Chains selected for Aux overrides can be edited from the AUX1 and AUX2 pages. A Chain is made up of one or more effect-boxes, with each box containing a single effect. You can have up to 16 effect-boxes in a Chain. The settings for all of the parameters of each effect-box are also stored within the Chain. There are 15 Mod Controls that allow for real-time control over any parameter from any effect-box in the Chain. Per Chain Control sources are also provided to be used as inputs to the effect Mods (two FXLFOs, two FXASRs, and four FXFUNs.) These work similarly to the LFOs, ASRs and FUNs in Program mode, but are only available for use with the effect Mods. The MAIN Page In the Chain Editor, pressing the MAIN soft button calls up the MAIN page. The MAIN page is where you configure the length of a Chain and select the individual effects that make up the Chain. The Chain editor MAIN page of the Chain 269 PnoEnhancRvb3 appears as shown below: At the top right of the display is the number of DSP units used by the currently selected effect- box, and by the Chain as a whole. 2/5 Units indicates that the current effect-box is using two DSP units and the Chain is using a total of five DSP units for all of its effects boxes. There are a total of 16 units available for all of the Chains that are currently loaded by programs and any active Aux overrides from Multi Mode. 8-1 The Effects Chain Editor The MOD Pages NOTE: In some configurations, not all 16 units are available for use with multi-unit effects because of the way the DSP is allocated internally. Like all other representations of signal paths in the Forte SE display, the program signal moves from left to right through the Chain. Use the cursor buttons to select an effect-box or empty spot in the Chain. The effect loaded into the selected effect-box can be changed by numeric entry, with the Alpha Wheel, or with the +/– buttons; and can be changed with either the effect-box or the Effect field at the bottom of the page highlighted. The +/- double button press will jump to the next effect “category.” Pressing the Insert soft button adds a new effect-box to the Chain in the currently selected block-slot, and pushes the currently selected effect-box down the Chain to the right. (If you have run out of DSP units, you will not be able to create additional effects boxes.) Pressing the Remove soft button takes the currently selected effect out of the Chain. Editing Effect-boxes To edit the parameters of an effect, select its effect-box on the MAIN page and press the Edit button. For each effect, there are one or more pages of parameters that are specific to that effect. See Effects Parameters on page 8-5 for details on parameters for each type of effect. Any parameter controlled by an effect Mod will display a value of FxMod and cannot be edited. To return to the MAIN page of the chain editor, press the Exit button. The MOD Pages There are six pages for configuring effects mods: MOD1 - MOD6. All pages are essentially identical in appearance and function. See below for an example MOD page: Box The Box parameter specifies which effect-box in the Chain to which the Mod will be applied. Param The Param parameter selects which parameter of the specified box’s effect will be modulated. 8-2 The Effects Chain Editor FXLFO, FXASR, and FXFUN pages Adjust The Adjust parameter sets a fixed value for the specified parameter (Param) that is applied before any modulation. Source The Source parameter determines the Control source that will modulate the parameter (Param) in real-time. This can be any of the normal channel Control sources (sliders, mod wheel, pedals, etc.) or one of the Chain-specific Control sources (FXLFOs, FXASRs, and FXFUNs). Depth The Depth parameter determines the range of modulation that the Controller will apply. When the Control source has a value of 0, the parameter’s (Param’s) value will be the Adjust value. When the control source is all the way up, the parameter’s (Param’s) value will be the Adjust value plus the Depth value. FXLFO, FXASR, and FXFUN pages The FXLFO, FXASR, and FXFUN pages are the pages from which you edit the Effectsonly Control sources. These are Control sources that can be used by the effects Mods in the current Chain. The parameters on these pages work exactly like those of the corresponding Control sources in program mode (see The LFO Page on page 7-43, The ASR Page on page 7-46, and The Function (FUN) Page on page 7-47. INFO page Press the INFO soft button to go to the Chain Info page where you can edit the controller assignment info for the current Chain. Chain Info allows you to add a description for each FX Mod you have assigned. On the Chain Info page, use the Channel/Layer/Zone buttons to scroll through the current Chain’s list of controller assignment info. Each assignment Info entry has a MIDI controller number and a Text parameter to describe what the assignment controls. One Info entry can be made for each MIDI CC number. Chain Info allows you to see a name for each FX Mod controller assignment, as well as set an initial controller value for each FX Mod in each Program. When assigning a physical controller or CC number to a source field on one of the FX Mod pages, a Chain Info entry is automatically added to the Chain Info Page with the name of the FX parameter. Chain Info entries are also automatically deleted when their associated FX Mods are removed or unassigned from the FX Mod pages. 8-3 The Effects Chain Editor The Utility Soft Buttons, HELP Soft Button and Favorites Buttons Functions When an FX Chain is selected in a Program, the Chain Info entries appear on the Program Parameters page. Chain Info names are also shown on the main Program and Multi Mode Pages when moving an assigned controller. The Program Parameters page allows you to remap existing Chain FX Mod controller assignments, as well as set an initial MIDI value for each assignment. This allows you to reuse the same Chain in several Programs, and each of the Chain FX Mods can have a different controller assignment or initial value in each Program. Each MIDI CC number can have one Chain Info entry. When setting an FX Mod source field, if the selected physical controller or CC number is already used by a different FX Mod in the Chain, a new Chain Info entry will not be added to the Chain Info Page. The new FX Mod will share the existing Chain Info entry for the same physical controller/MIDI CC. The name of the previously existing Chain Info entry will not change based on the new FX Mod. If you have assigned one physical controller/MIDI CC to multiple FX Mods, you may wish to edit the Info name to reflect this. To edit an Chain Info name, first go to the Chain Info page, then use the Channel/Layer/ Zone buttons to select the Info entry from the list. Press the Text soft button to enter the text editor for the currently selected Info entry. After making text changes, press the OK soft button, or press the cancel soft button to exit the text editor without making changes. Be sure to save the Chain when exiting the Chain editor in order to save your changes. In some cases it may be desirable to manually create a new Chain Info entry. Press the New soft button, then choose an available MIDI CC. Once the Info entry is created, you can change its name using the Text soft button. If you have edited the Info text for an FX Mod, but wish to change to physical controller or CC number for the source field of that FX Mod, you can duplicate the Info entry to preserve the edited text. First, go to the Chain Info page, then use the Channel/Layer/Zone buttons to select the Info entry from the list. Press the Dup soft button and select an available CC to use for the new FX Mod source assignment. Lastly, select the desired FX Mod source field on one of the FX Mod pages, and select the same CC for the source field. You can delete a Chain Info entry by selecting it on the Chain Info page and pressing the Delete soft button. The Utility Soft Buttons, HELP Soft Button and Favorites Buttons Functions Some of the soft buttons in the Chain Editor perform a function when pressed, as well as some of the Favorites buttons. 8-4 The Effects Chain Editor Effects Parameters Delete Press the Delete soft button to delete the current Chain (factory Chains can not be deleted). Press Delete, and you will be given a choice to Delete or Cancel. Press Delete again, and an “Are You Sure?” message will appear. Press Yes to delete the Chain, or Cancel to cancel. HELP Press the HELP soft button to view the Help page, where you can view a description of functions assigned to the Favorites buttons. Favorites 1: Help Press the Favorites 1 button to view the HELP page. Favorites 5: Bypass Box Press the Favorites 5 button to temporarily bypass the currently selected FX box in the Chain. Press the Favorites 5 button again to re-enable the selected box. Effects Parameters This section contains descriptions of the Forte SE’s many effects parameters, and instructions on how to use them. Read through this section to get a good general understanding of the parameters. The descriptions here do not include all of the parameters associated with every effect, and some effects may not have some of the parameters described here for their category. A more complete reference, with every effect and the meaning and range of every parameter, arranged in the order they appear on the screen, can be found in the KSP8 Algorithm Reference Guide on the Kurzweil website, www.kurzweil.com. General Parameters There are a number of parameters that are common to all or almost all effects, and we’ll deal with those first. Wet/Dry balances the levels of the processed and unprocessed signals output from the effect. Wet represents the processed signal, while dry represents the unprocessed signal. The range is 0% wet (the signal is unprocessed) through 100% wet (no dry signal is present). Values between 0% and 100% blend the two signals, for example, at 20% the output signal is 20% wet (processed) and 80% dry (unprocessed.) A setting of 50% wet means the dry and processed signals are roughly equal in level. In some effects, separate Wet/Dry parameters are provided for the Left and Right input channels. In some cases, this parameters can have negative values, which indicate that the Wet signal is polarity-inverted. 8-5 The Effects Chain Editor Effects Parameters When an effect with the Wet/Dry parameter is used in Chain that has been selected as an Aux effect, Wet/Dry is automatically set to 100% wet and cannot be adjusted. This is because when using an Aux effect, the dry signal is already effectively at 100% on the main audio bus (not routed through the Aux effect.) In this case, turning up the Aux send level will blend the 100% wet signal (from the Aux bus) with the dry signal on the main audio bus. Out Gain sets the gain at the output of an effect. In/Out enables or disables the effect. You can think of it as a Wet/Dry parameter with only two HF Damping (high frequency damping) is the cutoff (-3 dB) frequency of a 6dB/octave lowpass filter that’s inserted before the processor. High frequencies above the set cutoff frequency will be filtered out. In the case of processors where multiple iterations of the signal are heard, such as in a delay, each iteration of the signal will pass through the filter, and will therefore be duller. XCouple (Cross Couple). In stereo effects, this controls how much of any signal being fed back is going to the channel opposite to the one where it first appeared. At 100%, all feedback from signals at the left input goes to the right channel and vice versa, causing a “spreading” or in the case of delay lines, a “ping-pong” effect. At 0%, fed-back signals stay with the channel they came in on. A->B cfg (configuration). In combination effects that contain two (or more) components, the order in which the signal passes through the two components can be changed with this parameter. Combination effects are usually named with a “->”, as in 484 “Flange->Shaper.” For example, 484 “Flange->Shaper” can be configured so the signal passes through the flanger first and then the shaper, or through the shaper first and then the flanger. The cfg parameter determines the configuration, and its value is context-sensitive—in this example, the choices would be “Fl->Shp” and “Shp->Fl.” A/Dry->B is also found in many combination effects, and controls the amount of signal that will pass dry (unprocessed) through the first component into the second component. Different combination effects use different variations on this parameter, depending on the context. The range is 0 to 100%. Reverbs Room Type changes the configuration of the effect to simulate a wide array of room types and sizes including booths, small rooms, chambers, halls and large spaces. Because this parameter changes the structure of the reverb effect, you need to be careful when assigning it a MOD— changing it in real time while signal is passing through it is likely to cause audible artifacts. Room types in different effects with similar names do not necessarily sound the same. 8-6 The Effects Chain Editor Effects Parameters Rvrb Time is the RT60—the time it takes for the reverb to decay to 60 dB below its initial level—in seconds. It is accurate assuming that several other parameters (HF Damping, Diff Scale, Size Scale, and Density) are at their nominal levels. It is adjustable up to “Inf ”, which creates an infinitely-sustaining reverb. LateRvbTim adjusts the basic decay time of the late portion of the reverb after diffusion. L Pre Dly and R Pre Dly (Pre-Delay) is the time between the start of a sound and the output of the first reverb reflections from that sound. Longer pre-delays can help make larger spaces sound more realistic. Longer times can also help improve the clarity of a mix by separating the reverb signal from the dry signal, so the dry signal is not obscured. You can set a separate time for the left and right reverb signals using L Pre Dly and R Pre Dly. EarRef Lvl adjusts the mix level of the early-reflection portion of effects which offer early reflections. Late Lvl adjusts the mix level of the late-reverb portion of effects which offer early reflections. Diff Scale scales the “diffusion“ of the early reflections, that is, how spread out they are as a group over time. At very low settings, the early reflections start to sound quite discrete, and at higher settings the early reflections are seamless. It is adjustable from 0.00 to 2.00, with 1.00 being nominal for the given Room Type. Density controls how tightly the early reflections are packed in time. Low Density settings group the early reflections close together, while higher values spread the reflections for a smoother reverb. It is adjustable from 0.00 to 4.00, with 1.00 being nominal (and usually optimal) for the given Room Type. Expanse controls the amount of late reverb energy biased toward the edges of the stereo image. A setting of 0% will bias energy towards the center. Moving away from 0% will bias energy towards the sides. Positive and negative values will have a different character. Build adjusts the envelope of certain portions of the reverb. Positive values speed up the envelope, and negative values slow it down. Size Scale changes the size of the current room. Altering this parameter will change the reverb time and also cause some coloration of the reverb. It is adjustable from 0.00 to 4.00, with 1.00 being nominal (and usually optimal) for the given Room Type. InfinDecay, when turned “On”, causes the reverb tail to decay infinitely. When it’s “Off”, the decay time is determined by the “Rvrb Time” or “LateRvbTim” parameters. This is a good parameter to control with a footswitch. Wet Bal (Wet Balance). Some reverb effects are actually two stereo reverbs in one, with each one receiving a different mono signal. This balances the outputs of the two reverbs—0% means they are being mixed equally. 8-7 The Effects Chain Editor Effects Parameters Delays There are two types of taps in the Multitap delays: The “Loop” tap, which has a feedback loop back to its input, and the numbered taps. The numbered taps can be single iterations or they can repeat as part of a loop, but they do not have individual feedback paths. Fdbk (Feedback) Level controls the repeating function of the Loop Tap. A setting of 0% means there will only be a single delay, while a setting of 100% means the signal keeps repeating without ever stopping. Both types of taps are individually adjustable from 0 to 2.55 seconds. The Loop Crs and Tapn Crs (n being the number of the tap) parameters set the coarse value of the loop in 20ms increments, while the Loop Fine and Tapn Fine parameters set the fine value in 0.2-ms increments. In Delay effects that use tempo to determine tap lengths, there is a Tempo parameter which can be set from 1 to 255 BPM or to “System.” The Loop Length and Tapn Delays are then expressed in beats relative to that overall Tempo. Hold is a switch that, when turned on, “locks” any signal currently in the delay and plays it until Hold is turned off. When Hold is on, no signal can enter the delay and Feedback is set to 100%. A good parameter to control with a footswitch. Dry Bal (Balance) is the left/right balance of the dry signal. At -100%, only the left dry signal goes to the left output, while at 100% only the right dry signal passes to the right output, and at 0%, equal amounts of the left and right dry signals pass to their respective outputs. Tapn Level is the level of each numbered tap, from 0% to 100%, relative to the overall output of the effect. Tapn Bal is the left/right balance of each of the numbered taps. At -100%, only the left channel of tap n goes to the left output, while at 100% only the right channel of tap n goes to the right output. At 0%, equal amounts of the left and right channels of the tap pass to their respective outputs. In some delays, pairs of taps (1 and 5, 2 and 6, etc.) are controlled together as stereo pairs. DelayScale lets you change the lengths of all the taps together. Its range is 0 to 10x. Note: It is possible for the Forte SE to run out of delay memory with over-generous settings of DelayScale or very slow Tempos. Some Delay effects will simply go to a maximum value and stay there, while in some, a calculation is made that automatically cuts the delay times in half, thereby maintaining a relationship with tempo. 8-8 The Effects Chain Editor Effects Parameters Complex Echo This effect has two feedback taps per channel as well as three independent taps, and also a feedback diffuser for “smearing” the delays. Feedback line 1 feeds the signal back to the delay input of the same channel, while feedback line 2 feeds the signal back to the opposite channel. FB2/FB1>FB is a balance control between feedback lines 1 and 2. 0% (minimum) turns off feedback line 2, only allowing use of feedback line 1. 50% is an even mix of both lines, and 100% (maximum) turns off line 1. L Diff Dly and R Diff Dly adjusts the delay lengths of the diffusers. Range is 0 to 100 ms. Diff Amt adjusts the diffuser intensity. Range is 0 to 100%. C Fdbk n Dly adjusts the delay length of the C channel’s nth feedback tap, fed back to the C channel’s delay input. Range is 0 to 2600 ms. Spectral Multitap Delays These 4- and 6-tap delays have their feedback and output taps modified with shapers and filters. In the feedback path of each tap are a diffuser, hipass filter, lopass filter, and imager. Each delay tap has a shaper, comb filter, and balance and level controls. Fdbk Image sets the amount that the stereo image is shifted each time it passes through the feedback line. Range is -100 to 100%. Tap n Shapr adjusts the intensity of the shaper at each output tap. Range is 0.10 to 6.00 x. Tap n Pitch adjusts the frequency of the comb filter at each output tap. Range is C-1 to C8, in semitones. Tap n PtAmt adjusts the intensity of the comb filter at each output tap. Range is 0 to 100%. Gated Ducking Delay This runs the last thing you played through a looping delay, but only outputs the delay signal when you aren’t playing. Gated Ducking Delay is great for that announcer sound, sound, sound, so popular in Monster Truck radio spots. DegenRegen This one’s a big looping delay with lots of gain, distortion and filtering, and with a compressor to keep it all under control. Equalizers (EQ) The Forte SE has both Graphic and Parametric EQ effects. Parametric EQ sections are also found on a number of combination effects. 8-9 The Effects Chain Editor Effects Parameters The Graphic equalizer is available as stereo (linked parameters for left and right) or dual mono (independent controls for left and right). It has 10 bandpass filters per channel, each of whose gain is adjustable from -12 dB to +24 dB. Like all graphic equalizers, the filter response is not perfectly flat when all gains are set to the same level (except at 0 dB), but rather has ripple from band to band. To minimize this ripple, it is best to center the overall settings around 0 dB. The Parametric equalizer (“5-Band EQ”) has two bands of shelving filters and three bands of true parametric EQ. Treb Freq and Bass Freq set the center frequencies for the shelving filters. Both of these are adjustable over the full range of 16 to 25088 Hz, in increments of a semitone. Treb Gain and Bass Gain control the amount of cut or boost above (Treb) or below (Bass) the center frequency. The range is -79 to +24 dB. Midn Gain sets the cut or boost for the parametric band n, with a range of -79 to +24 dB. Midn Freq sets the center frequency for parametric band n, with a range of 16 to 25088 Hz, in increments of a semitone. Midn Width set the bandwidth of the filter on band n, with a range of 0.01 to 5 octaves. Enhancers Enhancers modify the spectral content of the input signal by boosting existing spectral content, or stimulating new ones. Two and three-band versions are provided. Drive adjusts the input into each band. Increasing the drive will increase the effects. Range is -79.0 to 24.0 dB. Xfer adjusts the intensity of the transfer curves. Range is -100 to 100%. EQ Morpher This effect uses two four-band bandpass filters, A and B, and moves between them. This can produce very convincing human vocal type sounds. FreqScale offsets the filter frequencies for each set of filters. After setting the filter parameters (Freq, Gain, and Width), the FreqScale parameters will move each of the four filter frequencies together by the same relative pitch. Range is -8600 to 8600 cents. Morph A>B. When set to 0% the “A” parameters are controlling the filters, and when set to 100%, the “B” parameters control the filters. Between 0 and 100%, the filters are at interpolated positions. When morphing from A to B settings, the A filter #1 will change to the B filter #1, A filter #2 moves to B filter #2, and so on. Range is 0 to 100%. Compressors, Expanders, and Gates A wide range of Compression and Expansion effects is available in the Forte SE. The various effects include different combinations of: 8-10 The Effects Chain Editor Effects Parameters • compressors with soft-knee characteristic—the compression action comes in gradually as the signal level approaches the threshold • compressors with hard-knee characteristic—the compression action comes in abruptly when the signal reaches the threshold • expanders • multiband compressors that break the signal up into three frequency bands and compress them all separately • sidechains or output EQs • reverbs and compressors in combination • gates • gated reverbs All of the Compression effects use these parameters: FdbkComprs (Feedback Compression) selects whether to use feed-forward (set this to “Out”) or feed-back (set this to “In”) compression. The feed-forward configuration uses the input signal as a side-chain source, which is useful when the compressor has to act really quickly. The feed-back configuration uses the compressor output as the side-chain source, which lends itself to more subtle, but not as quick-reacting, compression. Atk (Attack) Time for the compressor is adjustable from 0.0 to 228.0 ms. Rel (Release) Time for the compressor is adjustable from 0 to 3000 ms. SmoothTime smooths the output of the expander’s envelope detector by putting a lowpass filter in the control signal path. Smoothing will affect the Attack or Release times only when this parameter is longer than one of the other times. The range is 0.0 to 228.0 ms. Signal Dly (Delay) puts a small delay in the signal relative to the sidechain processing, so that the compressor (or gate) “knows” what the input signal is going to be before it has to act on it. This means the compression can kick in before an attack transient arrives. In the SoftKneeCompress and HardKneeCompress effects, delay is really only useful in feedforward configuration (FdbkComprs is “Out”). For other compressors, the delay can be useful in feedback configuration (FdbkComprs is “In”). The range is 0 to 25 ms. Ratio is the amount of gain reduction imposed on the compressed signal, adjustable from 1.0:1 (no reduction) to 100:1, and Inf:1. Threshold is the level in dBFS (decibels relative to full scale) above which the signal begins to be compressed. Adjustable from -79.0 to 0 dB. MakeUpGain allows additional output gain to compensate for gain reduction in the compressor. It is essentially the same parameter as Out Gain, with which it is summed. The minimum is -79.0, and the maximum summed gain (MakeUpGain + Out Gain) is +24.0 dB. Expansion Effects containing Expanders have these controls: 8-11 The Effects Chain Editor Effects Parameters Atk or Exp Atk (Attack), how fast the expander turns off when the input signal rises above the threshold level, adjustable from 0.0 to 228.0 ms. Rel or Exp Rel (Release), how fast the expander turns back on after the signal drops below the threshold level, adjustable from 0 to 3000 ms. Ratio or Exp Ratio, how much the gain is reduced below the expansion threshold, adjustable from 1:1.0 (no expansion) to 1:17 (extreme downward expansion). Threshold or Exp Threshold, the level below which the signal is expanded, adjustable from -79.0 to 0 dB. In addition, the two-segment compressors with expander have separate Ratio and Threshold controls for each of the compression segments. Multiband Compression The Multiband Compression effect has Attack, Release, Smooth, Signal Delay, Ratio, Threshold, and MakeUp Gain parameters for each of the three bands (“Low”, “Mid”, and “High”). In addition, it has: Crossover1 and Crossover2. These set the frequencies which divide the three compression frequency bands. The two parameters are interchangeable, so either may contain the higher frequency value. The range is 16 to 25088 Hz, in increments of a semitone. Gates SC Input lets you select which input channel(s) will control the sidechain, which is responsible for opening and closing the gate. It can be set to L, R, or the average of the two channels, (L+R)/2. You can use this, if you arrange the signal paths and pan controls appropriately, to gate one mono signal with a different mono signal. Gate Time is the time that the gate will stay open after the sidechain signal reaches the Threshold. Its range is 0 to 3000ms. Ducking reverses the action of the gate. Normally this if set to “Off”, and the gate opens when the input signal rises above the threshold. But when this is “On”, the gate closes when the input signal rises above the threshold. Super Gate Super Gate is a more sophisticated gate that includes these two functions: Env Time is the amount of time it takes for the sidechain signal envelope to drop below the threshold. If this time is too short, the gate can close and open too quickly from amplitude modulation in the sidechain signal. If it is too long, the gate may stay closed until the envelope has a chance to fall, and some signals would not get through. This parameter is only in effect when Retrigger is Off. 8-12 The Effects Chain Editor Effects Parameters Retrigger determines whether the gate timer will reset itself each time the sidechain signal goes above the threshold. If it is “On”, the timer resets itself, and therefore the gate stays open as long as the signal is above the threshold, or keeps going above the threshold, within the interval specified by Gate Time. If it is “Off”, the gate closes down after Env Time has elapsed, regardless off the sidechain level, and the sidechain level must fall below the threshold and come back up again before the gate will open again. Chorus Chorus is an effect which gives the illusion of multiple voices playing in unison. The effect is achieved by detuning copies of the original signal and summing the detuned copies back with the original. Low frequency oscillators (LFOs) are used to modulate the positions of output taps from a delay line. The movement of the taps causes the pitch of the signal to shift up and down, producing the required detuning. The choruses are available as stereo or dual mono. The stereo choruses have the parameters for the left and right channels ganged, while the dual mono choruses have separate left and right controls. Fdbk Level is the level of the feedback signal from the LFO1 delay tap into the delay line. Negative values polarity-invert the feedback signal. Tap Lvl sets the levels of the LFO-modulated delay taps. Negative values polarity-invert the signal. Setting any tap level to 0% turns it off. Tap Pan sets the stereo position for a given tap’s output. The range is -100% for fully left, to 100% for fully right. Atk Time (attack time) is the time for the gate to ramp from closed to open (reverse if Ducking is on) after the signal rises above threshold, adjustable from 0.0 to 228.0 ms. Rel Time (release time) is the time for the gate to ramp from open to closed (reverse if Ducking is on) after the gate timer has elapsed, adjustable from 0 to 3000 ms. LFO Rate sets the speed of modulation of the delay lines with a range of 0.01 to 10 Hz. LFO Dpth sets the maximum detuning depth of the LFO-modulated delay lines, with a range from 0 to 50 cents (= 1/2 semitone). Tap Dly adds extra delay in front of the LFO modulated delay taps from 0 to 230 ms. L/R Phase or LFOn LRPhs adjusts the relative phases of the LFOs for the left and right channels in the stereo Choruses. 8-13 The Effects Chain Editor Effects Parameters  Flanger Flanging is the process of adding or subtracting a signal with a time-displaced replica of itself, which results in a series of notches in the frequency spectrum, generally referred to as a comb filter. In the Forte SE, the flanger is a multi-tap delay line, all (but one) of whose taps can have their lengths modulated up and down by a low frequency oscillator (LFO). The rate of the LFO is expressed in Tempo. StatDlyLvl (Static Delay Level) is the level of the first, non-moving tap. Negative values invert the polarity of the tap. The range is -100 to 100%; 0% turns the tap off. DlyCrs and DlyFin are the coarse and fine length controls for the Static delay (StatDly...) and for the minimum value of the moving delays (Dlyn...). The coarse range is 0 to 228 ms, and the fine range adjusts the coarse range in samples (= 1/48,000 sec = 20.8μsec) from -127 to 127. Xcurs Crs and Xcurs Fin determine how far the LFO-modulated delay taps can move from the center of their ranges. The total range of the LFO sweep is twice the excursion. If the excursion is set to 0, the LFO does not move and the tap behaves like a simple delay line set to the minimum delay. The coarse range is 0 to 228 ms; the range 0 to 5 ms is most effective for flanging. The fine range adjusts the coarse range in samples from -127 to 127. Quantize This effect produces digital distortion known as quantization noise, by limiting the number of bits available to the signal. See effect 329 “Aliaser.” DynamRange (dynamic range) controls how many bits to remove from the signal data words. The lower the level, the greater the distortion. At 0 dB the hottest of signals will toggle between only two quantization levels, thereby producing a square wave. Every 6 dB added doubles the number of quantization levels, reducing the noise and getting closer to the original signal. If the signal has a lot of headroom (available signal level before digital clipping), then not all quantization levels will be reached. Range is 0 to 144 dB. Headroom sets the available signal level before digital clipping. Setting this properly prevents the signal from getting too loud at low levels of DynamRange. You want to have it match the amount of level still available above the input signal: this is done by finding the DynamRange level at which the signal starts getting louder, and setting Headroom to match the DynamRange value. Range is 0 to 144 dB. DC Offset adds a positive DC Offset to the input signal, which allows you to alter the position where digital zero is with respect to your signal. At low DynamRange settings, this can cause the output to “sputter.” Range is Off/-79.0 to 0.0 dB. 8-14 The Effects Chain Editor Effects Parameters LaserVerb LaserVerb is a type of reverb which produces a delayed train of closely spaced reflections, or impulses. As time passes, the spacing between the impulses gets wider, which creates a discernible buzzy pitch that gets lower as the spacing increases. The signal can be fed back into itself to extend the effect. Dly Coarse is the overall delay length, which controls the duration or decay time. 0.5 sec is a good starting point. Range is 0 to 1.3 seconds in the 2 DSP unit version of the effect, and 0 to 2 seconds in the 3 DSP unit version. Dly Fine adjusts the delay with a resolution down to 0.2 ms. Range is -20.0 to 20.0 ms. Spacing determines the starting pitch of the descending buzz and how fast it descends, by setting the initial separation of impulses and the subsequent rate of increasing impulse separation. The spacing between impulses is given in samples (20.8μs). At low values, the buzz starts at high frequencies and drops slowly, while at high values the buzz starts at a lower pitch and drops rapidly. Range is 0.0 to 40.0 samples, with a resolution of 0.2 sample. Contour controls the overall shape of the reverb. When set to a high value, sounds passed through the reverb start at a high level, and it slowly decays. As the control value is reduced, it takes more time for the effect to build up before decaying. At a value of around 34%, the reverb behaves like a reverse reverb, building up to a hit. When it is set to zero, the effect acts like a simple delay. Range is 0 to 100%. Filters Resonant Filter Frequency (or Freq) is the fixed resonant frequency of the filter. Its range is 16 to 8372 Hz. Envelope Filter Envelope Filter is a resonant filter whose center frequency can be made to vary according to the level of the incoming signal. There are four types of Resonant Filter effects in the Forte SE. All of them have these parameters in common: Filter Type (or FiltType) can be Lowpass, Highpass, Bandpass, or Notch (band-cut). Resonance is the resonance of the filter, adjustable from 0 to 50 dB. Filter Type can be Lowpass, Highpass, Bandpass, or Notch (band-cut). Min Freq is the minimum resonant frequency of the filter, that is, the filter frequency when the input gain is below the triggering threshold. Its range is 16 to 8372 Hz. 8-15 The Effects Chain Editor Effects Parameters Sweep determines how far the resonant frequency moves when the input level increases. At positive levels it moves up in pitch, and at negative levels it moves down. The highest possible resonant frequency is 8372 Hz, the lowest is 0 Hz. This parameter’s range is -100% to +100%. Resonance is the resonance of the filter, adjustable from 0 to 50 dB. Atk Rate adjusts the upward slew of the attack portion of the envelope detector. Range is 0 to 300.0 dB/sec. Rel Rate adjusts the downward slew of the release portion. Range is 0 to 300.0 dB/sec. Smooth Rate slows down the envelope follower. If it is set to a lower rate than Atk Rate or Rel Rate, it can dominate those parameters. Range is 0 to 300.0 dB/sec. Triggered Filter The Triggered Filter is a sweeping resonant filter that triggers when a certain input threshold is reached, and then follows its own envelope, consisting of an instantaneous attack and an exponential release, rather than the envelope of the input signal. Max Freq is the resonant frequency of the filter at the peak of the internal envelope. It can be set lower than Min Freq (above), in which case the filter will sweep downwards, then back up. Range is 16 to 8372 Hz. Trigger is the input-signal threshold at which the envelope detector triggers. Range is -79 to 0 dB. Retrigger is the input-signal threshold at which the envelope detector resets, so that it can trigger again. This parameter is only useful when it is set below the value of Trigger. Range is from -79 to 0 dB. Env Rate is the envelope detector decay rate. This can be used to prevent false triggering. When the signal envelope falls below the retrigger level, the filter can be triggered again when the signal rises above the trigger level. Since the input signal can fluctuate rapidly, it is necessary to adjust the rate at which the signal envelope can fall to the retrigger level. The range is 0 to 300.0 dB/sec. Rel Rate is the downward slew (release) rate of the triggered envelope generator. The range is 0 to 300.0 dB/sec. Smth Rate slows down the envelope follower. If set lower than the release rate, it will dominate it. You can also use the smoothing rate to lengthen the attack of the internal envelope. The range is 0 to 300.0 dB/sec. LFO Filter The LFO filter is continuously swept between two resonant frequencies over a period of time. The LFO frequency, expressed in BPM and beats, can be fixed or set to follow System tempo. 