Hammond XK-3 Owner's Manual

*#1
Model :-
Thank you, and congratulations on your choice of
a Hammond XK-3.
In order to get the most out of this instrument for
many years to come, first take the time to read this
manual in full.
Owner’s Manual
IMPORTANT SAFETY INSTRUCTIONS
Read these instructions.
Protect the power cord from being walked on or pinched,
particularly at plugs, convenience receptacles, and the point
where they exit from the apparatus.
Keep these instructions.
Only use attachments/accessories specified by the manufacturer.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings.
Install in accordance with the manufacturer's instructions.
Do not install near any heat sources such as radiators, heat
registers, stoves or other apparatus (including amplifiers) that
produce heat.
Do not defeat the safety purpose of the polarized or groundingtype 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 wider blade or third prong is provided for
your safety. If the provided plug does not fit into your outlet,
consult an electrician for replacement of the obsolete outlet.
Use only with the cart, stand, tripod,
bracket, or table specified by the
manufacturer, or sold with the
apparatus. When cart is used: use
caution when moving the cart/
apparatus combination to avoid
injury from tip-over.
Unplug this apparatus during lightning storms, or when
unused for long periods of time.
Refer all servicing to qualified service personnel. Servicing is
required when the apparatus has been damaged in any way,
such as power-supply cord or plug is damaged, liquid has
been spilled or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture, does not
operate normally, or has been dropped.
Apparatus shall not be exposed to dripping or splashing and
no objects filled with liquids, such as vases, shall be placed
on the apparatus.
WARNING: To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
The lightning flash with arrowhead symbol within an equilateral
triangle, indicates that dangerous voltage constituting a risk of
electric shock is present within this unit.
The exclamation point witnin equilateral triangle, indicates that
there are important operating and maintenance instructions in
the literature accompanying this unit.
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:-Owner’s
Manual
FOR UNITED KINGDOM:
FOR YOUR SAFETY, PLEASE READ THE FOLLOWING TEXT CAREFULLY
This appliance is supplied with a molded 3-pin mains plug for your safety and convenience.
A 5 amp fuse is fitted in this plug.
Should the fuse need to be replaced, please ensure that the replacement fuse has a rating of 5
amps and that it is approved by ASTA or BSI to BSI1362.
Check for the ASTA mark
or the BSI mark
on the body of the fuse.
If the plug contains a removable fuse cover, you must ensure that it is refitted when the fuse is
replaced.
If the fuse is lost, the plug must not be used until a replacement cover is obtained.
A replacement fuse cover can be obtained from your local Hammond Dealer.
IF THE FITTED MOULDED PLUG IS UNSUITABLE FOR THE SOCKET OUTLET IN YOUR
HOME, THEN THE FUSE SHOULD BE REMOVED AND THE PLUG CUT OFF AND DISPOSED OF SAFELY.
THERE IS A DANGER OF SEVERE ELECTRICAL SHOCK IF THE CUT-OFF PLUG IS INSERTED INTO ANY 13 AMP SOCKET.
If a new plug is to be fitted please observe the wiring code as shown below.
If in any doubt, please consult a qualified electrician.
IMPORTANT - The wires in this mains lead are coloured in accordance with the following code:
Blue:
Brown:
Neutral
Live
As the colours of the wires in the mains lead of this unit may not correspond with the coloured
marking identifying the terminals in your plug, proceed as follows.
The wire which is coloured BLUE must be connected to the terminal in the plug which is marked
with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal in the plug which is marked
with the letter L or coloured RED.
Under no circumstances should either of these wires be connected to the earth terminal of the
three-pin plug, marked with the letter E or the Earth Symbol
.
How to replace the fuse. Open the fuse compartment with a screwdriver and replace the fuse and
fuse cover.
Introduction
IMPORTANT - PLEASE READ
Your Hammond XK-3 Drawbar Keyboard is designed to give you the true and
authentic sound of Hammond Harmonic Drawbars, as well as provide you a large
variety of features to allow great flexibility in how you want to use the keyboard.
This Owner's Manual is designed to explain the operating features of your Hammond
XK-3 as simply and graphically as possible.
Because we want to make this manual, as well as the keyboard itself, as easy to
understand as possible, the explanations in this manual are grouped by subject matter,
and not in the order in which they necessarily apper in the display (the screen in the
left of the keyboard front panel). For example, all functions pertaining to Drawbars
are grouped together, all Percussion features are treated as a group, and so on.
Also, each feature is treated as an explanation unto itself, and does not require you to
already have prior working knowledge of some other feature. The explanations are
presented such that, if you follow the steps, will be identical to that shown in the
manual at that stage of the explanation.
Do not be daunted by the number of steps required to perform each operation. Each
step is simple. Simply bear these things in mind:
1.
2.
3.
Read each step carefully.
Don't skip any of the steps.
Don't perform the steps out of sequence.
With these guidelines, you are well on your way to mastering all of the many sounds
and features of your Hammond XK-3.
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Manual
BATTERY BACK UP
Your XK-3 uses a battery-backed RAM to remember your changes to the Parameters.
When the battery voltage becomes low, the Display will show:
If you see these messages, you should immediately back up your parameter changes, if
you have made any. If there is no battery installed in the unit, or if the battery is
compeletely dead, the Display will show:
After the above message is displayed, the XK-3 will re-initialize itself, and the factory
default settings will be restored. Therefore, it is a good idea to periodically save your
data to CompactFlash card.
CAUTION: In order to change batteries, be sure to ask your dealer or store.
Introduction
Table Of Contents
IMPORTANT SAFETY INSTRUCTIONS .................................. 2
IMPORTANT - PLEASE READ ............................................... 4
BATTERY BACK UP .............................................................. 5
MAIN FEATURES ................................................................. 9
NAMES AND FUNCTIONS .................................................. 10
Front Panel ................................................................................... 10
End Block .................................................................................... 12
Rear Panel ................................................................................... 13
HOOK-UP........................................ 15
BASIC HOOK-UP ................................................................
USING EFFECT LOOP .........................................................
CONNECTING THE LESLIE SPEAKER .................................
CONNECTING THE MIDI KEYBOARD ..................................
16
16
17
18
TURN ON AND PLAY ...................... 19
POWER ON ........................................................................ 20
HOW TO POWER ON ............................................................... 20
BACK-UP ................................................................................ 20
RESET TO THE INITIAL STATUS .............................................. 20
LISTEN TO THE DEMONSTRATION PERFORMANCE .......... 21
PLAY WITH THE COMBINATION PRESET ........................... 22
HOW TO RECALL THE PRESET ............................................... 22
1.Select the BANK ....................................................................... 22
2.Select the KEY. .......................................................................... 22
SETTING UP ................................... 29
SOUND ENGINE STRUCTURE ............................................ 30
SYSTEM STRUCTURE OF THIS KEYBOARD ............................ 30
DRAWBARS™ .................................................................... 32
WHITE DRAWBARS ................................................................ 33
BLACK DRAWBARS ................................................................ 33
BROWN DRAWBARS .............................................................. 33
DRAWBAR REGISTRATION PATTERNS ................................... 34
3 SETS OF DRAWBARS AND PARTS ....................................... 36
MATCH THE REGISTRATION TO DRAWBARS .......................... 36
PERCUSSION ..................................................................... 37
NOTES .................................................................................... 37
"Percussion does not sound!" ...................................................... 37
DRAWBAR CANCEL ..................................................................... 37
VIBRATO/CHORUS .............................................................
TUBE AMP .........................................................................
LESLIE ...............................................................................
EQUALIZER & REVERB ......................................................
38
39
40
41
EQUALIZER ............................................................................. 41
REVERB .................................................................................. 41
COMBINATION PRESETS ................................................... 42
BANK AND KEY ....................................................................... 42
NAME THE COMBINATION PRESETS ...................................... 43
RECORD INTO THE COMBINATION PRESETS ......................... 44
PLAY WITH THE CONTROLLERS ....................................... 23
USING THE CONTROL PANEL ...... 45
PITCH BEND WHEEL ............................................................... 23
EXPRESSION PEDAL ............................................................... 23
FOOT SWITCH ........................................................................ 23
OPERATION CONTROL PANEL ........................................... 46
PLAY MODE ....................................................................... 47
TRY TO MAKE YOUR OWN SOUND .................................... 24
MENU MODE ..................................................................... 48
SELECT THE PRESET KEY [B] ................................................ 24
PULL OUT THE LEFT DRAWBARS ........................................... 24
ADD PERCUSSION .................................................................. 24
ADD EFFECTS ......................................................................... 25
VIBRATO/CHORUS .......................................................................
OVERDRIVE .................................................................................
LESLIE .........................................................................................
REVERB .......................................................................................
25
25
25
25
Divide the keyboard into two parts - left and right. [SPLIT] .... 26
Add bass part on the manual keyboard. [MANUAL BASS] ....... 26
What is "Part"? ....................................................................... 26
STORING REGISTRATIONS IN COMBINATION PRESET ............ 27
EX. Memorize to "F - D". ............................................................. 27
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HOW TO READ THE DISPLAY ................................................. 47
HOW TO READ THE DISPLAY ................................................. 48
BUTTON OPERATION IN THIS MENU ....................................... 48
FUNCTION MODE .............................................................. 49
HOW TO READ THE DISPLAY ................................................. 49
BUTTON OPERATION IN THIS MODE ....................................... 49
Example of operation .............................................................. 50
SHORT CUT TO THE FUNCTION MODE .............................. 52
Example of operation .............................................................. 52
RECORD THE PAGE YOU FREQUENTLY USE ...................... 52
Example of operation .............................................................. 52
SETTING THE PARAMETERS ....... 53
TROUBLE SHOOTING ................... 95
DRAWBAR ......................................................................... 54
PRESET ............................................................................. 56
TROUBLE SHOOTING ......................................................... 96
EFFECTIVE USE OF LINK-LOWER/PEDAL ................................ 57
WHEN LINK LOWER/PEDAL IS ON: .............................................. 57
WHEN LINK LOWER/PEDAL IS OFF: ............................................. 57
CONTROL ........................................................................... 58
THE EFFECTIVE USE OF THE CONTROL MODE ....................... 62
TUNE ................................................................................. 63
CUSTOM TONEWHEELS .................................................... 64
RECORD THE CUSTOM TONEWHEELS ................................... 66
PERCUSS (PERCUSSion) .................................................. 67
LESLIE ............................................................................... 68
RECORD THE CABINETS ........................................................ 70
OD/VIB (OverDrive / VIBrato) ............................................
EQUALIZ (EQUALIZer) .......................................................
REVERB .............................................................................
DEFAULT ............................................................................
SYSTEM ............................................................................
71
72
73
74
75
APPENDIX ...................................... 97
Custom Tone-wheel Templates .......................................... 98
MIDI Templates ................................................................. 99
Part and MIDI Messages ................................................. 101
MIDI Information ............................................................. 102
Drawbar Data List ........................................................... 103
System Exclusive Message ............................................. 104
Global Parameters .......................................................... 105
Tone-wheel Parameters .................................................. 105
Preset Parameters .......................................................... 106
Leslie Parameters ........................................................... 108
System Parameters ......................................................... 108
Combi. and Bank/Program Messages ............................. 109
Specifications .................................................................. 110
SERVICE .......................................................................... 111
MIDI ................................................. 77
MIDI .................................................................................. 78
What is "MIDI"? ....................................................................... 78
MIDI TERMINALS ON THIS KEYBOARD ................................... 78
WHAT THE MIDI CAN DO ON YOUR KEYBOARD ...................... 78
MIDI STRUCTURE OF THIS KEYBOARD ............................. 80
EXPANDING THE KEYBOARD ............................................. 81
RECORDING AND PLAYING THE PERFORMANCE .............. 82
Recording to the Sequencer or the Computer .............................. 82
Playback from the Sequencer or the Computer ............................ 82
CONTROLLING THE EXTERNAL MIDI EQUIPMENTS .......... 83
ZONES ............................................................................... 84
MIDI .................................................................................. 86
SAVE THE SETUP .......................... 89
SAVE THE SETUP .............................................................. 90
CF CARD YOU CAN USE .............................................................. 90
CF CARD SLOT ............................................................................ 90
THE CONTENT AND CAPACITY TO BE SAVED .............................. 90
INITIALIZE THE CF CARD .................................................. 91
OPERATE THE SETUP ........................................................ 92
HOW TO READ THE DISPLAY ................................................. 92
SAVE THE SETUP ................................................................... 92
CHANGE THE SETUP NAME .................................................... 93
LOADING THE SETUP ............................................................. 94
HOW TO DELETE THE SETUP ................................................. 94
IN THIS MANUAL:
NOTE:s
and
appear frequently.
The NOTE: is a supplementary explanation.
The
are explanations of terms and
applications.
Introduction
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:-Owner’s
Manual
MAIN FEATURES
9
ACCURATELY REPRODUCES THE TONE-WHEEL SOUND.
Your new XK-3 contains (96) independent oscillating digital tone-wheels and accurately reproduces the
sound of the Vintage B-3.
In addition, this keyboard has full polyphony.
KEYBOARD OPERATES LIKE THE VINTAGE MODELS.
This keyboard operates exactly like the vintage B-3, C-3, etc did.
Presets are selected by means of the Reverse Colored Keys.
Vibrato effects can be selected by the rotary Vibrato control.
The keyboard has Waterfall keys and you can also attach a Leslie Switch (optional) to the front rail as
well.
VACUUM TUBE PREAMPLIFIER.
Your XK-3 is equipped with a vacuum tube preamplifier.
This will provide you with the warm, crunch, and hard overdrive sounds.
The Overdrive circuit consists of two bands. Thus even if the sound is distorted hard, you can still obtain
purer harmony.
DIGITAL LESLIE / VIBRATO EFFECTS.
The XK-3 keyboard is equipped with a DSP effect generator to simulate the Scanner-Vibrato and Leslie
Speaker.
The range of sounds that you can create is expanded by the use of Vibrato and Chorus effects, and by the
real sounding Leslie effects which effectively simulates the rotation of the two Rotors which are present in
traditional Leslie.
11 PIN LESLIE SPEAKER SOCKET.
Your new XK-3 contains a 11 pin Leslie speaker socket for direct connection to Leslie Speakers.
CAN BE EXPANDED BY USE OF EXTERNAL MIDI PRODUCTS.
You can expand your keyboard by connecting and playing with additional external MIDI equipment.
This includes keyboards, sequencers, etc.
CompactFlash™ CARD
You can use a CompactFlash Card (not included) to save various Parameter files.
Introduction
NAMES AND FUNCTIONS
10
Front Panel
1
3
10
5
9
17
12
11
2
4
6 7
8
14
UPPER LEFT
1.
MASTER VOLUME Knob
9.
CONTROL Button
Selects Pages.
TONE Knob
11. PARAM Button
Selects Parameters.
TONE TYPE Button
12. VALUE Button
Assigns the function of TONE CONTROL (3).
5.
TUBE OVERDRIVE Knob
TUBE AMP Button
TUBE AMP. LED
Recall the MENU screen. This is also used to return
from each function screen.
BANK Button
Switches Bank by pressing together the bank switch with
the Preset key (37).
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:-Owner’s
Records Presets. This is also used to allow you to quickly
page through the various choices within each function.
15. MENU/EXIT Button
Indicates the status of the TUBE AMP.
8.
Adjusts the value.
14. REC/JUMP Button
Switches whether the sound of the Upper/Lower parts
pass the tube amp circuit.
7.
Increases and decreases the value.
13. VALUE Knob
Controls the distortion of TUBE AMP (6).
6.
DISPLAY
10. PAGE Button
Controls the tone quality.
4.
13
Indicates various information.
Sets up various controls.
3.
15 16
CONTROL PANEL
Controls the total volume.
2.
18
Manual
16. PLAY Button
Jumps to the PLAY screen, the basic screen.
11
19
21
22
23
20
242526 27
VIBRATO/CHORUS
17. VIBRATO/CHORUS Button
Switches on and off the Vibrato/Chorus Effects on the
keyboard.
18. VIBRATO/CHORUS MODE Knob
Changes the depth of Vibrato and Chorus Effects.
DRAWBARS
19. LEFT DRAWBARS
Controls UPPER part or B key harmonics.
20. LEFT DRAWBARS LED
Indicates the function of the left drawbars.
21. PEDAL DRAWBARS
Controls PEDAL part harmonics.
22. RIGHT DRAWBARS
Controls LOWER part or A# key harmonics.
23. RIGHT DRAWBARS LED
Indicates the function of the right drawbars.
28 29
30 31
PERCUSSION
24. SECOND Button
Adds 4' Percussion (Decay sound) to UPPER part.
25. THIRD Button
Adds 2 2/3' Percussion (Decay sound) to UPPER part.
26. FAST Button
Changes Decay time of Percussion.
27. SOFT Button
Changes Percussion volume.
UPPER RIGHT
28. MANUAL BASS Button
Produces Pedal sound by playing the lowest notes on the
manual keyboard.
29. SPLIT Button
Divides the keyboard into two parts: UPPER and
LOWER.
30. REVERB Button
Switches on and off the REVERB Effect.
31. DEMO Button
Plays the built-in demo songs.
Introduction
12
End Block
32
33
37
38
34 35 36
WHEEL
KEYBOARD
32. PITCH BEND Wheel
37. PRESET Key
Slides the pitch up or down.
The pitch goes up when moved up, and goes down when
moved down.
33. MODULATION Wheel
On this keyboard, this is used mainly to send MIDI
information to connected MIDI equipment.
LESLIE
38. MANUAL KEYBOARD
34. LESLIE BRAKE Button
This button selects whether to produce sound from the
stopped rotor (=Brake) or not to use the Leslie effect (=
Through) when the LESLIE ON(35) Button is "off".
Brake is ON when the LED is on.
35. LESLIE ON Button
When it is turned ON, the rotor turns and the sound come
from the Rotor.
When the lamp is lighting, it is 'ON'.