8-16 The Effects Chain Editor Effects Parameters Min Freq and Max Freq are the low and high limits of the resonant frequency as the filter is swept. You can set the Min Freq higher than the Max Freq, in which case the filter will sweep “upside down” relative to the controlling clock. The range for both is 16 to 8372 Hz. LFO Shape is the waveform type for the LFO. Choices are Sine, Saw+, Saw-, Pulse, and Tri. LFO PlsWid (Pulse Width). When the LFO Shape is set to Pulse, this sets the pulse width as a percentage of the waveform period. When the width is set to 50%, the result is a square wave. This parameter has no effect if other waveform types are chosen. Range is 0 to 100%. LFO Smooth smooths (removes the higher harmonics from) the Saw+, Saw-, and Pulse waveforms. A Sawtooth wave becomes more like a triangle wave, and a Pulse wave becomes more like a sine wave. Range is 0 to 100%. Distortion Distortion effects on the Forte SE may also include a parametric equalizer or a cabinet simulator. Dist Drive applies a boost to the input signal to overdrive the distortion effect into soft clipping. This will tend to make the signal very loud, so you may have to reduce the Out Gain as this parameter is increased. Range is 0 to 96 dB. Warmth is a lowpass filter in the distortion control path. This filter may be used to reduce some of the harshness of some distortion settings without reducing the bandwidth of the signal. Range is 16 to 25088 Hz. Highpass allows you to reduce the bass content of the distortion content in the smaller distortion effects that don’t have true parametric EQ. Range is 16 to 25088 Hz. Cab Preset selects from eight cabinet simulations which have been created based on measurements of real guitar amplifier cabinets. The presets are: Basic, Lead 12, 2x12, Open 12, Open 10, 4x12, Hot 2x12, and Hot 12. Cab Bypass switches on and off the cabinet-simulation part of the effect. When this is set to “In”, the cabinet simulation is active; when it is “Out”, there is no cabinet action. Cabinet HP and Cabinet LP are highpass and lowpass filters to set the frequency response limits of the cabinets. Range of both filters is 16 to 25088 Hz. Polydistort This is a more complex distortion effect that provides two, four, or six stages of distortion. Curve n controls the curvature of the individual distortion stages. 0% is no curvature (no distortion at all). At 100%, the curve bends over smoothly and becomes perfectly flat right before it goes into clipping. Maximum value is 127%. 8-17 The Effects Chain Editor Effects Parameters LP n Freq are shelving frequencies for one-pole lowpass filters on each of the distortion stages. LP0 Freq handles the initial low pass prior to the first distortion stage. The other low pass controls follow their respective distortion stages. Range is 16 to 25088 Hz. Rotating Speakers An effect that includes Rotating Speakers breaks the signal into two frequency bands, “rotates” each band separately through a virtual speaker, and then combines the outputs with a pair of virtual “microphones” whose angle relative to the speakers is adjustable. A number of very sophisticated parameters have been included in the Rotating Speakers effect, to give the effect a great degree of realism. Because of the complexity of the effects, you might want to approach any parameters that seem a little obscure to you with caution. Roto InOut engages or bypasses the rotary speaker effect. There are four virtual microphones, with two each on the woofer (LoMic A and LoMic B) and on the tweeter (HiMic A and HiMic B). Each microphone has: Pos (position), the angle of the microphone from the front of the virtual speaker, from -180 to 180degrees; Lvl (level) from 0 to 100%; and Pan, the left/right panning of the microphone’s output, from -100% (full left) to 100% (full right). Other parameters: Lo Beam W and Hi Beam W set the acoustic radiation patterns (“beam width”) of the two drivers in the rotating speaker. If you imagine looking down on the rotating speaker, this is the angle between the -6 dB levels of the beam. The range is from 45° to 360°. At 360°, the driver is omnidirectional. Xover (Crossover) is the frequency at which high and low frequency bands are split and sent to separate rotating drivers. The range is 16 to 25088 Hz. Lo Gain and Hi Gain are the gains of the signal passing through the rotating woofer or tweeter, respectively. The range is Off/-79.0 to 24.0 dB. Lo Size and Hi Size are the effective sizes (radius of rotation) of the rotating speakers in millimeters. This affects the amount of Doppler shift or vibrato of the low frequency signal. The range is 0 to 250 mm. Lo Trem and Hi Trem control the depth of tremolo (amplitude modulation) of the signals. It is expressed as a percentage of full scale tremolo. The range is 0 to 100%. LoResonate and HiResonate are simulations of cabinet resonant modes expressed as a percentage. For realism, you should use very low settings. The range is 0 to 100%. Lo Res Dly and Hi Res Dly are the number of samples of delay in each resonator circuit in addition to the rotation excursion delay. The range is 10 to 2550 samples. LoResXcurs and HiResXcurs are the number of samples of delay to sweep through the resonator at the rotation rate of each rotating speaker. The range is 0 to 510 samples. 8-18 The Effects Chain Editor Effects Parameters ResH/LPhs sets the relative phases of the high and low resonators. The angle value in degrees is somewhat arbitrary and you can expect the effect of this parameter to be rather subtle. The range is 0 to 360.0 degrees. Mic Angle is the angle of the virtual microphones in degrees from the “front” of the rotating speaker. For the left microphone the angle increases clockwise (when viewed from the top), while for the right microphone the angle increases counter-clockwise. Assigning a MOD to this parameter should be done with caution: real-time adjustments to it will result in large sample skips, which will cause clicks in the signal passing through. The range is 0 to 360.0 degrees. (In Distort + Rotary only.) The following parameters relate to rotation speed: Speed sets the rotating speakers to run at either the slow rate or the fast rate. Brake, when set to “On”, slows the rotating speakers to a halt. Lo Mode, in the “Normal” setting, will give you full control of the low frequency speaker with the Speed parameter. The “NoAccel” setting will hold the low frequency speaker at the slow speed, and the Speed parameter will have no effect on its speed, though Brake will still work. In the “Stopped” position, the low frequency speaker will not spin at all. Lo Slow and Hi Slow are the rotation rates in hertz (Hz) of the speakers when Speed is set to “Slow.” Lo Fast and Hi Fast are the rotation rate in hertz (Hz) of the speakers when Speed is set to “Fast.” LoSlow>Fst and HiSlow>Fst are the times for the speakers to accelerate from the slow speed to LoFst>Slow and HiFst>Slow are the times for the speaker to decelerate from the fast speed to the slow speed. LoAccelCrv and HiAccelCrv are the shapes of the acceleration curves for the speakers. 0% is a constant acceleration. Positive values cause the speaker to speed up slowly at first then quickly reach the fast rate. Negative values cause a quick initial speed-up then slowly settle in to the fast speed. If set to a low negative value, it will overshoot. LoSpinDir and HiSpinDir are the directions of rotation of the speakers. The choice is clockwise (CW) or counter-clockwise (CCW). Vibrato/Chorus The Vibrato/Chorus effect simulates the vibrato and chorus effects on a tone wheel organ, and is used in conjunction with the Rotary Speaker. It has several unique parameters: VibChInOut is an in/out switch for the Vibrato/Chorus effect. Vib/Chor is the type of Vibrato/Chorus effect to be used. The choices are from three vibratos, “V1”, “V2”, “V3”, or three choruses, “C1”, “C2”, “C3.” 8-19 The Effects Chain Editor Effects Parameters Tremolo and AutoPan Tremolo is amplitude modulation using an LFO. AutoPan moves the signal between the left and right channels, using an LFO. They have several parameters in common and several unique ones. LFO Rate is the rate of the LFO. The range is 0 to 10.00 Hz, or 0 to 12.00 x the tempo. Rate Scale multiplies the speed of the LFO rate into the audio range. The range is 1 to 25088 x. When above 16x, the values increment in semitone steps. When the LFO Rate is set to 1.00 Hz, the value of this parameter is equal to the LFO frequency in Hertz. LFO Shape is the waveform type for the LFO. Choices are Sine, Saw+, Saw-, Pulse, and Tri. LFO PlsWid or Pulse Width. When the LFO Shape is set to Pulse, this sets the pulse width as a percentage of the waveform period. When the width is set to 50%, the result is a square wave. This parameter has no effect if other waveform types are chosen. Range is 0 to 100%. AutoPan Origin determines the axis for the panning motion. At 0%, the panning is centered between the speakers. Positive values shift the axis to the right, while negative values shift it to the left. At -100% or +100% (the range limits), there is no panning action. ImageWidth is the width of the original input program material before it is auto-panned. At 0% (minimum), the input image is shrunk to a single point source, allowing maximum panning excursion. At 100% (maximum), the original width is maintained so no panning can occur. Pan Width controls the amount of pan excursion. It is the percentage of total panning motion available after Origin and ImageWidth are set. Range is 0 to 100%. CentrAtten (Attenuation) is the amount the signal level drops as it is panned through the center of the stereo image. For the smoothest tracking, a widely accepted subjective reference is -3dB. Values above -3dB will cause somewhat of a bump in level as an image passes through the center, while values below -3dB will cause a dip. Range is -12 to 0 dB. Tremolo Depth controls the amount of attenuation applied when the LFO is at its deepest excursion point. Range is 0 to 100%. LFO Phase shifts the phase of the tremolo LFO relative to the beat reference. Range is 0.0 to 360.0 degrees. 50% Weight is the relative amount of attenuation added when the LFO is at the -6dB point. This causes the LFO shape to bow up (positive values) or down (negative values). Range is -16 to 3 dB. L/R Phase sets the phase relationship of the channels. “In” flips the left channel’s LFO out of phase, with the result that the effect turns into an auto-balancer. “Out” leaves the left LFO alone. 8-20 The Effects Chain Editor Effects Parameters Pitcher Pitcher applies a filter to the input signal which has a series of peaks in the frequency response. These peaks are normally adjusted so that their frequencies are all multiples of a specific, selectable frequency, which imposes a strong sense of pitch at the selected fundamental frequency. Pitch. The fundamental pitch imposed upon the input, in MIDI note numbers from C-1 to G9. Ptch Offst is an offset from the pitch frequency in semitones, from -12.0 to 12.0. It can be useful to assign pitch bend, a ribbon, or another continuous controller to this parameter through a MOD. Odd Wts, Pair Wts, Quartr Wts, Half Wts are parameters that control the shape of the frequency response of Pitcher. An exact description of what each one does is, unfortunately, impossible, since there is a great deal of interaction between them. For more information and examples, see the KSP8 Algorithm Reference Guide available as a free download at www. kurzweil.com. Ring Modulation Ring modulation multiplies two signals (the “carrier” and the “modulator”) together to produce unusual, often non-harmonic, overtones. The Ring Modulator effect in the Forte SE has two modes: “L*R” in which two mono signals are modulated together; and “Osc”, in which the input is stereo, and it is modulated with the sum of five waveforms that are generated from oscillators within the effect itself. Four of these oscillators are sine waves, while one (Oscillator 1) offers a selection of waveforms. Wet/Dry. When the effect is in “L*R” mode, this controls how much of the left signal only is passed dry (the right signal isn’t passed dry at all). Mod Mode selects between the two modes, L*R or Osc. Osc1 Lvl is the level of Oscillator 1, from 0 to 100%. Osc1 Freq is the frequency of Oscillator 1, from 16 to 25088 Hz. Osc1 Shape is the waveshape of Oscillator 1, selectable from Sine, Saw+, Saw-, Pulse, and Tri. Osc1PlsWid (Pulse Width). When Osc1 Shape is set to Pulse, this sets the pulse width as a percentage of the waveform period. When the width is set to 50%, the result is a square wave. This parameter has no effect if other waveform types are chosen. Range is 0 to 100%. Osc1Smooth smooths (removes the higher harmonics from) the Saw+, Saw-, and Pulse waveforms. A Sawtooth wave becomes more like a triangle wave, and a Pulse wave becomes more like a sine wave. Range is 0 to 100%. The other four oscillators, Sine2 through Sine5, each have Lvl and Freq controls. 8-21 The Effects Chain Editor Effects Parameters Stereo Simulation The Mono to Stereo effect converts a monaural input to simulated stereo output. In Select selects the input signal to be “stereo-ized.” It can be Left, Right, or both: (L+R)/2. CenterGain is the level of the summed left and right channels. Range is Off/-79.0 to 24.0 dB. Diff Gain is the level of the difference signal produced, which is the spatial component of the stereo signal. Range is Off/-79.0 to 24.0 dB. DiffBassG controls the gain of a bass-shelf filter on the difference signal. By boosting the low frequency components of the difference signal, you can increase the sense of acoustic envelopment. Range is -79.0 to 24.0 dB. DiffBassF is the transition frequency for the bass-shelf frequency. Range is 16 to 25088 Hz. The processed signal is split into three frequency bands—Lo, Mid, and High—each of which can be delayed and panned separately. Crossover1 and 2 are the two Crossover frequencies at which the band-split filters split the signal into three bands. The two parameters are interchangeable: either may have a higher frequency than the other. Range is 16 to 25088 Hz. Pan [High/Mid/Low] sets the pan position for each band. Range is -100% (fully left) to 100% (fully right.) Delay [High/Mid/Low] sets the delay for each band. Range is 0 to 1000 ms. Stereo Image This effect provides enhancement for a stereo signal. It also features a stereo correlation meter. It uses some parameters from Mono to Stereo and some from Stereo Analyze (following). 8-22 Keymap and Sample Editing The Keymap Editor Chapter 9 Keymap and Sample Editing The Keymap Editor The Keymap Editor lets you customize the Forte SE’s factory preset keymaps and save them to RAM. You can also build your own keymaps from scratch (see Building a Keymap on page 9-9). Keymaps are an integral part of every layer of a program. Each keymap contains a set of parameters determining which sample(s) the Forte SE will play when you trigger a note. Each layer has at least one keymap, but it can have two keymaps when you’re working with stereo samples. Each of these stereo keymaps uses two of the 128 available voices. Each keymap consists of a set of key (note) ranges—C 4 to G 4, for example. The entire span of each keymap is from C 0 to G 10. Each range has a sample root assigned within the range. Each sample root is a distinct ROM or RAM sample. Within each key range, the sample root is transposed up and down to play on each of the range’s notes. You can view each range by changing the value of the Key Range parameter on the Keymap‑editor page. You can mix samples of different timbres within a single keymap, and even tune individual keys to any pitch by defining key ranges to single notes and assigning samples to each of those notes. When you trigger a note, the Forte SE identifies the key range where the Note On event occurred. It also checks the attack velocity value of the note. It then addresses its memory, and retrieves the sample root that’s assigned to that key range and attack velocity value. If the note that’s triggered is not the note where the sample root is assigned, the sample is transposed to play at the correct pitch. The Forte SE then generates the digital signal that represents the sound of the note. At this point the keymap’s job is done, and the signal proceeds through the layer’s algorithm and on to the audio outputs. You can assign as many key ranges to a keymap as you like, even creating a separate range for each note. This would allow you to tune each key independently, to create microtonal tunings. For keymaps that use a single timbre, like the Grand Piano, there’s a key range for each sample root stored in memory. For acoustic instrumental sounds, the more key ranges you have for a keymap, the more realistic the sound will be, since there will be less pitch shifting of the sample root within the key range. 9-1 Keymap and Sample Editing The Keymap Editor Of course, you can assign sample roots with different timbres within the same keymap. Many of the drum kit keymaps in ROM, for example, have about 20 key ranges, with several different timbres assigned as the sample roots. You can also create a keymap with a single key range that spans from C 0 to G 10, if you want to stretch a single sample root from C 0 to G 10. Keep in mind, however, that samples can only be transposed upward by an octave from the sample’s original pitch. Samples can be transposed downward without limit. Think of a keymap as if it were a single piece of string, divided into different sections that adjoin one another. Sections cannot overlap. If you have one range that goes from C4 to F4 and another that goes from F#4 to C5, then if you change the first range to be C4 to G4, the second one will change to be G#4 to C5. Also, you can’t have “nothing” assigned to a key range. Even if it is Silence (#999), there will always be a sample assigned to every range in the keymap. This is something to watch out for when creating drum programs. For example, let’s say you are creating a program with 20 layers. Each layer has its own keymap, which has just one sample assigned to part of the keyboard with the rest of the key range assigned to Silence. Make sure that you limit the note range of each layer using the LoKey and HiKey parameters on the LAYER page in the Program Editor. If each layer covers the entire range, then each note you played would trigger 20 voices (one for each layer). You would only hear one drum per note because all the other layers are triggering “Silence.” Because of the voice-stealing algorithms in the Forte SE, the voices would almost immediately become available again, since they have no amplitude. But for one brief instant, the voice would be triggered, which could cause other voices to be cut off. You can also create multi-velocity keymaps—that is, keymaps that will play different timbres depending on the attack velocities of your Note On events. For example, Keymap 7 Piano 3Vel L has 3 velocity ranges. Each key range in a multi-velocity keymap contains two or more distinct sample roots that the Forte SE chooses between, according to the attack velocity of the note. See Velocity Range (VelRange) on page 9-4. The Keymap Editor is nested within the Program Editor. The first step in using the Keymap Editor is to select the keymap you want to edit. This is done on the KEYMAP page in the Program Editor, using the Keymap parameter. Once you’ve done this, just press the Edit button, and you’ll enter the Keymap Editor. If you want to edit a different keymap, press the Exit button to return to the KEYMAP page in the Program Editor and select the desired keymap. If you want to build a keymap from scratch, start with the keymap 999 Silence (Building a Keymap on page 9-9). This keymap template contains one key range from C 0 to G 10, and is a convenient starting point for adding key ranges and assigning sample roots. The Keymap‑editor page looks like this: 9-2 Keymap and Sample Editing The Keymap Editor Parameter Range of Values Sample Sample Root list Key Range Variable from C0-G10 Low Key C 0 to G 10 High Key C 0 to G 10 Velocity Range (VelRange) Variable from ppp-fff Low Velocity (Lo) ppp-fff High Velocity (Hi) ppp-fff Coarse Tune –128 to 127 semitones Fine Tune -49 to 50 cents Master Transpose -126 ST to127 semitones Volume Adjust ± 24 dB Keymap Editor Parameters Sample This is where you assign a sample root to the current key range. Depending on the nature of the sample root—an individual sample or a block of sample roots—the sample’s name looks a bit different in the display. Each sample’s name consists of three parts: a numeral, a name, and a note number—for example, 999 Silence-C4. Additionally, the name of stereo samples will end with an S. (To use a stereo sample, the Stereo parameter must be set to On in the Program Editor, and two keymaps must be selected.) The numeral is the sample block ID. If the sample object is an individual sample, the sample block ID is the same as the sample’s object ID. If the sample object is a group of sample roots, the object ID of the first root in the group determines the sample block ID. The remaining roots in the block have the same ID, and differ only in their note numbers. Next comes the name of the sample, which typically describes the sample’s timbre. The final part of the sample’s name refers to the pitch at which it was originally sampled. For many timbres, multiple samples are made at various pitches. As you scroll through the Sample list, you’ll see only the pitch of the sample change until you reach the next sample block. The sample’s original pitch is set in the Sample Editor (see Root Key on page 9-12). This determines which key will play the sample at its original pitch when a sample is used in a key range (see Key Range below). 9-3 Keymap and Sample Editing The Keymap Editor Key Range A keyrange is a range of keyboard keys that plays one sample (per velocity range, see Velocity Range (VelRange) below for details). Each sample in a key range (per velocity range) is transposed based on each sample’s RootKey parameter so that it plays at the correct pitch on the keyboard relative to its root key (see Editing Samples on page 9-10 for details on the RootKey parameter). Other keys within the key range transpose the sample chromatically relative to the root key. Sample pitch relative to the root key can also be offset using the Coarse Tune and Fine Tune parameters, see below). The KeyRange parameter shows you which key range you’re currently viewing or editing (key ranges are named by their lowest and highest notes). Changing the value of the KeyRange parameter selects from the available key ranges, and allows you to view or edit the sample assignment and other parameters of the selected key range. When the Key Range parameter is selected, you can also scroll through available key ranges using the Alpha Wheel or the Previous-/Next+ buttons. Multiple key ranges are only shown if the current Keymap uses more than one key range. If the top line of the EditKeymap page displays KeyRange, you can scroll through the available key ranges with any parameter on the page selected using the Channel/Layer/Zone buttons. (Press the Toggle soft button to toggle the top line between displaying KeyRange and VelRange.) With the Keyrange parameter selected, keyranges can also be selected by holding the Enter button and playing a key. The keyrange assigned to that key will be selected. Low Key (Lo), High Key (Hi) With these parameters you can use any of the data entry methods to change the low and high notes of the current key range. You can extend a key range to the full capacity of the Forte SE (C 0 to G 10). If you extend the current key range into another, the boundaries of the other key range will become shortened to accommodate the key range you are extending. If the keyrange you are extending covers another keyrange, the other key range will be deleted. The setting for the low key cannot be higher than the setting for the high key. Similarly, the setting for the high key cannot be lower than the setting for the low key. Velocity Range (VelRange) This parameter shows the keyboard velocity range (in dynamic levels) that will trigger a sample for the current KeyRange. In a key range with more than one velocity range, each velocity range can use a different sample, as well as different CoarseTune, FineTune, and VolumeAdjust settings. Velocity ranges are intended for use with instrument samples recorded at different velocities. This helps to make playing sampled instruments sound more realistic. Sample volumes are also scaled based on keyboard velocity within each velocity range. Velocity ranges for the current Keymap are set using the VelRng soft button (see Velocity Range (VelRange) on page 9-4 or the Low Velocity (Lo), High Velocity (Hi) parameters (see below). All keyranges in a Keymap share the same set of velocity ranges. Up to eight velocity ranges can be used. 9-4 Keymap and Sample Editing The Keymap Editor When the VelRange parameter is selected, you can scroll through available velocity ranges using the Alpha Wheel or the Previous-/Next+ buttons. Multiple velocity ranges are only shown if the current Keymap uses more than one velocity range. If the top line of the EditKeymap page displays VelRange, you can scroll through the available velocity ranges with any parameter on the page selected using the Channel/Layer/Zone buttons. (Press the Toggle soft button to toggle the top line between displaying VelRange and KeyRange.) Low Velocity (Lo), High Velocity (Hi) Use these parameters to set the velocity range of the current key range. If you extend the current velocity range into another, the boundaries of the other velocity range will become shortened to accommodate the velocity range you are extending. If the velocity range you are extending covers another velocity range, the other velocity range will be deleted. Coarse Tune Coarse Tune allows you to transpose a sample for a given range. This is extremely useful when you have set the Root key of the sample for one note but want to assign the sample to a different part of the keyboard and still be able to play it without transposition (see Root Key on page 9-12 for details.) For example, if you originally set the Root key at C4 but want the sample assigned to C3, you would set Coarse Tune to 12ST, transposing it up one octave. Now the original pitch will play at C3, one octave down. If you examine the drum and percussion kit keymaps in ROM, you will see that we have done this. Most of our ROM drum samples have the Root key set at C4. There’s a short cut for adjusting the Coarse Tune automatically so that the sample plays with minimal transposition in the assigned key range. See Special Double Button Presses in the Keymap Editor on page 9-8. Fine Tune This gives you further pitch control. Once the sample’s pitch is close to the desired note, use the Fine tune to sharpen or flatten it as much as a half-semitone. Master Transpose (MasterXpose) This parameter does not really pertain to the keymap itself. Instead it is identical to the Transpose amount set with the front panel Transpose buttons or Octav-/Octav+ soft buttons on the Program and Multi mode select pages. If you change the transpose value here, the same value will be reflected by the transpose button LEDs as well as in the top bar of the Program and Multi mode select pages, and vice versa. It transposes the entire instrument globally. The MasterXpose parameter allows you to easily see the transpose value while in the keymap editor. It is also useful for assigning samples across the entire keyboard when using a keyboard that has fewer than 88 notes. Volume Adjust Here you can adjust the volume of the notes in the current key range. This enables you to make each key range play at the same volume even if the samples in the various ranges were recorded at different volumes. 9-5 Keymap and Sample Editing The Keymap Editor The Soft Buttons in the Keymap editor Toggle Pressing the Toggle soft button switches the function that the Channel/Layer/Zone buttons perform while on the EditKeymap page. Press the Toggle soft button to toggle the top line between displaying KeyRange or VelRange. If the top line of the page displays KeyRange, then the Channel/Layer/Zone buttons will scroll between the available key ranges in the key map (if the current key map has more than one key range). The note range for each key range will also be displayed on the top line. If the top line of the page displays VelRange, then the Channel/Layer/Zone buttons will scroll between the available velocity ranges in the key map (if the current key map has more than one velocity range). The dynamic range for each velocity range will also be displayed on the top line. Velocity Ranges (VelRng) Press the VelRng soft button to view the VEL RANGES page (see below). Use the VEL RANGES page to add, edit or delete velocity ranges for the current keymap. The VEL RANGES page shows a chart of a keymap’s entire available dynamic range, from most quiet (ppp) to most loud (fff ). Velocity ranges can also be adjusted from the EditKeymap page, but the VEL RANGES page provides a chart as a visual aid. Each keymap can be split into a maximum of eight velocity ranges. Each key range in a keymap can use its own sample for each velocity range. All key ranges in a keymap share the same velocity ranges. Press the Split soft button to split the currently selected velocity range into two ranges (until the maximum of eight velocity ranges have been created). Press the Delete soft button to delete the currently selected velocity range. Press the Exit soft button to return to the EditKeymap page. On the VEL RANGES page, the currently selected velocity range is highlighted in the chart, and its name is displayed in the VelRange field. With the VelRange field selected, you can use the Alpha Wheel or Previous-/Next+ buttons to move between the available velocity ranges (if there is more than one velocity range available). You can also use the Channel/Layer/ Zone buttons at any time to move between the available velocity ranges. If there is more than one velocity range available, you can adjust the dynamic range of each using Lo and Hi parameters. These Hi and Lo parameters are the same as the Low Velocity (Lo) and High Velocity (Hi) parameters on the EditKeymap page (see Low Velocity (Lo), High Velocity (Hi) on page 9-5 for details). Changes made with either set of parameters are shown on both pages. 9-6 Keymap and Sample Editing The Keymap Editor New Range (NewRng) The NewRng button lets you define a new keyrange to edit, whether it’s to assign a different sample, or to adjust the pitch or volume. Just press NewRng, then play the note you want as the low note, then the high note. The Forte SE will prompt you for each note. When you trigger the high note, you’ll return to the Keymap‑editor page, and the new keyrange you defined will be selected. The next change you make will affect only that edit range. If you set a new keyrange that’s completely within an existing key range, the existing key range will be split into two keyranges, with the new keyrange between the two. At this point, you must change at least one parameter of the new keyrange before editing a different keyrange, otherwise the new keyrange will be merged with the adjacent keyranges. If you set a new keyrange that overlaps part or all of another key range, the sample assigned to the lower key range will be applied to the new keyrange. Again, at this point you must change at least one parameter of the new keyrange before editing a different keyrange, otherwise the new keyrange will be merged with the lower keyrange that it overlapped. Assign The Assign soft button lets you select a sample, then specify the key range to which it’s assigned. This enables you to insert a new key range within the current keymap. When you press the Assign soft button, a dialog appears that prompts you to select a sample from the Samples list. Scroll through the list, then press the OK soft button. You’ll then be prompted to define the new key range by playing the notes you want to be the lowest and highest notes of the range. (Press the Cancel soft button if you change your mind.) When you trigger the low and high notes, the new key range is inserted. If the new key range partially overlaps an adjacent key range, the existing key range will be adjusted to accommodate the new range. If the new key range completely overlaps an existing key range, the original key range will be replaced. 9-7 Keymap and Sample Editing The Keymap Editor Saving Changes to a Keymap When you hit the Exit button from the Keymap Main page, a page will come up with option to rename, save or cancel your changes: Rename Call up the page that enables you to change the name of the current keymap. Save Yes/No Start the process of saving the current keymap, or return to the Keymap page Cancel Cancel the changes and return to the Keymap Main editor page. Special Double Button Presses in the Keymap Editor Suppose you have a sample whose root key is C 4, and you want to assign it to A 0, because you don’t expect to play it often. If you want it to play back without transposition, you’ll have to adjust the Coarse Tune parameter. Calculating the right value for Coarse Tune can get tedious if you’re assigning a large number of samples. Fortunately, there’s a short cut. 1. Assign a sample root to a key range, either using the Lo, Hi, and Sample parameters or using the Assign soft button. 2. Highlight the value of the Coarse Tune parameter. 3. Press the Plus/Minus buttons at the same time. The value of Coarse Tune changes automatically. If the sample is assigned to one note, the Forte SE sets Coarse Tune so that the note plays the sample without transposition. If the sample is assigned to a range of notes, the Forte SE sets Coarse Tune so that the middle note of the range plays the sample without transposition. 9-8 Keymap and Sample Editing Building a Keymap Building a Keymap Read below for detailed directions on manually creating and editing a keymap. To build a keymap, start in Program Mode and select program 1022 Clear Program. Then go to Program Edit Mode by pressing the Edit button. Next press the KEYMAP soft button, and the KEYMAP page will appear. The Keymap parameter 999 Silence will be automatically selected. This makes it easier to recognize the key ranges that have samples assigned to them when you start assigning samples. You can actually choose any program or keymap you want to start with, but by choosing these, you are starting with a “blank slate.” With the Keymap parameter still selected, press the Edit button, and you’ll enter the Keymap Editor. The Key Range parameter will be automatically selected, and you see its values: C 0 to G 10 (the entire MIDI keyboard range). The Sample parameter will have a value of 999 Silence-C 4. Now you’re ready to start assigning samples to key ranges within the keymap. We’ll assume that you’ve loaded samples with roots at C 1, C 2, C 3, etc. and that you plan to assign a root to each octave. To begin, press the Assign soft button. The display will prompt you to select a sample. Use the Alpha Wheel to scroll to one of your samples, or type its ID on the alphanumeric pad and press Enter. When you’ve found the sample you want to use, press the OK soft button. The display will say “Strike low key…” Trigger A 0 (MIDI note number 21, the lowest A on a standard 88-note keyboard). The display will change to say “Strike High Key…”Now trigger F 1 (MIDI note number 29). The display will return to the Keymap‑editor page. The Key Range parameter will show A 0–F 1, and the Sample parameter will show the sample you selected when you started the range assignment. Each sample in a key range is automatically transposed based on each sample’s RootKey parameter so that it plays at the correct pitch on the keyboard relative to its root key (see Editing Samples on page 9-10 for details on the RootKey parameter). Other keys within the key range transpose the sample chromatically relative to the root key. Automatic transposition based on each sample’s RootKey is important if you want your sample to play in tune with other Forte SE programs or other instruments. The Forte SE makes this easy if your samples have the correct RootKey settings (as the Forte SE’s factory samples do). Generally you should set a keyrange so that the sample’s RootKey (displayed at the end of the sample name) is in the middle of the range. If you set a key range that does not cover the sample’s RootKey, the sample will have to automatically transpose by many semitones, and will likely not sound correct. Samples are also limited to an octave of upward transposition from the sample’s original pitch. If you set a keyrange too high based on the Root Key, some samples may not be able to transpose upward far enough to play in tune, and many keys may play the same note (the highest note that the sample can be transposed to). Automatic transposition relative to the root key can be offset using the Coarse Tune and Fine Tune parameters on the EditKeymap page (see Coarse Tune and Fine Tune on page 9-5). 