36. LESLIE FAST Button
Changes the speed of the Rotor from Slow to Fast and
vice versa.
It is FAST when the LED is on.
*#1
This is used to select the Combination Presets.
The Bank is selected by pressing this key, holding down
BANK (8).
The selected BANK/PRESET is indicated by the LED
above the Preset Key.
The "C" key is used to cancel all presets or drawbar
settings.
:-Owner’s
Manual
This keyboard contains 61 waterfall shaped keys.
Keyboard is velocity sensitive.
13
Rear Panel
39
41
42
43
40
44
LEFT SIDE OF REAR
39. AC Inlet
Connects the A.C. Power Cable.
40. POWER Switch
This switches on and off the keyboard.
MIDI TERMINAL
41. MIDI OUT
Sends out the performance information of this keyboard.
42. MIDI IN 1(PEDAL)
This is the MIDI IN Terminal used mainly for the Pedal
Keyboard.
[The factory setting] The MIDI information received by
channel. You can set that through this terminal functions
as PEDAL, regardless of the channel.
43. MIDI IN 2(LOWER)
This is the MIDI IN Terminal used mainly for the Lower
Keyboard.
[The factory setting] The MIDI information received by
channel. You can set that through this terminal functions
as LOWER, regardless of the channel.
45
46
47
STORAGE
44. CF CARD SLOT
Insert the CompactFlash™ Card here.
This is used to store the setting of this keyboard.
Use required CompactFlash™ Card.
CONTROLLER TERMINAL
45. FOOT SWITCH1
This terminal is for the Foot Switch (= FS-9H - optional)
and the Leslie Switch (= CU-1 - optional).
You can switch the speed of the Leslie effect and the
Combination Preset, etc. while playing.
46. EXP. PEDAL1
This terminal is for the Expression Pedal (= V-20R etc. optional.)
You can control the volume while you play.
47. EXP. PEDAL2
This terminal is for the exclusive Expression Pedal (=
EXP-100F or EXP-100AN - optional).
Introduction
14
48 49
51 50 52
EFFECT LOOP
SOUND OUTPUT TERMINAL
48. SEND
50. LINE OUT L/MONO
This jack is for sending the external Effects.
The signal after passing through the built-in Tube Amp.
is sent out.
If you insert a plug into this jack, it disconnects the
internal unit, and signals are not put out from the output
jack, except the signal input from RETURN jack.
(The rated output level is 1.23V + 4 dBm. The output
impedance is 600Ω.)
49. RETURN/EXT IN
This jack is for receiving external Effects.
This jack can be used as the input jack of the external
sound source.
(The rated input level is 1.23V + 4dBm. The input
impedance is 10kΩ.)
NOTE:
53
Depending on the connected equipment, a setting
may be required for the RETURN jack. (P. 75)
If your amplifier has only a single (1) female 1/4" audio
input connector (MONO input), use this Jack.
51. LINE OUT R
This is the Right channel output of the XK-3.
Use the Left and Right output Jacks if your mixer or
amplifier has stereo input.
Use only the L/MONO terminal, if the input is monaural.
The built-in Leslie Effect is only on L (the left), when the
Leslie Speaker (53) is connected.
52. HEADPHONE
This is for connecting the stereo headphone.
Sound is sent out from the LINE-OUT (50, 51) and
LESLIE 11PIN (53), also when this terminal is used.
The built-in LESLIE is only on L (the left), when the
LESLIE SPEAKER (53) is connected.
53. LESLIE 11PIN
This is for connecting the Leslie Speaker.
Read "CONNECTING THE LESLIE SPEAKER" for
more details.
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Manual
15
HOOK-UP
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Manual
BASIC HOOK-UP
16
See the figure below for connection.
Amplifiers or speakers are not mounted in this keyboard.
You must connect an external amplifiers and speakers (or Powerd Speaker) in order
to hear the keyboard sounds.
You can also enjoy playing this keyboard by connecting Stereo Headphones to the
Headphone Terminal.
Be sure to do the connection after you switch the Power OFF on this keyboard and
all connected equipment.
Stereo
Headphone
AC Power Cable
(provided)
Foot Switch FS-9H
(optional)
Amplifier, Speakers etc.
USING EFFECT LOOP
The Effect Loop is used when you want to connect the Leslie Speaker and the
external Effects module which provides audio prior to the built-in Leslie Effect.
Use effects modules which have a output gain of less
than +4dB.
NOTE:
NOTE:
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:-Owner’s
Manual
The Effect Loop is inserted between built-in Tube
Amp and built-in Effect (Leslie, Reverb, etc.)
Depending on the connected equipment, a setting
may be required for the RETURN jack. (P. 75)
CONNECTING THE LESLIE SPEAKER
17
This keyboard is equipped with a 11 Pin Leslie Connector, so you can
directly connect the Leslie Speaker.
™ Do this connection after switching OFF the keyboard.
Connect the Leslie Speaker to the 11 Pin Terminal on the keyboard, with the
exclusive 11 Pin Leslie Cable (= LC-11-7M - to be separately purchased with the other Leslie Speaker accessories).
Adjust the setting of the “EXT. LESLIE CH”, in accordance with the Leslie
Speaker connected. (P. 69)
eg. Typical Leslie Speaker Channel
122XB, 771 -- 1CH
2101/2102, 812/814 -- 3CH
Please carefully read the User's Guide of the Leslie speaker.
Hook-Up
CONNECTING THE MIDI KEYBOARD
18
You can upgrade this keyboard to an organ by connecting an external MIDI Keyboard and pedal keyboard.
MIDI Keyboard
Expression Pedal
EXP-100F
1.
2.
3.
MIDI Pedal Keyboard
Hook-up external MIDI keyboard and pedal keyboard per the figure above.
Use the MIDI Template “Seq. Record” of this keyboard. (P. 86)
To use Expression Pedal, set the parameter “EXPRESSION SOURCE” for the model of
expression pedal that you have connected. (P. 60)
The MIDI Keyboard connected to the PEDAL Terminal functions as the PEDAL
(part), and the one connected to the LOWER Terminal as the LOWER (part).
Please also read the User's Guide of the connected MIDI Keybaord.
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Manual
19
TURN ON AND PLAY
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:-Owner’s
Manual
POWER ON
20
HOW TO POWER ON
After connecting your XK-3 to the power outlet, please perform the following steps before switching on the power. To avoid possible damages to speakers, please do not change the order of the
steps.
STEPS TO TAKE
1.
2.
Set the MASTER VOLUME Knob at 0 (minimum), before switching the power on.
Switch on the POWER on the rear panel. “PLAY” Mode appears, following the TITLE, in the
Display window.
™ It takes a few seconds before the XK-3 gets ready, because of the circuit-protection
devices.
™ It requires 10 to 20 seconds to warm up the tubes to get ready, when the [TUBE
AMP] Button is ON.
3.
4.
5.
Switch on the power of the amplifiers etc. connected to the XK-3.
Holding down a key, adjust the MASTER VOLUME by turning the Knob.
Adjust the volume of the amplifiers etc.
™ Reverse the above steps when you switch off the power. (Switch off the power of
the amplifiers etc. first.)
BACK-UP
Your XK-3 memorizes the setting of the keyboard immediately before it is switched off. So, The
keyboard will start with these settings when it is switched on again. This is called “Back-up”.
The XK-3 is initially shipped from the factory with the Preset Key [B] in “pressed” status.
™ The Preset Key [B] does not produce sound when initially first turned on. Draw the
left Drawbar(s), or press either of the Preset keys [C#] - [A] to start.
RESET TO THE INITIAL STATUS
Please perform the following steps to reset the XK-3 to the initial default setting.
STEPS TO TAKE
1.
2.
3.
4.
*#1
Switch off the power of the XK-3.
Holding the [REC/JUMP] Button, switch on the power.
Hold down / Keep pressing the [REC/JUMP] Button until “Loading Default...” appears on the
Display.
If everything is in order, PLAY Mode appears on the Display. (Completed)
:-Owner’s
Manual
LISTEN TO THE DEMONSTRATION PERFORMANCE
21
In your XK-3, the demonstration performance is built in for introducing the
features and sound.
STEPS
1
Touch the [DEMO] Button for a while.
The Display will be as shown lower left.
NOTE:
2
If the Display does not change, touch the [MENU]
Button to display the MENU, touch the [PAGE]
Button and select page A, and touch the
[3]”DEMO”.
Press the [PAGE] Button and select a desired song.
The performance starts when the [4] “X” Button is pressed.
NOTE:
After the song is over, the next one starts automatically.
To select a new song while you are playing, touch the [3]”†”
Button. The performance that is playing will stop.
NOTE:
3
You can not operate the controllers while playing
the demonstration, except [MASTER VOLUME],
[LESLIE BRAKE], [LESLIE ON], [LESLIE FAST],
[VIBRATO & CHORUS] and [REVERB].
If you press the [DEMO], [MENU/EXIT] or [PLAY] Button,
the performance stops.
NOTE:
The demonstration performance does not destroy
the previous settings.
Turn On and Play
PLAY WITH THE COMBINATION PRESET
22
You can record various settings to the Preset Keys
mounted on the left-hand side of the XK-3. This is
called “Combination Preset”.
The Combination Preset consists of the “BANK” and the
“KEY” (2-dimensional), and Such as “C - D” appears for
each setting on the Display.
Combination Presets
C
C# D
D# E
Key
F F# G
G# A
A# B
Adjust B
Bank
C
C#
D
D#
E
F
F#
G
G#
A
A#
B
The Preset data is recorded in the Banks C to B at the
factory. Thus you can start playing immediately.
The chart on the left is for the Combination Preset. The
“BANK” is shown vertically (line) and the “KEY” horizontally
(column). Select one combination from this chart and play.
“C - B” is initially selected at the factory.
The example below recalls this.
NOTE:
The Preset Key “C” creates no sound (, if combined) with any Bank in default. This is called
“Cancel”.
HOW TO RECALL THE PRESET
EX. Select “F - G”
1. Select the BANK
Light
1
While holding down the [BANK] Button, press the Preset Key
[F].
NOTE:
Press and Hold
Touch
The LED for the Preset Key indicates the “BANK”,
while the [BANK] Button is pressed.
2. Select the KEY.
Press the Preset Key [G].
At this time the Preset is decided and the setting changes.
2
Light
NOTE:
While the [BANK] Button is released, the LED
indicates the “KEY”.
“F - G” appears on the bottom left of the Display.
Recall various Combination Presets and play.
When you recall a Combination Preset, not only Drawbars but
also the Effects such as Leslie and Reverb change altogether.
However, the BANK B of the factory setting changes only the
Drawbars. This action is the same as on B-3 or C-3.
NOTE:
Touch
*#1
:-Owner’s
Manual
You can set the types of the Parameter you recall.
(P. 56)
PLAY WITH THE CONTROLLERS
23
Your performance will be more expressive, if you play on the manual using
the controllers. You will see on this page how to use the controllers generally used with the electronic musical instruments. (How to use the exclusive
Hammond Organ controllers is shown on the next page.)
PITCH BEND WHEEL
This is used to slide the pitch up or down while playing.
The frequency goes up when you move it back, and it goes down when you
move it forward.
When you release your hand from the PITCH BEND wheel, it returns automatically to the center position.
NOTE:
You can adjust the value of the wheel change. (P. 58)
The [MODULATION WHEEL] on the right is not usually used. It is used
when you transmit the modulation information to external MIDI equipments.
EXPRESSION PEDAL
Generally, organs can not express dynamics or the velocity of the key touch,
while all the piano can.
However, if you connect the Expression Pedal to the organ, you can express
the velocity, corresponding to the degree of your foot-pressure on the pedal,
and add intonation to make your music more expressive. [The Expression
Pedal is to be separately purchased.]
The volume is loudest when you fully press down by means of your toe, and it
is quietest when you fully press down by means of your heel.
NOTE:
Set the parameter at “Expression source” for the model of
expression pedal that you have conneted. (P. 60)
Fig.: V-20R (optional)
FOOT SWITCH
This switch is used to operate and control the organ by your foot instead of
pressing various switches by your hand while playing. [The Foot Switch is to
be separately purchased.]
The initial factory assignment is “LESLIE FAST”.
NOTE:
You can change the Foot switch assignment. (P. 61)
Fig.: FS-9H (optional)
Turn On and Play
TRY TO MAKE YOUR OWN SOUND
24
You will be able to freely produce your own sound by using the exclusive features
of your HAMMOND ORGAN, such as Drawbars and Percussion sound, as well as
Vibrato and the Leslie effects. The steps to take after you receive your XK-3 from
your dealer are as follows:
SELECT THE PRESET KEY [B]
First select the Preset Key [B].
This is a special key, also called “Adjust Preset”. While this key is
selected, your setting is always memorized, and the Drawbar
registration on the panel (= the length of the Draw-bars) always
corresponds with the internal registration.
NOTE:
You can initialize the contents to the default setting.
(P. 74)
PULL OUT THE LEFT DRAWBARS
Pull out the Left Drawbars on the left-hand side to your desired length, pressing a
key on the keyboard to be certain.
The tone varies corresponding to the extent or the length of the Drawbar. So it is
the Drawbars that make the fundamental tones of this keyboard.
The volume gets loudest when each Drawbar is pulled out to the full length. The
XK-3 gets silent when it is totally pressed back. The tones of the Drawbars
gradually get higher in frequency from left to right.
The most popular patterns or registrations are (1) to pull out only all the three left
side Draw-bars to the full, (2) to pull the far-left and only the white bars to the full,
or (3) to pull all the bars.
NOTE:
NOTE:
You can change the characteristics of the Draw-bars. (P. 54)
The present registration is shown on the “Play” mode display. (P.
47)
ADD PERCUSSION
The “Percussion” referred to here is not a percussion instrument
itself, but it is a “decay” to add a clear-cut “attack” to the organ
sound. You can add this "attack" to mix with the Drawbar sound
when you want.
If you turn on the [SECOND], [THIRD] Buttons, decays of the
harmonic overtones (= one octave higher “C” and “G”) are added.
If you turn on the [FAST] Button, the decay goes quick. And, if
you press on the [SOFT] Button, the Percussion volume reduces.
NOTE:
*#1
:-Owner’s
Manual
You can do fine volume setting etc. of the percussion.
(P. 67)
25
ADD EFFECTS
VIBRATO/CHORUS
“Vibrato and Chorus” slightly changes the Drawbar pitch at a certain ratio and add warmth to
the sound.
[VIBRATO/CHORUS] Button
Switches on and off the Vibrato effect. The LED turns on when it is ON.
[VIBRATO/CHORUS MODE] Knob
Controls the Vibrato Depth and switches to and from the Chorus effect.
The degree of the depth corresponds with the number. Also “V” adds only Vibrato sound by
changing the pitch, “C” mixes Vibrato and original sound (= Chorus Effect) and adds richness
to the sound.
NOTE:
OVERDRIVE
You can set the speed of Vibrato/Chorus. (P. 71)
The overdrive effect simulates the effect of applying an excessively high signal to the
amplifiers input which causes distortion of the sound.
[TUBE AMP] Button
Press this button to switch on the LED, and get the Overdrive Effect.
[TUBE OVERDRIVE] Knob
This knob controls the degree of distortion.
NOTE: The LED for the TUBE AMP Button varies the color according to the distortion
degree. When it is through the TUBE AMP without distortion, it is green. It
goes red when the distortion degree increases.
LESLIE
The rotor and the rotating horns produce the effect of the spatial and dynamic and lively
theater stage performance.
[LESLIE ON] Button
Touch “ON” to switch on the LED.
[LESLIE FAST] Button
This button controls the rotor at two different speeds. When the LED is ON, it is FAST. When
the LED is OFF, it is SLOW. The most effective and popular way to use this is to mainly play
SLOW and lead to the climax by changing to FAST.
[LESLIE BRAKE] Button
This is to set the action when the LESLIE ON Button is OFF.
When the LED is ON, BRAKE is on. The rotation gradually slows down and stops finally).
When the light is OFF, it is THROUGH. The Leslie effect is by-passed.
NOTE:
NOTE:
REVERB
You can control the rotors by these buttons when you connect the LESLIE to
the external equipment.
You can finely adjust the rotation speed etc. of the internal LESLIE Effect. (P.
68)
This gives the reverberation effect of being in a concert-hall.
[REVERB] Button
To get the Reverb Effect, touch the button and switch on the LED.
NOTE:
You can finely control time etc. of Reverb. (P. 73)
Turn On and Play
26
Divide the keyboard into two parts - left and right. [SPLIT]
This keyboard has only a single manual. But you can change the setting and play it
as it was a double keyboard organ, using this “SPLIT” function.
[SPLIT] Button
Switch on the LED by pressing the button, to “split” the manual.
The factory “SPLIT” setting is to divide it between B and C in the center.
NOTE:
NOTE:
Split Point or Octave can be moved. (P. 84)
The Split function does not work, when the MIDI IN jack is used for
“LOWER/PEDAL”. (P. 86)
The right-hand side of the split point is called UPPER to make sound by the left
Drawbars and Percussion. The left-hand side is called LOWER and makes sound
with the right Drawbars. Percussion does not sound with LOWER.
Add bass part on the manual keyboard. [MANUAL BASS]
You can play the Bass using the lowest keys.
This is called “Manual Bass”.
[MANUAL BASS] Button
To use the Manual Bass function, press the button and switch on the LED.
Not to interfere with the Melody performance, this function is limited only upto B
in the center when it leaves the factory.
NOTE:
NOTE:
You can move the upper limit of the Manual Bass. (P. 84)
The Manual Bass function is controlled by connected MIDI keyboard
when the purpose of the MIDI IN jack is at “LOWER/PEDAL”. (P. 86)
The bass part obtained by the Manual Bass is called the PEDAL, and makes sound
controlled by the Pedal Drawbars. This is designed so that the Bass is played by
the pedal keyboard as on the three-keyboard organ.