9-9 Keymap and Sample Editing Editing Samples Continuing with the example, press the Assign soft button again. Select another sample root at the prompt, and press the OK soft button. Now trigger F# 1 for the Low Key prompt, and F 2 for the High Key prompt. At this point you’ve defined two key ranges, the first from A 0 to F 1, and the second from F# 1 to F 2. You can repeat the process as many times as you want, creating a new key range each time. Once you have your samples assigned, you may need to transpose them so that they play back at the correct pitch within the range you have chosen. To do this, highlight the Key Range parameter, scroll to the range you need, then highlight the Coarse Tune parameter. Adjust Coarse Tune to bring the sample to the proper pitch within that key range. Then scroll back up to the Key Range parameter, select the next range, and continue as needed. Here’s a fairly important point that may or may not affect your keymap construction. Suppose you want to build a keymap that uses the same sample in several adjacent key ranges, and you plan to add a bit of detuning to the samples in each range. You might think that you could build the keymap first, then go into the Sample Editor and tweak the sample settings of each keyrange when the keymap is finished. Yes, but… Suppose you used the technique we described above to assign a vocal sample whose root was C 4 to a key range from A 3 to E 4. Then you assigned the same sample to a key range from F 4 to B 4. You might be surprised to find that when you finished the F 4–B 4 key range and the Keymap‑editor page reappeared, the current key range would not be F 4 to B 4, but A 3 to B 4! This is because the Forte SE automatically merges adjacent key ranges that are identical (this is done to save memory). Therefore, some parameter must be different in each adjacent key range you create if you want to build keymaps using the technique we just described. So if you want to use the same samples in adjacent key ranges with, for example, minor pitch or volume modification, you should make those changes to the current sample on the Keymap‑editor page before assigning the next range. Editing Samples To enter the Sample Editor, first select the program you wish to edit in Program mode. With the program selected, press the Edit button to enter the Program Editor. In the program editor the KEYMAP page will be selected (if not press the KEYMAP soft button). With the KeyMap parameter selected on the KEYMAP page, press the Edit button again to enter the Keymap Editor. On the EditKeymap page, select the KeyRange parameter and use the Alpha Wheel or Previous-/Next+ buttons to choose one of the available key ranges (if there is more than one keyrange). You can edit the existing sample of a keyrange, or choose a new sample for the keyrange and edit that. When the Keymap parameter is selected you can hold the Enter button and trigger notes to select different key ranges. 9-10 Keymap and Sample Editing Editing Samples If you want to select a different sample, use the cursor buttons to select the Sample parameter. Use the Alpha Wheel to select a sample. Press the Edit button once more, and you’ll enter the Sample Editor. The sample will play through the effects of the current program. The name of stereo samples end with an S. To use a stereo sample, the Stereo parameter must be set to On in the Program Editor, and two keymaps must be selected, see The KEYMAP Page on page 7-19. There are two sample editing pages—MISC (Miscellaneous) and TRIM. The soft buttons for these pages are visible when you enter the Sample Editor. You can trigger notes at any time while you’re editing, to hear your changes as you make them. The Miscellaneous (MISC) Page On the MISC page, you’ll set several parameters that affect the behavior of the current sample. These parameters affect the entire sample. The right side of the top line displays the root number and RootKey of the sample. For stereo samples, L or R is displayed after the Root# parameter to indicate that you are viewing parameters for the left or right channel of the sample. Use the Channel/Layer/Zone buttons to move between channels of stereo samples. Although you can edit parameters for the left and right channels of a sample, both channels can only be heard if the Stereo parameter is set to On in the Program Editor, and the same keymap is selected for the Keymap1 and Keymap2 parameters in the Program Editor. If the Stereo parameter is set to Off in the Program Editor, only the left channel of stereo samples will be heard in mono. If the sample is part of a group of sample roots, you can also use the Channel/Layer/Zone buttons to scroll through each sample in the group. A representative MISC page is shown below: Parameter Range of Values Root Key Number C -1 to G 9 Pitch Adjust Variable (depends on sample rate) Volume Adjust -64.0 to 63.5 dB Alternative Volume Adjust -64.0 to 63.5 dB Decay Rate 0 to 5000 dB per second Release Rate 0 to 5000 dB per second Loop Switch Off, On Playback Mode Normal, Reverse, Bidirectional Alternative Sample Sense Normal, Reverse Ignore Release Off, On 9-11 Keymap and Sample Editing Editing Samples Root Key The root key represents the keyboard key at which the sample will play back without transposition (that is, at the same pitch as the pitch of the original sample). Use the Previous-/Next+ buttons or Alpha Wheel to select a RootKey note, or use the alphanumeric pad followed by the Enter button to enter a RootKey by MIDI note number. Pitch Adjust Use this parameter to change the pitch of the sample relative to the key from which it’s played. Setting a value of 100cts, for example, will cause the sample to play back one semitone higher than normal. This parameter is handy for fine tuning samples to each other if they’re slightly out of tune. Volume Adjust Uniformly boost or cut the amplitude of the entire sample. Alternative Start Volume Adjust (AltVolAdjust) This parameter sets the amplitude of the sample when the alternative start is used. See page 7-22 for a discussion of AltSwitch. Decay Rate This parameter defines how long the sample takes to decay (fade) to zero amplitude (silence). Decay Rate affects each sample individually, and is in effect only when the amplitude envelope for the program (the Mode parameter on the AMPENV page in the Program Editor) is set to Natural. If Mode is User, the settings on the AMPENV page override the setting for DecayRate. DecayRate takes effect in the loop portion of the sample, after all the attack stages of the amplitude envelope are complete. Release Rate The release rate determines how long the sample will take to decay to zero amplitude when the note trigger is released. The higher the value, the faster the release rate. This release affects each sample individually, and is in effect only when the amplitude envelope for the program (the Mode parameter on the AMPENV page in the Program Editor) is set to Natural. In this case, the release begins as soon as the note is released. If Mode is User, the settings on the AMPENV page override the setting for ReleaseRate. To create an extended sample loop that will play data after the sample’s loop on key-up, set the Alternative Start sample pointer after the sample end pointer, then set a relatively low value for the release rate. 9-12 Keymap and Sample Editing Editing Samples Loop Switch This parameter activates or deactivates the looping of the currently selected sample. When set to On, the sample will loop according to the settings on the TRIM page. When set to Off, the sample will play through to its End point and stop. Playback Mode (Playback) This parameter lets you modify the direction in which the sample is played. Set it to a value of Reverse if you want the sample to play from its End point to its Start point. Choose a value of Bidirectional to cause the sample to play from Start to End, then reverse direction and play again from End to Loop and back, repeating until the note trigger is released (this works only when the Loop Switch parameter is set to On). Alternative Sample Sense (AltSense) This provides a convenient way to activate the alternative start of a sample. When set to Normal, the alternative start will be used when the Alt Switch control is On (this is set on The KEYMAP Page), or when the control source assigned to it is above its midpoint. When set to Reverse, the alternative start will be used when the Alt Switch control is Off, or when the control source assigned to it is below its midpoint. Ignore Release (IgnRelease) When set to a value of Off, the sample will release normally when the note trigger is released. When set to On, the note will not release, even when the note trigger is released. This setting should be used only with samples that normally decay to silence; nondecaying samples will play forever at this setting. This parameter is equivalent to the IgnRelease parameter on the LAYER page, but affects only the currently selected sample. SampleRate and NumSamples These parameters cannot be edited, but show the sample’s sample rate and the sample’s length in samples. Samples that are longer than 1 million samples are displayed a 1Ms. 9-13 Keymap and Sample Editing The TRIM Page The TRIM Page The TRIM page lets you set the Start, Alternative Start, Loop, and End points of the current sample. The right side of the top line displays the root number of the sample. If the sample is part of a group of sample roots, you can use the Channel/Layer/Zone buttons to scroll through each sample in the group. The four parameters on this page are Start, Alternative Start, Loop, and End. Selecting these parameters and adjusting their values enables you to modify how the sample plays back when notes are triggered. Each of these parameter points are expressed in individual samples. For example, a one second sample at a sample rate of 44,100Hz would have 44,100 values available to adjust for each of these parameters. The Start point determines the beginning of the current sample. You can truncate the beginning of the sample by increasing the value of the Start parameter. You might do this to remove silence at the beginning of a sample, or to remove some or all of the attack. You can’t decrease the Start point of samples below zero. The Alternative Start parameter lets you set a second, optional start or end point for the current sample. The Alternative Start will be used when the Alt Switch parameter on the KEYMAP page is set to On, or when it’s set to a specific control source and that control source is generating a value of more than +.5. (For example, if you assign MWheel as the control source for the Alt Switch parameter, the Alternative Start will be used when the Mod Wheel—or whatever control source you have set to send MWheel—is above its halfway point.) The Alternative Start can be set before, after, or at the same point as the Start or End. If you set the Alternative Start after the End, you can extend the play of looped samples. Normally, looped samples will play through to the End, then will loop back to the Loop point, and continue looping like this until the note is released, when they go into their normal release. If the Alternative Start is set after the End, looped samples will loop in the same way while notes are sustained. As soon as you release the notes, however, the samples will play through to the Alternative Start point before going into release. The Loop parameter sets the beginning of the looped portion of the current sample. The Loop can be set at any point before the End, including before the Start and Alternative Start. If you try to move it after the End, the End will move with it. 9-14 Keymap and Sample Editing The TRIM Page The End parameter sets the point at which the current sample will stop playback. Typically you’ll use this parameter to trim unwanted silence off the end of a sample, although you can use it to shorten a sample as much as you want. Note On Saving Samples: Trimmed portions of a sample are not saved. Trimmed portions before the Start, or Alternative Start points. Trimmed portions of a sample saved to a user ID will be deleted. Trimmed portions before the Start or Alternative Start points (whichever has a lower value) will be lost upon saving to a user ID, and whichever parameter had a lower value will have a value of zero the next time it is loaded (values for all other sample point parameters will be adjusted relatively). Trimmed portions after the Alternative Start or End points (whichever has a higher value) will be lost upon saving to a user ID. The original untrimmed sample is always available by selecting the sample’s original factory ID number. Saving trimmed factory samples to user IDs will not change the sound of factory samples, keymaps, or Programs. Zero- and Zero+ Pressing the Zero- or Zero+ buttons will search left or right respectively for the sample’s next zero-crossing. A zero-crossing is a point where the sample waveform is neither positive or negative (crossing the horizontal line in the middle of the waveform display). The currently selected parameter (Start, Alternative Start, Loop, or End) will be set to this point in the sample. Setting these parameters to zero-crossings can help minimize clicks at the start, end, or loop point of a sample. It’s best to have each of these points set first by adjusting each parameter and listening to the sample, then if needed search for a nearby zero-crossing. 9-15 Multi Mode About Multi Mode Chapter 10 Multi Mode This chapter will help familiarize you with the features of Multi Mode. Multis are configurations of up to eight Zones (explained below in About Zones), each of which may have its own Program, controller assignments, and MIDI transmit channel. A Zone can also be configured to control an external sound module or computer software through a MIDI or USB cable. About Multi Mode To enter Multi Mode from another Mode, press the Multi Mode button. Bank While you are in Multi Mode, the Multi button’s indicator LED is illuminated. When you enter Multi Mode after powering on the Forte SE, Multi 1 will be selected, or the Multi that was selected the last time Global Mode was exited. 10-1 Multi Mode Selecting Multis Selecting Multis The Forte SE features eight Multi Banks (Factory Banks A-D and User Banks A-D). Each Forte SE Bank has space for 256 Multis, for a total of 2048 possible Multis. Each Bank is split into 16 groups of 16 Multis each, selectable by using the Category buttons. Because each Multi can contain multiple instrument sounds, Multis are not organized by instrument category. If your Forte SE does not include Factory Banks B-D, visit kurzweil.com to download new factory Banks for free, when available. When you are in Multi Mode, there a few ways to select Multis. • To select any Multi in the current Category, press a Program/Multi button. • To select a Multi in a different Category, press the Category button of choice and then the Program/Multi button to select from the 16 Multis in the Category. • To select the Category Default Multi, simply press a Category button. • To switch between the Factory and User Multis, press the User button, followed by a Category button and then a Program/Multi button. • The Alpha Wheel and the Previous-/Next+ buttons allow you to advance through the Multis one at a time. When you reach the end of the Category, advancing further will go to the next Category. • If a Multi is assigned to a Favorite button, pressing that button will go directly to the assigned Multi. • To select a Multi in a different Forte SE Bank, press the Multi mode button while in Multi Mode to view the Select Bank page. On the Select Bank page use the navigation buttons to select a Bank and press the OK soft button, then use any of the methods above to select a Multi in that Bank. • When the Global Mode User Type parameter is set to Advanced, and the Global Mode Sound Sel parameter is set to ID number, Multis can be selected by typing in an ID number using the numbers printed on the Program/Multi buttons, followed by pressing the Enter button. See Appendix for a full list of factory Multis. 10-2 Multi Mode Selecting Multis The Display In Multi Mode, the top of the display shows the current Mode and MIDI transposition. Bank Changing View The View soft button will toggle the display and allow you to see available Multis as a list. Buttons and controllers will behave as usual. Moving a controller will cause information to appear in the box at left of the screen: Pop Up Messages Some actions cause the display to show pop up messages. After a short time the display returns to show the current Multi. 10-3 Multi Mode Selecting Multis Alpha Wheel & Previous– and Next+ Value Buttons Use the Alpha Wheel or the Value buttons, to the right of the display below the Alpha Wheel, to change the current Multi. Turning the Alpha Wheel counter-clockwise or pressing the Previous button will select the previous Multi and turning the Alpha Wheel clockwise or pressing the Next button will select the next Multi. When the highest or lowest Multi is reached, the list will wrap back to the last or first Multi respectively. Value Jump Buttons In Multi Mode, the Value Jump double button press selects the first Multi of each Category, as well as the Category Default Multi of each Category (if a Category Default Multi has been set). For more information on choosing a new Category Default Multi, see Choosing Category Default Multis on page 10-5. If the User button is selected, Value Jump works the same way. 10-4 Multi Mode Selecting Multis Category & Program/Multi Buttons The Category buttons allow you to select Multis simply by pressing a button. You can select one Category button at a time and the current Category button’s LED is lit. In Multi mode each category button represents a group of 16 Multis (Multis are not organized by instrument category because each Multi can contain multiple instrument sounds). First select the Category you want, then select one of its Multis by pressing any of the numbered Program/Multi buttons. Choosing Category Default Multis You can choose a “Category Default Multi” from each Category that will be recalled each time you press that Category’s button. To save a Category Default Multi, first select a Multi using any Multi select method (Alpha wheel, Previous-/Next+ buttons, Category buttons, Program/Multi buttons). A button for the current Category will have a lit LED. Next, press and hold the currently lit Category button until the display shows the message “Category default multi saved.” The Category default Multi has now been successfully saved. You can save one Category Default Multi per active Category button. 10-5 Multi Mode About Zones Choosing Favorites You can save ten Favorite Multis (or Programs) from any Category to the ten Favorite buttons beneath the display. Once saved, these Favorite Multis can be recalled from any Mode with a single button press. To save the currently selected Multi to a Favorite button, press and hold a Favorite button until the display shows the message “Favorite (#) saved.” About Zones Zones are the independent regions of the keyboard that make up a Multi. A Multi has up to four Zones (or eight when the Global Mode User Type parameter is set to Advanced), each one having its own Program, controller assignments, and MIDI transmit channel. Zones can be mutually exclusive regions of the keyboard, or they can overlap. A Zone can also be configured to control an external sound module or computer software through a MIDI or USB cable. Muting Zones Pressing a Zone button will mute or unmute the Zone. An active/unmuted Zone button has a lit LED. The LED of an inactive/muted Zone button is not lit. See Ch. 11 Multi Edit Modefor details on adding additional Zone mute button assignments when using more than four Zones. Transposition The Transpose buttons can be used to change the tuning of notes played on the Forte SE keyboard in semitones (ST), also known as half steps. This is a convenient way to change the key of a song without learning to play it in a different key. The Transpose buttons are located to the left of the keyboard, above the Pitch and Mod Wheels. The Transpose buttons also transpose MIDI notes sent to the USB and MIDI out ports. Press the Transpose - or + buttons to transpose the Forte SE keyboard down or up by one semitone. The top line of the display shows the current transposition value. Pressing both Transpose - and + simultaneously will reset the transposition to 0. To transpose up and down by octave intervals (12 ST), press the Octav- and Octav+ soft buttons underneath the display. 10-6 Multi Mode Parameter Assignments The maximum transposition value possible is +/–36 semitones. The LEDs of the Transpose buttons indicate whether the current Multi is transposed up (Transpose + LED is lit) or transposed down (Transpose – LED is lit). When there is no transposition, neither Transpose button is lit. NOTE: The transposition is applied to all Programs in the Zones within the Multi. The Zone layout on the keyboard however still remains fixed. Parameter Assignments In Multi Mode, each Multi has factory-set Program and Effect parameters assigned to physical controllers (Sliders, Switch buttons, Mod Wheel, and Pedals). A parameter assignment can modify an instrument sound during a performance to add variation or expression. Moving a controller changes the value of the parameter. Any time you do this, the display shows the Controller name, assigned parameter, and value. Selecting the View soft button will show current parameters on the left side of the display. 10-7 Multi Mode Parameter Assignments Controller Conventions In Multi Mode, the Zone Mute Switches above Sliders A through D control the Active/Muted status of Zones 1 through 4. In the Factory Multis, Sliders A through D generally control the volume for Zones 1 through 4. Sliders H and I generally control Delay and Reverb amount. The remaining Sliders and Switches generally control various effects and synthesis parameters. Forte® SE Controller Conventions Synthesis (Zone Mute) (Zone Volume) 10-8 (Zone Mute) (Zone Volume) (Zone Mute) (Zone Volume) Effects (Zone Mute) (Zone Volume) (FX1 Enable) (FX2 Enable) (Delay Enable) (Reverb Enable) (FX1 Amount) (FX2 Amount) (Delay Amount) (Reverb Amount) Multi Mode The Split and Layer Functions The Split and Layer Functions The soft buttons Split and Layer perform slightly different functions, but offer identical parameters. The Split Function allows you to quickly create a Multi such that keys in one region of the keyboard produce different sounds than another region. The Layer Function allows you to layer Programs and Multis such that more than one sound can be produced by striking one key. This is convenient, as you do not need to use Multi Edit Mode to configure Zone key ranges, Programs, and volumes. You can simply hit the soft button while in Multi Mode to select the Function. You can then configure additional Zones, each of which may have its own Program and controller assignments. The result may be saved as a new Multi. 10-9 Multi Mode Split Function When you create a Split in Multi Mode, you are in fact activating a new Zone within the current Multi. If the current Multi already has the maximum number of active Zones and you press the Split Function soft button, then a message will appear on the display indicating that you have reached the maximum number of Zones. Alternatively, you can mute one of the active Zones by using the Zone Mute buttons, and then continue to create the Split. The Multi you were using becomes the right hand of the Split. After this you can choose a Program that will be used in the left hand of the Split as the Program for another available zone. The default Program parameter for a Split is 203 Finger Bass, and the default keyboard range is C1 - E3. These may be changed, as described below. Other parameters that determine the behavior of the Split are described below. Use the navigation buttons to access each of the Split/Layer parameters. Layer Function When you create a Layer in Multi Mode, you are in fact activating a new Zone within the current Multi. If the current Multi already has the maximum number of active Zones and you press the Layer Function soft button, then a message will appear on the display indicating that you have reached the maximum number of Zones. Alternatively, you can mute one of the active Zones by using the Zone Mute buttons, and then continue to create the Layer. Choose a Program that will be used for the next available Zone. The active Zones of the Multi you were originally using will remain unchanged. The default Program parameter for a Layer Multi is 130 Adagio Strings,, and the default keyboard range is C1 - G9. Use the navigation buttons to access each of the Split/Layer parameters. 10-10 Multi Mode Other parameters that determine the behavior of the Multi are described below. Use the navigation buttons to access each of the Split/Layer parameters. Split/Layer parameters Zn and Stat (Zone and Status) Selecting Split or Layer makes a new Zone active. You can continue to add Zones to the Multi by activating additional Zones with the Stat parameter or the front panel Zone buttons. The Forte SE will display a message if you have already reached the maximum number of active Zones (see About Zones on page 10-6 for more information on Zones). Program (Split/Layer Program) The default Program will appear in the next available Zone. Choose a different Program using the Category and Program/Multi buttons, the Alpha Wheel, or the Previous/Next buttons. Low/Hi (Keyboard range) The Low and Hi parameters set the keyboard boundaries for each Zone. The low and high keys for each Zone can be selected using Assign (holding down the Enter button and then striking the desired key on the keyboard). Keys can also be selected by using the Alpha Wheel or the Previous-/Next+ buttons. Vol (Zone Volume) The VOL parameter determines the volumes of each Zone. By default, VOL is set to 127, which results in each Zone having the same volume. To change volumes use the Alpha Wheel or Previous/Next buttons. A Zone volume can be set to any number between 0 and 127. Pan (Zone Pan) To change the panning of a Zone (left/right stereo placement), use the navigation buttons to select the Pan parameter for one of the Zones. To set a Pan value, use the Alpha Wheel, the Previous-/Next+ buttons, or use the keypad function of the Category buttons to type a pan value (0-127) followed by the Enter button. A value of 0 is full left, 64 is center, and 127 is full right. Other values will move the stereo placement in between these positions. A value of “None” will use the last pan value used by the Zone’s MIDI channel. A value of “None” can be entered by scrolling below 0, or by using the keypad function of the Category buttons to type negative 1 by pressing the small +/- button and then the 1 button, followed by the Enter button. 10-11 Multi Mode The ARP Function Saving a Split or Layer After setting the Split/Layer parameters, the Split can be saved as a Multi so that it can easily be recalled in Multi Mode. Press the Save button to the left of the display to begin the saving process. See Save User Multis below for more details. Once you have saved your Split or Layer as a Multi, you can edit controller assignments and other Multi parameters in Multi Edit Mode (see Ch. 11 Multi Edit Mode for details). The ARP Function Selecting the Arp soft button will bring up the Arpeggiator editor page Arp1. Arpeggiator options and parameters are described in detail in “The Arpeggiator Function” on page 7-55. From Multi Mode, you can set Arpeggiators for each Zone in a Multi. The Arp soft button also put you into Multi Edit mode, where you can access other editor pages. For real-time control of Arpeggiator options, see “The Controller Destination List” on page 11-17 and “Shift Key Number, Shift Key (ShKeyNum, ShiftKey)” on page 11-20. Save User Multis Use the Save button to save a Split or Layer Multi as a User Multi (to save a changed Zone Mute status, switch/button state, or slider state, you must set an entry value for each controller in Multi Edit mode). Press the Save button once to view the Save Dialog. This will allow you to specify the ID number to save to, and to rename the Multi if you wish. When viewing the Save Dialog, you can quickly save the Multi to the displayed ID number by pressing the Save button again. 10-12 Multi Mode Save User Multis Changing ID Numbers The display shows the first available ID number and the current Multi name. You can save Multis with ID numbers from 1024 to 2047. If you are saving a Multi that has not been previously edited, the next available unused ID number will be selected. If you are saving a previously edited User Multi, the ID number that the Multi was last saved with will be selected. Press the Value Jump double button press (Previous-/Next+) to toggle between selecting the ID number that the Multi was last saved with, and the next available unused ID number. To change the ID number, turn the Alpha Wheel or use the Previous-/Next+ buttons to select the new ID number. If you select a previously used ID# the display will show a prompt to allow you to decide whether to replace it. Naming a User Multi To rename the Multi, first press the Rename soft button. The display then shows the current Multi name. Multi names can total 16 characters in length. 10-13 Multi Mode Save User Multis Press the center soft buttons (<<< or >>>) or the navigation buttons to move the cursor. To enter the new Multi name you may use the letters and numbers printed on the Program/ Multi buttons, or use the Alpha wheel or Previous-/Next+ buttons to cycle through the alphabet. The Insert soft button will insert a blank space (the selected character and all characters to the right will move one space to the right), and the Delete button will delete the current character (all the characters to the right will move one space to the left). When you are satisfied with your name, press the OK soft button to return to the Save screen. 10-14 Multi Mode Save User Multis Saving a User Multi Press the Save button or Save soft button to complete the saving process, or press the Cancel soft button to exit without saving. After successfully saving, the Multi will be selected in Multi Mode in the selected Bank. To find the Multi again later, make sure to press the User bank button under the Mode buttons. 10-15 Multi Edit Mode About Multi Edit Mode Chapter 11 Multi Edit Mode About Multi Edit Mode NOTE : Before you read this chapter, be sure to read Ch. 10 Multi Mode for a full description of Multis. Multi Edit Mode allows you to edit and create Multis and gives you access to a Multi’s Common parameters and Zone specific parameters. Multis are configurations of up to eight Zones, each of which may have its own Program, controller assignments, and MIDI transmit channel. A Zone can also be configured to control an external sound module or computer software through a MIDI or USB cable. In Multi Edit Mode, you can customize the Program, controller assignments, and MIDI transmit channel of the Zones in a Multi, in addition to many other parameters. Any Multi can be edited in Multi Edit Mode and saved to one of the 1024 User IDs. To enter Multi Edit Mode, first press the Multi Mode button to enter Multi Mode, and then press the EDIT button. Once you are in Multi Edit Mode, press the soft buttons at the bottom of the screen to navigate to each of the Multi Edit Mode pages. See the sections below for details on navigating and changing parameters and Zones. All parameters apply only to the currently selected Zone, except for parameters on the Common Page and certain controller parameters, which apply to all Zones. On the Multi CCs and Multi Switches pages, if a parameter is selected which applies to all Zones, “All Zones” will be displayed in the top right corner of the display. 11-1 Multi Edit Mode Selecting Parameters Differences Between Regular and Advanced User Type This chapter describes how Multi Edit Mode works when the Global Mode User Type parameter is set to Advanced. Multi Edit Mode works the same way when the Global Mode User Type parameter is set to Regular, except that the NewZn, DupZn, ImpZn, and DelZn soft buttons are not shown, and some settings will be hidden when scrolling through Arpeggiator settings. Selecting Parameters The Display In Multi Edit Mode, the top line of the display shows the current Mode, Page, and current selected Zone. Current Page Current Zone Current Parameter Soft button options for Multi Edit mode Changing Zones Use the Channel/Layer/Zone ▲ and ▼ buttons to change the currently selected Zone. The top right corner of the display of the each page shows the currently selected Zone out of all available Zones, or “All Zones” if the parameter applies to all Zones. On the Multi Edit Overview page the Channel/Layer/Zone ▲ or ▼ buttons will change Zones in reverse order from how they do on other Multi Edit pages. Pressing Zone Down will select a higher Zone and pressing Zone Up will select a lower Zone. The buttons are reversed on this page so that pressing Zone (▲ or ▼) will move you visually up/down on the display. A simultaneous double button press of ▲/▼ will jump to Zone 1. 11-2 Multi Edit Mode Selecting Parameters Alpha Wheel & Previous (–) and Next (+) Value Buttons Use the Alpha Wheel or the Value buttons, to the right of the display below the Alpha Wheel, to change the selected parameter value. Turning the Alpha Wheel counter-clockwise or pressing the Previous button will select the previous value and turning the Alpha Wheel clockwise or pressing the Next button will select the next value. Assign Assign is the secondary function of the Enter button. You can use the Assign function to quickly select parameters or set values for parameters by holding the Enter button while moving Forte SE controllers (Sliders, Switch buttons, Keys, Mod Wheel, and Pedals). Parameters that can use the Assign function are indicated by showing the Assign symbol in the top right corner of the display when selected. Assign Symbol Pressing a key, switch, or moving a controller while holding down the Enter button will perform Assign in the following cases. Enter + Controller On the Multi CCs or Multi Switches page, when the Controller or Switch parameter is selected, holding the Enter button and moving a controller (a Slider, Switch button, Mod Wheel or Pedal) will jump to selecting that controller in the current Zone. This allows you to quickly select a controller. On the Multi CCs or Multi Switches page, when the Dest parameter is selected, Enter + Switch/Controller will assign the default Destination of the touched controller to the selected switch or controller. This is an easy way assign a Multi controller/switch to the same assignment it had in Program mode. 11-3 Multi Edit Mode Zone Parameters On the Multi CCs or Multi Switches page, when the Entry Pos, Exit Value, OnValue, or OffValue parameter is selected, you can change the value of the selected parameter by holding Enter and moving any Controller or Switch. Enter + Key In Multi Edit Mode, on the Overview page, with the Low Key Range or High Key Range parameter selected, hold the Enter button and strike a key to set the Low Key or High Key. On the Multi Switches page, when Mode = Chord and one of the Key1-8 parameters is selected, hold the Enter button and strike a key to set a key value. Zone Parameters Each of the available Zones in a Multi has multiple parameters that determine its behavior. Since the Zones of a Multi are independent of each other, changing a parameter for a certain Zone will not affect the parameters of any other Zone. There are some exceptions to this, for example, the parameters on the Common Page are common to all available Zones. Also, on the Controllers Page for Switch Controllers, the parameters Type, Entry State, and Exit State are common to all available Zones. Lastly, on the Controllers Page for Continuous Controllers, the parameters Entry Position and Exit Value are common to all available Zones. The top right corner of the display of the each page shows the currently selected Zone out of the available Zones, or “All Zones” if the parameter applies to all Zones. Also, on the Multi CCs Page, the parameters Entry Position and Exit Value are common to all available Zones. Lastly, on the Multi Switches Page, the parameters Type, Entry State and Exit State are common to all available Zones. 11-4 Multi Edit Mode OVERVIEW Page OVERVIEW Page The Overview Page shows basic settings for 4 of the available Zones. The current Program, Volume and Panning position of the Zone, along with the state and active keyboard region can be quickly set on this page. If a Multi has more than 4 Zones, the other Zones can be accessed by using the Channel/Layer/Zone Up/Down buttons to the right of the display. Parameter Range Of Values Default Value Status Active, Muted Active Program Program List - Key Range C-1 to G9 Pan None, 0 to 127 64 Volume None, 0 to 127 127 C-1 to G9 Zn and Stat (Zone and Status) Zn lists the available Zones. The Status parameter determines whether the currently selected Zone is active or muted. You can set this parameter to either of two states: Active or Muted. Program The Program parameter determines the Program to be loaded for the currently selected Zone. You can set this parameter to any Forte SE Program (1 – 2047). The display shows the Program number and name. The Value Jump double button press (Previous and Next buttons) jumps to selecting the first Program of each Category, as well as the Category Default Program of each Category (if a Category Default Program has been set). Low and Hi (Key Range) The Low and Hi parameters define the key range of the currently selected zone. Keys played within this range will trigger a note for the selected Zone. The easiest way to change these values is to select one, hold the Enter button and press the key of the note you wish to enter. You can set these values with normal data entry methods as well. You can also set the lowest key higher then the highest key and vice versa. This allows you to split a Zone into two areas where the lowest and highest keys now define the region that the Zone does not play on. 11-5 Multi Edit Mode MAIN Page Vol (Zone Volume) The VOL parameter displays the volumes of each Zone. By default, VOL is set to 127, which results in each Zone having the same volume. To change volumes use the Alpha Wheel or Previous/Next buttons. A Zone volume can be set to any number between 0 and 127. Pan The Pan parameter determines the Pan MIDI message that the currently selected Zone sends when the Multi is loaded. You can set this parameter to any pan setting from None, 0 (full left pan) to 127 (full right pan). To pan to center, select 64 for this parameter. MAIN Page The Main Page shows the current settings that are specific for the currently selected Zone. The top right hand corner of the display indicates the currently selected Zone of the total available Zones. Parameter Range Of Values Default Value 1 Channel 1-1027 NONE, LOCAL, MIDI, MIDI+LOCAL, USB, USB+LOCAL, USB+MIDI, USB+LOCAL+MIDI 1 to 16 MidiBank None, 0 to 16383 BankMode None, Ctl 0, Ctl 32, Ctl 0/32, K2600 MidiProg (Depends on BankMode) EntryPrgChg On, Off Status Active, Muted Program Destination USB+LOCAL+MIDI 1 Ctl 0/32 On Current Zone Status Program The Program parameter determines the Program to be loaded for the currently selected Zone. You can set this parameter to any Forte SE Program (1 – 2047). The display shows the Program number and name. The Value Jump double button press (Previous- and Next+ buttons) jumps to selecting the first Program of each Category, as well as the Category Default Program of each Category (if a Category Default Program has been set). 11-6 Multi Edit Mode MAIN Page Destination The Destination parameter determines whether MIDI data generated by the keyboard and physical controllers of the currently selected Zone is sent to a Forte SE Program, through the MIDI Out/USB ports, or all three. You can set this parameter to any of the eight combinations for the three destinations for this parameter: Note that this parameter works in conjunction with the Global parameter of the same name (see Dest (Destination) on page 12-11) and both are active. They act like filters, so if one is set to MIDI, and the other is set to Local + MIDI, transmission will be limited to MIDI only. CAUTION: It is possible to stop all MIDI transmission, in Multi Mode, if one Destination parameter is set to Local, and the other is set to MIDI. Setting MIDI Out USB NONE LOCAL MIDI MIDI + LOCAL USB USB + LOCAL USB + MIDI USB + LOCAL + MIDI Yes Yes Yes Yes Yes FORTE SE Yes Yes Yes Yes Yes Yes Yes NONE Unused Zones are set to None to avoid transmitting MIDI on these zones. The Zone will still be able to receive incoming MIDI. LOCAL When Destination is set to LOCAL, MIDI data from the Zone is sent only to the Forte SE Program. MIDI data from this Zone is not sent to the MIDI Out or USB ports. MIDI When Destination is set to MIDI, MIDI data from the Zone is sent only to the MIDI Out ports. MIDI data is not sent to a Forte SE Program or the USB ports from this Zone. MIDI + LOCAL When Destination is set to MIDI+LOCAL, MIDI data from the Zone is sent to a Forte SE Program and to the MIDI Out ports. 11-7 Multi Edit Mode MAIN Page USB When Destination is set to USB, MIDI data from the Zone is sent only to the USB ports. USB + LOCAL When Destination is set to USB+LOCAL, MIDI data from the Zone is sent to a Forte SE Program and to the USB ports. USB + MIDI When Destination is set to USB+MIDI, MIDI data from the Zone is sent to the USB & MIDI Out ports only. MIDI data is not sent to a Forte SE Program on this Zone. USB + LOCAL + MIDI When Destination is set to USB+LOCAL +MIDI, MIDI data from the Zone is sent to the USB & MIDI Out ports, as well as the Forte SE Program on this Zone. Channel The Channel parameter determines the MIDI transmit and receive channel for the currently selected Zone. You can set this parameter to any of the 16 MIDI channels (1-16). You can assign different Zones to the same channel, but only one Program can be loaded in a channel at a particular time. The Program loaded will be whichever program change message is received last. BankMode The Bank Mode parameter determines the controller number with which MIDI Bank change messages are transmitted. For MIDI Bank change messages, various manufacturers have chosen different MIDI controller numbers. Most have chosen 0, 32, or both. In the case of the Kurzweil K2600, it responds to controller 32, but is limited to 100 programs per bank. You can set this parameter to any of the following: None 11-8 MIDI Bank change messages are disabled. Ctl0 MIDI Bank change messages are sent with controller number 0. Ctl32 MIDI Bank change messages are sent with controller number 32. Ctl0/32 MIDI Bank change messages are sent with both controller numbers 0 and 32. K2600 MIDI Bank change messages are sent with controller number 32. (K2600 Program numbers 0-99.) Multi Edit Mode MAIN Page MidiBank The MIDI Bank parameter determines the MIDI Bank change message that the currently selected Zone sends when the Multi is loaded. You can set this parameter to a MIDI Bank change message from 0 to 16383. When using the Forte SE as a MIDI controller, sending a MIDI Bank change message (along with a MIDI Program change message) when a Multi is loaded ensures that the Program loaded on the other sound modules in your MIDI chain is the Program that you want. For example, if you’ve configured a Multi to work in a specific way with Program 32 in Bank 5 of a connected sound module, then set MIDI Bank to 5 and MIDI Program to 32. This way, whenever you load this Multi, the sound module will automatically load Program 32 in Bank 5. NOTE : When you change the Program parameter, the MIDI Bank and MIDI Program parameters will automatically change to match the Bank and Program numbers of the Program that you select for Local Program. For example, if you choose Program 178, then MIDI Bank will change to 1 and MIDI Program will change to 50. MidiProg The MIDI Program parameter determines the MIDI Program change message that the currently selected Zone sends when the Multi is loaded. You can set this parameter to a MIDI Program change message from 0 to 127. When using the Forte SE as a MIDI controller, sending a MIDI Program change message (along with a MIDI bank change message) when a Multi is loaded ensures that the Program loaded on the other sound modules in your MIDI chain is the Program that you want. For example, if you’ve configured a Multi to work in a specific way with Program 32 in Bank 5 of a connected sound module, then set MIDI Bank to 5 and MIDI Program to 32. This way, whenever you load this Multi, the sound module will automatically load Program 32 in Bank 5. EntryPrgChg The Entry Program Change parameter determines whether or not the currently selected Zone will send a MIDI Program change message when the Multi is loaded. You can set this parameter to either Off or On. When set to On, the Zone will send a MIDI Program change message with the Program specified for the MIDI Program parameter. Status This displays the current Zone status (active or muted). 11-9 Multi Edit Mode KEYVEL (KeyVelocity) Page KEYVEL (KeyVelocity) Page LoKey and HiKey (Key Range) The Low and Hi parameters define the key range of the currently selected zone. Keys played within this range will trigger a note for the selected Zone. The easiest way to change these values is to select one, hold the Enter button and press the key of the note you wish to enter. You can set these values with normal data entry methods as well. You can also set the lowest key higher then the highest key and vice versa. This allows you to split a Zone into two areas where the lowest and highest keys now define the region that the Zone does not play on. Transpose The Transpose parameter changes the pitches generated by the Zone, without changing its position on the keyboard. This is done by changing the MIDI note numbers generated by the keys in the Zone. The range is -128 to 127 semitones. If you transpose out of the range of the active Zone Program, no notes will sound, though MIDI notes will still be transmitted. Note Map Note Map lets you change the way notes are sent from the Forte SE. The default setting is Linear: all notes go out as played. Pressing the Minus button takes you to Off; no notes are sent, but controllers and other non-note data are. Setting Note Map to Inverse effectively turns the keyboard upside-down, with the highest key being A 0 and the lowest C 9. If you set Note Map to Constant, all of the keys on the keyboard will play the same note. The note defaults to C4, but you can change this with the Transpose parameter. This works well when you want the sound from a particular key to play with every note of another zone. For example, playing a ride cymbal with every note in a bass line. Next are the alternating note maps, which let you divide the keyboard in some unique ways. If you are using two or more MIDI devices (including the Forte SE), you can expand polyphony by assigning each zone to a different alternating note map. For example, if you have two Forte SEs, you can assign two zones to each play the same program on a different Forte SE, thereby doubling polyphony. 11-10 Multi Edit Mode KEYVEL (KeyVelocity) Page To split a zone into one of two alternating note maps, set Note Map to 1 of 2; now the zone plays on every second key, starting on C, but won’t play on any other keys. Set another zone to 2 of 2, and this zone will play on every second key, starting on C#, thus covering the remaining keys. Three and four-zone alternating notemaps work the same way, but cause each zone to play only on every third and every fourth key, respectively. VelMode The Velocity Mode parameter determines the method that the Forte SE maps the keyboard’s strike velocity to MIDI velocity. Set to “Traditional” the keyboards velocity will translate to a MIDI velocity depending how hard you strike it. With a setting of “Fixed”, the velocity is set to a pre-determined value regardless of how hard or soft the keyboard is played. A setting of “Fixed” will remove some of the other Velocity settings in the MAIN page and replace it with a parameter called Velocity that has range of values from 0 to 127. VelScale The Velocity Scale parameter lets you amplify or diminish velocity response from -300% to 300%. Normal response is 100%. Higher values make the keyboard more sensitive (you don’t need to play as hard to get higher MIDI velocities) while lower values make it less sensitive (playing harder doesn’t change MIDI velocity as much). You can also set the scale to a negative number, in which case the velocity response is turned upside-down: playing harder produces a softer sound and vice versa. This is useful for creating velocity-based crossfades between zones. See the following section on VelOffset for ideas about negative scaling. VelOffset The Velocity Offset parameter also changes the velocity response, but in a more direct way, by adding or subtracting a constant to the key velocity. For example, if this is set to 25 (assuming a scale of 100%), then 25 is added to the velocity of every keystroke, usually making the sound that much louder. The softest possible keystroke will have a value of 25, while a keystroke with velocity of 102 will produce the same sound as a note with velocity 127 (102+25=127). Negative values diminish the response: a setting of -25 means the loudest velocity available will be 102, while any keystroke 25 or below will produce a velocity of 1 (a velocity value of zero has a special meaning in MIDI and cannot be used for Note Ons). You can think of Scale as being a proportional change to the velocity, while Offset is a linear change. The maximum values for Offset are ±127. Offset and Scale work together. If scaling takes the velocity out of the ballpark — for example, you want to set it to 300% but that puts all of your notes at maximum velocity — using a negative offset, say around -60, can make it possible to still play at different volumes, although your curve will still be a lot steeper than normal. If you use a negative scaling, then you must use an offset: otherwise all of your velocities will end up as zeroes (well, ones 11-11 Multi Edit Mode KEYVEL (KeyVelocity) Page actually, since a MIDI note-on with velocity zero is interpreted by some modules as a noteoff message). So to get true inverse scaling (that is, minus 100%), you must set an offset of 127 to get the full range of velocities. Setting the offset to 127 and the scale to -100% (which is the same as the reverse linear curve): NOTE: Offset and Scale affect only MIDI velocities; that is, these parameters don’t change Velocity Tracking in the programs themselves. Therefore, some programs (such as organ sounds,which often have low VelTrk values) may respond only subtly to Offset and Scale, or not at all. VelCurve The Velocity Curve parameter lets you taper the velocity response. The default setting is Linear, which means that the output velocity changes directly proportionally to the played velocity. Expand produces a curve that is less steep than the linear curve at keystrike velocities below 64, and steeper than the linear curve at keystrike velocities above 64. In other words, when you’re playing softly, you’ll notice velocity differences less than with a linear curve, while when you’re playing hard, you’ll notice velocity differences more. Compress produces a velocity curve that is the opposite of the expanded curve—that is, you’ll notice velocity differences more when you’re playing softly than when you’re playing hard. Crossfade is designed to be used in tandem with the Reverse Crossfade curve, enabling you to perform smooth crossfades between different programs. Bump tapers velocity response to resemble a bell curve, so that notes are loudest when your keystrike velocity is 64. Notes get softer as the keystrike velocity approaches 0 or 127. The next four velocity curves are Reverse Linear (Rvrs Linear), Reverse Expand (Rvrs Expand), Reverse Compress (Rvrs Compress), and Reverse Crossfade (Rvrs Crossfade). These taper velocity in reverse of the five curves we just covered. For example, Reverse Linear’s response is such that striking a key harder will produce a lower volume, striking it softer will produce a higher volume, and so on. This provides a convenient way to achieve negative scaling, by letting you set one parameter instead of two. LoVel, HiVel LoVel (Low Velocity) and HiVel (High Velocity) set the minimum and maximum velocity limits that the current zone transmits. A keystroke in the current zone whose velocity — after it has been scaled and offset — is below the minimum does not generate a Note On. Neither does a keystroke whose velocity after processing is above the maximum. These parameters are useful for “velocity switching”—having a key play different sounds depending on how hard you strike it. 11-12 Multi Edit Mode BEND Page The values can be anywhere from 1 to 127. As with other parameters, zones can overlap or be totally discrete, or be identical. Usually, LoVel will have a smaller value than HiVel, but as with LoKey and HiKey, you may also create a gap in velocity response, by setting HiVel to a lower value than LoVel. BEND Page Parameter Range Of Values Default Value Bend Up ST Prog, 0 to 127 ST (semitones) 2 ST Bend Down ST Prog, 0 to 127 ST (semitones) 2 ST Bend Up cT 0 to 100 cents 2 ST Bend Down cT 0 to 100 cents 2 ST Bend Up / Down ST Bend Up ST and Bend Down ST sends a bend range message to an internal program or a MIDI device, telling it how to define subsequent pitch bend messages. You can set this parameter to any value between 0 semitones and 127 semitones, or to Prog, which uses the Bend Range Up / Down of the currently selected Program for the Zone. The value can be entered numerically, and entering -1 will select Prog. (value that the Program would use in Program Mode). Bend Up / Down CT Bend Up CT and Bend Down CT lets you fine tune the value for Bend Up ST & Bend Down ST (semitones). 100 cents equals one semitone, or one half step; you can set this parameter anywhere between 0 and 100 cents. CCTLS (CCs/Continuous Controllers) Page Parameter Range Of Values Default Value Controller See Continuous Controllers List - Mode Off, MIDI CC - Destination See Controller Destination List Scale -300% to +300% Add -128 to 127 100% 0 11-13 Multi Edit Mode CCTLS (CCs/Continuous Controllers) Page Parameter Entry Position Range Of Values Linear, Compress, Expand, Crossfade, Bump, Rvrs Linear, Rvrs Expand, Rvrs Compress, Rvrs Crossfade None, 0 to 127 Exit Value None, 0 to 127 Curve Default Value Linear - Controller The Controller parameter allows you to assign any of the Forte SE’s continuous controllers (sliders, mod and pitch wheels, expression pedal and pressure) to control a program specific parameter or MIDI controller number for the currently selected Zone. First, use the Channel/Layer/Zone buttons to the left of the display to select the desired zone that you wish to assign a controller for. Next, on the Multi CCs page, use the navigation buttons to select the “Controller” field, hold the Enter button and then move any of the Forte SE’s continuous controllers. This will select that controller and display its available parameters. (You can also scroll through the list of controllers on the Control page by selecting the Controller field with the navigation buttons and using the Alpha Wheel or the Value buttons to scroll through the list.) If a pedal is selected which has a pedal override enabled in Global mode, a message “(Global Override)” will display when that pedal is viewed to remind you that the Global mode pedal override settings are being used instead of the Multi mode pedal settings. FORTE SE CONTINUOUS CONTROLLERS Mod Wheel Slider A Slider F Pressure Slider B Slider G Pitch Wheel Up Slider D Slider I CC Pedal Pitch Wheel Down Slider C Slider E Slider H Mode Continuous Controllers have two modes: Off, or MIDI CC. With a value of Off, the controller is disabled for this zone. With a value of MIDI CC, the controller has the ability to transmit MIDI control messages. Dest (Destination) Use the Destination parameter to assign the Forte SE continuous controllers (Sliders, Wheels, Expression Pedal, or pressure) to control Program parameters or send MIDI continuous controller messages (CCs) to external MIDI gear. If a controller number (MIDI CC number) is assigned to a parameter in the Program of the current Zone, the parameter 11-14 Multi Edit Mode CCTLS (CCs/Continuous Controllers) Page name will be listed in the Destination list to the right of the CC number. Some CC numbers also show a default MIDI name if the CC number is not assigned in the Zone’s program. For example, CC 6 is generally unassigned in programs, in which case CC 6 will show the standard MIDI name “data.” The Destination parameter determines the MIDI CC controller number that a physical controller will send to the Program in the currently selected Zone. By default, these CC messages are also sent to the MIDI Out and USB ports on the Channel of that Zone. The list of CC controller numbers below (see page 11-17) shows the default assignments for each destination. Programs respond to some of these CCs for standard MIDI functions like volume and panning. Other external MIDI gear (sound modules, computer software) may respond to standard MIDI CC messages as well. Standard MIDI CC’s range from 0-127 and can be received by the Forte SE from external devices, while destinations 128-146 are internal to the Forte SE only. Scale After you’ve selected a continuous physical controller, you can modify the controller’s response in a similar way that you can modify velocity response. Scale lets you amplify or diminish the action of the controller. Full scale is 100%. Higher values will make the controller more sensitive, and lower values will make it less so. Setting the scale to a negative number makes the controller action work in reverse. As with velocity, you can use a controller to crossfade between two zones by setting the scaling for one zone positive and the other negative. Maximum scale values are +300% and -300%. Add This adds or subtracts a constant to the controller, and at the same time sets minimum or maximum values. If Add is 25, the minimum value of the controller will be 25. If it is -25 (and scale is 100%) the first one-fifth of the controller’s movement (25/127 ≈ 1/5) will send a value of 0, and the maximum value of the controller will be 102 (= 127-25). As with velocity, Scale is a proportional change to the controller, while Add is a linear change. The values for Add range from -128 to 127. Curve The Curve parameter lets you taper the velocity response. The default setting is Linear, which means that the output velocity changes directly proportionally to the played velocity. Expand produces a curve that is less steep than the linear curve at keystrike velocities below 64, and steeper than the linear curve at keystrike velocities above 64. In other words, when you’re playing softly, you’ll notice velocity differences less than with a linear curve, while when you’re playing hard, you’ll notice velocity differences more. Compress produces a velocity curve that is the opposite of the expanded curve—that is, you’ll notice velocity differences more when you’re playing softly than when you’re playing hard. 11-15 Multi Edit Mode CCTLS (CCs/Continuous Controllers) Page Crossfade is designed to be used in tandem with the Reverse Crossfade curve, enabling you to perform smooth crossfades between different programs. Bump tapers velocity response to resemble a bell curve, so that notes are loudest when your keystrike velocity is 64. Notes get softer as the keystrike velocity approaches 0 or 127. The next four velocity curves are Reverse Linear (Rvrs Linear), Reverse Expand (Rvrs Expand), Reverse Compress (Rvrs Compress), and Reverse Crossfade (Rvrs Crossfade). These taper velocity in reverse of the five curves we just covered. For example, Reverse Linear’s response is such that striking a key harder will produce a lower volume, striking it softer will produce a higher volume, and so on. This provides a convenient way to achieve negative scaling, by letting you set one parameter instead of two. Entry Position The Entry Position value allows you to specify an initial value for a controller in a setup that will be sent whenever you select that Multi. For example, if you want to make sure that all of the modulation in a zone is turned off when you select a Multi, assign a physical controller to a destination of MIDI 01 (MWheel) and set Entry Value to 0. Entry Position refers to the position of the physical controller. The Entry Position is common to all Zones, however the Curve, Scale and Add modifiers are applied to the Entry Position (and the controller value) individually on each zone, allowing the one controller to send different values to the assigned destinations on different zones, if desired. Entry Position ignores the current position of the physical controller when the Multi is selected. In fact, if the Multi Controllers parameter in Global Mode (page 12-5) is set to Pass Entry, and the physical controller is above or below the entry value when the Multi is selected (which it often is), moving the controller will have no effect until it is past the entry value. In the modulation example above, moving the assigned controller won’t turn on any modulation until it’s pushed all the way down, and then up again. If the Multi Controllers parameter is set to Instant, any movement of the physical controller will immediately be assigned to the controller. This may cause an abrupt change in the sound. An Entry Position of None is quite different from a value of 0. None means that there will be no initial controller command when the Multi is selected, and any subsequent movement of the physical controller will be effective. Exit Value The Exit Value tells the Forte SE to send a value for that controller whenever you leave the Multi, either by selecting another Multi or by selecting a different mode altogether. It can be very useful when a controller is doing something to the sound, and you don’t want that effect to continue after you leave the Multi. For example, if you want to make sure a zone’s modulation wheel returns to normal whenever you leave a Multi, you would set Exit Value to 0. 11-16 Multi Edit Mode CCTLS (CCs/Continuous Controllers) Page A setting of None means no message is sent when exiting the Multi. Controlling Program Parameter Assignments from Multi Mode Commonly you will want to assign a physical controller in a Multi to control the same Program parameter that it controlled in Program Mode. In the Destination parameter list, destinations that are assigned to parameters for the Program of the current Zone will show the Program Parameter name in place of the standard Controller Destination name. Select one of these destinations to control an assigned Program parameter. You can also use the Enter button’s secondary “Assign” function to quickly assign a Multi mode controller to a program mode assignment. First make sure you have the correct Zone selected for the program you wish to control. Next, go to the Multi CCs or Multi Switches page and select the desired control. Lastly, select the Dest parameter for the desired controller, hold the Enter button and move the desired controller. This will set the controller’s destination to the same assignment it had in Program mode. You can also move a different controller if you want to set a different program mode assignment. The Controller Destination List The table below contains the available values for the MIDI CC (continuous controller) destinations. The Forte SE’s physical controllers can send MIDI values to these destinations in order to control the parameters of Forte SE Programs, Multis, Forte SE system parameters, or external MIDI equipment. Controller Number Controller Destination Description 0 OFF/Bank By default, when you enter 0 or Clear for the Destination parameter, the destination will be assigned to OFF. To select Bank as the destination, use the Value buttons. 1 MWheel Default destination for the Modulation Wheel 2 Breath Default assignment for breath controller in compatible synths 3 MIDI 03 MIDI Controller 3 4 Foot 5 PortTim 6 Data Default assignment for continuous foot controller in compatible synths Monophonic Forte SE Programs respond to this Controller if portamento is turned on. MIDI Controller 6 7 Volume MIDI Volume 8 Balance MIDI Balance MIDI Controller 9 9 MIDI 09 10 Pan 11 Express Default assignment for CC Pedal. In most Programs it acts as a volume control. It scales between 0 and the current value of Volume. 12 MIDI 12 Default assignment for Slider A 13 MIDI 13 Default assignment for Slider B 14-21 MIDI 14-21 MIDI Pan MIDI Controllers 14-21 11-17 Multi Edit Mode CCTLS (CCs/Continuous Controllers) Page 11-18 Controller Number Controller Destination 22 MIDI 22 Default assignment for Slider C 23 MIDI 23 Default assignment for Slider D 24 MIDI 24 Default assignment for Slider E 25 MIDI 25 Default assignment for Slider F 26 MIDI 26 Default assignment for Slider G 27 MIDI 27 Default assignment for Slider H 28 MIDI 28 Default assignment for Slider I 29 MIDI 29 Default assignment for Variation switch 30-31 MIDI 30-31 MIDI Controllers 30–31 32 MIDI Bank MIDI Bank change message 33–63 MIDI 33–63 MIDI Controllers 33–63 64 Sustain 65 MIDI 65 66 Sostenuto Description Default destination for Sustain Pedal Default destination for Sostenuto Pedal (Sustains notes that are currently down, but not notes played subsequently.) 67 Soft 68 Legato Lowers the volume by a preset amount and may soften the timbre as well. Forces mono playback. Envelopes freeze at current state. 69 Freeze 70–79 MIDI 70–79 80 MIDI 80 Default assignment for Switch 1 (Zone 1 Switch) 81 MIDI 81 Default assignment for Switch 2 (Zone 2 Switch) 82 MIDI 82 Default assignment for Switch 3 (Zone 3 Switch) 83 MIDI 83 Default assignment for Switch 4 (Zone 4 Switch) 84 Portamento 85 MIDI 85 Default assignment for Switch 5 (Assignable Switch 5) 86 MIDI 86 Default assignment for Switch 6 (Assignable Switch 6) 87 MIDI 87 Default assignment for Switch 7 (Assignable Switch 7) 89 MIDI 89 Default assignment for Switch 8 (Assignable Switch 9) 90 MIDI 90 Default assignment for Switch 9 (Assignable Switch 5) 91–95 MIDI 91–95 96 Data Inc Equivalent to pressing the Next Value button 97 Data Dec Equivalent to pressing the Previous Value button 98 NRegParL Non–Registered Parameter Least Significant Byte 99 NRegParM Non–Registered Parameter Most Significant Byte 100 RegParL Registered Parameter Least Significant Byte Registered Parameter Most Significant Byte MIDI Controllers 70–79 Standard MIDI controller for setting Portamento starting note MIDI Controllers 94–95 101 RegParM 102–109 MIDI 102–109 MIDI Controllers 102–109 110-119 MIDI 110–119 Reserved - Not available for use in the Forte SE. 120 Sound Off 121 RstCtls 122 Local 123 Notes Off Stops all sound in the corresponding channel. Resets Controllers to defaults in the corresponding channel. Sends Note Off Message to all playing notes in the corresponding channel. Multi Edit Mode CCTLS (CCs/Continuous Controllers) Page Controller Number Controller Destination 124 Poly Description 125 Omni 126 Mono On 127 Mono Off 128 Pitch Values above 64 and below 64 bend the pitch up and down, respectively. 129 PitchRev Values above 64 and below 64 bend the pitch down and up, respectively 130 PitchUp Values above 0 bend the pitch up 131 PitchDwn Values above 0 bend the pitch down 132 Pressure Default Destination for Pressure 133 Tempo 134 KeyNum 135 KeyVel Key Velocity 136 ProgInc Program Increment—increments current Program number. 137 ProgDec Program Decrement—decrements current Program number. 138 ProgGoto Go to Program—selects Program. 139 MultiInc Multi Increment—increments current Multi number. 140 MultiDec Multi Decrement—decrements current Multi number. 141 SetpGoto Go to Multi—selects Multi. 145 TransUp Transpose Up (ST) 146 TransDown 147 Arp 149 MuteZn 150 ArpOrder Arpeggiator Order,each range of values selects one of nine options in order on parameters list: 0-14, 15-28, 29-42, 43-56, 57-70,71-84, 85-98, 99-112, 113-127. (See ARP1 Page on page 7-56) 151 ArpBeats Arpeggiator Beats, each range of values selects one of seven options in order on parameters list: 0-18, 19-36, 37-54, 55-72, 73-90, 91-108, 109-127. (See Beats on page 7-61) 152 ArpShift The 88 Arpeggiator Shift steps are scaled over the 128 MIDI controller values, so that 0 = 0 steps and 127 = 88 steps. (See Shift (Shift Amount) on page 7-61) 153 ArpLimit The 60 Arpeggiator Shift Limit steps are scaled over the 128 MIDI controller values, so that 0 = 0 steps and 127 = 60 steps. (See Shift Limit on page 7-61) 154 ArpLmtOp Arpeggiator Shift Limit Option, each range of values selects one of seven options in order on parameters list: 0-18, 19-36, 37-54, 55-72, 73-90, 91-108, 109-127. (See Limit Option on page 7-59) 155 ArpVel Arpeggiator Velocity, each range of values selects one of twenty-three options in order on parameters list: 0-5, 6-10, 11-15...101-105, 106-110, 111-127. (See Velocity Mode on page 7-63) 156 Arp Dur The Arpeggiator Duration % values are scaled over the 128 MIDI controller values, so that 0 = 1% and 127 = 100%. (See Duration on page 7-66) 157 Latch 158 Latch2: For Arpeggiator Latch Pedals mode, 0-63 = off, 64-127 = on. 159 ArpGliss Arpeggiator Gliss, 0-63 = off, 64-127 = on. When Arp Gliss is On, the Arpeggiator plays chromatically between inputted notes, and ignores the Arpeggiator Shift Amount, Shift Limit, and Limit Option parameters. 160 SusLatch For Arpeggiator Latch Pedals mode, 0-63 = off, 64-127 = on. Tempo Triggers playback of notes by Key Number—e.g., C4 is 60. Send a velocity first with Destination135, KeyVel. Transpose Down (ST) Values 0-63 turn the arpeggiator Off, Values 64-127 turn the arpeggiator On Mute Zone – Values above 64 will mute the zone that sends values to this destination, values below or equal to 64 will unmute the zone. For Arpeggiator Latch Pedals mode, 0-63 = off, 64-127 = on. (See Latch on page 7-58) 11-19 Multi Edit Mode CCTLS (CCs/Continuous Controllers) Page Controller Number Controller Destination 161 Panic Description Sends an “all notes off” message and an “reset all controllers” message on all 16 MIDI channels. Solo Zone - Values above 64 will solo the zone that sends values to this destination, values below or equal to 64 will unsolo the zone. When a zone is soloed, the Zone Mute button LED for the soloed Zone will turn red. All other Zones will be muted and their Zone Mute button LEDs will turn orange. Pressing any muted/orange Zone buttons will make that Zone the soloed zone. Pressing the soloed zone button will cancel solo mode. To return to Solo mode the original controller assigned to Solo Zone (162) will need to be re-engaged. 162 SoloZn 168 TapTempo 170 -Arp Shift Sets ARPEGGIATOR values for Shift to negative. 0-63 = off, 64-127 = on. (SeeShift (Shift Amount) on page 7-61) 171 ShiftPatt Selects one of the 128 patterns in the current ARPEGGIATOR ShiftPatt Bank. (See Shift Pattern (ShiftPatt) on page 7-62) 172 ShiftPBank A controller value selects the corresponding ShiftPatt Bank for the ARPEGGIATOR page of a controller’s zone. For example, controller value 2 selects ShiftPatt bank 2, controller value 7 selects ShiftPatt bank 7. 173 VelPatt 174 VelPBank A controller value selects the corresponding VelPatt Bank for the ARPEGGIATOR page of a controller’s zone. For example, controller value 2 selects VelPatt bank 2, controller value 7 selects VelPatt bank 7. 175 VelFixed Set’s arpeggiator velocity when ARPEGGIATOR velocity is set to Fixed. (Velocity Mode on page 7-63) 176 ShKeyNum 177 ShiftKey 178 ShKeyNuV 180 Chan Intonation Selects the Intonation Map (IDs 0-127) in a MIDI channel in real time. On the Multi Edit CONTROLS page, when setting a switch controller to this Destination the name of the selected Intonation Map will be displayed. For example: 18 (EastMed). Chan Int Key Selects the Intonation Key (C through B) in a MIDI channel in real time. On the Multi Edit CCTLS page, when setting a switch controller to this Destination the MIDI number and note name of the selected Intonation Key will be displayed. For example: 41 (D#). 181 Tap Tempo (See TEMPO on page 12-16) Selects one of the 128 patterns in the current ARPEGGIATOR VelPatt Bank. (SeeVelocity Pat on page 7-64) Shift Key Number (see below) Shift Key (see below) Same as 176 ShKeyNum, but the Shift Pattern’s velocity will be modified by the current velocity pattern of the zone. Shift Key Number, Shift Key (ShKeyNum, ShiftKey) These controller destinations allow you to play musical scales and single note patterns on any programmable continuous controller in a Multi, without the need of playing the physical keys of the keyboard. These features are especially useful for playing fast arpeggiations. These destinations only work when combined with other destinations and features, so be sure to read this whole section to gain a complete understanding. Shift Key Number (ShKeyNum, controller destination 176) works in a similar way to Key Number (KeyNum, controller destination 134). Both controllers basically generate a monophonic stream of notes. The difference is that Key Number plays through all notes chromatically, while Shift Key Number only plays notes relative to a Shift Pattern. 