NOTE:
You can choose sounding polyphonic (POLY) or lowest note
(MONO). (P. 55)
You can use both the Manual Bass and the Split at the same time. So, you will be
able to play Bass, Chord and Melody all by yourself.
What is “Part”?
A “PART” plays like a “player” in a band or an orchestra does.
Like the three-keyboard organs, this keyboard has three parts, UPPER, LOWER and PEDAL, and
so you can play three different tones.
This keyboard has only a single manual, but it is possible to play plural parts, using the SPLIT
and/or using the MIDI keyboards to expand the keyboard.
NOTE:
*#1
:-Owner’s
The function for plural tones is called “Multi-timbre”.
Manual
27
STORING REGISTRATIONS IN COMBINATION PRESET
All the afore-mentioned settings can be memorized to the Combination
Preset.
The data stored at the factory can also be freely re-written.
EX. Memorize to "F - D".
1
Light
1.
While pressing the [BANK] Button, press the Preset Key [F].
The LED on the Preset Key indicates BANK while the [BANK] Button is
pressed.
Press and Hold
NOTE:
The LED goes out if you release the button. This means the
Preset is not final.
Touch
2
Flash to
On
2.
Press and Hold
While pressing the [REC/JUMP] Button, press the Preset Key [D].
The Preset is finalized and Recording Preset appears on the display for a while.
When the recording is completed, the LED on the Preset Key [D] flashes for a
few seconds and then switches on. The Display returns to the previous mode.
The recorded Preset will be automatically selected.
™ The Preset Key [B] (or [A#] - when the control mode is in “Upper
A#/B”) does not memorize registrations by this operation.
NOTE:
The recorded Preset data does not go out if the power is
switched off.
Touch
Turn On and Play
28
*#1
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29
SETTING UP
*#1
:-Owner’s
Manual
SOUND ENGINE STRUCTURE
30
SYSTEM STRUCTURE OF THIS KEYBOARD
*#1
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Manual
31
To fully enjoy playing this keyboard, please read the following section
of this manual.
See the illustrated System Structure of your keyboard on the left page.
TONE-WHEELS
The sound source or “engine” of Hammond Organ is the Tone-wheels. They are
like the strings and pick-ups on the electric guitar. While running, each of the 96
Tone-wheels keeps oscillating at a different pitch/frequency.
KEYS
Each of the sound signals made by the 96 Tone-wheels is switched at each key.
Each signal corresponding with each pitch and harmonic is distributed to each
key (as an example, 9 signals for the manual keyboard). The keys are switched
on and off by depressing (= touching) and releasing the keys.
DRAWBARS
The Draw-bars prepare the basic sounds. Each bar adjusts the value of each
harmonic (as an example, 9 harmonics for the manual keyboard).
TONE-WHEEL SET
The Tone-wheel Sets are divided into the
Manual Keyboard and the Pedal Part. This is
to give the Pedal Part the Decay (= the sound
gradually fading out while pressing the key)
or Sustain Effect. (= the sound gradually
fading out after the key is released).
HARMONICS
Harmonic is a pitch of a different ratio to a
certain pitch; for example, the one octave
higher C to the middle C. The more Harmonics, the brighter and richer sound is obtained.
PERCUSSION
The Percussion makes decay sound, synchronizing with the key touch of the
UPPER part.
VIBRATO/CHORUS
Vibrato gives vibration to the pitch. By mixing the vibrato sound with the
fundamental sound, Chorus effect is obtained.
NOTE:
On this keyboard the scanner circuit of the B-3/C-3 is simulated, which
gives more effects than the changes of the pitch.
TUBE AMP
Having a real tube in the Amp gives the XK-3 a unique tube sound. By changing the amount of the drive you can obtain various tube sounds from "clean" no
clipping, to the hard-distorted fuzzy and raspy “overdrive”.
The PEDAL Part, however, is designed not to pass through the Vibrato/Chorus
or the Tube Amp, in order to obtain the clear Bass-line.
EFFECT LOOP
If you connect an effector to the effect-loop input(send/return) which is located
on the back of the keyboard, it will no pass thru the overdrive tube amp.
EQUALIZER, LESLIE and REVERB
The sound comes out of the output terminal, after passing the spatial effects: the
Equalizer (for tone regulation), the Leslie (for the rotating speaker effects) and
the Reverb (for resonance). (The built-in Leslie Effect does not work at the
Leslie 11-pin terminal.
NOTE:
The built-in Leslie Effect is designed to smoothly simulate the rotations of
the two rotors.
Setting Up
DRAWBARS™
32
The 9 Drawbars (plus 2 for the Pedal) on this keyboard are used to make the basic sounds.
Each Drawbar is marked with the numbers 1 - 8. If you push back the Drawbar until you can
not see any number at all, the sound of the Drawbar is not heard. If you pull it out to the
fullest position THE SOUND LEVEL is maximum.
Except when the Preset Key is B, the actual Drawbar Registration is the value displayed in the
(display-)window. The “Drawbar Registraion” shows the length of the pulled-out Drawbar(s).
The display shows only the Drawbar(s) you operate.
The pitch of each Drawbar is as shown above, when the middle C is depressed. The footage
marked (') on each Drawbar is originated from the length of the pipes of the pipe organ.
The numbers 1 - 8 on each Drawbar indicate the volume of the sound to be produced as well
as the guide to simply set the Drawbar.
For example, when you blow clarinet, the internal air vibrates, and the fundamental (8') and
the third harmonic (2 2/3') plus the fifth harmonic (1 3/5') come out at the same time. On this
keyboard, if you pull out 3 Drawbars, you can get the clarinet sound. If you pull out the right
hand side one of the 3 Drawbars a little longer and the left hand side one a little shorter, the
element/component of the high pitch increases and a hard sound comes out. If you pull out the
left hand one a little longer, on the contrary, the sound gets mellow.
Thus, you can make delicate changes to the sound, depending on the flow of the tune/music
or your choice/preference, by fully utilizing the Drawbars.
NOTE:
*#1
You can change the characters of the Drawbars. (P. 54)
:-Owner’s
Manual
33
WHITE DRAWBARS
In each Drawbar set, the white Drawbar (8') on the left end makes the
basic/fundamental sound. The other white Drawbars get higher by the
octave to the right.
BLACK DRAWBARS
The sounds of the black Drawbars, too, play important roles in building
rich tones. Their pitches are fifth and third to the fundamental. They
contain the elements of all different harmonics of such as the sweet and
soft horn, mellow strings and so on.
BROWN DRAWBARS
The two brown Drawbars on the far left have the role to give depth and
richness to the sound. The left 16' is one (1) octave lower than the 8,' and
5 1/3' is the third harmonic of the 16' fundamental.
Normally, the tones are built on the 8' fundamental, but, if you want to add
depth to the tone or to expand the playing range on the manual by one (1)
octave, the tones are built on the 16' fundamental.
Setting Up
34
DRAWBAR REGISTRATION PATTERNS
The Drawbar Registration is matched by digits, if precisely. However, in the usual play, it is rather
reasonable to remember the typical combinations of the 9 Drawbars by their forms/shapes.
The Drawbar Registrations are roughly grouped into the following 4 patterns:
Flute family (2 step pattern)
Accompaniment Flute 8' I
Accompaniment Flute 8' II
Accompaniment Flute 8' III
Chorus of Flutes 16'
Orchestral Flute 8'
Piccolo 2'
Stopped Flute 8'
Tibia 8'
Tibia 4'
Tibia (Theater) 16'
Wooden Open Flute 8'
00 8460 000
00 3220 000
00 8600 000
80 8605 002
00 3831 000
00 0006 003
00 5020 000
00 7030 000
00 0700 030
80 8605 004
00 8840 000
Bassoon 16'
Clarinet 8'
English Horn 8'
Flugel Horn 8'
French Horn
Kinura 8'
Oboe 8'
Trombone 8'
Trumpet 8'
Tuba Sonora 8'
Vox Humana 8'
44 7000 000
00 6070 540
00 3682 210
00 5777 530
00 7654 321
00 0172 786
00 4764 210
01 8777 530
00 6788 650
02 7788 640
00 4720 123
Reed family (triangle pattern)
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Manual
35
Diapason family (check mark pattern)
Accomp. Diapason 8'
Chorus Diapason 8'
Diapason 8'
Echo Diapason 8'
Harmonic Diapason 16'
Harmonic Diapason 8'
Harmonic Diapason 4'
Horn Diapason 8'
Open Diapason 8'
Solo Diapason
Wood Diapason 8'
00 8874 210
00 8686 310
00 7785 321
00 4434 210
85 8524 100
00 8877 760
00 0606 045
00 8887 480
01 8866 430
01 8855 331
00 7754 321
Cello 8'
Dulciana 8'
Gamba 8' I
Gemshorn 8'
Orchestral String 8'
Salicional 8'
Solo Viola 8'
Solo Violin 8'
Viola da Gamba 8'
Violina 4'
Violone 16
00 3564 534
00 7770 000
00 3484 443
00 4741 321
00 1464 321
00 2453 321
00 2474 341
00 3654 324
00 2465 432
00 0103 064
26 3431 000
String family (bow pattern)
Setting Up
36
3 SETS OF DRAWBARS AND PARTS
On this keyboard, there are 3 Parts: UPPER, LOWER and PEDAL, and each of them has the
corresponding Drawbars.
The manual on the keyboard is usually assigned to the UPPER position. If you want to play
the LOWER or PEDAL Part, use the Split or Manual Bass functions, or connect the MIDI
keyboard and assign each part.
There are lamps(= LED's) in front of the two sets of 9 Drawbars, marked with “UPPER/ B”
and “LOWER/A#”. They indicate the assignment of the Drwabar Sets. They are assigned to
UPPER and LOWER when shipped from the factory.
A# and B are used when you want to operate it like the Upper Manual of the B-3/C-3. In this
case, both Drawbar Sets correspond with the Preset Key A# and B, and control only the
UPPER Part. The LOWER Part is not controled. Please read the CONTROL Chapter for
further details. (P. 58)
MATCH THE REGISTRATION TO DRAWBARS
If you recall the Combination Preset, the Drawbar Registration is not physical but is
replaced with the recorded/memorized one. If you move any Drawbar at this stage,
only the Footage moved is reflected.
To match only the Registration to the Drawbars, while using the content of the Combination Preset, keep depressing the Preset Key for a while. Combination Preset is
recalled and then the physical Drawbar Registration is reflected.
Touch and Hold
*#1
:-Owner’s
Manual
PERCUSSION
37
The attack feeling of the percussion is a Hammond exclusive.
Percussion is usually used with the Drawbar sound.
[SECOND] BUTTON
The second harmonic, or 4' Drawbar decay, is added to the UPPER Part.
To use this, press the [SECOND] button , and the LED will light.
[THIRD] BUTTON
The third harmonic, or 2 2/3' Drawbar decay, is added to the UPPER Part. By mixing it
with the Drawbars, power and solidness is obtained.
To use this, press the [SECOND] button , and the LED will light.
DECAY
The piano sound gradually goes out even
if you keep the key down. This is called
“decay”. The violin, on the contrary,
keeps sounding at a certain volume. This
is called “sustain”.
[FAST] BUTTON
This cuts short the decay time of Percussion.
It is effective if you use this to play with a clear-cut rhythm in an up-tempo piece.
When the LED is OFF, it is SLOW. It gets “FAST” when you press the [FAST] button ,
and the LED will light.
[SOFT] BUTTON
This reduces the volume of Percussion.
When the LED is OFF, it is NORMAL. If you press the [SOFT] button, the percussion
level is soft, and the LED will light.
NOTE:
You can fine-adjust Percussion. (P. 67)
NOTES
"Percussion does not sound!"
The factory default setting: Percussion does not produce sound except at the Preset
Key [B], if the Combination Preset is Bank B. (See left.) This setting is the same as on
the B-3/C-3.
NOTE:
You can set any Preset Key to sound Percussion. (P. 67)
DRAWBAR CANCEL
When either the [SECOND] or the [THIRD] button is ON, 1' in the Upper Part Drawbars does not produce sound. This is the same action as on the B-3/C-3.
NOTE:
You can set to play 1' Drawbar, while Percussion is ON. (P. 67)
Setting Up
VIBRATO/CHORUS
38
VIBRATO adds warmth to the tone, by slightly changing the Drawbar pitch at a
certain speed.
You can also add richness to the sound by mixing the Vibrato sound with the
fundamental (= Chorus Effect).
[VIBRATO/CHORUS] BUTTON
This switches ON and OFF Vibrato/Chorus Effects.
It affects on the UPPER and LOWER Part.
To get this effect, press the button and the LED will light.
[VIBRATO/CHORUS MODE] KNOB
This knob controls the depth of Vibrato and switches ON and OFF the Chorus Effect.
V-1:
V-2:
V-3:
C-1:
C-2:
C-3:
NOTE:
NOTE:
Comparatively slight Vibrato
Standard depth Vibrato
Deepest Vibrato
Comparatively slight Chorus
Standard depth Chorus
Deepest Chorus
While the power is ON, either of Vibrato/Chorus is selected.
You can change the speed of the Vibrato Effect. (P. 71)
*#1
:-Owner’s
Manual
TUBE AMP
39
The TUBE (= Vacuum Tube) AMP produces a unique "Tube Feeling" sound.
By changing the amount of the Drive, various Tube Sound is obtained, from the
unclipped clean to the hard-distorted fuzzy, raspy Overdrive sound.
[TUBE AMP] BUTTON
This is for determining whether or not to go through the Tube Amp circuit.
To get this effect, touch the button and and the LED will light.
NOTE:
You can see the tube through the ventilation hole on the back.
[TUBE OVERDRIVE] KNOB
This is for adjusting the distortion value of the Tube Amp circuit.
It does not clip, if turned to the left all the way, but the tone quality is slightly different
from when the [TUBE AMP] button is OFF, because it passes through the Tube Amp
circuitry.
As you turn it to the right, the distortion value increases, and the color of the LED of the
[TUBE AMP] button changes from green to red, in accordance with the amount of
distortion.
NOTE:
You can fine-set the distortion degree. (P. 71)
TUBE AMP CIRCUIT
Tubes are rarely used in modern electric
apparatuses but because semi-conductors are better characteristics and
because tubes are inferior in many
aspects.
However, in some areas, tubes are again
popular because of their specific characteristics, which are produced only by
tubes. People are still searching for the
sound simulating that of tubes for
effectors.
In this keyboard, a real Tube circuit is
used.
Setting Up
LESLIE
40
LESLIE EFFECT is the simulated sound of the rotating speakers.
If you connect the real Leslie speakers to this keyboard, it controls those (speakers)
[ON] BUTTON
If you touch this button, the LED will light, and the rotor starts turning. Also the
voice is heard thru the rotary channel.
[FAST] BUTTON
BUTTONS AND LESLIE STATES
This switches the speed of the rotor in two steps. It switches every time you touch
it. When the LED is ON, it is FAST, and when the LED is off, it is SLOW.
[BRAKE] BUTTON
This button sets the action when the [ON] button is OFF.
When the LED is light, it is BRAKE (= The speed gradually slows down and
stops.) and if the LED is OFF, it is THROUGH. (= The Leslie effect is by-passed
and the voice comes out of the stationary channel.)
NOTE:
NOTE:
You may not be able to control the Break or Through on some Leslie models.
You can fine-set the LESLIE effect i.e. speeds. (P. 68)
State
Button
BRAKE
ON
FAST
On
Off
On
Off
On
On
Off
Off
On
On
On
On
Off
Off
Off
Off
On
On
Off
Off
On
Off
On
Off
CH=1
CH=2or3 &
Internal
Leslie Effect
Fast
Slow
Brake
Fast
Slow
Through
Through
WHAT IS THE LESLIE EFFECT?
In the Leslie speakers, generally, an amplifier and two rotors are
incorporated, i.e. the “Horn Rotor” responsible for the treble and
the “Bass Rotor” for the bass.
Each rotor has a speaker or speakers and a motor for controlling
speed to give the unique trembling sound gained by the Doppler
effect.
There also exist such models as have not only the rotors but
stationary speakers - switchable.
The circuit to send the sound to the rotor is called “Rotary
Channel” and that to the stationary speaker is called “Stationary
Channel”.
The built-in Leslie Effect simulates them and you can get the best
effect when connected stereophonic.
*#1
:-Owner’s
Manual
EQUALIZER & REVERB
41
The Equalizer and the Reverb effects give the final touch to the tone.
The Equalizer regulates the tone, and the Reverb adds the resonance of the hall
performance.
You can control portions of their functions on the panel buttons and knobs
EQUALIZER
[TONE] KNOB
One optional Parameter out of the Equalizer is assigned and regulated.
When delivered from the factory, TREBLE is assigned, and, as you turn it to the right,
the treble is emphasized, and, to the left, the trebel is reduced.
[TONE TYPE] BUTTON
This assigns the settings to the [TONE] KNOB.
At every touch, the assignment changes in the order of TREBLE, MIDDLE and
BASS. The initial letter of the word is displayed in the PLAY mode.
NOTE:
For further details, please read the section “EQUALIZER” (P. 72)
The illustration indicates
TREBLE is at +9.
REVERB
[REVERB] BUTTON
This is for switching ON and OFF the Reverb Effect.
To get the Reverb Effect, press the button and the LED will light.
NOTE:
You can change the time and the depth of the Reverb. (P. 73)
Setting Up
COMBINATION PRESETS
42
The settings you have made can be recorded into the Combination Presets.
BANK AND KEY
Combination Presets
C
C# D
D# E
F
Key
F# G
G# A
Adjust B
Bank
C
C#
D
D#
E
F
F#
G
G#
A
A#
B
A# B
The combination preset chart to the left, shows the [BANK]
and the [KEY], information.
Access is made by the Preset Keys. To select the [BANK],
press the key, holding down the [BANK] button. To select the
[KEY], just press the Preset Key.
Recording and recall is determined when the Key is designated.
Only designating the Bank does not switch the recording or
recall.
Refer to the illustration on the left bottom for each Key and
Name.
The [B] key on the right end is a special Preset, called "Adjust
Preset". Here the Drawbar Registration on the panel always
matches the internal registration.
NOTE:
The setting of the Preset Keys [C] to [A] on the B-3/C-3 is
fixed, and the [A#] and [B] are used to switch the
Drawbar Registration on the panel. However, on this
model, you can change the setting by moving the
Drawbars, even while using the keys [C] to [A].
COMBINATION PRESETS
On the original B-3 organ the preset keys only stored drawbar
registration information. On the XK-3 however in addition to
drawbar registration you can store many various parameters to a
preset. Thus the name “Combination Preset”.
NOTE:
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The parameters to be recalled by the Preset Keys can be
limited Bank by Bank. (P. 56)
43
NAME THE COMBINATION PRESETS
1
Go to the MENU.
Touch the [MENU/EXIT] button.
The MENU mode will be displayed.
2
Go to PAGE A.
If the PAGE A is not displayed, touch the [PAGE] button and
go to PAGE A.
3
Go to the PRESET FUNCTION mode.
Touch the [2] PRESET button and go to the PRESET FUNCTION mode.
4
Input THE NAME.
You can store names up to 10 letters.
[PARAM] BUTTON:
[VALUE] BUTTON:
moves the cursor.
selects letters.
You can use all the Alphabet letters large and small, signs/
symbols and digits.
To jump to the beginning of each list, hold down the [REC/
JUMP] button, and touch the [VALUE] button. You can select
letters etc. by the [VALUE] knob, as well.
The name put here is only temporary. Do the recording
operation to save it, as explained on the next page.
Setting Up
44
RECORD INTO THE COMBINATION PRESETS
EXAMPLE:
1
Record into “F-D”.
Select the Bank.
Light
Press and hold
While holding down the [BANK] button, touch the Preset Key
[F].
The LED on the Preset Key indicates the BANK while you are
holding down the [BANK] button.
NOTE:
The LED will be OFF, if you release the button. This
means the Preset is not stored.
This operation is not necessary, if you do not change the Bank.
Touch
2
Select the Key.
Press the Preset Key [D], while holding down the [REC/
JUMP]. The Preset becomes final and the display shows as
follows for a few seconds.
Flash to
On
Recording Preset...
Press and hold
When the recording is completed, the LED on the Preset Key
[D] flashes for a while. (The recorded Preset will be automatically selected.)
The display will return to the previous screen.
™
You can not record to the Preset Key [B] (or [A#] - when
the control mode is in “Upper A#/B”) by this operation.
NOTE:
Touch
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The Preset data recorded will not be lost even after you
switch off the power.
45
USING THE
CONTROL PANEL
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OPERATION CONTROL PANEL
46
You now know you can do many settings by using the buttons and knobs on
your keyboard. You can do even finer settings like the delicate speed of the
Leslie Effect or the MIDI equipments, using the display buttons on the
Control Panel.
There are PLAY, MENU and FUNCTION modes in the display.
The buttons and knobs in each mode is explained on the following pages.
PLAY mode
MENU mode
FUNCTION mode
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PLAY MODE
47
The PLAY MODE is the basic display for all the operations. The necessary informations for the normal play will be displayed.
There are two types of PLAY MODE screens to display the Drawbar Registration.
One is by showing the length of the bars and the other by digits.
How to come to this display:
1.
Immediately after powered ON and the start up process is complete, the PLAY mode is
displayed.
If a different mode is displayed, touch the [PLAY] button.
2.
HOW TO READ THE DISPLAY
Drawbar registration
UPPER Part/ PEDAL Part/ LOWER Part
BAR display
Preset Bank Key :
Name
[TONE] knob
Assignment:
Value
The Preset name is not shown in the digital
mode display, but you can see the Preset Key of
the LOWER Part.
Also, the value of the Overdrive and the MIDI
IN Note Information is displayed.
DIGITAL display
Preset Bank Key on UPPER Part/
Key on LOWER Part
These two PLAY mode displays (= the bar
display and the digital display) will be switched
every time you touch the [PLAY] button.
In the bar display, the Combination Preset name
is shown but another Preset Key, if assigned to
the LOWER Part is not shown.
Also, the function assigned to the [TONE] knob
and its value is displayed.
Value of
OVERDRIVE
Sounding on MIDI Note
Message
Using the Control Panel
MENU MODE
48
The MENU mode is the path for each function.
How to come to this display:
Touch the [MENU] button.
There are several pages which contains many various FUNCTION displays. Move
from page to page and find the item where you want to go and touch the numbered
button to see the desired display.
FUNCTION ITEM
(If none, blank.)
HOW TO READ THE
DISPLAY
PAGE
BUTTON OPERATION IN THIS MENU
Moves from a page to
another.
You can jump to the
top or bottom page by
touching these buttons
with holding down the
[REC/JUMP] Button.
These are for entering to each FUNCTION
MODE corresponding with the item
displayed.
Returns to the PLAY mode.
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FUNCTION MODE
49
The FUNCTION MODE is for making each setting and adjustment.
There are many displays, but the basic operation is the same.
HOW TO READ THE DISPLAY
This shows there are PAGEs
above (or below).
PARAMETER
This shows there is a PAGE on the
right (or on the left).
CURSOR
PAGE
NAME
VALUE
CURSOR
(Flashing VALUE)
In the display window of this keyboard,
the CURSOR is displayed in the flashing
style, while the most popular indicatorcursor used on the PC, the mobo, etc. is
in the shape of an arrow, a square or an Ishape.
BUTTON OPERATION IN THIS MODE
Moves from a page to
another.
You can jump to the
top or bottom page by
touching these buttons
with holding down the
[REC/JUMP] Button.
This button is used to move the CURSOR
right or left for selecting the PARAMETER to
change.
The CURSOR moves to the edge of the
display and on to the next page (on the right
or left), if there is one.
Touching this button while holding [REC/
JUMP] button, you can move to the right or
left page regardless where the cursor is.
Returns to the PLAY
mode.
The CURSOR increases or decreases
the value of the Parameter.
Holding it increases (or decreases) the
value continuously.
Touching it while holding the [REC/
JUMP] button increases (or decreases)
the value quickly.
The value can also be changed by the
[VALUE] knob on the right bottom
Using the Control Panel
50
Example of operation:
Adjusting the DECAY TIME of the Percussion [FAST]
1
Go to the MENU Mode.
Touch the [MENU] button.
The [MENU] mode is displayed.
2
Select the PAGE.
Search for the PERCUS page, using the [PAGE] button.
“PERCUS” is on PAGE B. So select PAGE [B].
3
Touch the Number button.
Touch the [4] button for “PERCUS”.
Now you are on the (first page) of the Percussion Function display.
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51
4
Move the CURSOR to the Parameter you want to change.
DECAY TIME is on the “DECAY” PAGE. Move to that page using
the [PAGE] button.
“FAST” is on the right end. Move the CURSOR (flashing value) to
underneath “FAST” using the [PARAM] button.
5
Change the value.
Decrease the value, using the [VALUE] button or the [VALUE]
knob on the right bottom.
NOTE:
6
Repeat the operation 1 - 5, if you want to change the other
parameter, too.
Record into the Combination Presets.
The “DECAY FAST” is a Preset Parameter, it will go back to the set value, if you
call out the other (or current) Combination Preset.
If you want to continue to use the changed value hereafter, you must record the
value into the Combination Preset.
Touch and Hold
PRESET PARAMETERS
They are the Parameters to be recorded
into each Combination Preset.
They include the Parameters for setting
the status of the buttons/knobs on the
panel, “Decay Fast” and many others.
The overall/general common Parameters
(which are not included in the Combination Presets) are called “Global Parameters.”
Touch
Using the Control Panel
SHORT CUT TO THE FUNCTION MODE
52
Each button on the panel has a “SHORT-CUT” capability, so that you can easily
go to each Function mode. By holding down the button, you can easily go to the
desired mode display. You can save time to search the page for the parmeters you
want to change.
Example of operation: Move to the Percussion Function Mode.
For example, if you want change the Percussion setting, you can go
to the PERCUSSION FUNCTION MODE display, by holding
down either [SECOND], [THIRD], [FAST], or [SOFT] for a while.
This is called “SHORT CUT”.
Short-cut buttons will be explained in the next Chapter “SETTING
THE PARAMETER”.
Touch and Hold
NOTE:
You can change the time for holding down the button for “SHORT
CUT”. (P. 61)
RECORD THE PAGE YOU FREQUENTLY USE
You can record the page which your usually use, and go to that page by only
touching the [CONTROL] button.
Example of operation: Record the Drawbar - Pedal Function
1
Go to the page to be recorded by using MENU etc.
2
Touch and hold the [REC/JUMP] , and touch the [CONTROL] button.
Next time, you can come to this page by only touching the
[CONTROL] button.
Touch and Hold
Touch
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53
SETTING THE
PARAMETERS
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DRAWBAR
54
In this mode, you can set the Parameter relating to the Drawbar sound of each part.
To come to this mode:
Touch the [MENU/EXIT] button and display MENU, touch the [PAGE] button and select
PAGE A and choose [1] DRAWBAR.
9
13 14
10
11
2
3
4
12
5
15
6
7
8
1
Setting the Manual Part (LOWER and UPPER)
1.
TONE-WHEEL SET
Each Tone-wheel Set allows you to make finer
adjustment. (P. 64)
TONE-WHEEL
Select the TONE-WHEEL SET (waveform) for the manual part.
B-type:
Mellow:
Brite:
2.
The traditional Tonewheel Sound of B-3/C-3
Transparent sine wave
The analog-oscillating sound represented by X-5
CLICK - ATTACK LEVEL
This allows you to set the Key-Click VOLUME of the ATTACK (= when you touch
the key). The larger the value, the louder it gets. No key-click at 0.
3.
CLICK - RELEASE LEVEL
This allows you to set the volume of the Key-Click at RELEASE (= when you release
the key). The larger the value, the louder it gets. No Key-Click at 0.
4.
KEY-CLICK
The "Key Click" is the noise heard every time the key
is touched or released on the B-3/C-3, as the voice is
generated by mechanically switching ON and OFF on
these models. The function on this model simulates
the good old noise.
CLICK - LPF
This allows you to set the tone of the Key-Click.
The setting range is 0 - 127. The larger the value, the brighter it gets.
5.
ENVELOPE - ATTACK RATE
This allows you to set the speed of the volume of the Drawbars at Attack (when you
touch the key). The more the value, the slower it gets. The volume will be maximum(= loudest) at 0 at the time you touch the key.
6.
ENVELOPE - RELEASE RATE
This allows you to set the Decaying Speed of the Drawbar Sound at Release (when
you release the key). The more the value, the slower the RELEASE gets. The sound
dies at 0 at the same time as you release the key.
7.
FOLD-BACK - LOW
FOLD-BACK
This allows you to set at which key the 16' Drawbar starts the FOLD-BACK. (Foldback: Repeating the same octave in a certain range on the keyboard.)
The first key (= the far left key on the manual, next to the Preset Keys) is displayed as
"1C". The setting range is 1C - 2C.
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As the number of the tonewheels was limited on the
B-3/C-3, the organs were designed to repeat the
same octave in the upper-most or lower-most range.
The feature of this model is to simulate that.
55
8.
FOLD-BACK - HIGH
This allows you to set at which key the 1' Drawbar starts to FOLD-BACK (= repeat
the same octave) in the upper-most range. The set range is 4G - 5C.
NOTE:
The FOLD-BACK can be set not only on the 1' but also 1 1/3', 1 3/5', 2' and 2 2/3'
Drawbars.
Setting the PEDAL Part
9.
TONE-WHEELS
This allows you to select the Tone-wheel set (waveform) of the PEDAL Part.
Normal:
Muted:
Synth:
NOTE:
The traditional B-3/C-3 Tone-wheel sound
Analog-oscillating sound represented by the X-5.
Sawtooth waveform with sweeped filter.
You can come to this page by holding down the [MANUAL BASS] Button as well.
10. ATTACK
This allows you to set the Attack Rate and the Key-Click Volume at ATTACK and
RELEASE.
MAX CLK:
NORM CLK:
SOFT CLK:
NO CLK:
SLOW ATK:
Immediately attacks and the key-click is loud.
Immediately attacks and the key-click is normal.
Immediately attacks and the key-click is soft.
A slightly slowly attacks without key-click
Slowly attacks without key-click
11. DECAY RATE
This allows you to determine whether to keep voicing or to decay, or set the decay
time, while holding down the key.
The setting range is 1 - 5 and C. The longer the value gets, the longer gets the decay
time. No decay at C.
12. SUSTAIN - ON
This allows you to set whether or not to use the Sustain function.
It functions at ON.
SUSTAIN
This is the function that the volume slowly fades out
after the key is released, not like that of the
synthesizers.
13. SUSTAIN - LENGTH
This allows you to set the Release Rate (= the decay time after you release the key),
when the SUSTAIN - ON (item #12) is ON.
1 is the shortest. And 5 is the longest.
VELOCITY
14. VELOCITY
This allows you to set the response to the Velocity. The setting range is OF and 1 - 4.
At OF, the volume does not change on how hard you touch the key. As the value
increases from 1 - 4, the sound gets louder even if you touch the key softly.
™ When the velocity is 1 - 4, it sounds when you touch the key slightly
deeper than OF.
15. KEY MODE
“Velocity” is the strength to touch the key.
When you touch the piano hard, the hammer hits the
string hard and so the sound gets loud.
The organ key is, on the other hand, generally only
the switch to open the valve, and so the sound does
not change on how hard you may touch the key.
So this function is effective if you use when the
Decay Rate is other than C, or Decay.
This allows you to set the way to voice the Pedal Part.
POLY:
MONO:
NOTE:
NOTE:
NOTE:
Makes it possible to play harmony ( up to 3 notes)
Only the lowest note will sound, when you play a harmony.
The previously relased note will be cut when you touch the new one, even when
the PEDAL Part is in the POLY mode and SUSTAIN is ON.
When the note-data of the Pedal Part are received from the MIDI IN terminal while
the value of the parameter [MIDI IN] (P. 86 #2) is “IN1/IN2”, the Pedal Part
produces polyphonic sound, regardless of the value.
All the parameters in these modes are Preset Parameters. They are recorded into
the Combination Preset.
Setting the Parameters
PRESET
56
In this mode, you can name the Combination Presets and determine how to call it.
To come to this mode:
Touch the [MENU/EXIT] button and display MENU, then touch the [PAGE] button to
select PAGE A and touch the [2] PRESET button.
2
3
4
5
6
7
1
8
6.
PRESET NAME
1.
NOTE:
The parameters by the names with (P) on the tail are
Preset Parameters, and are recorded to each Combination Preset.
PRESET LOAD
This allows you to set the operation when you depress the
Preset Key.
PRESET LOAD - LINK LOWER/PEDAL (B)
This allows you to determine whether or not to recall the
Drawbar Registration of the LOWER and PEDAL Part.
4.
PRESET LOAD - DRAWBAR (B)
This allows you to determine whether or not to recall the
Parameters relating to the Drawbars of each Part, such as the
Tonewheel Set.
5.
7.
PRESET LOAD - EXTERNAL ZONE (B)
This allows you to determine whether or not to recall the
Parameters relating to the External Zone to control the outside
MIDI equipment.
8.
PRESET LOAD - EQ/RV (B)
This allows you to determine whether or not to recall the
Parameters relating to the EQUALIZER and REVERB.
9.
PRESET LOAD - ANI/OD (B)
This allows you to determine whether or not to recall the
Parameters relating to VIBRATO, OVERDRIVE and LESLIE.
PRESET LOAD - UPPER (B)
This allows you to set whether or not to recall the Drawbar
Registration of UPPER Part.
3.
PRESET LOAD - INTERNAL ZONE (B)
This allows you to determine whether or not to recall the
Parameters relating to the Internal Zone such as SPLIT or
MANUAL BASS.
Preset Name (P)
This allows you to name the present Combination Presets using
up to 10 letters.
Move the cursor by the [PARAM] button, and choose the letters
by the [VALUE] button or the [VALUE] knob.
This change will be lost if you do not record it, same as the
other Preset Parameters.
2.
9
PRESET LOAD - PERCUSSION (B)
This allows you to determine whether or not to sound PERCUSSION by the other Preset Keys than [B] Key and recall the
Parameters relating to Percussion.
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NOTE:
Each Parameter (B) of Preset Load is a Bank Parameter.
It is set only for the BANK currently selected.
57
EFFECTIVE USE OF LINK-LOWER/PEDAL
This is the function to switch/record only from the connected MIDI equipment, and not to
operate the Preset for LOWER and PEDAL Part on this keyboard.
The Preset Keys on B-3/C-3 are independent, key by key, and so they were operated
independently. This function simulates that.
WHEN LINK LOWER/PEDAL IS ON:
When you recall the Combination Preset by the Preset Key, the
content of all UPPER/LOWER and PEDAL Parts will change.
If you want to change the Lower Part to another Preset Key,
send the Program Change corresponding with the key by the
MIDI keyboard connected to MIDI IN (LOWER) (hereinafter
"Lower Keyboard").
NOTE:
Refer to the Appendix for the details on Program Change
and Keys.
The recording to the Combination Preset is made to all the
UPPER/ LOWER and PEDAL Parts on this keyboard. It is
made only to the LOWER Part on the Lower Keyboard.
To record to the LOWER Part Preset, send the Program Change
from the Lower Keyboard, depressing the [REC/JUMP] button
of this keyboard.
WHEN LINK LOWER/PEDAL IS OFF:
If you recall the Combination Preset by the Preset Key of this
keyboard, the content of only the UPPER Parts will be
switched.
To recall LOWER Part Preset, send the Program Change
corresponding to the key by the Lower Keyboard.
To the Combination Presets, on this keyboard, only the UPPER
Part is recorded by the Preset Keys, and only the LOWER Part
is recorded by the Lower Keyboard.