11-20 Multi Edit Mode CCTLS (CCs/Continuous Controllers) Page For example, when controlling Shift Key Number from a slider, notes are triggered from a Shift Pattern in forwards order as you move the slider up, and backwards order as you move the slider down. If in our zone we have selected the Shift Pattern 2: minor, the notes being played by the slider will be only the root, the minor third and fifth in the chosen key, triggering notes in any octave up and down the keyboard. (See Shift Key below for details on selecting the root note and octave.) Selecting The Desired Notes: You must select a Shift Pattern for the desired zone in order for Shift Key Number to have an effect. To select a Shift Pattern for the current zone in a Multi, enter the Multi editor, go to the Arpeggiator 1 page and set Arp Mode to Classic. Select a Shift Pattern from the ShiftPatt field. If using multiple zones, a different pattern can be selected for each. The ShiftPatt field is usually used with the arpeggiator, but can also be used in combination with the controller destinations Shift Key Note, Shift Key, and Key Velocity. These destinations can use a zone’s Shift Pattern whether the arpeggiator is on or off without conflict. For more information on Shift Patterns such as editing and saving, see Shift Pattern (ShiftPatt) on page 7-48. (Note that the ShiftPatt Up or Down options, as well as any of the arpeggiator parameters other than ShiftPatt do not have an effect on Shift Key Number.) You can also set controllers to destination 171 (ShiftPatt) to select a pattern from the current bank of 128 shift patterns, and destination 172 (ShiftPBank) to select a bank from banks of 128 shift patterns each. Selecting The Desired Velocity: In order to have a note sound when using Shift Key Number, you first need to send a Key Velocity message (KeyVel, controller destination 135) with a non zero velocity. You must set a controller to this destination, it’s useful to set a slider or other continuous controller in order to control velocity while playing. The next notes to be triggered by Shift Key Number will be played with the last received KeyVel velocity. One note triggered by these controllers sounds until another note is triggered or until a KeyVel message with velocity 0 is sent. 11-21 Multi Edit Mode CCTLS (CCs/Continuous Controllers) Page Selecting The Desired Key (Root Note): Shift Key (ShiftKey, controller destination 177) allows the user to select the key (root note) of the Shift Pattern triggered by Shift Key Number. A Shift Pattern is a relative pattern based on a root note. All notes triggered by a Shift Pattern are shifted from the root note by the value of each pattern step (in half-steps.) Shift Key Settings Value Key (Root note) 0-9 10-19 20-29 30-39 40-49 50-59 60-68 69-78 79-88 89-98 99-108 109-118 119-127 C C# D D# E F F# G G# A A# B Last Note Played When using a Shift Pattern with Shift Key Number you can select the key with one or more controllers set to the Shift Key destination. You can use a continuous controller such as a slider to cycle through keys, or switches set to predetermined keys. For example, if you are playing a song that moves between 2 or 3 keys, a couple of switches could be programmed in order to send the appropriate Shift Key message for each key change. That way all the notes you are triggering with a Shift Key Number controller will be in the appropriate scale. You could also create a Multi for a song with multiple zones, each with its own pre-set key and appropriate shift pattern. That way, for each chord change you could move a different controller that would create the correct harmony. Another way to choose a key is to set Shift Key to Last Note Played mode, in which the last note played in the zone will set the key. For example, you could set the zone being used for Shift Key Number to have a Key Range that covers only a few of the keyboard’s lowest octaves. This would allow you to play root note bass lines that change the key that Shift Key Number plays in, leaving the upper octaves of the keyboard open for use by other zones. A Note About Octave Range: When using Shift Key Number, shift patterns with more than 12 steps begin triggering notes in higher octaves. This is done because longer shift patterns use up more of a controller’s range, and limit the number of octaves that a single controller can trigger. Since the lowest octave of a program is often too low to be musically useful, the Forte SE will automatically start triggering notes from longer shift patterns in higher octaves. This saves room in the controller’s range of values for triggering more useful octaves. See the table below for Shift Pattern step ranges and their corresponding starting octave. 11-22 Multi Edit Mode CCTLS (CCs/Continuous Controllers) Page If Shift Key is set to Last Note Played and no note is played, the default key is C. Each zone can have a different Shift Key, so you can have zones preprogrammed with the keys you want to use, or have them all in the same key, or just change the key in real time while you are playing. Default Octave Shifting Total # of Shift Pattern Steps 1-12 13-24 25-36 37-48 Starting Octave C0-C1 C1-C2 C2-C3 C3-C4 Selecting The Desired Octave Range: You adjust the starting octave manually, using the Add parameter on the corresponding controller’s setup page. In the Add field, the addition or subtraction of the number of steps in your current shift pattern will raise or lower the starting octave in relationship to the default starting octave. For example, in a shift pattern with 3 steps, an Add value of 9 would cause a controller value of 0 to make Shift Key Number trigger notes in octave C3-C-4, 3 octaves above the default C0-C1. Add values that are not multiples of the number of current shift pattern steps will change which step the pattern begins on at controller value 0, thus offsetting the relationship between all of the controller’s values and current shift pattern’s steps. Adjusting Controller Range: When using Shift Key Number, the number of steps in the Shift Pattern also affects the range of values that will cause a controller to trigger a shift pattern step, and in turn affect the useful range of the physical controller. With a shift pattern of 12 notes, the 128 different notes that the Forte SE can trigger are evenly spaced over the range of the controller. Patterns with less than 12 steps will trigger notes in every octave over a shorter range of the controller. For example, in a shift pattern with 3 steps, by default the controller values 0 to 2 will trigger notes starting in the lowest possible octave, and controller values 27 to 30 will trigger notes in the highest possible full octave. Using a slider for this controller, only about 1/4th of the length of the slider would be triggering notes. This decreased useful range makes the controller harder to use accurately. To remedy this, you can adjust a controllers behavior by using the Scale parameter on the corresponding controller’s setup page (see Scale below.) Adjust the Scale value to stretch the useful values of the controller across it’s whole physical range. A scale value of less than 100% will be helpful for patterns with fewer than 12 steps. Experiment by adjusting the scale value until the highest desired note is triggered at the top of the controller’s physical range. See Scale on page 11-15 for more details on the Scale parameter. For shift patterns with more than 12 steps, you will run out of controller values before your shift pattern triggers in every octave. If you want to be able to access all of the available octaves, you can achieve this by setting multiple controllers to Shift Key Number. Next, use the Scale and Add parameters for each controller, adjusting each to trigger the desired range of octaves (see Add on page 11-15) 11-23 Multi Edit Mode SWITCH (Switches) Page SWITCH (Switches) Page Press the Switch soft button to view pages where you can set parameters for each of the Forte SE switch controllers. Parameter Range Of Values Switch See Switch Controllers List Type Momentary, Toggled Mode Off, MIDI CC, Chord Dest (Destnation) See Multi Destination Control List OnValue None, 0 to 127 OffValue None, 0 to 127 Entry State None, Off, On Exit State None, Off, On You can select any of the Forte SE’s switch controllers by moving the cursor to the “Switch” parameter, and using either the Alpha Wheel or Value buttons to scroll through the list. Alternatively, you can also position the cursor in the “Switch” parameter, hold down the Enter button and press the Switch you wish to edit. Switch The Switch parameter allows you to assign any of the Forte SE’s physical Switches (assignable switches, switch pedals and certain buttons) to control a program specific parameter or MIDI controller number for the currently selected zone. First, use the Channel/Layer/Zone buttons to the right of the display to select the desired Zone that you wish to assign a switch for. Next, on the Multi Switches page, use the navigation buttons to select the “Switch” field, hold the Enter button and then push the Forte SE switch you want to assign. This will select that switch and display its available parameters. (You can also scroll through the list of switches by using the Alpha Wheel or the Value buttons to scroll through the list). If a pedal is selected which has a pedal override enabled in Global mode, a message “(Global Override)” will display when that pedal is viewed to remind you that the Global mode pedal override settings are being used instead of the Multi mode pedal settings. 11-24 Multi Edit Mode SWITCH (Switches) Page FORTE SE SWITCHES Sw.Pedal1a Sw.Pedal1b Sw.Pedal2a Sw.Pedal2b Variation Button ArpSwitch Switches 1-9 Key 1-12 Mode Switch Controllers have three modes: Off, MIDI CC, or Chord. With a value of Off, the controller is disabled for this zone. With a value of MIDI CC, the controller has the ability to transmit MIDI control messages. Switch controls can also be set to Chord mode. In Chord mode, the switch can play a chord containing up to 8 notes. Velocity The Velocity parameter only appears if the Mode is set to “Chord” and is for use with switch controllers. Use the Velocity parameter to select a MIDI attack velocity (0-127) for the note(s) designated in the Key1 to Key8 field(s). Alternatively, set the Velocity field to Auto and the note’s velocity will be the velocity set by the KeyVel Multi Destination (see KeyVel on page 11-17). Key1.....Key8 The Key1, Key2, Key3, Key4, Key5, Key6, Key7, Key8 parameters are available when the Mode is set to “Chord” . Use the Key(1 to 8) parameters to select the note to be played. The note is displayed by MIDI note name. To select a note, select the KeyNum field with the navigation buttons, hold the Enter button on the alphanumeric pad, then play the desired note on the keyboard. You can also change the note in the field by using the Alpha Wheel or Previous-/Next+ buttons. Key When the Switch parameter is set to a Key (Key1-Key12) and Mode is set to something other than “Off”, the Key parameter appears. Use the Key parameter to select which of the Forte SE’s Keys you wish to use as a switch controller. With the Key parameter selected, you can set a key by holding the Enter button and striking the desired key. Do When the Switch parameter is set to a Key (Key1-Key12) and Mode is set to something other than “Off,” the Do parameter appears. The Do parameter determines whether the key will play a note and perform a switch function, or whether the key will only perform a switch function. Set the Do parameter to “Both” to play a note and perform a switch function, or set it to “OnlySw” to only perform a switch function. 11-25 Multi Edit Mode SWITCH (Switches) Page Dest (Destination) Use the Destination parameter to assign Forte SE switches to control Program parameters or send MIDI continuous controller messages (CCs) to external MIDI gear. If a controller number (MIDI CC number) is assigned to a parameter in the Program of the current Zone, the parameter name will be listed in the Destination list to the right of the CC number. Some CC numbers also show a default MIDI name if the CC number is not assigned in the Zone’s program. For example, CC 6 is generally unassigned in programs, in which case CC 6 will show the standard MIDI name “data.” The Destination parameter determines the MIDI controller number that a physical controller will send to the Program in the currently selected Zone. By default, these messages are also sent to the MIDI Out and USB ports on the Channel of that Zone. The list of controller numbers below (see page 11-17) shows the default assignments for each destination. Programs respond to some of these for standard MIDI functions. Standard MIDI CC’s range from 0-127 and can be received by the Forte SE from external devices, while destinations 128-146 are internal to the Forte SE only. Type The Type parameter determines the switching behavior of Switch pedals and buttons. This is a Common parameter that affects all Zones. Momentary A momentary switch is one that is only in the “on” state when it is pressed. As soon as you release the switch, it goes into the “off” state. Toggled A toggled switch is one that maintains its state after it is pressed. So, if the switch is currently in the “off” state, pressing it once will put it in the “on” state. Pressing it again will put it back in the “off” state. On Value The On Value is the MIDI value sent when a switch controller is set to On. You can set this parameter to any number between 0 and 127, or to None. Off Value The Off Value is the MIDI value sent when a switch controller is set to Off. You can set this parameter to any number between 0 and 127, or to None. Entry State The Entry State parameter determines the state of the Foot Switch or button that is sent as a MIDI message when the current Multi is loaded. You can set this parameter to None, On, or Off. This parameter is common to all Zones. 11-26 Multi Edit Mode COMMON Page None can be entered with the alphanumeric function of the Category buttons as -1. If Sound Select is set to None, then when you load the current Multi, no value will be transmitted. If you specify an Entry State, then a MIDI controller message with this value will be sent when you load the current Multi. Exit State The Exit State parameter determines the state of the Foot Switch or button that is sent as a MIDI message when the current Multi is exited. You can set this parameter to None, On, or Off. This parameter is common to all Zones. None is entered with the alphanumeric function of the Sound Select buttons as -1. If Exit State is set to None, then when you leave the current Multi by selecting another Multi or Program, the Foot Switch or button will remain at whatever value corresponds to its current position. If you specify an Exit State, then a MIDI controller message with this value will be sent when you select a different Multi or Program. COMMON Page The COMMON page contains parameters that affect every zone in the current Multi. Press the COMMON soft button to enter the COMMON page. Parameter Range Of Values Default Value Tempo 20 to 400 BPM 120 Clock Source Internal, External Aux FX Chan 1 to 16 1 KB3 Channel 1 to 16 1 Internal Tempo When Clock Source (see page 12-4) is set to Internal, the Tempo parameter sets the Forte SE’s system tempo for this Multi. The Tempo parameter values are in units of BPM (beats per minute). This controls the tempo the Arpeggiators as well as of any tempo based effects. 11-27 Multi Edit Mode ARP1 and ARP2 (Arpeggiator 1 & 2) Pages Clock Source With the Clock Source parameter, you can set the Forte SE—within the current Multi—to generate its own tempo by setting Clock Source to Internal, or you can set the Forte SE to sync up with the tempo from another device—assuming the device is sending MIDI clock data to the Forte SE via MIDI or USB—by setting Clock Source to External. When Clock Source is set to External, the Tempo parameter disappears from the display. Aux FX Chan The Aux FX Channel determines the FX channel through which the aux sends of all of the zones in the current Multi are sent. For example, if a zone 2 in a Multi has a program with 25 Basic Delay 1/8 as an Aux FX, and zone 2 is assigned to channel 5, then setting the Aux FX Channel to 5 sends the programs of all of the zones in the Multi through zone 2’s Program’s Aux FX (i.e., through 25 Basic Delay 1/8). KB3 Channel If KB3 Programs are selected for more than one Zone, this parameter specifies which MIDI Channel has priority to load a KB3 Program. Only one KB3 Program can be loaded at a time. You can set this parameter to a value between 1 and 16. If you want a KB3 Program to play in a zone, you should set the KB3 channel to the channel of the Zone. ARP1 and ARP2 (Arpeggiator 1 & 2) Pages The Arpeggiator in Multi Mode is very similar to the Program Mode arpeggiator. See page <?> in the Program Edit Mode Chapter for a full description of each arpeggiator parameter. In Multi Mode, the Arpeggiator works the same as in Program Mode, except there is one arpeggiator per Zone. The Arpeggiator in each Zone can each have different settings, and they can be played at the same time. Also, in Multi Mode the Arpeggiator 1 page does not have the Tempo parameter, instead the Tempo parameter on the Multi Common page should be used. For Most Factory Multis and Multis made by using the Split/Layer functions, the Arp On/ Off button is only assigned to control the Arpeggiator in Zone 1. To assign the Arp On/Off button (or a different assignable switch) to control the Arpeggiator in other Zones, follow these steps: 1. Go to the Multi Switches page and select ArpSwitch for the Switch parameter (or select a different assignable switch if desired). 2. Use the Channel/Layer/Zone buttons to select the desired Zone. 3. Set the Mode parameter to MIDI CC. 4. Set the Type parameter to Toggled. 11-28 Multi Edit Mode FX Page 5. Set the Dest parameter to 147 Arp. You can select this Dest setting by selecting the Dest parameter and typing in 147 followed by the Enter button. 6. Set the On Value parameter to 127, and the Off Value parameter to 0. 7. Lastly, set the Entry State parameter to On if you want the switch to be on by default when the Multi is selected. FX Page The Forte SE contains Kurzweil’s acclaimed effects processor, and when combined with Multi Mode it puts the power of an entire studio of audio effects at your fingertips. This section contains everything you’ll need to know in order to use the Forte SE’s effects in Multi Mode. Press the FX soft button to enter the FX page. Parameter Range Of Values Allocate FX Y, N, (Y) Program Insert Effects Chain List (Appendix F) Default Value Y No Allocate FX per channel Use the Allocate parameter to enable or disable the Insert effects Chain of the Program in each MIDI channel. (The MIDI channel for each Zone can be set on the Zone Main page.) Each MIDI channel can be set to Y to enable Insert effects, or to N to disable Insert effects. Use the Alpha Wheel or Value buttons to change between Y and N. Some MIDI channels set to Y may be displayed as (Y). This means that there are not enough effects resources available for that channel, and that channel’s Insert effects are not loaded. If you want to use the Insert effects Chain for a channel displayed as (Y), try setting other channels to N. Program Insert When each channel is selected, the Prog Insert field shows the name of the Insert Effects Chain used by the selected channel. The Chain can be enabled or disabled using the “Allocate FX per channel” section of the page. To edit or select a different Insert Effects Chain, the Program must be edited in Program Edit mode. 11-29 Multi Edit Mode AUXFX 1, AUXFX 2 AUXFX 1, AUXFX 2 Parameter Range Of Values Default Value Override Yes, No Chain See Effects Chains, Appendix F No Send Levels [p], 0-100% [p] Pre/Post [p], pst, pre [p] 0 None The AUXFX1 (Auxiliary Effects 1) & AUXFX2 (Auxiliary Effects 2) pages determine the behavior of the current Multi’s Auxiliary Effects. Each Multi can use up to two Aux Effects Chains, and the program in each MIDI channel can send its audio to be processed by one or both of the Chains. Send level and pre/post insert effects settings can be adjusted for the program in each MIDI channel. By default, the Aux 1 and Aux 2 Chains are determined by the program in the Aux FX Channel (set on the Multi Common page with the AuxFXChan parameter). If you don’t want to use the Aux Chains from the program in the Aux FX Channel, you can use the Override parameter to select a different Chain for one or both Aux effects. AUX1 Override, AUX2 Override Normally, the Aux Effects Chains are specified by the program on the specified Aux Effects channel. When Override is set to Yes, the Chain parameter appears, allowing you to choose a different Aux effect Chain. Set Override to Yes to select an override Aux Chain on this page. Set Override to No to use the Aux FX chain of the specified Aux FX Channel. 11-30 Multi Edit Mode About Auxiliary Effects Chain When AUX1 Override or AUX2 Override is set to Yes, the Chain parameter appears. The Chain parameter allows you to set select an override Aux Chain for the corresponding Aux Effect. The Aux Override Chain is used instead of the chain of the specified Aux FX Channel. (See Appendix for a full list of available Effect Chains.) Send Levels and Pre/post Ins. On the bottom half of the page, there are two parameters for each of the 16 MIDI channels: Send Level (top row) and Pre-/Post-Insert (bottom row). The setting for each Send Level parameter determines if each channel’s Aux Send Level is overridden, and if so, by what value (value is in dry/wet percent, 0=fully dry, 100=fully wet). A value of [p] means “no override” (i.e., use the dB or percent values specified in the program). A value of [p] can be set by entering -1 and then pressing the Enter button, or by using the Alpha wheel or -/+ buttons to scroll below 0. Note: In most factory ROM programs, the send level for Aux 1 is controlled by an Aux mod set to MIDI28 (slider I). If a send level override is set, it will be scaled by the current value of slider I. The setting for each Pre-/Post-Insert parameter determines if the Aux routing for each channel is overridden, and if so, by what routing. Pre means that the Aux Send takes place before any Insert Effect is applied, whereas a setting of Pst means that the Aux Send takes place post-Insert Effect. (Of course, if the program on the channel has no Insert Effects loaded, then this parameter will make no difference.) A value of [p] means “no override” (i.e., use the values specified in the program). About Auxiliary Effects Programs and Multis both have an auxiliary effect send. An auxiliary effect is an effect that is not in the direct path of the sound, but rather, it “receives” and processes the sound applying the effect, which is mixed back with the original sound. The following diagram illustrates the signal path of a sound through the auxiliary effect: On the Forte SE, the auxiliary effects are global to all channels and Zones, Programs and Multi’s. One effect chain can be loaded into each of Aux1 and Aux2, and these are used for any Program or Multi that has active Aux Sends. 11-31 Multi Edit Mode The Utility Soft Buttons, HELP Soft Button and Favorites Buttons Functions The AUX1 and AUX2 parameters (on the FX page) determines the level the auxiliary effect will process the sound for that Zone. The Utility Soft Buttons, HELP Soft Button and Favorites Buttons Functions Some of the soft buttons in Multi Edit Mode perform a function when pressed, as well as some of the Favorites buttons. Soft buttons that perform a function are named with a mix of lower case and capital letters. In addition to the Delete soft button, there are four additional function soft buttons (NewZn, DupZn, ImpZn, and DelZn) described below which appear when the Global Mode User Type parameter is set to Advanced. New Zone (NewZn) Press NewZn to create a new Zone, which will be the highest numbered Zone. Duplicate Zone (DupZn) Press DupZn to duplicate the currently selected Zone. A new zone with the same parameters as the current zone will be created, and will be the highest numbered Zone. Import Zone (ImpZn) You can import, or “bring in,” any Zone from any Multi in memory. Press ImpZn to view the Import Zone page, choose a Multi and Zone to import from, then press the Import soft button. The Zone you selected will be added to the current Multi, and will be the highest numbered Zone. Delete Zone (DelZn) Press DelZn to delete the currently selected Zone. 11-32 Multi Edit Mode Save User Multis Delete Press the Delete soft button to delete the current Multi (factory Multis can not be deleted). Press Delete, and you will be given a choice to Delete or Cancel. Press Delete again, and an “Are You Sure?” message will appear. Press Yes to delete the Multi, or Cancel to cancel. HELP Press the HELP soft button to view the Help page, where you can view a description of functions assigned to the Favorites buttons. Favorites 1: Help Press the Favorites 1 button to view the HELP page. Favorites 2: Set Mute Switches Press the Favorites 2 button to automatically set the Assignable switches to mute and enable each Zone. For example, in a Multi with 5 Zones, this will set Assignable switches 1-5 to mute and enable Zones 1-5, respectively. Favorites 3: Set Program Switches Press the Favorites 3 button to automatically set the Assignable switches for each Zone to the assignments they had in Program Mode. This is an easy way to disable the default Zone Mute settings of the Assignable switches, and enable switch assignments for FX control. Save User Multis For details on saving user Multis, see Save User Multis on page 10-12 of the Multi Mode chapter. 11-33 Global Mode About Global Mode Chapter 12 Global Mode About Global Mode Global Mode gives you access to the global parameters of the Forte SE. It allows you to edit the master settings of the unit. It also allows you to restore factory defaults on the unit by performing a Reset. CAUTION: Performing a Reset will erase ALL User Programs, User Multis and reset Global settings to a factory state. To enter Global Mode from another Mode, press the Global Mode button. Current Page Current Parameter Soft button options for Global mode While you are in Global Mode, the Global button’s indicator LED is lit. When you enter Global Mode, the last selected parameter since power-up (or the Tune parameter if you’re entering Global Mode for the first time since power-up) will be the currently selected parameter. 12-1 Global Mode MAIN Page Selecting and Editing Parameters Use the soft buttons underneath the display to select the page you need. To scroll through the parameters of Global Mode, use the Navigation buttons. To edit the currently selected parameter, use the Alpha Wheel or the Previous- and Next+ buttons. Some parameters can be reset to a default value by pressing the Previous-/Next+ buttons simultaneously (Value Jump). MAIN Page The MAIN page in Global Mode allows you to adjust global tuning and other basic settings. Be sure to read about the User Type parameter, which enables additional features in all modes when set to Advanced. Parameter Range of Values Tune -100 to 100 Cents (Ct) Default Value Transpose -128 to 127 Semitones (ST) User Type Regular, Advanced FX Mode Performance, Multitrack Auto Power Off On, Off Power Off Time 15 & 30 mins, 1 hr, 2 hr, 4 hr, 8hr Out Clock Off, On Clock Source Internal, External Audio Input Off, -86dB to 10dB 0dB Multi Controllers Instant, Pass Entry Instant 0ct 0ST Regular Performance On 4 hours Off Internal Tune The Tuning parameter allows you to fine-tune the unit in cents—one cent is one hundredth of a semitone (100 cents comprise a semitone). You can select any tuning from -100 cents to 100 cents. By default this parameter is set to 0. 12-2 Global Mode MAIN Page Transpose The Transpose parameter allows you to tune the pitch of the unit in semitones. The value set here is independent from the value set with the front panel Transpose buttons, and the two values are cumulative. User Type The User Type parameter allows you to show or hide advanced features of the Forte SE. By default, User Type is set to Regular. Setting User Type to Regular hides advanced features and makes some modes easier to navigate. Setting User Type to Advanced gives you access to additional features. See the chapter for each mode for details on Advanced features in each mode. Setting User Type to Advanced enables the following features: • Global Mode: Access the ProgTempo and Sound Sel parameters. • Program and Multi mode: Access 16 Banks of Favorite Programs and Multis using the Channel/Layer/Zone Up/Down buttons. • Program Edit mode: Access all VAST editor pages. • Multi Edit mode: Access 8 Zones. FX Mode The FX Mode parameter determines how the Forte SE responds to interrupts with regards to effects. You can set this parameter to either Performance or Multitrack. With FX Mode set to Performance, the Forte SE minimizes disruption of existing effects when changing Programs, and entry values will not disrupt sustained notes when changing Programs in Program Mode. When controlling the Forte SE from an external sequencer in Program Mode, setting FX Mode to Multitrack will minimize effect disruption. 12-3 Global Mode MAIN Page Auto Power Off The auto power off parameter turns the power saving feature on. When the Auto Power Off parameter is set to On, the Forte SE will automatically power off after the Power Off Time has expired, from the last key press (physical or MIDI), button press, controller movement, or USB MIDI activity. Power Off Time If the Auto Power Off parameter is set to On, then the Forte SE will power off after the time selected by the Power Off Time parameter has elapsed. The Forte SE will display the following warnings before powering off. Press a key or move any Forte SE control to dismiss the warning message. After dismissing this message, the Forte SE will wait the selected amount of time before showing this warning again. Out Clock To send a MIDI clock pulse to the MIDI Out port, set this parameter to On. Otherwise, set it to Off. Clock Source With the Clock Source parameter set to Internal, Forte SE plays using its own Tempo. If you wish to sync the Forte SE to the tempo of an external device, use the External setting. ProgTempo The ProgTempo parameter is shown when the User Type parameter is set to Advanced. The ProgTempo parameter determines whether each program in Program Mode will use its own tempo, or if each program will use the Global Mode System Tempo. A setting of “Program” will use the tempo from each program, and a setting of “System” will use the Global Mode System Tempo. When the User Type parameter is set to “Regular”, program tempo will be used. 12-4 Global Mode MAIN Page In Program Mode, tempo controls the rate of each Program’s arpeggiator, as well as the rate of any tempo based Insert or Aux effects that each program may use. In Multi Mode, program tempos are ignored and the Multi Common Tempo of each Multi is used for all programs in a Multi. For details on setting a tempo for each program, see the Tempo parameter on the Prog Arpeggiator page in the Program Edit Mode chapter. When the Global Mode ProgTempo parameter is set to “Program”, programs can still use the System tempo by setting Tempo to “System” on the Program Edit Prog Arpeggiator page. Audio Input The Audio Input parameter controls the volume of devices plugged into the rear “Audio In” jack. The default setting of 0dB should work well for most sources (such as MP3 players). Adjust this parameter if the Audio Input signal is too quiet or too loud in comparison to the sounds of the Forte SE. Sound Sel The Sound Sel parameter is shown when the User Type parameter is set to Advanced. The Sound Sel parameter determines the behavior of the Program/Multi Sound Select buttons when selecting Program or Multis. When Sound Sel is set to Category, the Program/ Multi Sound Select buttons select one of the 16 IDs in the currently selected category. When Sound Sel is set to ID number, the Program/Multi Sound Select buttons behave as a numeric pad, allowing you to select any Program or Multi (regardless of the currently selected category) by typing the ID number and pressing the Enter button. When the User Type parameter is set to “Regular”, category based sound selection will be will be used. Multi Controllers When a multi is selected, this parameter determines how the sliders respond to movement. When set to instant, moving a slider will result in the assigned parameter immediately jumping to the slider position. With some parameters an abrupt change to the sound may be undesirable. In this case set this parameter to PassEntry and the slider will only become active when the slider is moved past the Multi Entry Value. This results in smooth changes to the sound. 12-5 Global Mode MAPS Page MAPS Page The MAPS page in Global Mode allows you to set up the feel and response of the Forte SE keyboard to your playing style, the intonation key of music, as well as how pianos and drums respond. Parameter Range of Values Default Value Velocity Map Linear, Light1, Light2, Light3, Hard1, Hard2, Hard3, PianoTouch, Easy Touch, GM Receive Linear Pressure Map Easiest, Easier, Easy, Linear, Hard, Harder, Hardest Linear Intonation Map 0 None, 1 Equal, 2 Just,3 Just/b7th, 4 Harmonic, 5 JustHarm, 6 Werkmeister, 7 1/5thComma, 8 1/4thComma, 9 IndianRaga, 10 Arabic, 11 BaliJava1, 12 BaliJava2, 13 BaliJava3, 14 Tibetan, 15 Carlos A, 16 Pyth/aug4, 17 Pyth/ dim5, 18 EastMed Int. Key C, C#, D, D#, E, F, F#, G, G#, A, A#, B DrumRemap None, GM 1 Equal C None Velocity Map The Velocity Map parameter determines the way the Forte SE generates MIDI velocity information. Different maps generate different MIDI velocity values for the same physical key strike velocity. The default map (Linear) provides the widest range of velocity expression, but you may want to choose a different map if the default does not suit your playing style. You can select from any of the following settings: Light3 Light2 Light1 Linear Hard1 Hard2 Hard3 PianoTouch 12-6 Makes it increasingly easier to produce high MIDI velocity values for the same key strike velocity (with Light3 being the easiest). These maps work best for those with a light touch. The Forte default map. Linear, allows MIDI velocities to pass unchanged. It follows a linear response. Makes it increasingly harder to produce high MIDI velocity values for the same key strike velocity (with Hard3 being the hardest). These maps work best for those with a heavy touch. Simulates the general velocity response of an acoustic piano, and is best suited for playing acoustic piano programs. Global Mode MAPS Page Easy Touch GM Receive Similar to the Light1/Light2/Light3 settings. Makes higher velocities easier to play, but allows more sensitive control over playing high velocities by not boosting the MIDI velocity for fast strike velocities as much as it does for medium strike velocities. Mimics the velocity response commonly used by keyboards that use the General MIDI (GM) sound set. The GM Receive map makes medium strike velocities produce higher MIDI velocities compared to the Linear map. Pressure Map The Pressure Map parameter determines the way the Forte SE controls Pressure (Aftertouch). Different maps generate different MIDI pressure values for the same physical key depending on how hard you press and hold the key. Easiest Easier Easy Linear Hard Harder Hardest Makes it increasingly easier to produce high MIDI pressure values. (with Easiest being the easiest). The Forte default map. Linear, allows MIDI pressure (aftertouch) to pass unchanged. It follows a linear response. Makes it increasingly harder to produce high MIDI pressure values (with Hardest requiring most pressure). Intonation Map Most modern western music uses what is known as equal temperament. This means that the interval between each semitone of the 12 tone octave is precisely the same as every other semitone. However, many different intonation intervals have evolved over the centuries and across cultures and instruments, so equal temperament will not sound appropriate for certain styles of music. The Forte SE supplies you with 18 different factory intonation maps which are useful for a range of different styles. Each of these maps defines different intervals between each of the semitones in a single octave (used for all octaves) by setting pitch offsets for each note in cents. Like many instruments before the adaptation of equal temperament, most of these intonation maps were designed to sound best in one specific key. Though some may have historically been in a different key, all of the Forte SE’s factory intonation maps are set to root note C by default. You can change the root key of the current intonation map by using the Int.Key parameter (see the Intonation Key (Int.Key) section below). 12-7 Global Mode MAPS Page 0 None No intonation map is used, intonation is equal. 2 Just Tunings are defined based on the ratios of the frequencies between intervals. The original tuning of Classical European music. 1 Equal 3 Just/b7th 4 Harmonic 5 JustHarm 6 Werkmeister 7 1/5thComma 8 1/4thComma 9 IndianRaga 10 Arabic 11 BaliJava1 12 BaliJava2 13 BaliJava3 14 Tibetan 15 Carlos A 16 Pyth/aug4 17 Pyth/dim5 18 EastMed No detuning of any intervals. The standard for modern western music. Similar to Just, but with the Dominant 7th flatted an additional 15 cents. The perfect 4th, Tritone, and Dominant 7th are heavily flatted. Approximation of a historical intonation. Named for its inventor, Andreas Werkmeister, it was developed to enable transposition with less dissonance than classic equal temperament. Approximation of a historical intonation based on the comma system. Approximation of a historical intonation based on the comma system. Based on the tunings for traditional Indian music. Oriented toward the tunings of Mid-Eastern music. Based on the pentatonic scale of Balinese and Javanese music. A variation on BaliJava1, slightly more subtle overall. A more extreme variation. Based on the Chinese pentatonic scale. Developed by Wendy Carlos, an innovator in microtonal tunings, this intonation map flats each interval increasingly, resulting in an octave with quarter-tone intervals. This is a Pythagorean tuning, based on the Greek pentatonic scale. The tritone is 12 cents sharp. This is a Pythagorean tuning, based on the Greek pentatonic scale. The tritone is 12 cents flat. Eastern Mediteranean. The Major 3rd and Major 7th are flat by 50 cents. Int. Key (Intonation Key) This sets the tonic, or base note from which the currently selected intonation map calculates its intervals. If you select G as the intonation key, for example, and the intonation map you select tunes the minor 2nd down by 50 cents, then G# will be a quartertone flat relative to equal intonation. If you change the intonation key to D, then D# will be a quartertone flat. If you use nonstandard intonations, you’ll want to set Int.Key to the key you’re playing in. If the Intonation parameter is set to Equal, changing Int.Key has no effect. 12-8 Global Mode Controller Overrides (CNTRLS) Drum Remap This parameter will remap all Drum programs to conform to the General MIDI (GM) drum map, a standard drum map used in many keyboards and synthesizers. The GM drum map isn’t optimally intuitive in terms of playability, so by default the Forte SE uses a unique keymap that is more intuitive and lends better to performance. However, the GM drum map is so commonplace that many players feel more comfortable playing drum programs with the GM drum map. Because of this, the Forte SE is designed such that you can remap drum programs to the GM drum map. When the Drum Remap is set to None, no remapping takes place in Program mode. When the Drum Remap is set to GM, the Forte SE remaps Drum programs to the GM drum map. Controller Overrides (CNTRLS) Select the CNTRLS soft button to enter this page. Switch Pedal Overrides The Switch Pedal Override parameters (SW1a-SW2b Override) allow the controller assignments for the Switch Pedals to be changed for all Programs and Multis. (KB3 organ programs have a separate override for the SW1a pedal, see the Rotary Override section below for details). The alternative assignments available for the Switch Pedal Overrides include the standard pedal controls of Sustain, Sostenuto and Soft as well as DataInc, DataDec, FavoriteInc and FavoriteDec, which can be used to change Programs, Multis or Favorites by using a pedal. The Arp On/Off and Arp Latch assignments allow for easy control of arpeggiator functions. Use the DataInc and DataDec assignments (data increment/decrement) to select the next or previous ID when you depress the pedal. If you are in Program mode, DataInc and DataDec will select the next or previous Program. If you are in Multi mode, DataInc and DataDec will select the next or previous Multi. Use the FavoriteInc and FavoriteDec assignments (Favorite increment/decrement) to select the next or previous Favorite when you depress the pedal. If you are not playing any Favorites, FavoriteInc and FavoriteDec will select the first Favorite, or the last Favorite that was selected since turning on the Forte SE. 12-9 Global Mode Controller Overrides (CNTRLS) Use the Arp On/Off and Arp Latch assignments to easily control arpeggiator functions. The Arp On/Off assignment allows you to toggle the arpeggiator on and off by pressing a switch pedal. The Arp Latch assignment allows you to latch held notes to be played by the arpeggiator by holding down a switch pedal. When using the Arp Latch assignment, make sure the arpeggiator is turned on. Play the notes you wish to latch, press and hold the assigned pedal, then release the notes. The notes will continue to arpeggiate until the pedal is released. In Multi Edit Mode, if a pedal is selected which has a pedal override enabled in Global mode, a message “(Global Override)” will display when that pedal is viewed to remind you that the Global mode pedal override settings are being used instead of the Multi mode pedal settings. In Multi Edit Mode, setting a Pedal Mode to “Off” will disable the override for that Pedal in the selected Zone. It can be useful in Multi Mode to disable the Pedal Override for some Zones. For example, you may want to use a Pedal Override to control Sustain in all Zones of a Multi, but disable Sustain for one Zone. When a Pedal Switch Override is used, the pedal will behave in Multi Mode as if the OnValue and OffValue are set to 127 and 0 respectively (this will not be shown in Multi Edit Mode). When a Pedal Switch Override is set to Sustain, Sostenuto or Soft, the pedal will behave in Multi Mode as if Pedal Type is set to Momentary (this will not be shown in Multi Edit Mode). When set to DataInc, DataDec, FavoriteInc or FavoriteDec the pedal will behave in Multi Mode as if Pedal Type is set to Toggle (this will not be shown in Multi Edit Mode). CC Pedal Override (CC1 Override) In a similar manner to Switch Pedal Overrides, the CC1 Override parameter allows the Continuous Control Pedal assignment to be changed for all Programs and Multis. The alternative assignments available for the CC Pedal Override include Mod Wheel (MIDI CC 1), Foot/Wah (MIDI CC 4), Volume (MIDI CC7), Expression (MIDI CC11) and Pressure. In Multi Edit Mode, if a pedal is selected which has a pedal override enabled in Global mode, a message “(Global Override)” will display when that pedal is viewed to remind you that the Global mode pedal override settings are being used instead of the Multi mode pedal settings. Rotary Override By default KB3 organ programs have the Slow/Fast speed control for the Rotary speaker effect assigned to the Variation Button and the Sustain Pedal (SW1a). The Rotary Override parameter allows you set the sustain pedal to function as sustain for all KB3 Programs, instead of Rotary Slow/Fast. The Variation button will always control the Rotary speed, regardless of this parameter’s setting. 12-10 Global Mode MIDI Page MIDI Page The Forte SE can transmit and receive MIDI via its MIDI ports and USB. The MIDI page in Global Mode allows you to configure how this will be handled. Parameter Range of Values Default Value Destination NONE, LOCAL, MIDI, MIDI+LOCAL, USB, USB+LOCAL, USB+MIDI, USB+MIDI+LOCAL USB+MIDI+LOCAL ChangeMultis Immediate, AllKeysUp Immediate Bank Select Ctl 0, Ctl 32, Ctl 0/32 Ctl 0/32 PrgChangeMode Extended, K2600 Extended LocalKbdChan None, 1 to 16 None SysExID 0 to 127 0 Dest (Destination) The Destination parameter determines the destination of MIDI data generated by striking keys or activating controllers. This data can be sent to the Forte SE sound engine, through the MIDI out ports, or both. You can set this parameter to NONE (aka Local Off), or any combination of the three available destinations. Note that this parameter is always active and works in conjunction with the Multi Mode Destination parameter (see Destination on page 11-7). These parameters act like filters, so if the Multi Mode Destination parameter is set to USB+MIDI+LOCAL and the Global Mode parameter is set to LOCAL, the MIDI data will only be transmitted locally. NONE LOCAL MIDI MIDI+LOCAL USB USB+LOCAL USB+MIDI USB+MIDI+LOCAL No MIDI data transmission from the Forte. The Forte can still receive incoming MIDI data. MIDI data is sent only to the Forte sound engine. MIDI Out is disabled. MIDI data is sent only through MIDI Out. The sounds of the Forte are disabled MIDI data is sent both to the Forte sound engine and through the MIDI Out. MIDI data is sent only through the USB port. The sounds of the Forte are disabled MIDI data is sent both to the Forte sound engine and through the USB port. MIDI data is sent both to the MIDI OUT and USB port. MIDI data is sent to the MIDI OUT, USB port. and to the Forte sound engine. 12-11 Global Mode MIDI Page If you want to play the Forte SE, but not send any MIDI information to other MIDI instruments, then select LOCAL. If you want to use the Forte SE strictly as a MIDI controller for the other modules in your MIDI chain using the MIDI port, then select MIDI. If you want to make use of the Forte SE’s sounds as well as use it as a MIDI controller (MIDI port), then select MIDI+LOCAL. If you want to use the Forte SE strictly as a MIDI controller for the other modules in your MIDI chain using the USB (Computer) port, then select USB. If you want to use the Forte SE strictly as a MIDI controller for the other modules in your MIDI chain using the MIDI port and the USB (Computer) port , then select USB+MIDI. If you want make use of the Forte SE‘s sounds and use it as a MIDI controller for the other modules in your MIDI chain using the MIDI port and the USB (Computer) port , then select USB+MIDI+LOCAL. CAUTION: It is possible to stop all MIDI transmission, in Multi Mode, if the Destination parameter is set to LOCAL, and the other is set to MIDI or USB. Chng Multi (Change Multis) The Change Multis parameter determines the exact timing of Multi changes when you select a different Multi, either by a normal data entry method or via MIDI program change commands. Choose AllKeysUp to indicate that you want Multi changes to take place only when you’ve released all currently held notes. Choose Immediate to indicate that you want such changes to happen immediately when you select the Multi. Bank Sel (Bank Select) The Bank Mode parameter determines the controller number with which MIDI Bank change messages are received. For MIDI Bank change messages, various manufacturers have chosen different MIDI controller numbers. Most have chosen Ctl 0, Ctl 32, or both. You can set this parameter to any of the following three controller IDs: 12-12 Global Mode MIDI Page Ctl 0 MIDI Bank change messages are sent with controller number 0. Ctl 32 MIDI Bank change messages are sent with controller number 32. Ctl 0 / 32 MIDI Bank change messages are sent with both controller numbers 0 and 32. PrgChgMod (Program Change Mode) The Program Change Mode parameter determines the format of program change messages received by the Forte SE. Program Change Type Extended K2600 For Use With Bank changes and Program changes. A bank has 128 IDs. Note that our system will recognize 16 banks, from 0 to 15. (2048 IDs). This is for connecting a generic MIDI device as a controller device.. Bank changes and Program changes. A bank has 100 IDs. Our system will recognize in this case 21 banks, from 0 to 20. For example, with MIDI out from a K2600 into the MIDI in of the Forte SE, if you scroll or enter a number in the K2600, you will see the same numbers in the K2600 and in the Forte if the programs exist. LocKbdChan (Local Keyboard Channel) Changing the setting of the Local Keyboard Channel parameter is useful only when the Forte SE is receiving MIDI information from an external source. Perhaps you have a favorite MIDI keyboard that you use to control all the gear in your studio, or you use a lot of outboard sequencing. If you’re using the Forte SE as a standalone music workstation or performance keyboard, you can ignore this parameter and leave it set to None. The local keyboard channel enables the Forte SE to receive MIDI information on a single channel, then rechannelize that information so you can play and control all Zones of a Multi, even if your MIDI source transmits on only one channel. Program Mode When you’re in Program Mode, the local keyboard channel remaps incoming information to the Forte SE’s current channel. When using the local keyboard channel, all the MIDI information received on the Local Keyboard Channel gets sent, after being remapped to the Forte SE’s MIDI Out and USB ports. You may find it more convenient to use the local keyboard channel. In this case, the Forte SE remaps incoming MIDI to the Forte SE’s current channel, so in Program Mode, you’ll always play the Program on the Forte SE’s current channel. Incoming MIDI also gets sent to the Forte SE’s MIDI Out and USB port. When this parameter is set, you will need to transmit on the local keyboard channel from your DAW or controller keyboard for the Forte SE to respond correctly. 12-13 Global Mode TOOLS Page Multi Mode Things are a bit different for playing Multis. In this case, you must use the LocalKbdChan to be able to play and control all of the Multis Zones. Set LocalKbdChan to match the channel your external MIDI source is using (for example: your MIDI source transmits on Channel 1, set LocalKbdChan to 1). All MIDI information that the Forte SE receives on the local keyboard channel gets remapped to the channels and control destinations used by the Zones in the Multi. The Forte SE also remaps certain MIDI Controller messages that it receives on the Local Keyboard Channel so that they correspond (in most cases) to the default assignments for the Forte SE’s physical controllers (Mod Wheel, sliders, etc.). Physical controller assignments are handled by Multis and are defined per Zone in Multi Edit Mode. Each Zone of a Multi has its own controller assignments. Sysex ID The SysEx ID parameter determines the ID number for the unit if you are using more than one device with the same MIDI manufacturer ID number. You can set this parameter to any number from 0 to 127. Unless you have multiple Forte SE keyboards receiving Sysex messages from a single source, you will not need to change the Sysex ID from the default setting of 0. If you do have multiple Forte SEs receiving Sysex messages from a single source, make sure each Forte SE has a different Sysex ID. This will allow you to direct Sysex messages to the appropriate Forte SE by specifying which unit with the Sysex ID byte that’s included with every Sysex message. To have the unit respond to Sysex messages regardless of the Sysex ID, set Sysex ID to 127. TOOLS Page Pressing the TOOLS soft button calls up a page that gives you access to four analytic and diagnostic tools. Press the “EXIT” button when finished using a Tool. 12-14 Global Mode TOOLS Page MIDI MON Press the MIDIMON soft button to view MIDI messages sent from the Forte SE. This is useful for making sure controls are assigned as you want them, checking note numbers and velocities, and checking controller values or other MIDI messages. The most recently sent message will be at the bottom of the list. VOICES Pressing the Voices soft button calls up the Voice Status page, which shows the Forte SE’s active voice channels as you play. The Voice Status pages displays each active voice as a solid rectangular block—for mono voices—or displays stereo pairs of voices as a > for the left channel voice and a < for the right channel voice. Whatever symbol the page displays, when the key of a voice is released, that voice’s symbol on the Voices Status page turns into a dot during the release portion of that voice’s envelope. When the voice decays to silence, it is no longer active, and the dot disappears. The Voice Status pages displays each active voice as an “M” for mono voices or displays stereo pairs of voices as an “S”. Whatever symbol the page displays, when the key of a voice is released, that voice’s symbol on the Voices Status page turns into a “D” during the release portion of that voice’s envelope. When the voice decays to silence, it is no longer active, and the “D” disappears. The Voices utility works a bit differently for KB3 programs. The Forte SE uses one mono voice of polyphony for every two tone wheels in a KB3 program. When a KB3 program is loaded in any of the Forte SE’s 16 MIDI channels (In Program or Multi Mode), a solid rectangular block will be shown for every two tone wheels in the KB3 program, even if you’re not playing any notes. KB3 voices are always on, and these voices remain dedicated to the KB3 program as long as it is loaded. KB3 voices can not be stolen by VAST programs. Any voices not dedicated to a KB3 program behave normally. KB3 Programs that simulate Hammond™ organs do not use any of the Forte SE’s 128 voices of polyphony (this does not apply to KB3 Programs that emulate Vox™ or Farfisa™ organs). Only one KB3 Program can be active on the Forte SE’s 16 MIDI channels at any time. The bottom of the voices page indicates which of the Forte SE’s 16 MIDI channels (if any) has an active KB3 program. 12-15 Global Mode TOOLS Page TEMPO Press the TEMPO soft button to go to the TEMPO page (see below). When the Clock Source parameter is set to Internal (see Clock Source on page 12-4), the Tempo parameter sets the Forte SE’s System Tempo. The Tempo parameter values are in units of BPM (beats per minute). Note: You can also call up the TEMPO page from any other page by pressing the left and right navigation buttons simultaneously. In Program Mode, System Tempo can control the rate of each Program’s arpeggiator, as well as the rate of any tempo synced Insert or Aux effects that each program may use. Most programs will default to using the System Tempo, though some programs may be programmed use their own tempo (for details see Tempo on page 7-58) All programs can be set to use the System Tempo by setting the Global Mode User Type parameter to Advanced, then setting the Global Mode ProgTempo parameter to “System”. For details see User Type on page 12-3 and ProgTempo on page 12-4. In Multi Mode, System Tempo is is ignored and the Multi Common Tempo of each Multi is used for all programs in a Multi. Set the Tempo parameter with the Previous-/Next+ buttons, the Alpha Wheel, or alphanumeric entry. You can also set the system tempo by tapping the Tap soft button at the desired speed. You need to tap at least twice for a tempo to be calculated, though tapping several times (like on each beat of one or more measures) works best. The newly tapped tempo is displayed in the tempo field. Alternatively, a temporary controller can be set for use in the Temporary TAP controller field, instead of using the Tap soft button. The Temporary TAP controller field lists groups of Forte SE controllers in order of their usefulness for tapping. Listed first are the foot switches and switch buttons. After these is Note On, which lets you tap the tempo with any keyboard key. Last are the MIDI controller numbers, which includes all of the continuous controllers, though continuous controllers (such as a slider) are not easy or recommended for tapping the tempo. The Temporary TAP controller works only while on the TEMPO page and will remain selected when accessing the TEMPO page from other modes, but the selection will return to OFF the next time the Forte SE is turned on. 12-16 Global Mode DELETE Page INFO The INFO page contains the system information indicating what version of operating system and objects is currently installed in your Forte SE keyboard. Go to the Kurzweil website at http://www.kurzweil.com and make sure that you have the latest operating system available. STATE This utility shows the internal state of the MIDI CCs and pitch bend in any channel at a particular time. Typical use: “My channel X does not make any sound”. Is it MIDI 7 (Volume), is it MIDI 11 (Expression) or is it something else? With STATE you can check the status for various CCs per channel. Use the navigation buttons to select the Channel or MIDI CC fields, then use the alpha wheel or previous/next buttons to select the desired Channel and MIDI CC to view. ABOUT The ABOUT Page displays the Forte SE splash screen and automatically scrolls a list of credits and acknowledgments. DELETE Page The DELETE page is useful in deleting unwanted user-created objects in your Forte SE. 12-17 Global Mode RESET Select the object that you wish to delete and press the delete soft button. CAUTION: Be aware that deleting user objects will permanently remove them from the Forte SE. If you wish to load the object back into the Forte SE in the future, ensure that you save the object to a USB device (such as a thumb drive) or computer/tablet before deleting them. RESET Press the Reset soft button to view the Global Reset page, where you can choose to reset the Forte SE to its original factory settings. This restores all Global mode settings to their factory defaults, and deletes all user Programs and Multis. CAUTION: Be aware that performing a reset on the Forte will result in changes that can not be reversed. Kurzweil recommends that you save (STORE) any user objects that you wish to keep (such as user Programs and Multis) before performing a reset on the Forte SE. Press the RESET button to enter the reset process. You can CANCEL at any time if you are unsure, or do not want to proceed. All User objects (Programs, Multis, Chains, et cetera) will be permanently erased. This cannot be undone. Make sure you have used the Store function to backup all of the user objects that you wish to keep. All Global Mode parameters will be reset to default settings. 12-18 Global Mode FILE (Storage page) Press the “Yes” soft button on the Global Reset page to perform a Reset, and you will be prompted to confirm. Press “Yes” if you wish to proceed with the Reset. Press “No” if you are unsure, or do not wish to proceed with the Reset. FILE (Storage page) Press the File soft button to view the Storage page, which lets you use a USB device (such as a thumb drive) or a computer to load, store, back up, and copy files between the Forte SE and the outside world. The Storage page also allows you to organize files by creating directories (aka folders). The rear panel connections used for storing and loading files are: • USB (Type A) Storage port • USB (Type B) Computer/Tablet port Use this page to select the storage device you wish to use with the navigation arrows or the Alpha wheel. When a device is selected, you can then chose to Load or Store. If a storage device is not connected, Forte SE will prompt you with a message to do so. When the temporary PC Virtual Drive is selected, there will be a prompt telling you that the USB-MIDI connection will be disconnected. You must acknowledge this prompt to continue. 12-19 Global Mode FILE (Storage page) When you leave Storage Mode or select the USB device, there will be a prompt telling you that the Forte SE is turning back into a USB MIDI device. You must acknowledge this prompt to continue. The Forte SE virtual drive will unmount from your computer. NOTE : Depending on your computer’s operating system, you may see a device removal warning on your desktop after using the Forte SE virtual drive. You may disregard such a message without worries of damage to your Forte SE or computer. The following features are used in storage mode when saving or loading files: Directories A directory lets you group files together as you might separate documents using folders in a file cabinet. By default all storage devices have at least one “root” directory. To organize files in a USB device; you can create additional directories, as well as subdirectories within directories. Directories appear in the file list with the indicator <DIR> to the right of the directory name. Path When you choose the STORE or LOAD soft buttons on the Storage mode main page, you will have to choose exactly where in the storage device you wish to store to, or load from. This location is called a directory. When you need to choose a directory, you will see the Path field. The Path field shows the current directory on the current device. When you choose a storage function for a connected device, Forte SE automatically chooses the root (top-level) directory for the Path field. The root directory is displayed as a backslash: Path:\ When viewing a page that has the Path field, if their are any directories available in the root directory, you will be able to choose them from a list using the alpha wheel, navigation buttons, or - /+ (Previous/Next) buttons. Then, press the Open soft button to open that directory. The name of the directory will be displayed in the Path field. For example, if you have a directory called SOUNDS that is located in the current device’s root directory, the Path field will appear as: Path:\SOUNDS\ The backslash character is a directory separator, as in the following Path: Path: \BACKUP\COVERBAND\SONGS\ This represents the directory SONGS, which is a subdirectory of the COVERBAND directory, which is a subdirectory of the BACKUP directory in the root directory. If the path is too long to fit on the display, it gets abbreviated. The maximum length of a path in the Forte SE is 64 characters (including the backslash characters). 12-20 Global Mode STORE Using the Open soft button causes you to navigate into directories and their subdirectories, away from the root directory. To navigate out of subdirectories back towards the root directory, use the Parent soft button to move one level back from the current directory STORE Press the STORE soft button when you have a storage device plugged into a USB port. If no USB connection is detected by the Forte SE, you will see the error message “Error: No valid device inserted.” Store All Press the “All” soft button to store all user objects into a single file, or press Cancel to return to the previous page. Pressing “All” calls up the Select Directory dialogue. The Forte SE stores files using the file extension .FSE. After storing, the Forte SE will display a message indicating if the store was successful or if a problem occurred. Store Advanced Press the “Advanced” soft button to go to the Storage Advanced page where you can select one or multiple individual objects to store, instead of saving all user objects. The Storage Advanced page shows a list of all user objects grouped by type. Use the cursor up/down buttons to navigate through the list. The object that is currently highlighted can be selected or deselected for storing by pressing the “Select” soft button. An asterisk (*) appears between the ID and object type of selected objects. After selecting objects to store, press the “Store” soft button to store the selected objects to the current storage device, or press Cancel to return to the previous page. Pressing “Store” calls up the Select Directory dialogue. The Forte SE stores files using the file extension .FSE. After storing, the Forte SE will display a message indicating if the store was successful or if a problem occurred. 12-21 Global Mode STORE The Select Directory Dialogue When storing, the Forte SE will prompt you to select a directory in which to store. There are three navigating soft buttons on the left side of the bottom of the page: NewDir Create new directory. Calls up the New Directory dialogue (see the following section) Open Opens the highlighted directory Parent Moves you up one level in the directory hierarchy. If the display is already at the root directory, this button has no effect. When you have chosen your directory, press the OK soft button to call up the File Name dialogue (see the following section) and complete the storing process. The File Name / New Directory Dialogue When you create a new file in Storage mode, or create a new directory, the Forte SE prompts you to enter the name. This File Name dialogue appears as shown below: New file names will default to either FILENAME (after a powerup), or the name of the most recent file stored or loaded. New directory names will default to either DIRNAME (after a power up), or the name of the most recent directory created. You can edit the name using the keypad, alpha wheel, Previous-/Next+ buttons, Left and Right navigation buttons, the Delete and Insert soft buttons, and the << and >> soft buttons. Press the OK soft button to finish the operation. 12-22 Global Mode STORE LOAD The LOAD button calls up the LOAD page where you can load compatible files from a storage device. Before you press the LOAD selection button in StorageMode, make sure you have plugged the USB device containing your User Programs and/or Multis into the back of the Forte SE. If your User Programs/Multis are located on your computer or Tablet, then use the cable that plugs into the computer/Tablet USB port on the rear panel of the Forte SE. If your User Programs/Multis are located on a USB flash drive, plug them into the Device USB port on the rear panel of the Forte SE. Press the LOAD button when you have the hardware containing your User Programs/Multis plugged into the USB port. If no USB connection is detected by Forte SE, you will see the error message “Error: No valid device inserted.”. Use the navigation buttons, Previous-/Next+ buttons or the Alpha Wheel to browse the files in the currently selected storage device. After selecting a file to load, press the FILL or OVWRTE soft button to continue OPEN PARENT FILL OVERWRITE (OVWRTE) Pressing the Open soft button will open the highlighted folder. Selecting Parent will close an existing open folder. Selecting FILL means you would like to keep the existing User objects. Forte SE will now load the User objects into the first empty ID slot it finds, and then subsequent empty slots. Selecting OVWRTE first deletes all the existing User objects, and then loads the new User objects into the first user location at ID number 1024 onwards. During the load process the screen will show information about the objects that are being loaded. At the end, the screen will display a message indicating if the load process was successful, or if there were errors. 12-23 Global Mode STORE Example Using LOAD The following example shows how each different loading methods affect how four programs load into the User bank that already contains programs. Example: Starting with the following objects already stored in the Forte SE User bank: Programs currently in Forte SE Program ID Program Name 1024 3rd World Order 1025 PC3 Strings 1028 JuPiTaR BazZ 1031 VA1 Lead 1053 Rhoady EP Suppose you were to load a FSE (Forte SE) file containing the following Programs: File to be Loaded Program ID Program Name 1025 Synth Horn 1026 NYJazzy 1027 Saxxy 1028 Stabbatha The two tables below show the results if you use FILL or OVWRTE with the User Bank. Forte SE Bank after using FILL Program ID Program Name 1024 3rd World Order 1025 PC3 Strings 1026 Synth Horn 1027 NYJazzy 1028 JuPiTaR BazZ 1029 Saxxy 1030 Stabbatha 1031 VA1 Lead 1053 Rhoady EP 12-24 Forte SE Bank after using OVWRITE Program ID Program Name 1025 Synth Horn 1026 NYJazzy 1027 Saxxy 1028 Stabbatha Global Mode STORE Compatible Files The Forte SE can load its own .FSE files, as well as file types from other Kurzweil products such as .FOR, .ASE, .ART, .P3A, .PC3, .P3K, .PLE, and .SPX files. When loading file types other than .FSE, the Forte SE will attempt a conversion of the objects in those files. The Forte SE can often exactly match the sound and function of the original objects. In some cases object parameters may not be converted and must be adjusted by the user after conversion (see below for details.) Importing Program Objects When importing a Program object from a .P3A, .P3K, .PC3, .PLE, or .SPX file, Parameter info names and some controller assignments may need to be manually adjusted. Importing Multi/Setup Objects When importing a Setup or Multi object from a .FOR, .P3A, .PC3, .P3K, .PLE, or .SPX file, any Zone above Zone 8 will not be imported. Riffs will not be imported. Importing Forte (.FOR) and PC3K (.P3K) objects Some Forte Programs (stored in .FOR files) may not be compatible if they use keymaps and samples that are not available on the Forte SE. It may be possible to import and edit these Programs on the Forte SE and select Forte SE keymaps that sound very similar to the incompatible Forte keymaps. For example, the Forte SE does not have the same Japanese Grand Piano keymaps and samples that the Forte has, but it does have similar keymaps that use a reduced set of the Forte Japanese Grand Piano samples. Some Forte Programs and Multis (stored in .FOR files) may not be compatible if their effects Chains use more resources than are available in the Forte SE. It may be possible to import and edit these Programs and Multis on the Forte SE and select a different Chain or combination of Chains that sound very similar to the incompatible Forte Chains. When importing .P3K files, any included user sample data will not be loaded, because the Forte SE can not load samples. 12-25 System Mode Chapter 13 System Mode CAUTION: DO NOT ATTEMPT TO MAKE ANY CHANGES IN SYSTEM MODE UNTIL YOU HAVE READ AND FULLY UNDERSTOOD THIS CHAPTER This chapter will help you familiarize yourself with the functions of System Mode. System Mode allows you manage and upgrade the OS software of your Forte SE as well as perform diagnostic tests of the instrument’s various internal systems and processes. Note that the functions that you have access to in System Mode govern the operation of your Forte SE, so only use System Mode when you must perform essential maintenance tasks. To enter System Mode, follow these steps: 1. Power off your Forte SE. 2. Press and the hold the ENTER button, and power on the unit. Make sure to keep holding the ENTER button until the display shows the following: 3. Release the ENTER button—at this point, you are in System Mode. FORTE SE System Mode Run Forte System Update Run Diags v.3.44.25695 System Reset System Utilities 13-1 System Mode Run Forte SE Run Forte SE This is the first System Mode menu item. Pressing the “Run Forte SE” soft button will load the OS and the Forte SE will start up as if you just switched on the unit. If the Forte SE operating system fails to load up, you will see an error message with an error code. System Update Caution: Before Updating, back up your user objects (Programs/Multis etc.) by storing them to an external device in Global Mode. System Update allows you to keep your Forte SE running the latest available OS (Operating System), which you can download from the Kurzweil website. The file that is used to install a new OS version with sounds is combined into one file called a KUF file (.KUF). A USB flash drive or computer (using a USB cable) can be used to perform the System Update. Caution: It is important that the install is not disrupted once loading begins. Powering off the Forte or your PC, removing the USB device or USB cable in the middle of loading could leave the Forte inoperable and then require repair service to restore. Install using a USB flash drive 1. Download the System Update file from the Kurzweil website or another reliable source and save it in a known folder or directory on your flash drive. 13-2 System Mode System Update 2. Connect the flash drive to the USB STORAGE slot of Forte SE. 3. Follow the instructions specified on page 13-1 to enter System Mode. 4. In System Mode, select System Update. 5. Select USB Device as the storage type. 6. If the system was able to read the USB flash drive that was plugged in, it will display a list of files and folders as shown above. You can use the navigation buttons or Alpha wheel to move up and down the list. Select the UP soft button if you want to go up to the parent directory level. If the KUF file is selected, select the OK button. 13-3 System Mode System Update You will see a progress bar indicating the progress. If update was successful you will see a confirmation message. If there was a failure you will see a self-explanatory failure message (with error code) to indicate the failure. Install using a computer/tablet 1. Download the System Update file from the Kurzweil website or another reliable source and save it in a known folder or directory on your flash drive. 2. Connect the Forte SE (powered off) to the computer/tablet with the USB cable provided into the USB COMPUTER slot. 3. Follow the instructions specified on page 13-1 to enter System Mode. 4. In System Mode, select System Update. 5. Select PC USB as the storage type. 13-4 System Mode System Update 6. If the Forte SE cannot detect a connection to the computer it will display the message below. 7. If the connection was detected, you will be prompted with the above message. Copy the KUF file to the virtual drive that appears on the PC and press OK. 13-5 System Mode System Update 8. Select the file from the list displayed on the next screen and Press OK. You will see a progress bar indicating the progress. If update was successful you will see a confirmation message. If there was a failure you will see a self-explanatory failure message (with error code) to indicate the failure. 13-6 System Mode Run Diagnostics Run Diagnostics You will most likely not need to use the Run Diagnostics operations in normal cases. These operations are mostly used at the factory and service centers by technicians for troubleshooting hardware problems. But, in some cases you might be required to run these diagnostics for troubleshooting and diagnosing symptoms. In these cases, following the direction of Kurzweil Technical Support. FORTE SE System Mode Run Forte System Update Run Diags v.3.44.25701 System Reset System Utilities 13-7 System Mode System Reset System Reset CAUTION: THIS OPERATION ERASES ALL USER USER OBJECTS (PROGRAMS/MULTIS ETC.). System Reset willrestore the Forte SE back to a Factory State. In addition to all user objects (Programs/Multis etc.) being deleted, Global Mode settings will be restored to factory defaults. Caution: Before Updating, back up your user objects (Programs/ Multis etc.) by storing them to an external device in Global Mode. See instructions in STORE on page 12-21. To clear all user objects (Programs/Multis etc.) and restore the factory default state, select the System Reset menu option. FORTE SE System Mode Run Forte System Update Run Diags v.3.44.25695 System Reset System Utilities The Forte SE will now ask the question “This will delete all user objects. Are you sure?” If you are not sure what you are about to do, select CANCEL. This will exit the System Reset process and take you back to the System Mode menu. If you select OK you are now erasing all the user objects (Programs/Multis etc.) in the Forte SE and restoring the instrument back to a Factory State. 13-8 System Mode System Reset If you have completed the System Reset, select OK. 13-9 System Mode System Utilities System Utilities You will most likely not need to use the System Utilities. In some cases you might be required to use these utilities for troubleshooting and diagnosing symptoms. In these cases, following the direction of Kurzweil Technical Support. FORTE SE System Mode Run Forte System Update Run Diags v.3.44.25695 System Reset System Utilities Select “Back” if you wish to exit and return back to the System Mode menu. 13-10 System Mode System Utilities Format Flash CAUTION: THIS OPERATION ERASES THE OPERATING SYSTEM, ALL FACTORY OBJECTS AND ALL USER OBJECTS. Performing this operation will format the Forte SE’s system flash memory and erase the OS software as well as all Objects. Do not do this unless you think it is necessary in order to improve the performance of your Forte SE. Should you decide to do so, be sure to back up all of your files and software. After you do this, System Mode will still be available, so you can run updates and get your Forte SE up-and-running again. After a Format the unit will come up in System Mode by default. Caution: Before formatting, back up your user objects (Programs/Multis etc.) by storing them to an external device in Global Mode. To perform a Format, follow these steps: 1. Follow the instructions specified on page 13-1 to enter System Mode. 2. Select System Utilities. FORTE SE System Mode Run Forte System Update Run Diags v.3.44.25695 System Reset System Utilities 13-11 System Mode System Utilities 3. Press Format Flash. 4. The next screen wants to make sure that formatting the flash and deleting everything is really what you want to do. Select OK to format the internal flash memory. Select CANCEL if you do not wish to proceed. 