If different Preset Keys are selected between the UPPER and the LOWER/PEDAL Part,
the display will be like this.
LOWER&PEDAL
Blink
UPPER
Light
Setting the Parameters
CONTROL
58
In this mode, you can do the setting relating to each
controller.
You may change the roles of several knobs and switches
mounted on this keyboard. Also, on the rear panel are
two terminals for connecting the Foot-switch and the
Expression Pedal. You must choose either of them in this
21
mode.
To come to this mode:
1.
2.
Touch the [MENU/EXIT] button and display the MENU and
select PAGE A by the [PAGE] button, and then touch the
[4] CONTROL button.
Or, you may touch the [CONTROL] button (in default).
22
20
16
17
10
11
12
18
13
14
15
9
2
3
4
5
6
7
8
1
1.
DRAWBAR - CONTROL MODE (G)
This is for setting how the right and left Drawbars function, when [A#] or [B] of the
Preset key is selected.
UPPER/LOWER:
The left Drawbar controls the UPPER and the right one the LOWER Part
respectively.
A#/B:
While [A#] is ON, the right Drawbar controls the UPPER Part and the left
Drawbar does not operate. Also, while [B] is ON, the right Drawbar does not
operate but the left Drawbar controls the UPPER Part. While [A#] or [B] is ON,
you can not operate the Drawbar Registration of the LOWER Part.
2.
BEND - L&U DOWN (P)
3.
BEND - L&U UP (P)
4.
BEND - PEDAL DOWN (P)
5.
BEND - PEDAL UP (P)
These are for setting the changing range of the PITCH-BEND WHEEL by the semitone.
Both the LOWER and the UPPER PARTS change at the same time, as they use the
same Tone-Wheels.
The setting range is 0 - 12 for up, 0 - 24 for down.
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59
MOTOR
There is no pitch-bend function on the B-3/C-3.
So some musicians turned off the power while
playing in order to get that effect.
If the B-3/C-3 is turned off, the Tone-wheel
motor gradually slows down and stops, and the
amplifier does as well. This function is to
simulate that on this model.
19
6.
HOW PITCH BEND MODE WORKS
BEND - MODE (P)
BEND:
MOTOR:
The pitch immediately rises.
The pitch gradually rises up to the set
point.
BEND:
The pitch immediately comes to
normal.
The pitch gradually comes to normal.
It switches the function of the PITCH BEND wheel.
BEND:
You can slide the pitch by rotating the PITCH BEND wheel.
MOTOR:
You can control the TONE-WHEEL motor. The motor turns on when it is in the
center or in the neutral position, stops when you rotate it forward (toward
yourself), and accelerates when you push it back.
7.
BEND - TIME (P)
This sets the time for slowing down to stop or accelerating the motor when it [=
MODE(6)] is in the MOTOR mode.
The value ranges from 0.1[s] to 5.0[s].
8.
MOTOR:
BEND - AMPLIFIER (P)
This decides whether to turn off the amplifier or not by rotating the PITCH BEND
wheel forward (toward yourself).
When the value of this parameter is “OF”, the pitch goes down and the sound gradually fades out.
9.
MODULATION - LESLIE (P)
Assigns the Modulation Wheel to Leslie Fast Function.
ON: If you push back the Modulation Wheel, it is FAST, and if you pull it forward,
SLOW speed.
OF: Does not function.
NOTE:
BEND:
MOTOR:
The pitch immediately falls.
The pitch gradually falls down to the
set point.
The parameters by the names with (P) on the tail are Preset Parameters, and are
recorded to each Combination Preset. (G) is for “Global”. These parameters will
be recorded when set, and are common in each Combinsation Preset.
Setting the Parameters
60
10. EXPRESSION - SOURCE (G)
Determines what to use for operating the Expression.
PED1(NORM):
Uses V-20R etc.
PED1(REV):
Uses KORG XVP-10 etc.
EXP-100:
Uses EXP-100F etc.
MIDI IN:
Uses the Expression Information received at the keyboard channnel UPPER.
11. EXPRESSION - MONITOR
Displays the present Expression Value. You can find the causes for such troubles as
“no sound”, “non-function” of the Expression Pedal, by checking if the Expression
Value changes normally. Also, this can be a guide when you want to play the “fade in”
from “quiet”.
12. EXPRESSION - MINIMUM LEVEL (G)
It sets the output level when the Expression is minimum.
The setting range is OFF, -60db to 0db. “OFF” makes no sound when the Expression
is minimum, “0dB” does not reduce volume level.
13. EXPRESSION - LIMIT LF (G)
14. EXPRESSION - LIMIT HF (G)
These are for setting the level to maintain for low and high frequencies when the
Expression is minimum.
The setting range is OFF, -60dB to 0dB. This function does not work at “OFF”.
Otherwise the level is maintained even if the Expression is minimum.
15. EXPRESSION - GAIN (S)
This is for adjusting the gain (=range of the change) of the connected expression
pedal.
It sometimes occurs that, even if you press the expression pedal to the full, the
expression value does not reach the maximum value (127), due to the difference of
each expression pedal model from model. In such a case, adjust this parameter for
getting the maximum range of the change.
NOTE:
This parameter is a System Parameter. This parameter will be recorded when set.
It is common in each Combination Preset. It is not recorded to the “Setup”.
16. FOOT-SWITCH - 1 DEVICE (G)
This is for deciding which equipment is connected to the Foot-Switch terminal.
PEDAL:
CU-1:
*#1
for Foot switch.
for the Leslie switch CU-1 (= optional).
:-Owner’s
Manual
EXPRESSION LIMIT
One of the human ear’s characteristics is that,
when the volume falls, the sound of high or low
frequency becomes difficult to hear.
On this model, it is rectified. The volume is
maintained above a certain level even when the
volume goes down by using the Expression, in
order to keep the sound of high or low frequency
audible.
The similar function is adopted on most home
audio equipments. It is called the “loudness”
function.
61
17. FOOT-SWITCH - 1 TIP (G)
This is for setting the function for the Foot Switch 1 terminal.
If you are using the Foot Switch with the stereo plug, this sets the function on the tip side.
OFF:
Does not work.
LESLIE S/F ALT:
LESLIE S/F MOM:
These are for switching SLOW/FAST of the Leslie Effect.
At ALT, it switches at each step/press and, at MOM, the Leslie effect gets Fast, as
long as you keep pressing the foot switch, and it gets Slow if you release it.
DAMPER UPPER:
DAMPER LOWER:
DAMPER PEDAL:
They hold the Notes of the UPPER, LOWER and PEDAL Parts, respectively, as
long as you keep depressing the footswitch.
PRESET FWD:
PRESET REV:
They are for switching one Combination Preset to the right (FWD) or the left
(REV).
SPRING:
This is for producing a springing sound of the Spring Reverb.
DELAY TIME:
It sets the delay time of the reverb effect (P. 73) along the kicked intervals.
18. FOOT-SWITCH - 1 RING (G)
This is for setting the function on the RING side, if you use the FOOT SWITCH equipped
with the Stereo plug.
19. FOOT-SWITCH - 2 MODE (G)
This is for setting the function of the FOOT SWITCH attached to the Expression Pedal
EXP-100F (= optional).
20. DEMO (G)
This is for setting the function of the [DEMO] BUTTON.
DEMO PLAY:
PEDAL SUS:
EX. ZONE:
LOWER OCT:
LES. BRAKE:
LES. ON:
LES. FAST:
VIB. ON:
DAMPER
The word “Damper” comes from the damper
pedal of the piano.
The piano stops sounding when you release your
finger from the key. This is because of the
damper system. While you hold the damper
pedal, the system does not work and so it keeps
sounding even after you release the key.
SPRING REVERB
The Spring Reverb is a reverb effect to obtain the
reverberation using the spring resilience. It was
easily affected by a shock and it used to give a
big “clang”.
However, this drawback has come to be used as
an effect in the genre of progressive rock. This
keyboard gives the simulated sound.
TIP AND RING
When you look at the plug of the stereo
headphones, there are 3 metal parts. The head
portion is called “Tip” and the middle portion is
the “Ring”. And the part on the cord side is
called “Sleeve”.
The ordinary foot-switch has only the Tip and
the Sleeve, but the footswitch with two switches
in one plug or two footswitches using the L/R
converting cable can be connected.
Plays the demonstration performance.
Switches On/Off Sustain of the PEDAL Part.
Switches On/Off the External Zone transmission.
Switches 0/+1 of the LOWER Octave.
Means the [LESLIE BRAKE] Button.
Means the [LESLIE ON] Button.
Means the [LESLIE FAST] Button.
Means the [VIBRATO/CHORUS] Button.
21. DISPLAY - SHORT CUT (G)
It sets the time limit to the short cut function.
The range is 0s to 2s and NO short cut. The short cut function does not work when the
value is in “NO”.
22. DISPLAY - TIME OUT (G)
It sets the time limit to return to the previous screen from the one displayed by using the
short cut operation.
The range is 4s to 16s and NO time out. The time out function does not work when the
value is in “NO”.
NOTE:
The parameters by the names with (P) on the tail are Preset Parameters, and are
recorded to each Combination Preset. (G) is for “Global”. These parameters will be
recorded when set, and are common in each Combination Preset.
Setting the Parameters
62
THE EFFECTIVE USE OF THE CONTROL MODE
The DRAWBAR - CONTROL MODE is normally set on the
“UPPER/LOWER” side.
“UPPER A#/B” is used when you want to quickly switch to the
Drawbar Registration, improvised during the performance.
It is like the House DJ's preparing the next tune while playing a
certain tune, using the Cross-Fader.
You can prepare the next registration by the Drawbars for [A#]
during your play by [B]. (No need for the recording operation.)
By pressing the [A#] key next, it is switched to that. You can
do vice versa.
*#1
:-Owner’s
Manual
In this case, if you select [A#] or [B] by the Preset Key, the left
and right Drawbars work only for the UPPER Part.
Operate the [B] Registration by the left Drawbars, and the [A#]
Registration by the right ones. (Note the order of the Drawbars
and the Key is different.)
Also, the registration of the LOWER Part succeeds the content
of the currently selected Combination Preset.
TUNE
63
In this mode, you can tune and transpose for playing in ensemble with the other
instruments.
To come to this mode:
Touch the [MENU/EXIT] button (MENU will displayed), select PAGE A by the [PAGE]
button and touch the [3] TUNE button.
1
1.
2
TRANSPOSE
You can transpose the entire keyboard by the semi-tone.
The setting range is -6 to +6.
Transpose effects:
Œ
between the manual keyboard and the built-in sound engine, and
Œ
between MIDI IN and the built-in sound engine.
Œ
The Master Course Tune of RPN is sent to the External Zone.
Œ
If you connect the MIDI Pedalboard XPK-100, the parameter will be changed by
the transpose operation, too.
2.
TRANSPOSE AND TONEWHEELS
If you set the transpose value at other than 0,
the relation between the keys and the
Tonewheels gets off. So, if you try to tune the
Tonewheels by the keyboard and the Drawbars
at this time, you cannot select the desired
wheels.
MASTER TUNE
This is for changing the PITCH of this entire keyboard.
The setting range is A = 430 - 450 Hz.
NOTE:
The parameters in this mode are the Global Parameters. They are recorded when
the value is set. Also, they are common at each Combination Preset.
Setting the Parameters
CUSTOM TONEWHEELS
64
In this mode, you can regulate each Tone-Wheel Set of
the Manual Keyboard, wheel by wheel.
The Tonewheel Set consists of 96 Tonewheels of
different pitches, and one wheel corresponds with plural
notes and the feet of the Drawbars.
The relation is complicated. For example, the middle C
of the 8' and the C one octave lower of the 4' use the
identical wheel.
In this keyboard, you can save 5 types of settings per 1
Tone-Wheel Set. We call this "CUSTOM
TONEWHEELS".
As a sample for customization, the typical 3 types of
settings are recorded when delivered from the factory.
To come to this mode:
Touch the [MENU/EXIT] button and display MENU,
select PAGE B by the [PAGE] button, and then touch
either [1] B-type, [2] Mellow, or [3] Brite button for
the desired Tonewheel Set.
Also, the Temporary (= the present setting) automatically switches to the selected Tone-Wheel Set just
selcted now.
3
4
5
6
7
2
1
1.
CUSTOM NUMBER
This is for selecting the “CUSTOM NUMBER” to use or
compile. The “*” will be displayed when the Tone-wheel
Parameters are changed from this Custom Number.
NOTE:
2.
This parameter is a Global Parameter. It is common for
the same Tone-wheel Set (= “B-type” here) of each
Combination Preset.
CUSTOM NAME
INITIAL VALUE OF THE CUSTOM NUMBER
The typical settings are saved to the Number 1 - 3, as
the initial value.
For example, to the B-type, “Real B-3” simulating the
well-preserved B-3/C-3 and “80's Clean” with less
noise, and rough sound “Noisy” is stored.
You can put the name on the CUSTOM TONEWHEELS using
up to 10 letters.
Move the cursor by the [PARAM] button and choose the letters
by the [VALUE] button or the [VALUE] knob.
By touching the [VALUE] button while holding down the
[REC/JUMP] button, it jumps to the head/first of each letter
type (space, 0, A, a).
The name set here, as well as the Tonewheel parameters below,
will be deleted, if you do not do the recording operation as
explained on the next page.
3.
WHEEL NUMBER
Select the Number of the Wheel you want to regulate.
To select the Wheel Number, select the [VALUE] button or the
[VALUE] knob here, or slightly move the feet of the Drawbar
while depressing the key you want to regulate. (See the
illustration on the right.)
When the Wheel Number is selected, each parameter for the
wheel (4, 5, 6, 7) is displayed.
*#1
:-Owner’s
Manual
How to select the WHEEL NUMBER
65
4.
LEVEL
This is for setting the volume of this wheel.
The setting range is -20 to +2dB. If you increase the value,
it gets louder.
5.
CUT OFF FREQUENCY - LPF
This is for setting the FREQUENCY to cut the TREBLE of
this wheel.
If you increase the value, a leakage noise is heard besides
the original tonewheel pitch.
If you decrease the value, the sound gets sweet and mild, as
the treble is cut off.
The setting range is 0 - 127.
NOTE:
6.
CONCEPT OF THE LEVEL ADJUSTMENT
If you decrease the value too low below the original
Tonewheel pitch, the wheel volume will be reduced.
RESONANCE - LPF
This is for setting the boost or reduce the level in and
around frequency by Cut-Off Frequency - LPF(5).
The setting range is -100 to +100. The more the value gets
boost, and less the value treble is cut smoothly.
7.
CUT OFF FREQUENCY - HPF
This is for setting the FREQUENCY to cut the BASS of
this wheel.
If you decrease the value, a motor hum (= noise) is heard
besides the original Tonewheel sound.
The setting range is 0 - 127.
NOTE:
If you increase the value too high above the original
tonewheel pitch, the sound will get "thin".
NOTE:
The parameters 2 - 7 are the Tonewheel parameters.
If you do the recording operation of the next page, it
works commonly to the same Tonewheel Set of each
Combination Preset.
When you operate the parameters 2 - 7, if you do not
the recording operation of the next page, it is lost
when you turn off the power.
NOTE:
LEAKAGE NOISE
On the B-3/C-3, the signal leakes in the route
from the pick-up mounted for the Topnewheels
to the output terminal, thus noise (= mixed
Tone-wheel sound) was also heard, This is
called "Leakage Noise".
The "Leakage Noise" is an obstacle in making
pure tones, but it is recognized as a character
now.
"Mellow" and "Brite" does not include the
"Leakage Noise".
DISTORTION
If you raise the Level and Resonance values too
much, it changes the gain in the sound engine
and may sometimes cause distortion, i.e.
unpleasant noise.
In such a case, please lower these values.
Setting the Parameters
66
RECORD THE CUSTOM TONEWHEELS
The Tonewheel Parameters (= 2 - 6 of the previous Section)
are for determining the Custom Number for recording. The
Custom Number is selected and used, when you play.
1
Enter the Custom Name if necessary.
2
Touch the [REC/JUMP] button in the setting mode of the
Tonewheel Parameters.
The mode for selecting the Custom Number to be recorded will
be displayed.
3
Select the Custom Number to be recorded by the [PAGE]
button.
4
It will be recorded if you touch the [4] OK button.
The display will be as illustrated, while the recording is treated.
NOTE:
*#1
:-Owner’s
Manual
If you do not want to record it, just touch the [MENU/
EXIT] button.
PERCUSS (PERCUSSion)
67
In this mode, you can set the parameter of the PERCUSSION sound.
To come to this mode:
1.
2.
Touch the [MENU/EXIT] button and display MENU, then select PAGE B by the [PAGE]
button and touch [4] PERCUSS button.
Or, hold down either [SECOND],[THIRD],[FAST],or [SOFT] button for a certain length of
time.
8
9
5
1.
LEVEL - SOFT
2.
LEVEL - NORMAL
These are for setting the Volume of Percussion. SOFT is the
volume when the [SOFT] button is ON, and NORMAL is the
volume when the [SOFT] button is OFF.
3.
DECAY - SLOW
4.
DECAY - FAST
These are for setting the Speed of the Decay of the Percussion.
SLOW is the speed when the [FAST] button is OFF, and FAST
is the speed when the [FAST] button is ON.
The setting range is 1 - 9 and C. The more the value gets, the
longer gets the Decay Time. At C, no decay (= continuous).
5.
KEYBOARD - TOUCH
This is for setting the method of sound production of Percussion.
ON: If you play legato, the notes including and after the
second note do not sound. (The envelope will not be
reset.)
OF: Even if you play legato, all the notes produce sound,
like the piano.
6.
KEYBOARD - VELOCITY
Corresponds the Volume of Percussion with the Velocity.
ON: If you play forte, it sounds loud.
OF: It sounds at a certain volume regardless of the play.
™ When the Velocity is ON, it sounds at a slightly
deeper point of the key action.
6
7
3
4
1
2
7.