13-12 System Mode System Utilities 5. When formatting of the internal flash memory is completed, the display will show the message “Done formatting flash.” Press OK. Update Module This option allows the installation of individual files. You may be guided by Kurzweil Technical Support to use this option if needed. Restore Older This option allows the restoration of a previously installed OS or Objects version. You may be guided by Kurzweil Technical Support to use this option if needed. 13-13 Troubleshooting Maintenance Chapter 14 Troubleshooting Maintenance Aside from normal care in handling and use, your Forte SE requires no regular maintenance. Clean with a soft cloth dampened with water. Never use abrasives or solvents as they may damage the unit’s paint, markings and display lens. There are no batteries inside to replace—ever. Instead of volatile SRAM used in most other instruments, your Forte SE uses nonvolatile Flash Memory for storage, which retains information without power. Common Problems Below is a list of the most commonly encountered problems and diagnoses for each. Power Problems This is the normal power-up sequence: 1. The display backlight turns on. 2. “Loading...” appears on the display for a few seconds. 3. The Forte SE enters Program Mode with Program 1 or the default boot up program selected. If nothing at all happens when you turn the power switch on, check if one of the following might be the issue: The power cable is not plugged securely into the wall outlet. Plug the power cable securely into the wall outlet. The power cable is not plugged securely into the Forte SE power jack. Plug the power cable securely into the Forte SE power jack. 14-1 Troubleshooting Common Problems The wall outlet, power strip, or extension cord is defective or damaged. Use a different wall outlet, power strip, or extension cord. If there’s evidence of the unit receiving power, but operation is abnormal, check if one of the following might be the issue: The wall outlet voltage is below 90 volts due to overload. Try a different outlet on a different circuit. Powers up, Display is Blank The Display is blank or difficult to read. Slowly turn the Display contrast knob (located above the Alpha Wheel) to adjust the Display. Audio Problems CAUTION: Do not trouble shoot audio problems using headphones. Additionally, always be aware of the volume levels on the Forte SE and on the connected audio system or mixer. NOTE: When diagnosing audio problems, set the Forte SE to play its Demo Song rather then intermittently pressing keys. This will prevent any unexpectedly loud volume changes. If there is no sound from your Forte SE, check if one of the following might be the issue: 14-2 The volume slider is turned down. Slowly push the volume slider up. The volume control on the audio system or mixer is turned down. Slowly turn the volume control up. The signal source selection on the audio system or mixer is incorrect. Set the volume of the audio or mixer to the lowest level, select the correct signal source, and then slowly turn up the volume. Troubleshooting Common Problems The audio cables are not securely plugged into the Forte SE, audio system, or mixer. Set the volume of the audio or mixer to the lowest level, securely plug in the audio cables on both ends, and then slowly turn up the volume. The Destination parameter stops MIDI Data Change the Global Destination parameter to USBMIDI+MIDI+LOCAL (see page 12-11) The audio cable is of an incorrect type. Obtain and securely connect an audio cable of the correct type. The Forte SE accepts both balanced (TRS) and unbalanced (TS) 1/4inch audio cables. If you can hear sound but it is low or distorted, check if one of the following might be the issue: The audio cables are not securely plugged into the Forte SE, audio system, or mixer. Set the volume of the audio system or mixer to the lowest level, securely plug in the audio cables on both ends, and then slowly turn up the volume. A received MIDI volume message has specified a low volume. Set the volume of the audio system or mixer to the lowest level. Disconnect all MIDI cables, set the Destination parameter in Global Mode to Local or USBMIDI+MIDI+LOCAL, and reset the volume level on the Forte SE, by pressing Panic (see page 3-17). Finally, slowly turn up the volume level of the audio system or mixer. The current Multi has another controller assigned to volume, and it is turned down. Select a different Multi. Or change the problematic controller setting by editing the Multi in Multi Edit Mode. The input to the audio system is set for low impedance instead of high impedance. Set the volume of the audio or mixer to the lowest level, change the impedance setting, and then slowly turn up the volume of the audio system or mixer. The input trim to the audio system or mixer is set too low. Slowly turn up the trim. 14-3 Troubleshooting MIDI Problems MIDI Problems If you are experiencing problems sending MIDI to an external module, check if one of the following might be the issue: The MIDI cable is not securely plugged in at both ends. Securely plug in the MIDI cable at both ends. The MIDI connections are wrong. To send MIDI, plug the MIDI cable into the Forte SE’ MIDI Out port and into the module’s MIDI In port. The MIDI cable is defective. Obtain and securely connect a new MIDI cable. The MIDI transmit channel does not match that of the receiving device. Change the channel on either the Forte SE or on the device such that the channels match. If there are problems with the internal sound module receiving MIDI from an external device like a computer sequencer, check if one of the following might be the issue: 14-4 The MIDI transmit channel of transmitting device does not match that of the receiving Program or Zone on the Forte SE. Change the channel on either the Forte SE or on the computer such that the channels match. The MIDI cable is not securely plugged in at both ends. Securely plug in the MIDI cable at both ends. The MIDI connections are wrong. To receive MIDI, plug the MIDI cable into the Forte SE’ MIDI In port and into the module’s MIDI Out port. Troubleshooting Pedal Problems Pedal Problems Before you consult this section, be sure to read The Pedal Jacks on page 2-4. Switch Pedal Problems If you are having problems with connecting or using a switch pedal, check if one of the following might be the issue: • Sustain or Sostenuto is stuck “on”. Be sure the pedal is plugged in before switching on the power. Turn power off, then on, if necessary. • The pedal is acting backwards (“on” when up instead of down). Power cycle the unit making sure to NOT press on the pedal during startup. • A dual switch pedal is not working correctly, see Connecting a Dual Switch Pedal on page 2-6. A dual switch pedal must be wired as shown below. Any other wiring pattern will not work correctly. Sleeve Left Pedal Ring Tip Right Pedal Continuous Control and Half Damper Pedal Problems The continuous control pedal must be wired to a single stereo 1/4-inch plug as follows: • Wiper to Tip • Top end of resistance element to Ring • Bottom end of resistance element to Sleeve These connections are shown schematically below: Increasing Foot Pressure 10KOhm Linear Taper Sleeve Ring Tip Use the correct impedance, taper, and range 14-5 Troubleshooting If None of the Above... For best results, use a Kurzweil CC-1 continuous control pedal, available from your dealer. The CC-1 meets all of the requirements described above at an economical price. A continuous control pedal should have an impedance between 5,000 and 100,000 ohms. An impedance less than 5,000 may overload the reference voltage source in the Forte SE and interfere with operation of other controls like the Master Volume slider or the other sliders. An impedance more than 100,000 may result in electrically noisy operation, which may cause your Forte SE to send MIDI controller messages constantly. The taper of the control should be linear for easy, predictable control. Pedals designed for volume control typically have an exponential (or anti log) taper, which results in most of their range being concentrated in the upper half of pedal’s path of travel. Pedals may have a control range that is less than 100%. Make sure that when the pedal is in the fully down position, its impedance is 0, and when it is in the fully up position, the impedance is at its maximum rating. If None of the Above... If your problem is not covered above, or none of the suggestions seems to work, first check back and review the relevant sections of this manual. Many difficulties are just programming problems caused by settings of Multi parameters. If you want to be sure that all of the factory defaults are in place, see “Restoring Factory Defaults” below. Also be sure to check out Kurzweil’s website for additional Forte SE information that may have been published since this manual was written: www.kurzweil.com. If you still have problems, contact Kurzweil support in your country or at www.kurzweil. com/support/. You may also find unofficial help at some of the internet communities listed at www.kurzweil.com/community/. Service Centers Contact the nearest Young Chang office Kurzweil service representative. See page iv in the front matter of this manual for contact information. Restoring Factory Defaults There are two ways to restore factory defaults, both of which delete all User Programs and User Multis. The first method is described on RESET on page 12-18. The second is described in System Reset on page 13-8. CAUTION: Restoring factory defaults cannot be undone. Back up your files before doing so by following the procedure in STORE on page 12-21. 14-6 Troubleshooting If None of the Above... Diagnostics You will most likely not need to use the System Mode diagnostic operations in normal cases. These operations are mostly used at the factory and service centers by engineers for troubleshooting hardware problems. But, in some cases you might be required to run these diagnostics for troubleshooting and diagnosing symptoms. In these cases, follow the direction of an authorized Kurzweil technician. 14-7 MIDI Implementation Appendix A MIDI Implementation Function Basic Channel Mode Transmitted Recognized Remarks Default 1 1 Changed 1–16 1–16 Default Mode 3 Mode 3 Messages Velocity Aftertouch 0–127 True Voice 0–127 0–127 Note ON O O Note OFF O O Keys O O Channels O O O O Pitch Bender O Control Change Program Change True # System Exclusive System Common System Real Time Aux Messages Use Multi-track mode (see FX Mode (Global Mode) on page 12-3 for multi-timbral applications) Altered Note Number Memorized 0–31 32–63 (LSB) 64–127 O 0–31 32–63 (LSB) 64–127 0 to 2,097,151 0–511 0–127 0–127 O O Song Pos. X X Song Sel. X X Tune X X Clock O O Messages O O Local Control O O All Notes Off O O Active Sense X X Reset X X Notes Manufacturer’s ID = 07 Device ID: default = 0; programmable 0–127 Mode 1: Omni On, Poly Mode 3: Omni Off, Poly Mode 2: Omni On, Mono Mode 4: Omni Off, Mono Controller assignments are programmable Standard and custom formats O = Yes X = No A-1 Physical Specifications Appendix B Physical Specifications1 1 Keyboard: 88-key, fully-weighted hammer-action with velocity and pressure (After Touch) sensitive adjustable keys. 88-key model uses Fatar TP100LR with pressure. Display: 240x64 pixel monochrome LCD with front-panel contrast adjust. Polyphony: 128 Voice Polyphony, dynamically allocated. Multitimbral: 16 parts (one per MIDI channel). Quick Split / Layer: Easy access with adjustable volume and panning. Programs: Space for 1024 Factory and 1024 User Programs (in 16 instrument Categories) Multis: Space for 1024 Factory Multis, plus 1024 User Multi locations with up to 8 programmable zones for splits and layers. Effects: Hundreds of editable effects chains. Controllers: • • • • • • • • • • Analog Outputs: Two 1/4” TRS Balanced Outputs (Stereo Pair) 24-bit D-to-A Converters Frequency Response 20Hz-20kHz +/- 0.1dB +21dBu Maximum Output Level -113dB Signal-to-Noise Ratio (A-weighted) 0.003% THD+N (1kHz @ -1 dBFS) Headphones: 1/4” Rear-Mounted Stereo Headphone Output Frequency Response 20Hz-20kHz +/- 0.5dB Maximum Output Power 130mW into 32 Ohms -100dB Signal-to-Noise Ratio (A-weighted) 0.03% THD+N (1kHz @ 100mW Output into 32 Ohm Load) Output Impedance: < 1 Ohms Load Impedance: > 24 Ohms MIDI: IN, OUT USB: Complete MIDI functionality over USB User Program / Multi file transfer to/from PC / Mac / Tablet/ USB Flash Drives. Operating System updates from PC / Mac / USB Flash Drive Height: (5.2”) (13.2cm) Depth: (15.2”) (38.6cm) Length: (48.9”) (124.2cm) Weight: (40.8 lb.) (18.5 kg) Power: Internal Power Supply, free voltage 100-265VAC 50/60Hz, 10W max Pitch wheel Modulation wheel Volume Slider 9 front panel sliders 11 switches (assignable / zone mutes / KB3 control) 1 Variation switch 4 Master EQ Knobs with one EQ On/Off switch 2 switch pedal inputs, each supporting a dual switch pedal or single half damper pedal. 1 continuous control pedal input 2 Transpose buttons Specifications subject to change without notice B-1 Programs Appendix C Programs ID Object Version : 1.01 PIANO ID Solo Grand 7ft 18 1 RecitalGrand 9ft 3 E. PIANO ID Classic Wurly EP 34 17 StereoSuitcaseEP Fierce Rock 9ft 19 4 Studio Grand 7ft 6 Bright Jazz 9ft 2 5 7 Rich Grand 7ft Bright PnoPad7ft CLAV 33 Clav BC Env Filt EZ Touch Tube EP 35 Clavi AC 20 Fagen's Phase EP 36 Clavi BC Phaser 22 Daft Wurly EP 38 AC Clav Tube 40 Slap Wah Clav 21 FM+Tines EPiano 23 Tube & Trem EP 39 Clavi AC Wah BC Clav Tube 8 Glam Rock Pno9ft 9 Smooth Grand 9ft 25 E Acoustic Grand 41 Classic Harpsi 10 VintageGrand 7ft 26 27 Sly Ballad EP Bright Fusion EP 42 Simple Harpsi 12 Intimate Pno 7ft 28 Tube Amp EP 44 Harpsi Flute 13 Piano & Strings 29 FM Growler EP 45 Harpsi Lute 15 Dark & Distant 31 Warble Rd. EP 47 Must Be Harpsick 16 Olde Pub Piano 48 PPG Comp 49 Classic B3 81 Prophet Pad 83 OBX Pad 11 14 ID Upright Piano R&B Stack 24 37 Clavi BC 30 Dyno Suitcase EP 32 BrokenSparkleEP 65 AlaskanWild Lead 67 Prophet Sync ORGAN ID 50 Soul Perc Organ 66 52 Hot Tube Gospel 54 55 51 53 Prog Drawbars 68 80's Lead Synth 82 Cars Square Lead Mr. Smith 70 VAST-ly Organ 71 Doors Vox Organ 73 58 Farfisa Draws 46 ID SimpleHipHopLead VAST Bars1-3,8&9 43 LEADS 69 Magic Carpet B3 56 57 Thick FM Digital 84 HarpsiTar Harp-Secco-Rd. PADS Arpeggi Pad MW S&H Filt 85 Film Score Pad Dark Wobbles 86 JunoWhatIMean? Robin's Org Lead 87 Omni Strings Squeeze Lead 89 Pan Strings 72 Keytar Hero(Wah) 74 5ths Lead MP 88 PPG Pad 90 Warm Encounter 59 Farfisa Leslie 75 Seongdeok Lead 91 Wavetable Pad 60 AllStops AllVox 76 SquareChirpLead 92 Mesosphere Pad 62 Pipes & Voices 78 Dogs Lead 94 5th-Scape 61 63 64 Chapel Organ Accordian Brazil ParisCmboAccordn 77 79 80 Snap Lead 2 Hand Tap Lead Soy Incident 93 95 96 Pan Motion Pad Water Buffalo Insta - Spooky C-1 Programs ID ID SYNTH/BASS 114 The Phattest 97 Quadra Comp 113 99 Super Saw Stabs 115 The Way It Is 101 Detuned Polysyn 117 Smooth Mooger 102 OBX Filter Sweep 118 MiniFunk Bass 103 Tomita's Tomato 119 ANGRYBass 104 Frozen Sawdust 120 Uptown Bass Pattern Machine 122 Leviathan Bass 98 100 80s Saws Clone Bandit 105 Poly Vector Lead 107 Prophesied Six 106 108 Vintage Woobler 110 Cosmic Intervals 111 116 121 123 Dolby Bass Dread Bass Dub Wob Poppit SynBass 124 Woodhouse Bass 126 Instaprince Poly Arpeggiator 127 APG-ish Bass 112 Static Charge 128 Decepticon Bass 129 109 ID Throaty S&H STRINGS 125 Alias Bass Arco Strings Ens ID 145 BRASS/WINDS 130 Adagio Strings 146 High-End Horns 131 Weeping Strings 147 Sax Section 132 Punchy Strings 148 MiamiBrassSects Lorde Bari Hits 133 Power Trem Strgs 149 150 Sylvan Dbl Reeds 135 ProperPizzicatos 151 Clarinet 136 137 DBass & Violins MarmaladeStrings 152 SoloBassoon&Oboe 138 Dulcet Strings 154 Full Blown 139 Tutti Strings 155 Epic Low Brass 140 BritishMTStrings 156 Lead Trumpet 141 Moby Tron-table 157 Solo Trombone 134 142 143 144 C-2 SYNTH OversizedQuartet 153 Sax Splits+Flute BClar/Clar/Flute Solo Violin fast 158 Dyn Orch Fr Horns Gliss/Arp Harp 160 Classic SynBrass Solo Cello fast 159 Fruity Floot Programs ID ENSEMBLE ID HYBRID 161 Epic Vox&Strings 177 Ambience Full Fellowship 179 Cirque du Synth 181 Pressure Cooker 183 Armonica Wurly 162 LayeredStrgsWnds 164 Strings/ClarOboe 166 Gothic Climax 163 165 167 Cello & Reeds 3Way Split MTron 178 180 182 Pizzynth Analog Sparkle 168 AvengersAssemble 169 Broadway Backup 185 TouchMeAfter3pm 170 Matadores (sftP) 186 Jet Set Martini 171 Mandolinese 187 Touch Vocoder 172 Dave & David 188 Dulciliere Singapore Sling 190 ChirpingStompbox 192 BrimstonCalliope 173 174 Gypsy Reggae 184 Shokudo Enka 189 DigitalFairyDust 175 CelesteGlockHarp ID GUITAR/BASS ID VOICES/MISC 193 Rob's Caster 209 Ooh So G'oohD 195 Boutique 12 Str 211 176 194 H'Arps & Harp 191 Yucatan Vibe Mixed Strummah 210 OohDBopTouchEcho Real Nylon 212 In A Good Place 197 SuperflyWahCast 213 Choir Redux 198 Chunky Comper 214 DapPer Dudes 200 Noisy Feedbacker 216 202 Motown Bass 204 Flea/Bootsy 196 199 201 203 205 Boutique 6 Str Twin Peaks P-Bass Finger Bass Jaco Fretless 206 AC Buzzer Bass 208 Levin/GabrlFrtls 207 Beasties Bass 215 217 218 219 EnvelopingVoices Bummer Dudes BaDaDah-Doop Flesh&TheMachine Carnival Ricoche Metal Vibe Pulse 220 Suspense Scene 222 Drowning At 7 221 223 224 Creepy Crawlies Scorby-Doo Blues Harmonica C-3 Programs ID 225 242 Orchestral Perc 244 Vocal Percussion 246 Steel Drum 248 Real Vibes East Space Kit 243 228 Birch Wood Kit 230 Los Angeles Kit 232 Superfly Kit 231 PERCUSSION 241 Copper Ring Kit 229 ID Full Room Kit 226 227 25th Anniv Kit Ring-tone Kit 245 247 Essential Perc Just Jammin' Tabla Bars Xylophone 233 Fin-Essence Kit 249 Stereo Marimba 234 Procs'd Pop Kit 250 Bell Keys 236 Brushes Kit 252 Crotales Hits 235 80's Power Kit 237 Touch Tone Kit 238 239 Celeste Bowed Crotales DJ- Dub Kit 254 Chimes Rhythmcon Kit 255 Hit'n Chew Radio Echo Kit ID Utility 1022 Silent Program 1024 251 253 240 1023 C-4 DRUMS Editor Template Clear Program 256 Tabla Arp KB3 Programs Introducing KB3 Programs Appendix D KB3 Programs Introducing KB3 Programs There’s nothing quite like the sound of the classic Hammond™ B-3 tone wheel organ, especially when played through a Leslie™ rotating speaker system. We’ve done extensive testing and analysis with several tone wheel organs, and created our own models to emulate the unique tone wheel sound. We even took into account the way that older organs start to sound different (and arguably better) as their capacitors begin to leak—and we included a parameter that varies the amount of grunge (leakage) in your sound. First Some History Countless blues, jazz, and rock recordings have centered around the distinctive sound created by classic tone wheel organs (such as the Hammond B-3) played through rotating speaker systems like the Leslie. Not only is the sound great, but it’s supremely versatile, since the player can control timbre in real-time by adjusting drawbars that add or remove harmonics from the fundamental tone. Other cool sound-shaping tools include a percussive emphasis that can be added to each note and the capability to change speaker rotation speed. Many people, in fact, feel that the tone wheel organ was the first popular synthesizer. And although these organs haven’t been made for years, they are still sought after, restored, and lugged about by legions of dedicated keyboard players. This despite archaic electronics, inscrutable wiring, and an unwieldy heft that tops 400 pounds. Duplicating the sound and flexibility of these organs – without the nasty side effects – is the goal of KB3 Mode. D-1 KB3 Programs Drawbars Drawbars The drawbars on a tone wheel organ emulate pipes of different lengths on a pipe organ. In either case, they are controlled by changing the positions of a number of “stops”. As the organist pulls out or pushes in these stops, he adds or reduces harmonics. Whether it’s pipes or drawbars, though, the stops work like this: pull one out to add more of an overtone; push it in to reduce the volume of the overtone. The stops on the most popular tone wheel organs are: 16’, 51/3’, 8’, 4’, 22/3’, 2’, 13/5’, 11/3’. and 1’. Note that they are still measured in feet, a carryover from pipe organ days. The 16’ and 51/3’ stops are considered the subharmonic group, while the third stop, 8’, produces the fundamental of a tone, and stops 4-9 produce harmonics above the fundamental. By making use of different combinations of these harmonics, a rich sort of additive synthesis is possible. Best of all, you can make radical changes to the tone dynamically as you play. The nine sliders of the Forte SE are set to control the drawbars. Pulling the slider towards the keyboard increases the amount of the drawbar that is heard. KB3 Mode Buttons The nine buttons above the sliders on the Forte SE have special capabilities in KB3 Mode that are listed in blue, below the Multi Zone Mute Buttons and Programmable Switches. These are: Brake Brake starts and stops the rotary speaker effect. This effect is not immediate, instead the rotary speaker effect gradually slows down and speads up, in a similar way that a real rotary speaker reacts. Chorus/Vibrato On/Off This parameter turns the chorus or vibrato effect on and off. Chor/Vib This parameter determines which modulation effect is used. The choice is Vibrato or Chorus. D-2 KB3 Programs KB3 Mode Buttons Chorus/Vibrato Depth This parameter determines how much of the effect is applied to the KB3 sounds. There are two levels of both Chorus and Vibrato available, depending on the setting for the Chor/Vib button. Percussion Percussion is a characteristic feature of tone wheel organs. It’s especially useful while soloing, since percussion adds an extra plink (actually an extra tone at a defined harmonic) to the attack of individual notes. When you play more than one note simultaneously, only the first note you play will trigger the envelope of the percussion tone, though notes played shortly afterwards will also be affected by this envelope. When you play chords, all of the notes played simultaneously will get the percussive effect (provided percussion hasn’t already been triggered.) Percussion On/Off This is where you turn the percussion effect on or off. Percussion is created by a decaying envelope applied to one of the nine drawbars (usually the 4th drawbar for the low pitch and the 5th drawbar for high pitch. The highest drawbar is normally stolen to generate the percussion sound). The percussion effect is “single-triggered”, which means that once it’s triggered, it won’t trigger again until all keys go up. The KB3 engine in the Forte SE is capable of generating the Percussion effect without stealing any of the drawbars, and while not authentic, is occasionally used on Forte SE Programs. Percussion Loud/Soft This parameter switches between loud and soft percussion settings. Percussion Decay F/S This parameter switches between fast and slow percussion settings. Percussion Pitch H/L This parameter switches between high and low harmonic percussion settings. KeyClick The Key Click feature adds a decaying burst of pitched noise to the attack of notes. Unlike the percussion, the key click is “multi-triggered”, which means that every new note will trigger it. The parameters on this page primarily control the decay, volume, and pitch of the key click. This button controls whether the Keyclick parameter is switched on or off. D-3 KB3 Programs KB3 Mode Buttons Rotary S/F The Rotary S/F button acts as a Slow/Fast switch for the Rotary speaker effect. By default, the sustain pedal (SW1) also controls Rotary Slow/Fast. You can set the sustain pedal to function as sustain for all KB3 Programs (instead of Rotary Slow/Fast) by using the Rotary Override parameter in Global mode. You can also make different Rotary Slow/Fast controller assignments for each Program or Multi by using the Parameters page in Program Edit Mode or the Multi Switches page in Multi Edit Mode. D-4 Multis Appendix E Multis ID 1 2 MULTI ID MULTI ID Sunset Mirage 37 Yankee Doodle 72 39 Organic Organ 41 Gospel B3 & Pno 43 Universe Pad Fuzzy Bottom 3 Bass EPiano Lead 5 Floating Spirits 4 Vocal Pad Scape 6 Flowing Orinico 8 Menangerie Motif 10 Bummer&Bummer 12 Sm-Oo-th David 7 9 11 13 Mello Keys Dummer Dudes Dreamy Calliope Dulce De Luthier 14 VOX Versa Combo 16 Organ & Strings 15 Vivaldi's Mando 17 Auto VOX Versa 19 CallMeInTheDark 21 Harp & Flute 18 20 Harpsic n Pad Woodland Stroll 22 Effervescence 24 Piano & Friends 26 Sweet Celeste 23 25 Soft Landing The Combo-ista 27 Ben's Goodmen 29 The Maestro 28 30 31 Guitano Tender Belle Aires Flutey Organ 32 Strgs & Harpsich 34 Hallelujah! 33 35 Object Version : 1.01 Concert Harpsi Your Majesty 36 38 40 42 44 Tribute Coronation Pad Machine Min Ho Worship Triumphant! 45 Massive Mono 47 The Shire w Oboe 49 Vox n Glox 46 48 50 Sea Breeze Futurescape Blues Harp Jam 51 Cloudwalk Keys 53 Gtr/Bass Ballad 52 Hollow Keys 54 Piano, Steel+Pad 56 Euro Chords 55 Hip Hop Thirds 57 Distorted Stack 59 EP & Synbass 58 CP, FM & Pad 60 AsTheWorldTurns 62 Tranquil Moods 61 The Day After 71 75 Chill Kit/Chords 74 76 77 Pizz & Glock 81 84 Celestial Mallet 83 Pad Organ 85 Mohawk Monophono 87 Glass Zimmer 86 LatinLoungeSplit 88 Jazzy Key Trigs 90 Aftermath 89 91 Piano Rave Traveler 92 Expansive Pad 94 Hero's Journey 93 Pan N' Jam 95 Electric LeadPad 97 Arping Weird 96 253 69 Clock Shop Pluck The Stars Torch Lead Introspektakular Dream on Windham 70 Synth & Strings 82 67 Helter Skelter Big Choir 5ths 80 79 100 68 Daydream EP Plucked Sus Strs Lonely Companion Sunrizer Synth Mind Of It's Own 78 65 66 Nervous Eaters UnderGroundRails DreamWorks Segue Synths In Abyss 4-Piece Suit 73 63 64 MULTI 98 99 Metallicscape XxxOoo Apollo Boson Dance 101 Dunmire's Court 254 Layer Default 256 Clear Multi 255 Split Default Forte Control E-1 Appendix F Effects ID 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 33 EFFECT Little Booth Soundboard Small Dark Room Sax Chamber Small Hall Medium Hall Green Room Opera House Real Nice Verb Empty Stage Med Drum Room AbbeyPianoHall Predelay Hall Sweeter Hall Concert Hall Symphony Hall Cathedral Chorus DeepChorsDlyHall Omni Stage Classic Plate MediumWarm Plate Real Plate Smooth Plate Gated Plate Basic Delay 1/8 4-Tap Delay BPM Echo Plecks BPM Timbered Taps Dub Delay Sm Stereo Chorus Chorusier Stereo Chorus Dense Chorus Effects ID 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 65 66 EFFECT Soft Flange Wetlip Flange Flanged Taps Slow Deep Phaser Fast&Slow Phaser Phaser EGT Thin Phase Sweep Tremolo BPM Simple Panner Thin Phase Sweep Leslie start SubtleDistortion EPiano Distortzn Distortion + EQ Ray's EP Scooped Distort Burning Tubes! 3BandDrumComp Snare Compressor Snare Cmp w/Rvb Kick Compressor Hard Knee Comprs Bass Comp Mutrn PnoEnhancement LA2A for Strings Resonant Filter Aux Echoplex Bandsweep Filter Hi FrequencyStim Ring Modulation Frequency Offset Lazer Tag Flange Fallout PitchLFO Object Version : 1.01 ID EFFECT 67 Reverse Reverb 68 Reverse Reverb 2 69 Oil Tank Reverb 70 Laser Reverb 71 Gated Laserverb 72 ReverseLaserverb 73 Envelope Followr 74 Envelope Filter2 75 Trip Filter 76 Stereoizer 77 Barberpole Phzr 78 Laser Dly Reverb 79 Degenerator 80 Basic Delay 1/8 81 Arp Delay Loop 82 HipHop Piano DDL 121 Sly Leslie K 129 Basic Delay 1/8 147 Deeper Water 176 Lead EGT6 193 LitePad2 203 PhaseDly1 204 ThinphaseSweep 206 hhpitchr1 209 Snarcmp1 210 SymphonyHall 1 211 SymphonyHall 2 212 SymphonyHall 3 213 Jazz Stage 214 Live Room 215 String Chamber 216 Fife Stage 217 Live RecitalHall F-1 Effects ID 218 219 220 223 224 226 229 230 233 240 241 242 243 244 245 246 247 248 249 255 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 F-2 EFFECT AbbeyBrasHall2 Smooth Long Hall kickcmp3 kickcmp4 snarcmp4 kickcmp5 Bright Hat Room BrightFlange snarshaper6 Reverb2 500msDelay K Organ Chamber1 TapChorusLes LE2 Organ Latch 1/8 Organ Phaser Organ CDR 1 nuLeslie122K Mitch's Leslie K TapChorusLes K2 Flange+Delay Empty Stage II AbbeyPianoHall 2 Opera House II Vintage Strings2 Classic Plate II Recital Hall II Small Hall II Real Niceverb II Medium Hall II Small Dark Room2 PnoRvb II ShortPnoRvb III PnoEnhancRvb3 RevComp5 Clunker II St CHDly II OmniStage ID 274 275 276 277 278 279 300 301 302 303 304 305 306 307 308 309 310 312 313 314 315 316 317 318 319 320 321 323 324 325 326 327 328 329 330 331 332 EFFECT OmniStage gshot vrb deep part1 DblSloFlangeCmp alphacentauri1 Timbered Taps 2 GospelDistLes K GimmeSumLeslieK DF OrganRoom GimmeSomeLesl GimmeSomeLesl2 500msDelay K Organ Chamber1 Organ Latch 1/8 Organ Phaser Organ CDR 1 AcceleratLes2 K ExpressLeslie K Leslie 122 a K Mitch's LeslieK Melvin'sLeslieK Greg's Leslie K RoomyLeslie122K SoftLeslie122 K CrnchLesli147 K Thimmer Leslie Jimmy's Leslie 2 Organ Taps Leslie Clean K Leslie 122 K Jimmy'sBrake Jimmy'sBrake K Greg's LatcherK Nice Leslie K Clean Leslie K Warm Leslie K NewLord 1 K ID 333 334 335 336 337 338 339 340 341 342 343 344 345 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 EFFECT CrunchLesl122 K HotLeslie122b K BostonLeslieK CrunchLesl122 K Hot Leslie 122e HotLeslie122f K Soul Leslie122 4 Leslie B 122 K JoeyLeslie122 K HotLeslie122g K HotLeslie122h K TapChorusLes K SlwPhasdLeslieK NonKB3 A K Warm Leslie12 K WrmDstlLes1dwK BrighDistlLes1K DistleratLes6 K BrightDistlLesK DistlLes HotGs Prog Leslie1K LightDistlLes2K DW Leslie13 K LeeMichaels 1 K NonKB3 A K DWLeslie12 K DistlLes 5 K Sly Leslie K LightDistlLes K FisherLeslie SoulLeslie122 K Big Pop PianoCmp PianoVerb1 Pro Piano Cmp DistlLes HotGs NewLord 1 SystemTemp Tap Effects ID 387 388 389 390 391 392 393 394 395 396 397 399 400 401 403 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 EFFECT WaterDistSynth FlangeVoiceHall BrightFlangeHall SoulLeslie122 K FlngRecitalHall Med Drum Room Dual Filters + Dual Filterzz Cathedral Vx BurningTubes5 PunchBassAmp RevverLeslie Bradley's Barn 1 Bradley's Barn 2 LA2A for Strings DrmCDR 1 DrumFatty DrumFattyDry AS Drum Room2 DrumFattyRoom RealDrmComp2 ChrsDly RealDrmComp DrumSlap Sys RealDrmComp2 TiteDrmComp Marimba Hall Gated Plate 144m AS Dub Delay HipHop Hall AGT Reverb Gated Plate2144m WarmCruncher DrumFatty3 Fierce Lead CompTrem 12StWarmCrunch ID 427 428 429 430 431 432 433 434 435 436 437 439 440 441 442 443 445 446 447 448 449 450 451 452 454 455 456 457 458 459 461 462 463 464 465 466 467 EFFECT Phaser EGT SnareComp1 ASDrumComp1 KickComp1 60's BigDrumRoom AS SynthDist2 AS CmpVerb4Drms AGT EnhCD CDRecitalHall Nylon EnhCD RealDrmComp3 ChrsDblRoom EnhcBassAmp FlangVoiceHall2 Vocals w FXnMic RealDrmComp4 Harpolicious ChrsDly EGT Hall Burning Tubes Chorus AGT SynthLead SynthBassAmp MosqueySwirl PadFX2 PadFX1 Chr & Echo Vocals w FX DrySynthCDR WetSynthCDR VibesRoom PercussionRoom CagesRoom CmpRecitalHall StrRecitalHall1 StrRecitalHall2 RecitalHall ID 468 469 470 472 473 474 477 478 479 480 482 483 484 485 486 487 488 489 491 492 493 496 500 501 517 518 519 520 521 522 523 524 525 526 527 528 529 EFFECT MyJacoART UprightBassRoom Levin Chorus Bright Room Med Dark Room BasicReverb Medium Hall 4U KickComp2 ColdPliano 2 FDR PercRoom NylonAgtVerb 3BandDrumComp KikComp 4:1 ToxicStrings 3BandDrumComp2 Scoopd Dist EGT2 NotScoopd Dist HeavyBuckers ProBassComp NYCTripStrings ProBassComp2 DirtLordAmp LE Setup Aux Verb Setup Aux DDL Early Reflection Pad Depth Pt1 Gunshot Verb AlphaCentauri 1 BasicCDR Synthorc BPM BPM Flange Dly DblSloFlangeCmp Deep ChorusVerb ChorDlyWet26-28 Light ChorusVerb Chor Delay 26 27 Pitcher Slider A F-3 Effects ID 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 558 559 F-4 EFFECT Pad Depth Pt1 PolyPitcher 2 LFO Pitcher Wet Hall for Pad DrmCMP4PrgFX2 Kick Compressor2 Snare Compresso2 DrmCMP4PrgFX Kick Compressor2 Snare Compresso3 Snare Compresso4 HOP Drum Reverb5 Stereoizer2/Verb CmPhDiRe4Drms2 Stereoizer3/Verb Stereoizer5/Verb DrmCMP4PrgFX5 HOP Drum Reverb5 Stereoizer6/Verb DrmCMP4PrgFX6 CmPhDiRe4Drms2 CmPhDiRe4Drms3 DrumFXcmpdly1a CmEqDeRe4DrmsST2 GatePltPhs3bnd2 SynthDist4Drms2 CmPhDiRe4Drms4 DirtLordAmp 2 JADrumAmp2a CmEqDeRe4DrmsST3 CmPhDiRe4Drms5 JADrumAmp2b DrmFatener/ Ech2 DrmCMP4PrgFX7 JADrumAmp2a CmEqDeRe4DrmsST3 ID 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 600 601 602 603 604 601 602 EFFECT EnhCD4DRUMS2 Little Booth2 DrmFlngDlyVrbCm2 CmEqDeRe4DrmsSTa CmEqDeRe4DrmsSTb DrumFattyDry2 DrumFattyDry3 AS Drum Room2a Gated Plate2144b DrumFatty4 DrumFattyRoom3 ASDrumComp1a AS Drum Room2a DrumFatty3a AS SynthDist2b HipHop Hall2 AS CmpVerb4Drms4 DrumFattyRoom4 DrumFattyRoom5 AbbeyBrushHall HOP Drum Reverb6 HOP Drum Reverb7 CmPhDiRe4Drms DrmFatener/ Ech2 Tuna Hall Gated Plywood PlywoodDrumFuzz AnvilDrumFuzz Drum Pad Reverb1 DrumFuzz Snare Comp/EQ hhpitchrja Gated Plate JAJazzCmps Snare Comp/EQ hhpitchrja ID 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 637 638 EFFECT JA Rl Nce Verb JADrumAmp1 JADrumAmp2 DrumFXcmpdly1 Drum Freq Offset CheapDrmDist SynthDist4Drms DrmCMP4PrgFX4 DrmThnphseSweep StereoizerW/Verb DrmCMP4PrgFX2 CmPhDiRe4Drms CmPhDeRe4Drms CmEqDeRe4Drms CmEqDeRe4DrmsST DrmFatener/ Ech DrmPhaseVerb DrmFlngDlyVrbCmp Drum VerbW/Ster Verb/Str/Cmp Verb/Str/Dist EnhCD4DRUMS GatePltPhs3bnd RevVrbFlgV DrmCMPVb4PrgFX2 3BndCmp4Snr HOP Drum Reverb1 StereoW/VerbHFD SnrFatener& Ech Warm Drum Plate Dly/vrb BPM Drm vrb Long Real drm plate Deep Fuzz Vrb Real drm plate Deep Fuzz Vrb Effects ID 639 640 641 642 643 644 645 646 648 651 652 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 670 671 675 676 680 681 682 685 687 690 EFFECT Flange+Delay MySynthDist DrmphseDlySweep CmDeRe4Drms Sweet drum Hall StevieTrem EP 1 Beater EP1 Jamerson1 SlyBASSComp1 Trampler 1 HipHop Drms1 HipHop Drms2 TOP Drum Reverb1 HOP Drum Reverb1 HopKickcmp1 NoQuarter TechnoHHDly 1/8 HOP Drum Reverb3 HopKickcmp7 Roomverb1 Kickcmp6 Snarcmp11 Reverb3 Small Dark Room Snarcmp12 Kickcmp13 BeastieDrums Clunker13 Funksnare9 Funksnare8 EPDistPhase1 RayEP 1 Deep Fuzz 1 Deep Fuzz 31 ReverseVerb1 Acidflute ID 691 692 694 695 696 697 700 701 702 703 704 705 706 707 708 709 710 711 712 713 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 EFFECT Blueman1 CompDelay12 SmallDarkRoom3 PlainComp15 RevComp4 EP RotoAmp12 HiMutron 1 Sax Chamber 21 BigDarkRoomDW New Gtr 31 PnoRvb 14 Small Hall11 PnoRvb21 Empty Stage 11 Mutron 2 Double Leslie 12 Double Leslie 5 PlainComp12 Double Leslie 11 CDR Synth SynthFlangenDely QuantzEnhanceSyn BladerunnrRvb Deep FuzzBass 1 Eber Bass SynFatener& Ech2 CP80Enhanc1 Fisher'sHarm Mic AbbeyPianoHall2 Medium Hall 2 Fagen Phaser Double Leslie 10 SmallWurly Basic WurlyEP Double Leslie 13 Cheese Horns ID 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 750 754 756 757 758 759 760 762 764 765 766 768 771 772 773 775 780 781 EFFECT BasicChorusDly 2 Double Leslie 8 Wallflower Ch ChPanDlyComp CheeseChorus Double Leslie 14 CompDelay SynFatener& Ech3 BIGCompDelay UprightPiano SitarCmpRvb AC Bass 3 VoxKB3 Blackfriday Blackestfriday Flange 4 DoubldistLslie20 Double Leslie15 Good Leslie1 Good Leslie4 GoodLeslie 6 WhitrShadeLeslie Inagadadavita GoodLordLeslie Small HallComp1 GoodLeslie 5 ShortPnoRvb31 St CHDly Synphase1 St CHDly Walrus EP EPChr16 Siberia Deep Fuzz 5 Flange Echo 2 ARPMosque Room F-5 Effects ID 782 784 785 786 787 788 790 792 793 794 795 797 798 799 801 802 803 804 805 806 807 808 809 810 811 812 813 814 815 816 817 818 819 820 821 822 F-6 EFFECT Chr & Echo Mutron Clav 2 Siberia II EnhanceComp1 Shaper->Reverb2 Clav Phase1 SynlaserFlange 1 RockyRaccoon Squire Flange 4 Deep Fuzz Clav Clav Comp1 SmallClav Synth Shimmer PhaseDly1 Shredlead1 ThinphaseSweep EnvComp41 MoogBASSComp11 SynFatener& Ech4 Shredlead15 PlainComp21 Garth BassFleaCompMu Chr & Echo 2 BasicCDR2 ShaperFuzzLead 2 AM Big Band Clunker20 PadFX3 SynFatener& Ech5 MarleyClav1 Flange Echo 4 Deep Fuzz Clav 3 GetBack1 Deep Fuzz Clav 5 ID 823 824 825 827 828 829 830 831 832 833 834 835 836 838 839 840 841 842 843 844 845 846 847 848 849 850 851 852 853 854 855 856 857 858 859 860 EFFECT ChrsDly4 Leslie Basic MoogBASSComp5 EPChr1 Dyno Synphase17 Leslie Comp 1 PhaseDly104 GoodLeslie 52 CPChrRvb1 DistLeslie Basic CompKit111 CarlosSyn MaroonSynbass FloydEP1 PnoCmpSndBoard 1 SuperTrmpPhase Wurly 1 ShortPlate4EPs ShortPlate4EPs2 Aux Dark Room 2 Elton1 Aux Chamber BowiePno1 BluesPnoCmpRvb 1 New Gtr 31 Soundboard 3 OmniStage Double Leslie MedPlateJazFlute MistyMntn EP 2 PnoEnhanc22 ClavPhase1 MedRoom10 EPChr11 HardRhds1 PnoEnhancement ID 861 862 863 864 865 866 867 868 869 870 871 872 873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 890 891 892 893 894 895 896 EFFECT Little Mu SmallHornChamber OmniStageDW Clunker50 PnoEQCmp3 Comp4 3DogEP 1 CompDelay PnoEnhanc22 cheap Chamber EPChr11 Old Chamber ChefAid 1 Zep Fuzz 1 Bernie Clav ClavRotoAmp Dark Niceverb Basic RayEP 3 LatinHornCmp Basic RayEP 2 Raffas DX7 EPChr6 PnoEnhanc3 SynEnhancement CompKik11 VintChamber SmallWurly2 Deep FuzzPnt 1 Comp70 FooldAgainVox CompKik111 Vintage Horns 3 Leslie Gospl EPChr60 Syn Lead A Deep Fuzz 51 Effects ID 897 898 899 900 901 902 903 904 905 906 907 908 909 910 911 912 913 914 915 916 917 918 919 920 921 922 923 924 925 926 927 928 929 930 931 932 EFFECT 4-Tap Delay BPM2 Shredlead3 Synphase1 Synphase2 SynthTrem2 DWAuxRvb1 Small Dark Room2 Sax Chamber2 Small Hall2 Medium Hall2 Real Niceverb Opera House2 Mosque Room2 Bright Hall Echplex 1 AbbeyPianoHall Recital Hall 2 Echplex 2 Medm Warm Plate2 EQVelMorph Aux Echplex Farfisa1 Good Leslie33 Zep Leslie Snarcmp801 kickcmp401 Deep Fuzz 6 SynEnv4 SmallComp9 KickComp201 GoodLeslie 9 Falgor Gtr KickComp701 Good Leslie34 Syncblip CompDelay3 ID 933 934 935 936 937 938 939 940 941 942 943 944 945 946 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964 965 966 967 968 EFFECT Cheese Horns2 SynthCDR20 Vintage Horns 2 Chorus Pan Delay Snarcmp101 Filter1 Syncpulsedw Kickcmp501 Snarshaper601 ProBassComp3 SynEnv5 SnareComp101 BostonLeslie2 Kickcmp104 Leslie MShoals Snarcmp121 WhitrShadeLesli3 Snarcmp112 Snarcmp113 EnvKickcmp1 Kickcmp602 Snarcmp112 HipHop Drms101 PnoCmpSndBoard10 Epicsnare1 JumpSynth Funksnare88 Kickcmp441 Upright3 HopKickcmp701 Leslie Comp 2 Kickcmp301 PnoRvb 1 PnoRvb2 HipHop Drms201 Breakdrums1 ID 969 970 971 972 973 974 975 976 977 978 979 980 981 982 983 984 985 986 987 988 989 990 991 992 993 994 995 996 997 998 999 1000 1001 1003 1004 1005 EFFECT Blackfriday2 CompDelay101 Sax Chamber 2 Clunker501 Horn Plate 1 Vintage Horns BrightFlange2 ThinphaseSweep2 Small Comp102 EPPhase1 NonKB3LesliePdl2 FlangeComp3 Mutron Clav 201 SynChorusDly202 RayEP 1 EnhanceComp121 Clunker IIa Pad Depth Pt1 AuxChorusHall TechnoSyn1 Synphase102 CompDelay CompMeltrn ARP Triplet delay Bigverb Syncpulse compbass 2 CompDelay3 Comp501 RMIPhase1 Joey Leslie 122 SynChorusDlydw2 ECello2 violin2 Small StringRoom F-7 Effects ID 1006 1007 1008 1009 1010 1011 1012 1013 1014 1015 1016 1017 1018 1019 1020 1021 2050 2051 2052 2053 2054 2055 2101 2102 2103 2104 2107 2108 2110 2150 2200 2201 2202 2203 2204 2205 F-8 EFFECT Viola2 Cello2 FalgorwahGtr Accdn Booth BRASS EQ/Comp SynTrem InfinSynCathedr Delay + Plate1 SEM TRIdw SynthLeaddw SynPadDW AGT EnhCDdw CasterTremdw LesTremdw StdioCasterRigdw PercVerb1 Concert Piano FX Studio Piano FX Dampers Up Forte Pad Depth Forte ChorVerb for Pad Symphony Harpsi ChoDistDly2 Dark Room 2 Carrot Rev Carrot 1a Cabbage 1a Cab-Reverb PithrFlngDistDly MarquisPiano3 BluesPnoCmpRvb 1 BluesPnoCmpRvb 2 BluesPnoCmpRvb 3 ArtEQDW1 ArtEQCMPDW5 ArtEQCMPDW6 ID 2206 2207 2208 2209 2210 2211 2212 2300 2303 2500 2501 2502 2560 3200 3201 3202 3203 3204 3205 3206 3207 3208 3209 3210 3211 3212 3213 3214 3215 3216 3217 3218 3219 3220 3221 3222 EFFECT ChessRecords1 ArtEQCMPDW7 MarquisPiano1 MarquisPiano2 Rachverb MarquisPiano5 ChessRecords2 JK FX Template jk AUX1 Pianarma EQ+Cmp Pianarama! verb KikComp 4:1 MarimbDelay BPM SEM TRI RAVE WIND Chroma FM Chroma FM2 Iceman Bass Mandocaster Daft Lead Tenor Sax GANGsta Wrap Basic Delay 3/16 DblSloFlangeCmp Pan Trem BPM Pan Trem BPM OOP BPM Pad ChDeRv supersaw 2 Slow Phase BPM Trance Lazer DUB Krafty Monks dist Booth Delay + Plate Dist Booth Dly Sonny More | ) ID 3223 3224 3225 3226 3227 3228 3229 3230 3231 3232 3233 3234 3235 3236 3237 3238 3239 3240 3241 3242 3243 3244 3245 3246 3247 3248 3249 3250 3251 3252 3253 3254 3255 3256 3257 3258 EFFECT JSP Synth CDL Synker1 SynCompMu1 Shred Gtr Shred Gtr Wah Chunky G 1 AuxGtrEchplex Synth Delay 1/4 Bari Sax Electric Mermaid Solo Trumpet FLIP'n Chorus! FLIP'n Delay! RedHot Dst/Cho RedHot Reverb RedHot Delay Miami Gated Room Miami Plate Rvb SnarkyDimplix Rb FLIP'n Distortn! Synth Brass Env Van BrownSound Van Reverb Gated Plate Van EQ WarmCruncher2 Scorb4Tap/Rv BPM Scorb-olo BPM Here Lil' Boy! DiPulsulator PadmePlecks BPM ToodleTrem ToodleDelay 1/8 Zap Chamber CasterTrem LesTrem Effects ID 3259 3260 3261 3262 3263 3264 3265 3266 3267 3268 3269 3270 3271 3272 3273 3274 3275 3276 3277 3278 3279 3280 3281 3282 3283 3284 3285 3286 3287 3288 3289 3290 3291 3292 3293 3294 EFFECT AS Laser Reverb as Laser Reverb NuBeautyDist AmbientPanner NuBeautyDist2 HammerDulceComp Dulcimer Chorus HammerDulceRoom3 HammerDulceComp2 LesChorus EGT Multi 1 Kinda Krunchy2 Pan Trem BPM OOP SEM Shape Bright Syn Pad Synth Delay/RVB Syn Chor DDL Syn Dist/Delay huge space 2 SynPad Synth Bass CDR BOC Deverb Gtr Niceverb TripleCaster1 TripleCaster2 TripleCaster3 TripleCaster4 TripleCaster5 TripleCaster6 TripleCasterWah TripleCasterEQ TripleCaster31 TrumpetWah E-Bow 1/2-1/4DlyBPM Phase ID 3295 3296 3297 3298 3299 3300 3301 3302 3303 3304 3305 3306 3307 3308 3309 3310 3311 3312 3313 3314 3315 3316 3317 3318 3319 3320 3321 3322 3323 3324 3325 3326 3327 3328 3329 3330 EFFECT EQVelMorph L EQVelMorph R HF Stim InstantHillbilly HoRnYFlAnGePaRtY BRASS EQ/Comp MouthyFilter Super8 Horn Dly BrassMod+AMRadio 7thHeaven Plate 7thHeavenCmpSlap Bullitt PDlyHall Bunny Delay 3 Van Brown LITE Van ChDly LITE Sax-susolo Plate THX StdioCasterFXRig BonzoCompLTE BonzoLTE GateRvb Syn Brass Plate Syn Str Hall E-Bow 1 THX WorldCDR1 WarmCDR Chunky G 1 OBI 1 SYnBassCompMu MarimbDelay BPM DW GatedLaserver Chillwave Chords Burning Keys 3 EnhanceSyn Burning Keys 6 StTaps1 ID 3331 3332 3333 3334 3335 3336 3337 3338 3339 3340 3341 3342 3343 3344 3345 3346 3347 3348 3349 3350 3351 3352 3353 3354 3355 3356 3357 3358 3359 3360 3361 3362 3363 3364 3365 3366 EFFECT Flange Mayhem2 Mute Gtr1 SynthCDR 3str Gtr Wah2 WorldMandolinCDR Padme's lil' Pal Squeeze Cmp Klockwork Bass Fishing Wave Rider TripleCaster6 TripleCasterWah Mr.West Horns TripleCaster31 SynPnoPhase1 PBS on VHS Attack Trance HPF Drum Taps Lectro Plate Nasty Syn Brass Syn Str Hall BOC Deverb Popcorn Plate Plantasia Plate New Horns 1 Phase DW SynChor&Dly1 Mando EQ WorldMandolnCDR1 Dist Booth Dly Synth Bass CDR Infin Cathedral Forte Pad Insert Punch-a-ghost ElecMandolin Gallo Dist+ EQ F-9 Effects ID 3367 3368 3369 3370 3456 3457 3458 3459 3460 3461 3462 3463 3464 3465 3466 3467 3468 3469 3470 3471 3472 3473 3474 3475 3476 3477 3478 3479 3480 3481 3482 3483 3484 3485 3486 3487 F-10 EFFECT UnderCurrnts UnderCurAux DW Laser Reverb Cathedral ChorDW BreakdrumsNEWKIK Lil' Drum Booth Small Drum Space Small Cmpsd Spce More Drum Air Full Drum Room Brite Drum Space Garage Drums Expandn'DrumHall Expandn'Drum 481 Expandn'DrumPLTE Expandn'Drum GYM SnappyDrumCmpVrb Drum Enhancer DrumComp subtle Snare Enhancer SnrEnhanceComp NewKickComp 1 CmpVerb4Drms2 DistCompRev4Drms DrmCMP4PrgNew Ricochet Verb VerbW/Stereo 2 DubDelayer DarkDrumSlap Sys ExpStereoDrmHall Snr Enhnce HiCut Trans DrmComp CmEqDeRe4DrmsSTb CmpDistRev4Drms VinylDistImage Dub hall ID 3488 3489 3490 3491 3492 3493 3494 4001 4002 4003 4004 4005 4006 4007 4008 4009 4010 4011 4012 4013 4014 4015 4016 4017 4018 4019 4020 4021 4022 4023 4024 4025 4026 4027 4028 4029 EFFECT JK Timbered Taps JK GatedLaserver JK Marimba Hall JK Green Room JK Laser Reverb Dubstep Drumz DubDelayer Rich 9 Ft Grand Rich 7 Ft Grand Rock 9 Ft Grand Bright 7ft Grand Solo 9 Ft Grand Solo 7 Ft Grand Vintage Upright Vintage Grand Elegant Grand New Orleans Dark & Distant Piano + Pad Piano & Strings Punchy Edge R&B Stack Super Pop 70s Album Artis Grand Legacy Grand New Age Grand Piano & Harp Piano & Choir Mood Ring Ambience Film Piano Soul Piano Pub Piano Double Grand Mono Upright ID 4030 4031 4032 4033 4034 4035 4036 4037 4038 4039 4040 4041 4042 4043 4044 4045 4046 4047 4048 4049 4050 4051 4052 4053 4054 4055 4056 4057 4058 4059 4060 4061 4062 4063 4064 4065 EFFECT Double Squash Vintage Squash House Piano Rooftop 73 Rhds Steely Dyno 77 Vintage Amp Wrly Amped Bell 73 BarkDist 77 Rhds Becks Retro Wrly Phasey 73 Rhds Mr. SparkleTop73 Aged Tolex 77 Smooth 70's 73 FusionChorDyno73 Chorus 77 Rhds 73/77 StereoBels Env Filt Rhds Ray's Wurly Deep Fuzz Wurly T-Bone Wurly Phase Dist Wurly Bright Fuzz Wrly Tramp Amp Wurly FM EP 1 FM EP 2 Rhotary Rhds 73 Elec Grand Stack BrightRMI Pn/Hrp Tight Bright FM Gabriel's Melt CP80 Enhanced VideoKilledRadio UK Pop CP70 MistyMountain EP No Quarter Pnt Black Friday Effects ID 4066 4067 4068 4069 4070 4071 4072 4073 4074 4075 4076 4077 4078 4079 4080 4081 4082 4083 4084 4085 4089 4090 4091 4092 4093 4094 4095 4096 4097 4098 4099 4100 4101 4102 4103 4104 EFFECT Sly Ballad RoyalKingWakeman StageTines Soft Suitcase Tines Rooftop 73 Rhds2 Suitcase EP Wurly 200 Chaka Clav SupaStevie CB Funkadelic Relic ZEP Clav HeartbreakerWAH Chameleon Wah Stevie Fuzz Amp OutOfPhasPickups Fr Harpsi L84U8 Fr Harpsi L48 Fr Harpsi Lute Fr Harpsi L8 Fr Harpsi U8 ClassicBLesFstvX FunkyPerc Les X SoulPerc Les X FirstThree LesX PerfectStrLes X 70s Drwbars LesX Prog Bars Les X Ezra II Les X CrunchLesl122 X SoulLeslie122 X Jimmy'sBrakeX DistlLes HotGsX NonKB3 A KX 2 VoxKB3 VoxKB3 Farfisa1 ID 4105 4106 4107 4108 4109 4110 4111 4112 4113 4114 4115 4116 4117 4118 4119 4120 4121 4122 4123 4124 4125 4126 4127 4128 4129 4130 4131 4132 4133 4134 4135 4137 4138 4139 4140 4141 EFFECT All Stops AllStopsAllVox Pipe Stops Chapel Organ Pipes & Voices 16' Open Flute 16' Ped Reed 16' Reed A 16' Viol Leslie 122 K X LightDistlLes KX Clean Leslie KX Fisher'sHarm Mic ParisCmboAccordn Mellow Accordion BrasilAccordion Press Lead Cars Square Lead Keytar Hero(Wah) Voyage Lead SimpleHipHopLead SquareChirpLead Vector Lead 80s Lead Synth Dark Wobbles Daft Lead Minipulse 4Pole Frankenstein Wah Candy*O Sync Raw & Bleedin Dist Filter Lead Film Score Pad Majestic Pad So Lush Pad Bladerunner ARP CrotaleScape Pad ID 4142 4143 4144 4145 4146 4147 4148 4149 4150 4151 4152 4153 4154 4155 4156 4157 4158 4159 4160 4161 4162 4163 4164 4165 4166 4167 4168 4169 4170 4171 4172 4173 4174 4175 4176 4177 EFFECT UnderCurrents Fairlight Pad Phase Shimmer Evolving Pad Lush Pad Deeper Water Lush Rhythm Pad Cosmic Sus Pedal Solo Syn Orch Add A Pad 1 Add A Pad 2 Super Saw Bright Vector Classic SynBrass MW S&H Filt 80's Heaven PolySynth Stack Chillwave Chords Classic Saws Big Old Jupiter Punchy Synth Touch Trance Square Bell Perc Vector Tesla Coil Warbly Pong SQR Gangsta Wrap Woodhouse Bass Aggro OctoBass KneeDeepMiniMoog Squeeze Mini Iceman Bass ANGRY Bass Big Synth Bass Noise Bass The Way It Is F-11 Effects ID 4178 4179 4180 4181 4182 4183 4184 4185 4186 4187 4188 4189 4190 4191 4192 4193 4194 4195 4196 4197 4198 4199 4200 4201 4202 4203 4204 4205 4206 4207 4208 4209 4210 4211 4212 4213 F-12 EFFECT Dolby Bass Adagio Strings Big LA Strings Fast Strings Slow String Trem AdagioTutti 8ves Adagio Octaves NashvilleStrings Poltergeist Pad Full Pizzicato Lead Violins II AggressDivisiStr Yesesis Tron Str Moby TurntblTron Solo Violin Fast Solo Cello Fast Solo Harp Session Hornz High-End Horns Split SectionSW Mancini Brass GB Hornz+Syn Super-8 Horn Dly Brass Fanfare Low Orch Brass Lead Trumpet Solo Trombone Jubilee Trumpets Wah Trumpet Mr. West Horns Bullit Brass Dr. Stab'N SwEll MiamiBrassSectns Mostly Saxes UniSaxSection Bassoon/Oboe ID 4214 4215 4216 4217 4218 4219 4220 4221 4227 4228 4229 4230 4231 4232 4233 4234 4235 4236 4237 4238 4239 4240 4241 4242 4243 4244 4245 4246 4247 4248 4249 4250 4258 4259 4260 4267 EFFECT Solo Alto Sax Solo Tenor Sax Flute/Clarinet Solo Bari Sax StrawberryFlutes Gothic Climax Winds & Strings 3Way Split Mltrn Rich 'Caster Rich Les Studio 'Caster Phaser Elec Gtrs TimeWarpCaster Kinda Krunchy Brown Sound LTE Stompbox Les SuperFlyWahCast Jack the Ripper Boutique Six Str Boutique 12 Str Real Nylon Mandolin Plus Banjo Plus Dulciere P-Bass Motown Bass Finger Bass Flea/Bootsy Jaco Fretless AC Buzzer Bass Beasties Bass Levin/Gabrlfrtls Motown Bass Finger Bass Flea/Bootsy Celeste ID 4268 4269 4270 4271 4272 4273 4274 4275 4276 4277 4278 4279 4280 4283 4284 4285 4286 4287 4288 4289 4290 4291 4292 4293 4294 4295 4296 4297 4298 4299 4300 4301 4302 4303 4304 4305 EFFECT Octave Celeste Bells Carillon Basic Orch Perc Orch Timpani Natural Perc Percussionist Bongo Conga Talking Drum Accessory Carnival Perc Vocal Percussion Celeste Mixed Choir Manhattan Voices Choir Complete NYC in LA Crystal Voices Cathedral Vox Silent Sorrow Swept Tron Voice Slo Orch Chorus Aaah Vocals Jazzy Ballad Vox Bright Syn Vox AntiqueAhhChorus Vox Angel Aaahlicious PolyTechnobreath Glockenspiel Real Vibes Stereo Marimba Xylophone XHarmonicStlDrum Chimes Bigger Chimes Effects ID 4306 4307 4308 4309 4315 4316 4317 4318 4319 4320 4321 4322 4323 4324 4325 4326 4327 4330 4331 4332 4340 4350 4351 4352 4353 4501 4502 4503 4504 4505 4506 4507 4508 4509 4510 4511 EFFECT Crotales Hits Metal Marimba SteamPunkMallets CeleseGlockHarp Celeste Palette Bellestrum VTrg Toy Piano Bunch of Bells Synthy 73 Wurzzicato Comp Cro + Pad Clavestrum Bowed Crotales Bells and Bows Bass Pedal Creepy Crawlies RockLesl122 X Reverse Universe Pan Strings 3 5th-Scape SyncoDeMayo Power Bottom Deception Bass Latch Bass APG-ish Bass ART2 Recital 587 ART2 Solo 988 ART2 Fierce 1175 ART2 Studio 831 ART2 Rich 1175 ART2 Jazzy 831 ART2 Bright 2794 ART2 Modern 415 ART2 Smooth 440 ART2 Vintage 330 ART2 Upright 466 ID 4512 4513 4514 4515 4516 4517 4518 4519 4520 4521 4522 4523 4524 4525 4526 4527 4528 4529 4530 4531 4532 4533 4534 4535 4536 4537 4538 4540 4544 4545 4546 4547 4548 4549 4550 4552 EFFECT ART2Intimate 554 FSE W/Pad 4435 ART2 Warm AGG2 Dark & Distant Air Rhds 5 74 Suitcase SE Lite Touch Tube Rhodes+FM Fagen Rhodes Tube EP Trem Sustain Dyno Reduced 73 Rhds DX7 Chain NG DX7 Chain Sustain Dyno 2 Warble Rhodes Subtle EP Verb Reduced 73 Rhdsd Air Rhds 5 Wurly 200 SE Wurly 200 SE 2 Tube Amp Clav 10 Tube Amp Clav12" Clavinet Tube Amp Clavint VAST Clav VAST Clav Autowa Harpsitar Classic Harpsic Simple Harpsic MustBeHarpsick Harp-Secco-rd Clavinet2 ClassicBLesFstvX SoulPerc Les X DistlLes HotGsX ID 4555 4558 4559 4565 4567 4568 4569 4570 4571 4572 4573 4574 4576 4577 4581 4582 4583 4584 4585 4586 4587 4588 4589 4590 4592 4593 4594 4595 4596 4597 4598 4599 4600 4602 4603 4604 EFFECT Single2xLeslie Farfisa Delay Farfisa Leslie Prophet Sync Keytar Hero(Wah) Clone Bandit 5ths Lead 4 Robin's Org Lead Snap Lead Sine Stuff Seondek Lead AlaskanWild Lead Poly Vector Lead Dogs Lead Omni Strings 3 OBX FX OBX FX Juno Chorus Omni Strings Detuned PolySyn OBX Pad PPG Arpeggi Pad Prophet Pad Warm EncounterFX Mesoshere Water Buffalo Pan Motion Pad Deeper Water NG 5th Synth 80s Saws Throaty S&H OBX FX Frozen Sawdust Tomita's Tomato Vintage Wobbler F-13 Effects ID 4606 4607 4608 4609 4610 4611 4612 4613 4614 4615 4616 4617 4618 4619 4620 4624 4629 4631 4632 4636 4637 4638 4639 4647 4648 4649 4650 4653 4654 4655 4656 4658 4659 4660 4661 4662 F-14 EFFECT Quadra Comp FX Clav Template 80s Saws Static Charge Poly Arp MH Poly Arp 3 poly Arpeggiator Dread Bass Uptown Bass Phattest Poppit SynBass MiniFunk SmoothMoogerCR RC Little Booth Dub Wob Uptown Phser Mod Delay Trem Layer Strangs Chain DBass & Violins MarmaladeStrings Dulcet Strings Tutti Strings UniSaxSection Lourde1 Full Blown Epic Low Brass Solo Saxes Sylvan Dbl Reeds Clarinet Fruity Floot SoloBassoon&Oboe BClar/Clar/Flute Dyn Orch Fr Horn TonyStarkAmp EPIC VOX & STRG ID 4663 4664 4665 4666 4667 4668 4672 4673 4674 4675 4676 4677 4678 4679 4680 4681 4682 4683 4684 4687 4688 4689 4690 4691 4692 4698 4699 4700 4709 4710 4711 4712 4713 4714 4715 4716 EFFECT Winds & Strings2 Congregation Matadores Cello & Reeds Dave & David H'Arps n Harp Mandolinese BroadwayBackup Gypsy Reggae Delay Amount Shimmer Pluck Shokdo Enka Yucatan Vibe MR Kite1 Mixed Strummah ChripingStompbox TouchMeAfter3pm Pizzynth Cirque du Synth PrivateVibes2 Broken Sparkle Touch Vocoder Pressure Cooker Armonica Wurly2! Ambience Chunky Comper 2 Twin Peaks Noisy Feedacker Ooh So G'oohD DapPer Dudes Bummer Dudes BaDaDah-Doop Choir Redux EnvelopingVoices OohDBopTouchEcho In a good place2 ID 4718 4721 4722 4723 4724 4741 4742 4743 4744 4745 4746 4747 4748 4749 4750 4751 4752 4753 4757 5000 5001 5002 5003 5004 5005 5006 5007 5008 5009 5010 5011 5012 5013 5014 5015 5016 EFFECT Dark Wobbles Daft Lead Minipulse 4Pole Frankenstein Wah Candy*O Sync Raw & Bleedin Dist Filter Lead Film Score Pad Majestic Pad So Lush Pad Bladerunner ARP CrotaleScape Pad UnderCurrents Fairlight Pad Phase Shimmer Evolving Pad Lush Pad Deeper Water Lush Rhythm Pad Cosmic Sus Pedal Solo Syn Orch Add A Pad 1 Add A Pad 2 Super Saw Bright Vector Classic SynBrass MW S&H Filt 80's Heaven PolySynth Stack Chillwave Chords Classic Saws Big Old Jupiter Punchy Synth Touch Trance Square Bell Perc Vector Effects ID 5017 5018 5019 5020 5021 5022 5023 5024 5025 5026 5027 5028 5029 5030 5031 5032 5033 5034 5035 5036 5037 5038 5039 5040 5041 5042 5043 5044 5045 5046 5047 5048 5049 5050 5051 5052 EFFECT Green Room AbbeyBrasHall2 MedRoom10 Medium Hall CDR Just Reverb Real Niceverb Small Hall Mosque w/Inf Rev CDR Aux Reverb Live RecitalHall MosqueySwirl Aux BladerunnrRvb Dark Room 2 UnderCurAux AbbeyPianoHall2 JK GatedLaserver SymphonyHall 1 Gunshot Verb SuperSaw Aux 7ft Aux Verb1 Cathedral Chorus SymphonyHall Aux Bradley's Barn 1 SymphonyHall 2 Empty Stage II AbbeyPianoHall 2 Sax Chamber 21 Smooth Long Hall Horn Plate 1 Super8 Horn Dly Solo Trumpet Predelay Hall Gtr Niceverb Bullitt PDlyHall 7thHeaven Plate Miami Gated Room ID 5053 5054 5055 5056 5057 5058 5059 5060 5061 5062 5063 5064 5065 5066 5067 5068 5069 5070 5071 5072 5073 5074 5075 5076 5077 5078 5079 5080 5081 5082 5083 5084 5085 5086 5087 5088 EFFECT Miami Plate Rvb Tenor Sax Bari Sax Small Dark Room2 Small Hall II Omni Stage DeepChorsDlyHall AGT Reverb NylonAgtVerb Small Dark Room HammerDulceRoom3 AbbeyPianoHall Lil' Drum Booth Gated Plate 144m SnappyDrumCmpVrb More Drum Air Full Drum Room Expandn'DrumHall DrmCMPVb4PrgFX2 Aux Dark Room 2 CmpVerb4Drms2 Garage Drums SymphonyHall 3 Med Drum Room PercussionRoom PercVerb1 Med Drum Room Elegant Hall Aux FlangVoXHall2Aux Cathedral Vx Aux Classic Plate II Real Niceverb II BigDarkRoomDW Empty Stage 11 Cab-Reverb jk AUX1 ID 5089 5090 5091 5092 5093 5094 5095 5096 5097 5098 5099 5100 5101 5102 5103 5104 5105 5106 5107 5108 5109 5110 5111 5112 5113 5114 5115 5116 5117 5118 5119 5120 5121 5122 5123 5124 EFFECT Empty Stage DF OrganRoom KB3 Aux2 Booth KB3 Aux2 Booth 2 Organ Chamber2 KB3 Cab 1 KB3 Cab 2 Plebe Chamber 1.6ms Hall Artis KHall 2.0ms Hall Sweet PnoHall 2 FM Hall .78ms Hall Album Plate OmniStage Artis LrgKHall Sweet PnoHall 2 Lrg Ambience l Upright Room Upright Room .78ms Hall OmniStage 200 Omni Stage Short Omni Stage 3 Empty Stage Empty Stage Scoring Stage ElegantHallAuxJK SymphonyHall1 JK Dulcet Hall huge space 2 ShimphonyHall 1 PredelayHall2 J1 PredelayHall2 J2 Sax Chamber21 JK F-15 Effects ID 5125 5126 5127 5128 5129 5130 5131 5132 5133 5134 5135 5136 5137 5138 5139 5140 5141 5143 5144 5146 6000 6025 6026 6027 6028 6029 6030 6031 6032 6033 6034 6035 6036 6037 6038 6039 F-16 EFFECT SymphonyHarp JK PredelayHall2 J1 Sax Room JK AUX PredelayHall2 J3 Subtle EP Verb VinylDistImage2 Dampers Up 2.5ms damperverb 4unit Dampers Up Forte damper verb DubDelayer 80s Saws verb SymphonyHall Inf Harmonica Mic Ricochet Verb Brite Drum Space Lil' Drum Booth Full Drum Room AS CmpVerb4Drms4 Little Booth2 VS Wave 122 Rhodes FX 1 Small Hall Tweet piano Y Grand EQ 2 Soundboard 3 9-Ft Piano FX2 77DWVintAmp2hi Tremolo BPM Pianarama! verb Solaris SolarisGateLazer Existential Taps URage_CmpRvb 77DWDYNOAmp1 LintBuster LD ID 6040 6041 6042 6043 6044 6045 6046 6047 6048 6049 6050 6051 6052 6053 6054 6055 6056 6057 6100 6101 6102 6103 6104 6105 6106 6107 6108 6109 6110 6111 6112 6113 6114 6115 6116 6117 EFFECT RSessionGTR 77DWDYNOAmp2 77DWDYNOAmp3 Y DW Rock EQ Y DW Rock EQ2 Heartbreaker S DW AlbumEQ1 DynoChor73 73DWPHASE2 Double Grand3 Dampers Up Forte ChorVerb for Pad dyn77Template SynChor&Dly1 Dampers Up Forte German Grand4 Ezra II Les X tmbshiftComp Small Hall steincoNcert2 steincoNcert3 warm stein1 9ft ppp Studio Piano as dancestudioyam1 Slo Attack Hall 7-Ft Piano asFN big stein 1 77ClikFix01 crtalsdelay 1 brtpunch yam 7ft RockVerb1 7Ft Vintage Rock Vintage Class C Dance Studio DanceStudioVerb ID 6118 6119 6120 6121 6122 6124 6125 6126 6127 6128 6129 6130 6131 6132 6133 6134 6135 6136 6137 6138 6139 6140 6141 6142 6143 6144 6145 6146 6147 6148 6149 6150 6151 6152 6153 6154 EFFECT OldSquashed D New Age Stn 1 big warm stein big warm C Darker D damperverb 2unit 7ft Solo D TMP flat EQ 7ft Squashed 7ft Warm Jazz 9ft Classic Rhodes Multi as1 77ClikFix02 7ft Smooth 9ft w Strings German Grand Concert Grand Warm Grand 1 D Template 3 Rich 7 ft Grand 7ft Vintage Rock Darker D Oscar's Grand eq 7ft Squashed2 Clear 9ft Grand 2.0ms Hall Warm 7ft Grand .78ms Hall House 7ft Grand New Age Grand Rhodes MultiFX 1 Rhodes Aux Verb1 Rhodes MultiFX 2 Rhodes Aux Verb2 1.6ms Hall 1.6ms Plate Effects ID 6155 6156 6157 6158 6159 6160 6161 6162 6163 6164 6165 6166 6167 6168 6169 6170 6171 6172 6173 6174 6175 6176 6177 6178 6179 6181 6182 6184 6185 6200 6201 6202 6203 6204 6205 6206 EFFECT 9ft Solo Grand 9ft DarkDistant 7ft C 9ft Bright Grand 7ft Bright Grand Harpsichord 1 Harpsichord 2 Vintage Squashed House 9ft Grand Super Pop eq Scoop 9ft Grand Brt Scoop 9ft Brt Scoop 7ft ARTISCncertPnAS1 9ft Solo Grand2 Dampers Upright German Grand2 Double Grand1 Piano + Pad 9ft w Strings2 FM n K EQ2 Artis Pluck EQ2 German Grand3 Double Grand3 German Grand4 Mono Upright CMartPiano 1 Brt Upright7ft Concert GrandEQ7 JSP Comp & EQ Album Plate DW 70s AlbumEQ1 Y DW Elton EQ2 DW70sAlbumEQSoft Ghost EQ Soft DarkUpright EQ ID 6207 6208 6209 6210 6211 6212 6213 6214 6230 6231 6232 6233 6234 6235 6236 6237 6238 6239 6240 6241 6242 6300 6301 6400 6401 6402 6403 6404 6405 6406 6407 6408 6409 6410 6411 6412 EFFECT BriteUpright EQ Upright Room 70s Blues 7ft Tramp Amp Soft Rhodes Soft Rhodes2 SoftStTrem Rhds 73SparkleTop Supa Clav Heartbreaker Relic Clav Steely Fuzz Stevie Fuzz Trampler Trampler2 OutaPhasePickups Chaka Wah ChameleonWah Beck Wurly BlkCrows Wurly Clav Chamber Weapon Chain Double Chorus 73DWPHASE1 77NAMMChor1 77NAMMChor2 73NAMMPHASDist1 77DWDstTrem1Wah 73DWStTrem1 73NAMMStTremDst1 73NAMMStTremDst2 77NAMMVintAmp1 DWWurlyVintAmp1 WurlyRayAmp1 NAMMSuperTrmpPha DWWurlyPhasDst1 ID 6413 6414 6415 6416 6417 6418 6419 6420 6421 6422 6423 6424 6425 6426 6427 6428 6429 6430 6431 6432 6440 6500 6501 6502 6503 6504 6505 6506 6507 6508 6509 6510 6511 6512 6513 6514 EFFECT DWWurlyBriteAmp1 NAMMWrlyDeepFuzz NAMMWrlyDeepFuz2 NAMMClavTrampler NAMMClavFuzz1 ClavNAMMPhasDst1 ClavNAMMPhasDst2 73DWPHASE2 77DWChor2 73DWPHASDist1 73DWPHASDist2 73DWPHASDistWah 77DWPHASDstWah1 73DWPHASDistWah2 73DWVintamp2 77DWVintAmpWah DampersUp Sweet PnoHall 77 cdr g1 t Sweet PnoHall 2 DeepfuzWurly1 Rds AuxVerb Long Comp Piano FX Piano MultiFX 1 Dist Clav FX Dist Clav CB FX Synth HF Stim Synth HF Stim 2 SuperSaw Aux SuperSaw Chroma FM3 KB3 Aux2 Booth GANGsta Wrap 2 KB3 Aux2 Booth 2 Organ Chamber2 NonKB3 A KX 2 F-17 Effects ID 6520 6521 6522 6530 6531 6532 6533 6534 6550 6551 6552 6553 6554 6555 6556 6557 6558 6559 6606 6610 6611 6612 6613 6617 6619 6627 6628 6630 6632 6633 6634 6635 6640 6643 6648 6649 F-18 EFFECT String Multi FX1 SymphonyHall Aux MltiFX for Stngs Rhodes-Chorus Rhodes-Flange Rhodes-Phaser Rhodes-Rotary Rhodes-Env Filt Rhodes1 Aux Rhodes Aux Room1 DampersUp Tines FX 9-Ft Piano FX DampersUp Sweet PnoHall Sweet PnoHall 2 Tines FX 9-Ft Piano FX Artis KHall Artis LrgKHall Upright EQ Artis LrgKHall ConcertGrand1 ModJazz Plate 1 Punch Room Concert Grand EQ Y Grand EQ 2 Bright Y EQ2 Artis K Pop EQ Dark n Distant Artis Pluck EQ1 Artis Y EQ Bebop Piano ModJazz K1 Piano + Pad Delay Piano ID 6650 6651 6655 6656 6657 6658 6659 6660 6661 6662 6663 6664 6665 6667 6668 6669 6670 6671 6672 6673 6674 6675 6676 6677 6680 6681 6682 6683 6684 6685 6686 6687 6688 6689 6692 6693 EFFECT Mono EQ RecitalHall BigChorusPiano2 Lrg Ambience l Ambient Pno EQ Blown Spkr Ins Recital Piano3 FM n K EQ FM Hall ConcertK lite1 ConcertK lite2 Soundboard as ConcertK 4sc ConcertK EQonly Artis Y Grand2a Artis YHall 2 Upright Room ParlorPianoEQ ParlorVerb PianoTmplateEQ1 ModJazz K2 Brgt Soundboard Recital EQ Radio Pop EQ Concert GrandEQ4 Soundboard 4 ModJazz K3 Upright EQ2 Pianarma EQ+Cm4 JSP Comp & EQ2 Recital Piano 3 ArtEQCMPas2 Weapon Chain2 MarquisPiano3 ClassicBLesFstv4 Concert GrandEQ6 ID 6694 6696 6700 6701 6702 6703 6704 6705 6706 6707 6708 6709 6710 6711 6712 6713 6714 6715 6716 6717 6718 6719 6720 6721 6722 6723 6724 6725 6726 6727 6728 6729 6800 6802 6803 6804 EFFECT ClassicBLesFstv4 ClassicBLesFstvX kb3 cab1 FunkyPerc Les 01 SoulPerc Les 01 PerfectStrLes01 70s Drwbars Les1 Prog Bars Les01 FirstThree Les03 Ezra II Les 01 kb3 cab1 FunkyPerc Les 01 SoulPerc Les 01 FunkyPerc Les X 70s Drwbars Les1 Prog Bars Les01 FirstThree Les03 Ezra II Les 01 SoulPerc Les X FirstThree LesX PerfectStrLes X 70s Drwbars LesX Prog Bars Les X Ezra II Les X CrunchLesl122 X SoulLeslie122 X Jimmy'sBrakeX DistlLes HotGsX NonKB3 A KX Leslie 122 K X LightDistlLes KX Clean Leslie KX Wurly Template Rhodes Aux Huge 7ft Aux Verb1 9-Ft Piano FX Effects ID 6805 6806 6807 6808 6809 6810 6811 6812 6813 6814 6815 6816 6817 6818 6819 6820 6821 6822 6823 6824 7000 7001 7002 7003 7004 7005 7006 7007 7008 7009 7010 7011 7012 7013 EFFECT Yam ppp CDR Aux Reverb Dark Wobbles Tines Aux Rev Synth Dist CDly Mosque w/Inf Rev MosqueySwirl Aux Forte Lead Insrt Comp Lead Insert CDR Just Reverb Wah Synth Insert Forte Lead GTR Phase+CH+Delay Dist/Wah Insert Comp Plex Insert Comp Mu Aliaser Elegant Hall Aux FlangVoXHall2Aux FlangVoiceInsert Cathedral Vx Aux GM Reverb GM Chorus Indie Piano BluesPnoCmpRvb 2 ArtEQ3 ArtEQDW4 ArtEQDW5 ArtEQDW7 ArtEQDW8 ArtOddHarm SoftPnoCmpRvb 1 SterPnoCmpRvb 2 SoftPnoCmpRvb 2 SterPnoCmpRvb 3 F-19 Index A Add parameter 11-15, 11-16, 11-23. Advanced 7-1, 7-13, 7-69, 10-6, 11-2, 12-3, 12-5. See also User Type: Advanced. Use of KVA oscillators 7-74. Aftertouch. See Mono Pressure. Algorithm 7-30, 7-31, 7-32, 7-36. Allocate parameter 11-29. Alphanumeric Entry 3-13. See also Program/Multi buttons. Alpha Wheel 3-10, 3-11, 6-2, 6-5, 6-6, 6-15, 7-2, 7-58, 10-4, 11-3, 12-2. Alternative Controller 7-22. Alternative Switch 7-22. AMPENV 7-48. Arpeggiator 6-13, 7-55, 11-2, 11-28. ARP1 Page 7-56, 11-28. ARP2 Page 7-63, 11-28. Arp Mode 7-57, 7-63. ArpSave 7-67 to 7-68, 7-68. Preset 7-57. Tempo 11-28. ArpSav 7-57. ASR 7-46. Assign 3-18, 6-13, 7-3, 10-11, 11-3. Enter + Controller 7-3, 11-3. Enter + Key 6-13, 11-4. Assignable Switches 3-4. Audio Cables 2-2, 2-8. Audio In 3-9, 12-5. Audio Jacks 2-8. Audio Problems 14-2. Auto Power Off 12-4. AUX1 and AUX2 7-10, 7-14, 11-31, 11-32. Override 11-30. Send Level 11-31. Aux Effects 6-16, 7-14. Chains 11-30. Channel 11-28. B Balanced Cable 2-2, 2-8. Bank Change 12-12, 12-13. See MIDI: Bank Changes. MIDI 4-2, 12-13. Mode 12-12. Index Select 10-2, 12-11, 12-12. Banks 10-2. factory 6-2. Shift Patterns 11-21. Bend 3-7, 11-19. Down Ct 11-13. Down ST 11-13. Up Ct 11-13. Up ST 11-13. Brake D-2. Bump 11-12, 11-14, 11-16. Buttons 3-2. See also Zone: buttons; See also Edit: button; See also Enter: button; See also Program/Multi: buttons. Category 6-2, 6-6, 10-5. Channel/Layer/Zone 3-10, 6-16, 7-6. Double Press Demo 3-17. Panic 3-17, 6-17. Program Demo 3-16, 5-6, 6-3. Reset Transposition 3-15. Value Jump 3-11, 3-14, 3-15, 6-5, 11-5, 11-6. Global 3-10. Multi 3-9. Mute D-2. Next 3-10, 3-11. Previous 3-10, 3-11, 6-2, 6-5. Program 3-9. Soft 5-4, 5-5. Transpose 3-6, 6-7. Value 10-4. Value Jump 3-11, 6-5, 7-2, 10-4, 10-13, 11-3. Variation 3-5. See also Variation: buttons. C Cascade Mode 7-6, 7-35, 7-74. Category Buttons 2-11, 3-13, 6-2. Category Default 10-2. See Default (Category). Multi 10-4 to 10-5. CC number 7-8. See MIDI: CC numbers. CC Pedal Jack 2-5, 2-6, 2-7. CCTLS Page 11-13. Chain 8-1, 8-3, 11-31. Chain Info 8-3 to 8-4. Change Multis Parameter 12-12. Channel 3-9, 4-1, 4-2, 6-1, 6-16, 11-1, 11-8. local keyboard 12-13, 12-14. Parameter 11-8. Reset 3-15. Chord 11-4, 11-25. Chorus 8-13, D-2. Clock Source 11-28, 12-4, 12-16. Index COMMON page 7-16, 7-41, 7-42, 11-26, 11-27. KB3 7-82. Common Parameters 11-1. Compatible Files 12-25. Compress 11-12, 11-15. Compression 8-12. Connecting Audio 2-2, 2-3, 2-8. Connecting MIDI 2-4, 2-9 to 2-10. Connecting Pedals 2-4. Continuous Controllers Destination list 11-17. Continuous (Control) Pedals 2-7, 3-7. Contrast Knob 3-11. Control 7-11. Controller 2-3, 2-4, 2-5, 2-10, 3-9, 4-2, 5-1, 6-8, 6-10, 6-13, 6-14, 6-17, 10-3, 11-1, 11-3, 11-8, 11-9, 11-13 to 1117, 12-11 to 12-14. See also Arpeggiator: Controllers. Conventions 6-9, 10-8. Destination 11-27. Control Sources 7-7, 7-12. Controls Page 11-10. Crossfade 7-18, 7-42, 11-12, 11-16. Curve Parameter 11-15. D Default. See also Factory defaults. Category 6-5, 6-6. keyboard range 6-11, 6-12. Power up 3-1. Delay 7-26, 7-27, 8-8, 10-8. Delete 6-15, 7-70, 8-5, 10-14, 11-32, 11-33. DELETE Page 12-17. Demo Function 5-5, 6-3. Demo Song 3-16, 3-17, 5-5. Destination 11-6, 12-11. Local 11-5, 11-7, 11-8, 11-18, 12-11. MIDI 11-6, 11-7, 12-11. Destination Parameter 11-6, 11-14, 11-26. Diagnostics 13-7, 14-7. Directories 12-20. Display 3-10, 6-4, 7-2, 11-2. Contrast Knob 3-11. Distortion 8-17. Double Button Presses 3-14 to 3-17, 6-5, 11-5, 11-6. Drawbars 7-87, D-2. Drum Remap 7-43, 12-9. DSP 7-6, 7-7, 7-14, 7-21, 7-30, 7-31, 7-32, 8-1. Dual Switch Pedal 2-5, 2-6. E Edit button 3-12, 5-7, 7-1, 7-6, 7-65, 7-67, 11-1. Editing Parameters 3-12, 6-11 to 6-12, 7-1, 7-2, 7-10, 11-1 to 11-6, 11-13, 12-1, 12-2, 12-6. Effects 7-13, 7-40, 11-31, F-1. Aux 11-31, 11-32. Insert 7-14. Layer-specific 7-15. parameters 8-5. Enable 7-27. Enter. See also Assign. button 3-18, 7-6, 11-3, 11-10, 13-1. Entry Position 11-16. Program Change Parameter 11-9. State 11-26 to 11-28. Value 12-5. Entry Program Change. See Program Change: Entry. Envelopes 7-46, 7-48 to 7-52. EQ 8-9. See Master EQ. Page 7-94. Exit 7-67. Exit Value 11-16. Expand 11-12, 11-15. Expanders 8-11. Expression 12-17. F Factory Banks 2-11, 6-2, 10-2. Multis 10-2, 10-7. programs 2-10, 6-5, 6-6. state 3-10, 4-3. Factory Defaults 12-1, 13-8, 14-6. Factory service 13-7. Favorite buttons 3-14, 6-2, 6-7, 10-2. Favorites Help buttons 7-70, 8-5, 11-32, 11-33. Features 3-1. Feet (Rubber) 2-1. File Name 12-22. Files 13-3, 13-11, 13-13. Delete All 13-8. Load (Fill) 12-23. Loading 3-10, 11-9, 11-27, 12-23, 13-2. Load (Overwrite) 12-23. Saving. See Store. FILL 12-23, 12-24. Filters 8-15. Flanger 8-14. Flash Drive. See USB Flash Drive. Flash Memory Format System 13-11 to 13-12. Freeze Pedal 7-29. Index Front Panel 2-2, 2-10, 3-2, 3-9, 3-10. Function Page 7-47. Functions 5-1, 5-4. See also Arpeggiator; See also Demo Function; See also Layer: Function; See also Split: Function. FX. See Effects. Mod controller 8-3. FX Chain 7-10. FX Mode Parameter 12-3. FX Page 11-29. G Gates 8-12. General MIDI (velocity) 12-7. Global Button 3-10. Global Mode 3-10, 4-3, 5-2, 5-3, 10-1, 12-1, 12-2, 12-11, 12-23, 13-8. User Type 7-1. Global Parameters 11-7, 12-1. Globals 7-19. H Half Damper Pedal 2-5, 7-29. See Pedal: Half Damper. Half Damper pedals 2-7. Hammond B3 4-2, 7-79. Headphones 2-2, 2-8. HELP 8-5. Help Soft Button 7-69, 7-70, 11-32, 11-33. High Key 6-13, 11-4. HiVel Parameter 11-12. I ID Numbers 5-5, 6-14, 10-2, 10-13, 12-14, 12-23. Impact 7-54. Info 12-17. INFO page 8-3. Insert 6-15, 10-14, 11-29, 11-31. Intonation Key 12-8. Intonation Map 12-7. J Jump. See Buttons: Value Jump. K K2600 12-13. Bank Mode 11-8. KB3 7-1, 7-4, 7-10. Channel 11-28. Controls 3-5, 3-7, D-2 to D-4. indicator light 3-2, 3-4. LED 3-13, 3-14. Mode 7-79, D-1, D-2. Programs 4-2, 6-4. Key 9-4. Key1-8 parameter 11-25. Keyboard 2-1, 2-2, 4-1, 4-2, 5-4, 6-13, 11-7, 12-17, D-1. local channel 12-13, 12-14. range 6-11, 6-13, 7-24, 10-11. zones 10-7. KeyClick 7-86, 7-90, D-3. Key High. See High Key. Key Low. See Low Key. Keymap 7-19, 7-21. Keymap Editor 9-1. Key parameter 11-25. Key Range Parameter 11-5, 11-10. Key tracking 7-21. Knob 3-8, 3-9, 3-11. KUF File 4-3, 13-2, 13-3, 13-5. KVA oscillator 7-4, 7-6, 7-71, 7-72, 7-74 to 7-78. L LaserVerb 8-15. Latch 7-58. Layer 4-2, 6-10, 10-9. Function 5-4, 6-12, 10-9, 10-10. Page 7-24. Layer FX 7-15, 7-42. LCD Display 3-10, 5-4. LED 3-6, 3-8, 3-9, 3-10, 3-14, 6-1, 6-6, 12-1. Legato 7-17, 7-23, 7-66. Leslie 7-84. Level audio volume 2-2, 2-3, 2-8. parameter 7-7. voltage 2-2. LFO 7-43, 7-44, 7-45. Rate 7-44. Linear 11-12, 11-15. Load 12-20. See also Files: Loading. Page 12-23. PC 2-10, 13-4, 13-5. USB 2-3, 2-10, 3-10, 12-4, 12-11, 12-13, 12-21, 12-23, 132, 13-3, 13-4. LOCAL 11-7. Local Keyboard Channel 12-13, 12-14. Loop 7-50, 9-13. Low Key 6-13, 11-4. M Main Page 11-6, 12-2. Index MAIN Page 8-1. Maintenance 13-1, 14-1. Master EQ 3-8, 3-9. Method 7-22. MIDI 12-15. Bank 4-2, 11-9. CC numbers 7-8 to 7-10, 11-14, 11-17. Channel 3-9, 4-1, 4-2, 6-1, 6-16. Channel Transmit 6-16, 12-11, 12-13. Connecting. See Connecting MIDI. Implementation Chart A-1. Page 12-11. Ports 2-4, 12-11. Problems 14-4. Program Change 12-11. Program Parameter 11-9. transmit channel 6-16, 10-1, 10-6, 11-1. transposition 10-3. MISC page 9-11. Mod Controls 8-1. Mode 2-2, 3-8, 3-13, 4-3, 5-1, 5-4. Buttons 2-2, 3-9, 6-16, 11-1, 12-1, D-2. Continuous controller 11-14. Global. See Global Mode. Multi 2-11, 3-9, 3-13, 3-15, 5-2 to 5-7, 6-12, 6-13, 10-1, 11-7, 12-11 to 12-14. Multi Edit 5-6, 5-7, 11-1 to 11-4, 12-14. Program 2-2, 2-11, 3-9, 3-15, 3-16, 5-1 to 5-6, 6-1 to 6-17. Switch controller 11-25. System. See System Mode. MOD Pages 8-2. Mod Wheel 3-7, 4-1, 5-1, 6-8, 12-14. Momentary 11-24, 11-26. Mono 2-2, 2-8. Monophonic 7-16, 7-17. Mono Pressure 3-10, 12-7. Multi button 3-9. Multi Controllers 12-5. Multi Edit Mode 5-6, 5-7, 6-10, 11-1, 11-2, 11-4, 12-14. Multis 3-9, 3-13, 4-1, 5-2, 10-2. See also Mode: Multi. Deleting. See DELETE page. Editing. See Multi Edit Mode. Favorites. See also Favorite Buttons. Parameters List. See Zone: Parameters. Zones. See Zone. Music Rack 1-3. Muting Zones 2-5. N Naming 6-15, 11-5, 11-6. Navigation Buttons 3-2, 3-10. New Directory 12-22. Next+ 6-2, 6-5. Note Map Parameter 11-10. Numeric Entry. See Alphanumeric Entry. O Objects 4-3. Deleting All 13-8. Importing 12-25. Programs. See Program. Octave 3-16, 6-8, 10-6, 11-22. Off Value 11-26. On Value 11-26. Output parameters 7-19. Overview Page 11-5. OVWRTE 12-23, 12-24. P Pan 6-13, 7-41. Entry 11-6. Parameter 11-6. Zone Pan 10-11. Panic 3-17, 6-17. See also Buttons: Double Press: Panic. Param 8-2. Parameter 7-10, 12-2. Edit Page 7-13. PARAMS Page 7-4, 7-6. Parameter Assignments 6-8, 10-7, 11-17. Path 12-20. PC 2-10, 13-4, 13-5. Pedal 2-4 to 2-7, 2-11, 4-1, 5-1. Dual Switch 2-6. freeze 7-29. jacks 2-4. Problems 14-5. Percussion 7-91, 7-92, D-3. See also Category buttons. Pitch 7-7, 9-12. Pitch Bend 7-17, 7-26. Range 7-17. Pitcher 8-21. Pitch Wheel 3-6, 3-7, 5-1, 7-17. Playback mode 7-22. Polyphony 7-4. Pop Up Messages 6-4, 10-3. Portamento 7-18. Power ii, iii, 2-2 to 2-8, 3-1, 12-1, 12-4, 13-1. Problems 14-1. Power Cable iii. Power Off. See Auto Power Off. Pre/Post Insert 7-14, 7-82, 11-31. Pressure. See Mono Pressure. Pressure Map 12-7. Index Previous-/Next+ 6-15. See also Buttons: Value Jump. Program 3-9, 3-13, 4-1, 5-1, 6-1 to 6-17, 6-13, 7-1, 10-1. See Mode: Program. Banks 6-2. Demo 6-3. Favorites. See Favorite Buttons. List C-1. Mode 12-3, 12-13. See Mode: Program. Parameter 11-5, 11-6. Selection 2-10, 6-2, 6-6. Split/Layer 10-11. Program Change. See MIDI: Program Change. Entry 11-9. Mode 12-13. Program Edit Mode 5-6, 7-1. Program FX 7-13. Program/Multi 12-5. buttons 3-13, 6-6, 6-15, 10-5. Q Quantize 8-14. R Real Time Control 3-3. Rear Panel Connections 2-3, 2-8. Regular 11-2. Rename 6-15, 10-13. Reset 4-3. controllers 6-17. MIDI transmit 6-16. System 13-8, 13-9. transposition 6-8. Restore 13-13. Reverb 8-6, 10-8. Ring Modulation 8-21. Root 9-12. RootKey 9-11. Root Note 11-22. See Shift Key. Rotary S/F D-4. Rotating Speakers 8-18. Rubber Feet. See Feet (Rubber). Run Forte SE 13-2. Rvrs (Reverse) 11-12, 11-16. See also VelCurve. S Sample Editor 9-11. Samples 7-4, 7-20 to 7-45, 7-48, 7-71, 9-3, 9-10, 9-14. mono 7-18. Save. See Saving; See also Store. Save button 3-9, 3-12, 6-8, 6-13, 10-12. LED 6-8, 6-14. Saving arpeggiator patterns 7-65, 7-67, 7-68. keymap 9-8. samples 9-15. split or layer 6-13. user multi 9-1, 10-12, 10-15. user program 6-16. Scale Parameter 11-15, 11-23. Select Directory Dialogue 12-22. Send 7-14, 11-31. Service Centers 14-6. Shift Key 11-20, 11-22. Shift Pattern 11-21. Sliders 2-11, 3-2, 3-3, 4-1, 5-1, 6-8, 10-8, 12-5, 12-14, D-2. Soft Button 3-11, 6-4, 7-7. See also Buttons: Soft. Soft Buttons 7-69. Soft Pedal 11-18. Software Restore. See Restore. Update 1-3. See System Update. Sostenuto 2-5, 2-7, 3-7, 7-84, 11-18. Sound Select 3-13. Sound Sel parameter 6-2, 12-5. Specifications B-1. Split 4-2. Button 6-10, 10-9. Function 5-4, 6-10, 6-11, 10-9 to 10-10. Program 6-13. Split/Layer parameters 6-12, 10-11. STATE 12-17. Status 6-12, 10-11, 11-5. Stereo 7-20. simulation 8-22. Store 12-18, 12-20, 12-21. Support 2-6, 13-7, 13-13. Sustain 2-5, 2-7, 3-7, 7-84. pedal 7-26. SW1 and SW2 Pedal. See also Switch Pedal; See also Pedal. Switch 2-5, 3-2, 4-1, 5-1, 6-8, 11-24, D-2, D-3. Switches 10-8. SWITCH Page 11-24. Switch Pedal 2-5, 4-3, 2-6, 3-7. See also Pedal. Sync Square 7-73. Sysex ID 12-14. System Mode 13-1. System Update 13-10. T Tablet 2-3, 2-10, 13-4. TAP controller 12-16. Tempo 11-27. Page 7-58, 12-16. Index Text soft button 8-4. Thumb Drive. See USB Flash Drive. Timbre Shift 7-22. Toggle 6-4, 6-14, 7-18, 7-50, 7-55, 7-81, 7-83, 7-84, 7-86, 7-92, 10-13, 11-26, 12-10. definition 11-24. soft button 9-4, 9-5, 9-6. TOOLS Page 12-14. Transpose Buttons 3-6, 6-8, 10-6. LEDs 6-8, 10-7. Reset 3-6, 3-15. Transpose Parameter 11-10, 12-3. Xpose parameter 7-21. Transposition 3-10, 3-16, 6-7, 10-6. Tremolo 8-20. Trigger 7-26. TRIM Page 9-11, 9-14. Troubleshooting 13-7, 14-1. Tune Parameter 12-2. Tuning 3-6, 3-10, 6-7. Type Parameter 11-26. U Update 2-3. Update Module 13-13. USB 10-6. USB Flash Drive 13-2, 13-3. USB MIDI 12-4, 12-11, 12-13. USB Port 2-3, 11-7, 11-15, 11-26, 12-13, 12-21. User Bank 2-11, 6-16, 12-24. button 2-11, 6-5, 10-2. Categories 6-6. User Objects Deleting all. See Files: Delete All. Multi 10-12, 10-13. Programs 5-1, 6-13, 6-15. User Type 6-2, 7-1, 10-2, 10-6, 11-2, 11-32, 12-3, 12-5. Advanced 6-2, 7-1. Regular 7-1. Utility Soft Buttons 7-69, 11-32. V Value 7-12. Value of None 7-12, 10-11, 11-7. Variation Button 3-5, 6-8. VAST 7-1, 7-4, 7-10. Dynamic VAST 7-36. Velocity 3-10, 7-25, 11-19. General MIDI 12-7. Index Map 12-6. Parameter 11-25. Tracking 7-21. VelCurve 11-12. VelMode 11-11. VelOffset 11-11. VelScale 11-11. Vibrato 8-19. View 3-10, 6-4, 10-3, 10-7. VOICES 12-15. Volume 6-13, 12-17. See also Level: audio volume. Slider 2-2. Zone Volume 6-13, 10-11. W Wheel. See Alpha Wheel; See also Mod Wheel; See also Pitch Wheel. Z Zero 9-15. Zn and Stat 6-12, 10-11, 11-5. Zone 4-1 to 4-2, 5-2, 6-10 to 6-12, 10-1, 10-6, 10-10, 11-1 to 11-33, 12-13 to 12-14, D-2. Activating. See Activating Zones. buttons 3-4, 5-1. New Zone 11-32. Zone buttons 10-6. additional 10-6.
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