KEYBOARD - KEY TRACK
Changes the Percussion Volume by the note.
ON: The higher notes reduce more volume.
OF: It sounds at a certain volume regardless of notes.
8.
DRAWBAR - 1' CANCEL
This mutes the 1' of the UPPER PART while using PERCUSSION.
ON: Mute
OF: Does not mute.
9.
DRAWBAR - LEVEL
Decreases the volume of UPPER DRAWBARS while using
PERCUSSION.
-3dB:Decreases the volume
0dB:Does not decrease the volume
NOTE:
This parameter works only when the [SOFT] is OFF.
NOTE:
The parameters in those modes are all Preset Parameters. They are recorded to each Combination Preset.
TOUCH
The B-3/C-3 had only one built-in Envelope Generator, and was not
recharged until all the UPPER Manuals were released. This looks
like a drawback, but it had the advantage that the sound did not get
loose when chords were roughly played.
1' CANCEL
The B-3/C-3 had no key contact exclusive for percussion but uses
the 1' contact for percussion. On this keyboard, this is simulated.
DRAWBAR LEVEL
On the B-3/C-3, the Drawbar Volume got slightly smaller, if
percussion works This is simulated on this keyboard.
Setting the Parameters
LESLIE
68
In this mode, you can do the setting for the built-in Leslie
Effect and the External Leslie Speaker.
There are many parameters for the built-in Leslie Effect,
and so you can do various settings, but not per each
Combination Preset independently.
The parameters are treated by the group called "CABINET". You can select the CABINET NUMBER in the
Combination Presets.
To come to this mode:
1.
2.
Touch the [MENU/EXIT] button to display the MENU.
Then select PAGE C by the [PAGE] button and touch [3]
LESLIE.
Or, hold down either [LESLIE BREAK], [LESLIE ON] or
[LESLIE FAST].
18
16
17
10
11
12
13
14
15
3
4
5
6
7
8
9
2
1
CABINET NUMBERS
1.
CONCEPT OF THE CABINET NUMBERS
LESLIE CABINETS
Here you select the CABINET NUMBER to use in the Combination Presets.
The setting range is 1 - 8. The “*” will displayed when the Leslie Parameters are
changed from this Cabinet Number.
LESLIE PARAMETERS
2.
CABINET NAME
This is for putting the Cabinet Names.
Move the cursor by the [PARAM] button and select letters by the [VALUE].
In this mode, only the present value “Temporary” changes and there is no determining
operation. You must record the name by doing “Recording the Cabinet” as explained
in the next paragraph. Otherwise the data will be lost.
3.
SLOW SPEED - HORN
10. SLOW SPEED - BASS
Here the Speed of the Rotor is set for Slow Speed.
The setting range is 0, 24 - 48 rpm. It does not rotate at 0.
4.
FAST SPEED - HORN
11. FAST SPEED - BASS
Here the Speed of the Rotor is set for Fast State.
The setting range is 0, 375 - 435 rpm. It does not rotate at 0.
*#1
:-Owner’s
Manual
Each Cabinet represents one imaginary Leslie
Speaker prepared by the Leslie Parameter.
This parameter is the only Preset Parameter in this
mode.
69
5.
HORN LEVEL
12. BASS LEVEL
The Volume of each Rotor is set. The setting range is 0 to -12dB.
6.
RISE TIME - HORN
13. RISE TIME - BASS
Here the Time is set for the Rotor to reach the Fast Speed, when you go from
Slow or Break to Fast state. The setting range for the Horn Rotor is 0.2 - 5.0s,
and that for the Bass Rotor is 0.5 - 12.5s.
7.
FALL TIME - HORN
14. FALL TIME - BASS
Here the Time is set for the Rotor to reach the Slow speed, when you go from
Fast to Slow Speed. The setting range for the Horn Rotor is 0.2 - 5.0s, and that
for the Bass Rotor is 0.5 - 12.5s.
8.
BREAK TIME - HORN
15. BREAK TIME - BASS
Here the Time is set for the Rotor to stop, when you go from Fast state to
Break. The setting range for the Horn Rotor is 0.2 - 5.0s, and that for the Bass
Rotor is 0.5 - 12.5s.
9.
HORN CHARACTER
Here the Tone of the Horn Rotor is set.
"FLAT" is a flat tone, and the others are the tones with each "peaky" characteristic.
16. MIC - ANGLE
This is the parameter to set the LOCATIONS of the two Microphones for the
imaginary Leslie Speaker.
The ANGLE decides the distance between the two mikes.
The setting range is 0 - 180 degrees. The farther, the more stereophonic feeling
it gives.
17. MIC - DISTANCE
This is the parameter to set the DISTANCE between the imaginary Leslie
Speaker and the Microphones.
The setting range is 0.3 - 2.7m. The more the value increases, the less effective
it gets.
NOTE:
When you operate the parameters 2 - 17, the setting range will be lost
after the power is switched off, if you do not do the recording operation
of the next page.
EXTERNAL LESLIE SPEAKER
18. LESLIE CHANNEL
The Channel is set for the Leslie Speaker connected to the 11-pin terminal.
At "1", the sounds always comes out of the Rotary Channel.
At "2 or 3", the sounds are put out to the stationary channel when the
[LESLIE] button gets OFF and the [BREAK] button gets OFF. Otherwise, the
sound comes out of the Rotary Channel.
CHANNELS OF CURRENT LESLIE MODELS
122XB:
1ch
2101/2102: 3ch
Setting the Parameters
70
RECORD THE CABINETS
The Leslie parameters (2 - 17 of the previous paragraph)
can be recorded with the Cabinet Numbers, and you can
choose and use them in each Combination Preset.
1
Enter the name for the Cabinet as you want.
2
Touch the [REC/JUMP] button in the setting mode of the Leslie
Parameter.
The Cabinet Selection mode is displayed.
3
Select the Cabinet Number to record by the [PAGE] button.
4
Touch [4] OK, and it is recorded.
The display during the recording treatment shows as illustrated.
NOTE:
*#1
:-Owner’s
Manual
If you do not want to record, just touch the [MENU/EXIT].
OD/VIB (OverDrive / VIBrato)
71
In this mode, you can do the setting relating to each Effect for Overdrive and
Vibrato/Chorus.
To come to this mode:
1.
2.
Touch the [MENU/EXIT] button to display the MENU, select PAGE C by the [PAGE]
button, and then touch the [1] OD/VIB button.
Or, hold down the [TUBE AMP] button for a while.
7
1
2
3
4
OVERDRIVE
1.
5
5.
BLEND
This is for setting the Tone Range for Distortion.
The setting range is 0 to 63. The more the value increases, the
easier gets the treble to distort. The less the value gets, on the
contrary, the easier gets the bass to be distorted. It is in the
same ratio at 32.
NOTE:
3.
This parameter functions when the Preamp - Type (4) is
at “Dual 1” or “Dual 2”.
EXPRESSION
This is for varying the Overdrive value by operating the
Expression.
EX-OD:
If you operate the Expression, not only the volume but
also the distortion will be changed.
OD-EX:
The Expression affects only the volume and not the
distortion value.
4.
PHASE
This parameter reverses the phases of the two tube amp
circuits.
DRIVE
This is for adjusting the Overdrive Value.
The more the value gets, the more distortion you can get.
This is linked with the [TUBE OVERDRIVE] knob on the
front panel.
2.
6
ON: Reverse
OFF: Normal
Usually, it should be “ON”.
NOTE:
6.
This Parameter functions when the Pre-amp - Type (4) is
at “Dual 1” or “Dual 2”.
CROSSOVER
Here you can set the Crossover Frequency of two bands of the
Tube-Amp circuits.
The setting range is 125 - 800 Hz.
NOTE:
This parameter functions when the Preamp - Type (4) is
at “Dual 1” or “Dual 2”.
VIBRATO/CHORUS
7. VIBRATO - RATE
This is for setting the Speed of the Vibrato/Chorus Effect.
The setting range is 6.10 - 7.25 Hz.
NOTE:
The parameters in these modes are Preset Parameters
and are recorded to each Combination Preset.
PREAMP - TYPE
This is for choosing the Tube Amp Circuit.
Dual 1:
This is an amp with two circuits for low and high
frequency band. The separation is loose.
Dual 2:
This is an amp with two circuits for low and high
frequency band. The separation is tight.
Singl:
This is an amp with a single circuit, same as the
ordinary overdrive effects. It treats all ranges by 1
circuit.
Setting the Parameters
EQUALIZ (EQUALIZer)
72
In this mode, you can do the setting for the Equalizer.
Equalizer is an effect to adjust the tonal quality. The built-in Equalizer consists of
3 bands. With the 3 bands from bass to treble, you can boost or cut them.
To come to this mode:
1.
Touch the [MENU/EXIT] button for the MENU, select PAGE C by the [PAGE] button, and
then touch the [2] EQUALIZE button.
Touch and hold the [TONE TYPE] button.
2.
5
1
1.
GAIN - BASS
2.
GAIN - MIDDLE
4.
GAIN - TREBLE
2
3
4
This is for doing the Boost/Cut of Bass, Mid-range and Treble respectively.
The setting range is -9 to +9. It gets neutral at 0.
3.
FREQUENCY - MIDDLE
This is for setting the Central Frequency to vary at Gain - Middle (2).
The setting range is 480Hz - 2.9kHz.
5. TONE - ASSIGN
This sets the function to assign the parameter of each gain: either Bass, Middle or Treble,
to the [TONE] knob. You can change this while playing.
NOTE:
These parameters are Preset Parameters and are recorded to each Combination
Preset.
THE EFFECTIVE USE OF THE MIDDLE
FREQUENCY
The frequency response of the horn rotor in the
Leslie speaker is not flat. It has a peak from
1kHz to 3kHz that sensitive range for human
ears. The character is the well-through sound in
the band ensemble.
When you use this keyboard on line out, without
Leslie speaker, you can get the similar effect by
setting the FREQUENCY - MIDDLE to about
2kHz, and the GAIN - MIDDLE to "+".
PRESET PARAMETERS
Equalizer is a Preset Parameter, designed to
actively use as one of the tone-making
parameters.
However, it is not practical to use Equalizer as a
tonal complementary tool to match the location.
In such a case, if you switch OFF the P.LOAD RV/
EQ in the PRESET function mode, the Equalizer
value does not change when the preset is
recalled. (P. 56)
*#1
:-Owner’s
Manual
REVERB
73
In this mode, you can do the setting for the REVERB EFFECT.
To come to this mode:
1.
2.
Touch the [MENU/EXIT] button for the MENU display, select PAGE C by the [PAGE]
button, and then touch the [4] REVERB button.
Or, hold down the [REVERB] button for a while.
3
4
1
1.
5
2
DEPTH
This sets the Depth (= Volume) of the REVERB.
The setting range is 0 - 15. If you increase the value, it will give the audience the
impression that the player's performance comes from farther away.
2.
TYPE
This sets the Types of REVERB.
Room 1:
Room 2:
Live:
Hall 1:
Hall 2:
Church:
Plate:
Delay:
PanDly:
RevDly:
3.
Inside the room (short)
Inside the room (long)
Live house
Concert Hall (long)
Concert Hall (short)
Church
Iron-plate Reverb
Delay
Panning Delay
Reverb + Delay
REVERB TIME
When the Type (2) is at Room 1 - Plate, it sets the Time for Reverb to fade out.
The setting range is 0 - 31. The more value, the wider it gives the impression of the
space.
4.
DELAY TIME
When the Type (2) is at Delay, PanDly, RevDly, it sets the Time for the delaying time.
The setting range is 4.7 - 1000 ms. The more value, the slower gets the delaying
sound.
5.
DELAY FEEDBACK
PRESET PARAMETERS
Reverb is a Preset Parameter, designed to be actively
used as one of the tone-making parameters.
However, it is not practical to use Reverb as a tonal
complementary tool to match the room/stage/hall. In
such a case, if you switch off the PLOAD RV/EQ in
the Preset function mode, the Reverb On/Off value
does not change when the preset is recalled. (P. 56)
When the Type (2) is at Delay, PanDly, RevDly, it sets the Amount of the Feedback.
(The delaying sound repeats.)
The setting range is 0 - 96%. The more value, the more Feedbacks you can get.
NOTE:
These parameters are Preset Parameters and are recorded to each Combination
Preset.
Setting the Parameters
DEFAULT
74
In this mode, you can go back entirely or partially to the default setting as per
shipped from the factory.
To come to this mode:
Touch the [MENU/EXIT] button for the MENU display, select PAGE E by the [PAGE]
button, and then touch the [1] DEFAULT button.
1
2
4
3
5
To initialize each parameter, touch the [PARAM] button and then [4] OK.
1.
ADJUST PRESET
Initializes the content of the Preset Key [B].
If the Drawbar Control mode is at "UPPER A#/B", the content of [A#] is also initialized.
If you do this operation before you start a new setting, you can start from the fresh status.
2.
PRESET
Initializes the content of all Combination Presets.
3.
GLOBAL
Initializes the Global Parameters such as Master tune or assignment of the Foot Switch.
4.
LESLIE
Initializes the content of all Cabinets.
5.
TONE WHEEL
Initializes the Custom Tonewheels.
6.
ALL
Initializes all parameters of this keyboard.
If anything caused an unstable trouble on this keyboard system, the trouble would be
cleared.
NOTE:
You can also totally initialize your module by switching the Power ON while touching
the [REC/JUMP] button.
*#1
:-Owner’s
Manual
6
SYSTEM
75
In this mode, you can set the SYSTEM PARAMETERS of this keyboard and the
display information.
To come to this mode:
Touch the [MENU/EXIT] button to display the MENU, select PAGE E by the [PAGE]
button, and then touch the [2] SYSTEM button.
2
3
4
1
1.
NOISE GATE - RETURN
Switches the action of the Noise-Gate of the Effect Loop and the Return terminal.
THRESHOLD 1,
THRESHOLD 2:
The voice output is switched ON/OFF according to the volume input to the
Return jack.
THRESHOLD 2 switches ON/OFF at lower volume than THRESHOLD 1.
OPEN:
The voice output is always ON.
2.
VERSION - MAIN PROGRAM
3.
VERSION - TONE INFORMATION
4.
VERSION - KEY SCAN PROGRAM
NOISE GATE
The Noise Gate is a device to eliminate noises while
you are not playing. If the input tone signal goes
down below a certain level (= “Threshold Level”),
this automatically “close”s the gate and gets silent,
to cut the noise.
However, this sometimes could be a problem. This
happens when a sound signal with a slow attack or
release is put in, for example, when such an Effector
as Slow Gear or Delay is connected to the Effect
Loop of this keyboard. The sound may suddenly
come out or be cut off all of a sudden.
In such a case, you must always “open” the gate to
pass all signals.
These are the versions of each software built in this keyboard.
These are only for displaying, and not the items to set.
Setting the Parameters
76
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77
MIDI
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MIDI
78
What is "MIDI"?
MIDI stands for Musical Instrument Digital Interface. (The capital letters of these four
words.)
MIDI is for exchanging the performance information between an electronic musical
instrument and a sequencer etc.
MIDI is an international standard, by which instruments made by different manufacturers
can be connected to communitate with each other.
The control information is exchanged, such as the performance infos. of a key being
touched/released and the tone being switched, the damper pedal being pressed/released.
MIDI TERMINALS ON THIS KEYBOARD
MIDI OUT
Sends Performance Informations.
MIDI IN 1 (PEDAL)
MIDI IN 2 (LOWER)
These receives the MIDI Signal. Each MIDI terminal is set to do the same function, when
this keyboard is delivered from the factory.
NOTE:
Each MIDI IN terminal can be set for exclusively receiving the LOWER and PEDAL
PART. (P. 86)
WHAT THE MIDI CAN DO ON YOUR KEYBOARD
On this keyboard, the MIDI terminals are intended to do the following:
Œ
Œ
Œ
expand the keyboard and use this as an organ.
record or playback your performance to external computer or sequencer.
control the external sound source such as a synthesizer and a sampler.
Also, to do the setting simply, the "MIDI Template" function is prepared.
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MIDI CHANNEL
MIDI has the “MIDI CHANNELS” 1 - 16. Thus, you can send your playing information
divided into 16 channels through one MIDI cable.
However, the channel must match between the sender and the receiver. Otherwise, you can
not “hear” what the other “says”.
MAJOR MIDI MESSAGE
The MIDI infomation is grouped into the channel message per each of the 16 channels and
the system message for the total channels. The main MIDI message is as follows: See for
details in the MIDI IMPLEMENTATION CHART.
CHANNEL MESSAGE

NOTE ON
This is for the 3 data: which key (Note Number), at what Speed (Velocity) and Play (Note
ON).
The sound engine of this keyboard receives velocity only for Percussion and Pedal.
Manual Drawbars oscillates at a certain volume, regardless of the velocity.

PROGRAM CHANGE
KEYBOARD CHANNEL:
Switches the Combination Presets.
EXTERNAL ZONE:
Switches the program of the External Sound Modules.

CONTROL CHANGE
Data will be sent/received corresponding to the action of the Expression Pedal, Foot
Switch, Modulation, etc.
SYSTEM MESSAGE

SYSTEM EXCLUSIVE MESSAGE
These messages are for sending and receiving the characteristic data between the same
model or the products made by the same manufacturer.
This keyboard has the Current Dump (transmit the total present setting) and can record the
data to the External Sequencer.
MIDI
MIDI STRUCTURE OF THIS KEYBOARD
80
The XK-3 has only a single keyboard but the sound engine has the three parts:
UPPER, LOWER and PEDAL.
Also this has three "EXTERNAL ZONES" to control the external (= outside)
MIDI equipments.
For these reasons, there are 6 MIDI CHANNELS on this keyboard.
KEYBOARD CHANNEL
UPPER
This is for sending and controlling the UPPER Part performance informaion, switching the
Combination Presets and sending/receiving Expression.
LOWER
This is for the LOWER Part performance informaiton not only for controlling but switching
data of the Preset for the LOWER Part independently.
PEDAL
This is for sending and receiving the PEDAL Part performance information and controlling.
EXTERNAL ZONE CHANNEL
EX. ZONE 1, EX. ZONE 2, EX. ZONE 3
You can use your XK-3 as a simple Master Keyboard, by assigning the range of the full scale
keyboard through the channel to control each External MIDI equipment. You can do the
different setting per each Combination Preset.
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EXPANDING THE KEYBOARD
81
This is the method how to connect the XK-3 to the MIDI keyboard and play on the
full manual (3 keyboard) instrument.
MIDI Keyboard
Expression Pedal
EXP-100F
MIDI Pedal Keyboard
1.
2.
Hook up as shown above.
Recall “Seq. Record” by the MIDI template.
3.
If you use the Expression Pedal, set the “Expression Source” corresponding to the connected Expression Pedal. (P. 60)
When you play the MIDI keyboard connected to the MIDI IN (LOWER) terminal of the XK-3
(hereinafter LOWER keyboard), the LOWER Part will sound, and when you play the MIDI
keyboard connected to the MIDI IN (PEDAL) terminal, the PEDAL Part will sound.
Also, if you send the Program Change by the LOWER Keyboard, the Preset of the LOWER
Part will be switched.
The Manual Bass Function is effective on the Lower Keyboard instead of the Manual of itself.
MIDI
RECORDING AND PLAYING THE PERFORMANCE
82
This is the method to record and playback your performance, by connecting the
Sequencer or Computer to your XK-3.
Recording to the Sequencer or the Computer
MIDI Keyboard
1.
Hook up as illustrated.
Connect the MIDI OUT to the MIDI IN of the Sequenser.
2.
Recall “Seq. Record” by the MIDI template.
By this, the performance on this module is sent to the MIDI channel 1, 2 and 3.
3.
4.
5.
6.
Set the Keyboard Channel if you want.
Start the Sequencer recording.
Send the Memory Dump if you want.
Start the playing.
NOTE:
MIDI Pedal
Keyboard
If the MIDI Keyboard is connected to the MIDI IN terminal of this keyboard, these performance information will be transmitted to each MIDI channel and sent out of the MIDI OUT
terminal.
Playback from the Sequencer or the Computer
MIDI Keyboard
1.
Hook up as illustrated above.
If a MIDI keyboard is connected, unplug it and connect the MIDI OUT of the Sequencer to
the MIDI IN of this keyboard.
2.
Recall “Seq. Play” by the MIDI Template.
By this, the messages received at the MIDI Channels 1,2 and 3 are distributed to each Part.
3.
4.
Do the setting of the Keyboard Channel if necesary.
Starts Playback on the Sequencer.
™ Only the built-in sound source can be recorded. The control of the External Zone is not played back.
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MIDI Pedal
Keyboard
CONTROLLING THE EXTERNAL MIDI EQUIPMENTS
83
You can control the External MIDI Equipments such as Sound Modules upto 3
Zones by your XK-3.
1.
Hook up as illustrated above.
Connect the MIDI OUT to the MIDI IN of the Equipment you want to control.
2.
Recall the MIDI template "Use EX Zone".
By this, the transmission of the Keyboard Channel stops and the infos. of the External Zone is
sent from MIDI OUT.
3.
Set the Zone, and the data is recorded to the Combination Preset, if necessary.
See "ZONES" on the next page for how to set the Zone.
NOTE ON THE SOUNDING POINT
The External Zone sounds at a little deeper point
of the key than the Drawbar tone.
This is for outputting the velocity infos. to the
External Zone.
MIDI
ZONES
84
To control the external sound module, a certain range of
the manual keyboard of this keyboard is used for that.
Each of them is called the “EXTERNAL ZONE”. At
the same time, you can set the oscillating range (=
“INTERNAL ZONE”) of the built-in sound engine and
play on the same single keyboard.
6
1
7
8
2
3
9
To come to this mode:
Touch the [MENU/EXIT] button to display the MENU,
select PAGE D by the [PAGE] button, and then touch [1]
ZONES.
10
4
11
12
EXTERNAL ZONE
1.
PEDAL
6.
2.
LOWER & UPPER - LOW
3.
LOWER & UPPER - HIGH
If you use the Split function, set the KEY on where to split the
LOWER and the UPPER Parts on the keyboard.
The setting value is the highest note used in the LOWER Part.
5.
MIDI CHANNEL
7.
MAP - LOW
8.
MAP - HIGH
This is for setting the playing range of this zone on the
keyboard.
SPLIT POINT
NOTE:
15
This is for choosing the MIDI channel to send to the External
Zone.
The range is 1 - 16 and OF. At 0, no sending to this Zone.
This is for setting the playing range of each part of the built-in
sound engine by the keyboard.
Set the lowest note at LO and the upper most note at HI. The
upper most function of the manual bass is set at PED.
NOTE:
14
5
INTERNAL ZONE
4.
13
You can come to this mode by holding down the [SPLIT]
button as well.
For 1 to 4, you can set the value by touching the [REC/
JUMP] button, while holding down a note on the
keyboard.
LOWER OCTAVE
This is for setting the pitch of the split LOWER Part by the
octave.
If you use the SPLIT function, the pitch of the LOWER Part
may go down too low for the harmony play. In that case, you
can move up the Lower octave upto the pitch suitable for
harmony play.
NOTE:
9.
For 7 and 8, you can set the value by touching the [REC/
JUMP] button, while holding down a note on the
keyboard.
PROGRAM - BANK MSB
10. PROGRAM - BANK LSB
11. PROGRAM - BANK PROGRAM CHANGE
This is for setting the Bank Select and Program Change to send
to this Zone.
Generally, the tone of the synthesizer or the Sampler is
switched by the Bank Select and the Program Change. There
are such models as do not receive the Bank Select. The
receiving range is different from equipment to equipment.
You can choose 0 - 127 in the Bank MSB and the Bank LSB,
and 1 - 128 in the Program Change.
12. NOTE - OCTAVE
This is for moving the octave to send to this zone. You can set
the pitch to be sent to the key by the octave, if the desired
range is different from that prepared by MAP LO/HI.
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85
16
17
18
19
13. NOTE - VOLUME
This is for setting the volume (= Control Change #7) of this
zone. However, the set value will be null, if the CC# (item #18)
is at “7.VOL”.
14. NOTE - PAN
This is for setting the Pan (= Control Change #10) of this Zone.
15. NOTE - VELOCITY
This is for setting the Velocity Curve to send to this zone.
The setting range is OF, 1 - 4. The velocity of OF is fixed at
100. At 1 - 4, the more the value increases, the intense velocity
is sent regardless how light the key is touched.
16. EXPRESSION - MINIMUM
17. EXPRESSION - MAXIMUM
This is for setting the range of the expression to “compress” to
send to this Zone.
If the expression pedal is connected to this keyboard, generally,
the electronic organ will sound, even when the expression pedal
is fully returned or at 0.
With the GM sound engine, the sound does not come out at the
same setting. This parameter is to balance it.
You can select 0 - 63 by MIN, and 64 - 127 by MAX.
20
21
19. MESSAGE - PITCH BEND
20. MESSAGE - DAMPER
21. MESSAGE - MODULATION
This is for determining whether or not to send the control
information to this zone.
For example, by using two zones, suppose you have set to
sound the piano and sax by touching one key. The damper is
effective on the piano but strange on sax. On the other hand,
Pitch Bend is suitable for sax but not necessary for the piano.
Now, you need to limit the message to send to each zone.
ON sends the message, but OF does not.
You can also select which footswitch to use for sending the
damper.
OF:
does not send the damper information.
1T, 1R 2:
each sends the damper information by the tip of the
footswitch 1, ring, and EXP-100F.
NOTE:
All the parameters in these modes are Preset Parameters. They can be recorded to the Combination Preset.
See the Appendix for details of the Preset Parameters.
18. EXPRESSION - CONTROL NUMBER
This is for setting the Control Number of the Expression Pedal.
There are various methods of the volume control, depending on
the connected equipment. you can here set the number to
nicely control the volume of the connected equipment by this
parameter.
MIDI
MIDI
86
This is the mode to do the basic setting of the MIDI.
To come to this mode:
Touch the [MENU] button to display the MENU, select PAGE D by the [PAGE] button, and
then touch the [2] MIDI button.
10
11
12
2
3
4
5
6
7
1
MIDI TEMPLATE
1.
MIDI TEMPLATE
This is the mode for setting each function simply.
DETAILS OF THE MIDI TEMPLATES
Typical settings can be recalled, by touching the [PARAM] button to select the usage and touching
For the details at each Template's call
[4] RECL.
out, refer to the Appendix.
MASTER
2.
MIDI IN
This is for setting the behavior if the two MIDI IN terminals.
UPPER / PEDAL:
Each MIDI IN terminal acts as a receiving terminal for the LOWER and PEDAL Parts, regardless of the channel.
This assigns the Manual Bass Function to the MIDI IN (LOWER) terminal.
The Split function will disabled (Disregards the [SPLIT] Button).
The input from each MIDI IN terminal will be resent by each Keyboard Channel of 11 and 12.
IN 1/IN 2:
Each acts in accordance with each designated channel.
Assigns the Manual Bass Function to the Manual Keyboard of this keyboard.
The Pedal Part produces polyphonic sound, regardless of the value of the Key Mode (POLY/
MONO).
3.
LOCAL
This is for switching ON/OFF the LOCAL CONTROL (internal).
If ON, the keyboard of this module and the sound engine are connected.
If OFF, the keyboard and the sound engine are cut off. The keyboard does not sound, if touched.
You can treat this module as if it is a two different equipment: a MIDI keyboad and a Sound
Module.
4.
NRPN
This is for switching ON/OFF the transmission of (= send and return) of NRPN (Non-Registered
Parameter Number).
On this keyboard, it switches ON/OFF whether to send/receive the message of Drawbar FoldBack, Leslie ON, etc.
At ON, the message is sent/received. At OFF, not.
5.
PROGRAM CHANGE
This is for switching the sending and receiving of the Program Change/Bank Select by the
Keyboard Channel.
On this keyboard, this is for switching the Combination Preset using the Program Change and the
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87
8
9
Bank Select.
When ON, this does send/receive. When OFF, not.
6.
REGISTRATION
This is for switching ON/OFF the Drawbar Registration send/receive at the Keyboard
Channel.
This is to select whether or not to send/return the information of the movement of each
footage of the Drawbars.
When ON, it transmits/receives. When OFF, not.
7.
WHEEL
This switches ON/OFF the Send/Receive of the Pitch Bend and Modulation informations
at the Keyboard Channel.
When ON, it transmits/receives. When OFF, not.
8.
RECEIVE DUMP
This is for determining whether or not to receive the MEMORY DUMP.
On this module, you can transmit/receive the current settings by the System Exclusive
Message as the MEMORY DUMP, but you must switch this OFF, if you do not want the
settings of this keyboard to be changed.
When ON, it receives. But, at OFF, not.
9.
CONTENT OF MEMORY DUMP
The PRESET Parameters, GLOBAL Parameters
and SYSTEM Parameters of TEMPORARY (=
the current status) are sent and received.
The content of each Combination Preset and
that of each Leslie Cabinet is not sent or
received.
To save these, you must use the CF CARD.
SEND DUMP
This is for sending the MEMORY DUMP.
If you touch [4] SEND in this mode, the whole TEMPORARY (= the current setting
information) from the MIDI OUT terminal. This avoids later “confusion” if you record the
TEMPORARY by doing this before recording your performance to the Sequencer.
KEYBOARD CHANNEL
10. UPPER
11. LOWER
12. PEDAL
This is for setting which MIDI CHANNEL you use to send/receive each Part.
You can choose 1 - 16 and OFF. If OFF, nothing is sent/received.
™ To avoid confusion of the MIDI signals, be careful not to duplicate
each MIDI channel, including the External Zone.
NOTE:
THE “PANIC” FUNCTION
When any trouble happens in the MIDI system, it
sometimes causes sticking notes. In such a
case, you can send the command messages “All
Notes Off” and “Reset All Controllers” by
touching the [BANK] button and the [REC/JUMP]
button at the same time. This is called “Panic”
function.
The settings in this MENU are not recorded in to the Combination Presets. This is
common with all Presets.
MIDI
88
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89
SAVE THE SETUP
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SAVE THE SETUP
90
On this keyboard you can save the setting of each Parameter, as a file, into the
CompactFlash™ card (hereinafter "CF card").
Eject Button
CF CARD YOU CAN USE
The manufacturer recommends HCF-32, as your CF card.
Please consult URL: http://www.hammondsuzuki.com before you try to use other cards
on the market.
CF CARD SLOT
1.
2.
3.
First please read the lavel on the CF CARD carefully and insert it correctly.
To take out the card, push the EJECT button on the right hand side of the slot.
Don't eject the card or switch the power off during initializing or setting it up.
THE CONTENT AND CAPACITY TO BE SAVED
The content the CF CARD can save are:
Œ
Œ
Œ
Œ
Œ
Œ
Combination Presets
Global Parameters
Custom Tonewheels
Leslie Cabinets
Adjust Presets [A#], [B]
Temporary Parameters
Also, this card can save/read out all of them as a whole by the unit called "SET-UP".
The capacity of one SET-UP is approximately 28 KB.
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INITIALIZE THE CF CARD
91
The CF CARD must be “INITIALIZED” first (= before you use it). Perform the
following, step by step, to do the initializing operation.
™This operation losts the all data in the CF card.
1
4
Touch [4] CF FORM.
The FORMAT mode is displayed.
Insert the CF card into the slot.
2
5
Touch the [4] OK button.
The Confirmation message is displayed.
Touch the [MENU/EXIT] button.
6
3
Touch the [4] YES button.
The initialization starts. It takes only a few seconds.
NOTE:
Select PAGE D by the [PAGE] button.
If you do not want to initialize, just touch the [3]
NO button.
7
To return to the PLAY mode, touch [PLAY].
Save the Set Up
OPERATE THE SETUP
92
Save or Load the SET UP to/from the CF card in the SETUP mode. In this mode,
you can do all the operations except the initialization of the CF card.
To come to this menu:
Touch the [MENU] button to display the MENU, select PAGE D by the [3] SETUP button.
HOW TO READ THE DISPLAY
Setup Name
This indicates there is
another SETUP file above
(or below).
The capacity left in this CF card (%)
Rename
Load
Save
Delete
SAVE THE SETUP
1
4
Check the CF CARD is correctly inserted.
2
Come to the SETUP mode.
WHAT DOES THIS MEAN?
Touch the [2] SAV button.
SAVE starts.
CF is not ready
The CF CARD is not correctly inserted.
3
5
A temporary name is put to the saved SET UP “Setup xx”
automatically.
Select the SET UP NAME “NewSetup” by the [PAGE]
button.
NOTE:
“NewSetup” means a fresh save. If you select an
existing SET UP NAME, it will be deleted and
written over (= renewed).
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CHANGE THE SETUP NAME
1
4
Input the new SET UP NAME.
Select the SETUP file you want to change the name.
[PARAM] BUTTON
Move the cursor.
You can use up to 16 letters.
[VALUE] BUTTON
2
Choose the letters by this.
You can use Large and small Alphabets, digits and
signs/symbols.
If you touch this button, holding down the [REC/
JUMP] button, you can move to the head/the first letter
of each type (= space, 0, A, a).
The [VALUE] knob can also be used to choose letters
etc.
Touch the [3] NAM button.
WHAT DOES THIS MEAN?
CrntSet will be lost Proceed?
If you change the SETUP NAME, the SETUP previously saved in this keyboard will be rewritten to that
you are changing. If you do not want to lose the current
SETUP, touch [3] NO button and save the new one as a
“NewSetup”.
If you touch the [4] YES button, the SET UP will be
loaded (= read into) and then the SETUP NAME input
mode will be displayed.
3
5
Move the cursor to the right end by the [PARAM]
button.
[ENT] will be displayed.
6
You have come to the SETUP NAME INPUT
mode.
Touch the [4] ENT button.
The SETUP NAME will be changed.
Save the Set Up
94
LOADING THE SETUP
™ After the operation, the settings already in this keyboard will be replaced
by the newly loaded SET UP. So, you
had better save them in advance.
1
HOW TO DELETE THE SETUP
1
Check the CF card is correctly inserted.
2
Check the CF card is correctly inserted.
Come to the SETUP mode.
2
3
Come to the SETUP mode.
3
Choose the SETUP file you want to delete by the [PAGE]
button.
4
Choose the SETUP file to load by the [PARAM] button.
Touch the [4] DEL button.
The Confirmation message will be displayed.
4
5
Touch the [1] LOD button.
The SETUP will be loaded in a few seconds.
Touch the [4] YES button.
The Delete operation starts.
NOTE:
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If you do not want to delete the data, touch [3] NO
button.
95
TROUBLE SHOOTING
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TROUBLE SHOOTING
96
 Malfunction of the buttons, the keys, etc.
Œ
Turn off the POWER switch once, then turn it on again. If this procedure is not
successful, turn off the POWER switch once. Then, while pressing [REC/JUMP]
button, turn the POWER switch on again. (Note that, in this case, all parameters
return to their factory-preset status.)
 No sound is produced when the keys are pressed.
Œ
Œ
Œ
The MASTER VOLUME is at the minimum setting. Adjust the volume with
the MASTER VOLUME control. (P. 10)
The LOCAL CONTROL is set to OFF. Set the local control to ON. (P. 86)
The SEND terminal is plugged in. Use RETURN terminal for return signal. (P.
16)
 Expression does not change.
Œ
The EXPRESSION - SOURCE is not the correctly set. Set the EXPRESSION SOURCE in the “CONTROL” screen correctly. (P.60)
 The sound is distorted.
Œ
Œ
The sound is distorted not as the [TUBE OVERDRIVE] knob screen shows.
If you are playing this keyboard using the Combination Preset, the actual value
of the drive is different from the position of the knob.
Switch OFF the [TUBE AMP] button, or, turn the [TUBE OVERDRIVE] knob
to the left, to the point where it is not distorted. You can easily check the actual
drive value by the [TUBE AMP]. (P. 39)
Depending on the headphones you use, the sound is sometimes distorted when
you turn the [MASTER VOLUME] to the maximum. In such a case, set the
[MASTER VOLUME] in the middle.
 The sound does not come out immediately after switched
on.
Œ
The [TUBE AMP] button is ON. A Vacuum Tube circuit is mounted in this
keyboard. It takes approximately 10 to 20 seconds after the [TUBE AMP] button is switched ON. Before you will hear the sound.
 The sound is not distorted if the [TUBE OVERDRIVE] knob
is turned.
Œ
When the Overdrive Expression is at “EX-OD”, it does not distort if the value
of Expression is low. In such a case, increase the Expression value, or, set the
Overdrive Expression at “OD-EX”, if you want to distort regardless of the Expression value. (P. 71)
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APPENDIX
98
Appendix
Custom Tone-wheel Templates
B-Type
Real B-3
This template simulates B-3 the classic model in good condition. It contains low
motor hum and some leakage noise.
80's Clean
This template simulates B-3 tuned like in 80's sound. It contains reduced leakage
noise.
Noisy
This template for passing all sounds of pickuped signal. It contains fully motor
hum and leakage noise.
Mellow
Full Flats
This template simulates ideal tone-wheel set. They are in same values at every
wheel.
Husky
This template has the character that dropped middle range.
Flute Lead
This template has the character that dropped bass and treble in contrast to
"Husky".
Brite
Classic X-5
This template simulates X-5 the classic model in good condition. It contains dull
triangle waveform and flat output levels on every wheel.
Voxy Full
This template has the most bright sounds. It is suitable for surfin' music.
Cheap Tr.s
This template simulates junk transistor organ. It contains insufficient bass and
treble.
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Appendix
MIDI Templates
Template
Seq. Record
Seq. Play
Use Ex.Zone
Data Range
Lower / Pedal
In1 / In2
Lower / Pedal
Lower / Pedal ,
In1 / In2
Local Control
On
Off
On
Off/On
NRPN
On
On
Off
Off/On
MIDI In
Messages Program Chg.
On
On
Off
Off/On
Registration
On
On
Off
Off/On
Wheel
On
On
Off
Off/On
1
1
Off
Off, 1 - 16
2
2
Off
Off, 1 - 16
3
3
Off
Off, 1 - 16
Upper Kbd.
1
1
Off
Off, 1 - 16
Lower Kbd.
Pedal Kbd.
2
3
2
3
Off
Off
Off, 1 - 16
Off, 1 - 16
Use this template for
connecting the organ
to an external MIDI
sequencer without
the "Echo Back"
function, and
recording songs.
Use this template for
connecting the organ
to an external MIDI
sequencer for playing
back songs.
Use this template for
connecting the organ
to an external MIDI
sound generator,
such as a synthesizer
or sound module,
and playing it from
the organ.
Upper Kbd.
Transmit
Lower Kbd.
Channel
Pedal Kbd.
Receive
Channel
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Appendix
[Hammond Combo Organ]
Model: XK-3
Function
Default
Basic
Changed
Channel
Default
Mode
Messages
Altered
Note
Number
: True Voice
Note ON
Velocity
Note OFF
Key's
After
Ch's
Touch
Pitch Bender
Control
Change
0,32
1
6,38
7
10
11
16
64
80,81,82
98,99
100, 101
120
121
MIDI Implementation Chart
Transmitted
1
1 - 16
3
X
*****
12 - 120
*****
O
X
X
X
O
O
O
O
O
O
O
O
O
O
O
O
X
O
O
*****
O
X
X
X
X
X
X
O
O
X
Program
Change
: True #
System Exclusive
: Song Position
System
: Song Select
Common
: Tune
: Clock
System
Real Time : Commands
: Local On/Off
Aux
: All Notes Off
Messages : Active Sense
: Reset
Mode 1:
OMNI ON, POLY
Mode 3:
OMNI OFF, POLY
*1: Lower Channel = 2, Pedal Channel = 3
*#1
:-Owner’s Manual
Recognized
Date: 1-Apr-2004
Version: 1.0
Remarks
Upper Channel *1
1
1 - 16
3
X
X
36 - 96
36 - 96
O
X
X
X
O
O
Bank Select MSB, LSB
O
Modulation
O
Data Entry MSB, LSB
X
Volume
X
Pan
O
Expression
O
Spring Shock
O
Hold 1
O
Drawbar Reg. U, L, P
O
NRPN LSB, MSB
X
RPN LSB, MSB
O
All Sound Off
O
Reset All Controllers
0 - 127
O
0 - 11
O
0 - 11
O
X
X
X
X
X
X
O
O
X
Mode 2: OMNI ON, MONO
O: Yes
Mode 4: OMNI OFF, MONO
X: No
Appendix
Part and MIDI Messages
External
Zone
(Tx. Only)
Note
Pitch Bend
Modulation
Volume, Pan
Expression
Hold 1
Drawbar Reg.
Spring Shock
RPN
NRPN
All Notes Off
All Sounds Off
Reset All Ctrl.
After Touch
Bank Select
Program Change
(1)
(7, 10)
(11)
(64)
(16)
(100, 101)
(98, 99)
(123)
(120)
(121)
(0, 32)
Upper
Keyboard
O
O
O
O
O *2
O
X
X
O *4
X
O
X
O
X
O
O *1
O
X
O *3
O
CC#80
O
X
O
O
O *5
O
X
Change voice
each zone.
Combination
Presets
Lower
Keyboard
O
X
X
X
X
O
CC#81
X
X
X
O
O *5
O
X
X
Lower
Presets
101
Pedal
Keyboard
O
O
X
X
X
O
CC#82
X
X
X
O
O *5
O
X
Combination
Presets
*1: It works for both Upper and Lower.
*2: It works for each zone.
*3: It work for all parts (audio controlled).
*4: Coarse Tune (for transpose)
*5: For Rx. only.
*#1
:-Owner’s Manual
102
Appendix
MIDI Information
[Channel Voice Message]
Note Off
Status 2nd Byte 3rd Byte
8n
kk
vv
9n
kk
00
n=MIDI Channel Number:
kk=Note Number:
vv=Velocity(disregard):
or
0 - F(Ch.1 - 16)
00 - 7F(0 - 127)
00 - 7F(0 - 127)
Note On
Status 2nd Byte 3rd Byte
9n
kk
vv
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
kk=Note Number:
00 - 7F(0 - 127)
vv=Velocity:
00 - 7F(0 - 127)
Control Change
The value set by the Control Change is not reset even when
Program Change messages etc. are received.
Bank Select
Status 2nd Byte 3rd Byte
Bn
00
mm
Bn
20
ll
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
mm,ll=Bank Number:
00 00 - 7F 7F
Default Value = 00 00
This device process the Lower Byte (ll) of the Bank Number as 00.
However, when you send the Bank Select, be sure to send
both Upper Byte(mm) and Lower Byte(ll).
Until you send the Program Change, the Bank Select process is
reserved.
Modulation
Status 2nd Byte 3rd Byte
Bn
01
vv
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
vv=Modulation Depth:
00 - 7F
Volume
Status 2nd Byte 3rd Byte
Bn
07
vv
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
vv=Volume:
00 - 7F(0 - 127)
Default Value = 64(100)
It controls the volume of the Part corresponding to the MIDI Channel of
the received message.
The volume message is used to set the volume balance of each Ex. zone.
Pan
Status 2nd Byte 3rd Byte
Bn
0A
vv
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
vv=Pan:
00(Left) - 40(Center) - 7F(Right)
Default Value = 40(64)
Expression
Status 2nd Byte 3rd Byte
Bn
0B
vv
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
vv=Expression:
00 - 7F(0 - 127)
Default Value = 7F(127)
*#1
:-Owner’s Manual
Spring Shock
Status 2nd Byte 3rd Byte
Bn
10
vv
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
vv=Any:
Hold 1
Status 2nd Byte 3rd Byte
Bn
40
vv
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
vv=Control Value:
00 - 7F(0 - 127) 0-63 = Off, 64-127 = On
Program Change
Status 2nd Byte
Cn
pp
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
pp=Program Number
Upper Channel: Change Combination Preset.
Lower Channel: Change Lower Preset only.
Pitch Bend Change
Status 2nd Byte 3rd Byte
En
ll
mm
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
mm=Upper Byte
ll=Lower Byte
00 00(-8192) - 40 00(0) - 7F 7F(8191)
[Channel Mode messages]
All Sounds Off
Status 2nd Byte 3rd Byte
Bn
78
00
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
When this message is received, all currently-sounding notes on the
corresponding channel will be turned off immediately.
Reset All Controllers
Status 2nd Byte 3rd Byte
Bn
79
00
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
When this message is received, the following controllers will be set to
their reset values.
Controller
Pitch Bend Change
Modulation
Expression
Hold 1
RPN
NRPN
Reset Value
±0 (Center)
0 (off)
127 (Maximum)
0 (off)
unset; previously set data will not change
unset; previously set data will not change
All Notes Off
Status 2nd Byte 3rd Byte
Bn
7B
00
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
When All Notes Off is received, all notes on the corresponding channel
will be turned off. However if Hold 1 is On, the sound will be continued
until these are turned off.
Appendix
NRPN MSB/LSB
Status 2nd Byte 3rd Byte
Bn
63
mm
(MSB)
Bn
62
ll
(LSB)
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
mm=Upper Byte of the Parameter Number designated by NRPN[MSB].
ll=Lower Byte of same[MSB].
The value set by NRPN is not reset even if "Program Change",
"Reset All controllers", etc. are received.
RPN MSB/LSB
Status 2nd Byte 3rd Byte
Bn
65
mm
(MSB)
Bn
64
ll
(LSB)
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
mm=Upper Byte of the Parameter Number designated by RPN[MSB].
ll=Lower Byte of same[MSB].
The Value set by RPN is not reset by receiving the "Program Change",
"Reset All Controllers", etc.
NRPN- "Non Registered Parameter Number"
The expansive range named NRPN is provided in the Control Change,
which function is specific on each equipment and not defined in the
MIDI Standard.
When you use it, designate the parameter to control, by giving NRPN MSB
and NRPN LSB (cc#98 and 99), and the set the value of the designated
parameter by the Data Entry MSB(cc#6).
Once the NRPN parameter is designated, all the data entry received into
the same channel after that is regarded as the change of the value of the
parameter. To avoid any mis-operation, we suggest you to set RPN Null
(RPN = 7F 7F), after setting the necessary parameter value.
On this sound module you can change the voice parameter by using
NRPN.
RPN- "Registered Parameter Number"
The expansive range named RPN is provided in the Control Change,
which function is specific on each equipment and not defined in the
MIDI Standard.
When you use it, designate the parameter to control, by giving RPN MSB
and RRN LSB(cc#101 and 100), and then set the value of the desgnated
parameter by the Data Entry MSB(cc#6).
Once the RPN parameter is designated, all the data entry received into
the same channel after that is regarded as the change of the value of the
parameter. To avoide any mis-operation, we suggest you to set RPN Null,
after setting the necessary parameter value.
103
Master Coarse Tuning
Data Entry
Status 2nd Byte 3rd Byte
Bn
06
mm
(MSB)
Bn
26
ll
(LSB)
n=MIDI Channel Number:
0 - F(Ch.1 - 16)
mm,ll=Value for the Parameter designated by RPN/NRPN.
RPN MSB
RPN LSB
DATA MSB
00
02
3A - 40 - 46 (-6 - 0 - +6 semitones)
This message will sent as Transpose for external zones.
Drawbar Data List
Control number:
Upper 50h(80)
Lower 51h(81)
Pedal 52h(82)
Data Map:
Level
16'
5 1/3'
8'
4'
Upper/Lower
2 2/3'
2'
1 3/5'
1 1/3'
Pedal
16'
8'
1'
0
00h(0)
09h(9)
12h(18)
1Bh(27)
24h(36)
2Dh(45)
36h(54)
3Fh(63)
48h(72)
00h(0)
1
01h(1)
0Ah(10)
13h(19)
1Ch(28)
25h(37)
2Eh(46)
37h(55)
40h(64)
49h(73)
01h(1)
0Ah(10)
2
02h(2)
0Bh(11)
14h(20)
1Dh(29)
26h(38)
2Fh(47)
38h(56)
41h(65)
4Ah(74)
02h(2)
0Bh(11)
3
03h(3)
0Ch(12)
15h(21)
1Eh(30)
27h(39)
30h(48)
39h(57)
42h(66)
4Bh(75)
03h(3)
0Ch(12)
4
04h(4)
0Dh(13)
16h(22)
1Fh(31)
28h(40)
31h(49)
3Ah(58)
43h(67)
4Ch(76)
04h(4)
0Dh(13)
5
05h(5)
0Eh(14)
17h(23)
20h(32)
29h(41)
32h(50)
3Bh(59)
44h(68)
4Dh(77)
05h(5)
0Eh(14)
6
06h(6)
0Fh(15)
18h(24)
21h(33)
2Ah(42)
33h(51)
3Ch(60)
45h(69)
4Eh(78)
06h(6)
0Fh(15)
7
8
07h(7)
10h(16)
19h(25)
22h(34)
2Bh(43)
34h(52)
3Dh(61)
46h(70)
4Fh(79)
07h(7)
10h(16)
08h(8)
11h(17)
1Ah(26)
23h(35)
2Ch(44)
35h(53)
3Eh(62)
47h(71)
50h(80)
08h(8)
11h(17)
ex: Set Lower 8' to level 7 via MIDI...
Bx 51 19
09h(9)
(x=Lower Channel)
*#1
:-Owner’s Manual
104
Appendix
System Exclusive Message
Current Dump/Global Dump
1.Each Packet
F0
System Exclusive
55
SUZUKI ID
00
Device ID
10
Model ID MSB
14
Model ID LSB
11
Command: Data Packet
[TYPE] Data Type
07h= Combi.Preset Dump
08h= Lower Preset Dump
09h= Global Dump
[PNH]
Packet Number MSB
[PNL]
Packet Number LSB
[DATA] 128 Bytes Data
256 Bytes nibblized ASCII
ex: 7Eh = 37h, 45h
[CHD]
Check Digit
Lower 7 bits of XOR [DATA]
F7
End of Exclusive
2.Acknowledge
F0
System Exclusive
55
SUZUKI ID
00
Device ID
10
Model ID MSB
14
Model ID LSB
14
Command: Acknowledge
[AK]
Result:
00h=OK
05h=Check Digit Error
06h=Receive Protected
[PNH]
Packet Number MSB
[PNL]
Packet Number LSB
F7
End of Exclusive
3.Hand shake communication
Master
Slave
Packet 0
->
<Acknowledge 0
Packet 1
->
<Acknowledge 1
.....
This device will wait for 20ms if no acknowledges
is received and transmit the next data of the
packet number. (One Way Transfer)
NRPN Switch
F0
System Exclusive
55
SUZUKI ID
00
Device ID
10
Model ID MSB
14
Model ID LSB
02
Command: NRPN Sw.
[DATA] 00h=Off, 7Fh=On
F7
End Of Exclusive
When this device receives this message, switch
Tx&Rx NRPN in Control channel.
*#1
:-Owner’s Manual
Mode Setting Exclusive Message
Full Parameters Reset
F0
System Exclusive
55
SUZUKI ID
10
Device ID for DT1
42
Model ID for DT1
12
Command: DT1
40
Address MSB
00
Address
7F
Address LSB
7F
Reset
42
Check Sum
F7
End of Exclusive
When this device receives this message, it is reset to
the initial status of Full Parameter, and gets ready
for receiving
the music data for the this device correctly.
It takes about 50ms to process this message.
Take an interval before the next message.
Appendix
Global Parameters
Category
Global Parameters
Parameter
Tune
Transpose
Master Tune
Expression Source
NRPN
DATA
LSB MSB
MSB
(62) (63)
(06)
01
00 3A - 40 - 46
(-6 - 0 - 6)
01
02 032E - 0338 - 0342
(430 - 440 - 450)
02
00 00 - 03
00: Exp. Pedal 1 (Normal)
01: Exp. Pedal 1 (Reverse)
02: EXP-100
03: MIDI IN
Default
Description
40
0
0338
440
02
EXP-100
Min. Level
02
-35dB
02
08 00 - 0D
09 (Off, -60dB - -0dB)
06
Min. Limit LF
09
-20dB
Min. Limit HF
02
0A
07
-30dB
FS1 Device
02
00
Foot Sw
Mode FS1 Tip
02
01
Leslie Fast (alternate)
Mode FS1 Ring
02
01
Leslie Fast (alternate)
Mode FS2
02
01 00 - 01
(Foot Sw, CU-1)
02 00 - 09
00: Off
01: Leslie Fast(alternate)
02: Leslie Fast(momentaly)
03 03: Damper Upper
04: Damper Lower
05: Damper Pedal
06: Preset Fwd.
04 07: Preset Rev.
08: Spring Shock
09: Delay Time
01
Leslie Fast (alternate)
Tone
Knob
Drawbar
Knob
Mode
02
05 00 - 02
(Bass / Mid / Treble)
02
Treble
Mode
02
06 00 - 01
00: Upper / Lower
01: A# / B
00
Upper / Lower
Demo
Switch
Mode
02
07 00 - 07
00: Demo Play
01: Pedal Sustain
02: External Zone
03: Lower Octave
04: Leslie Brake
05: Leslie On
06: Leslie Fast
07: Vibrato On
00
Demo Play
Combi.
Preset
Load
Link Lower/Pedal(Link L/P)
50
On
6b
00 00, 01 (Off/On)
00 00, 01 (Off/On)
01
Upper Regist. (UK)
01
On
Split, ManBs (INT)
6b
01
On
External Zone (EXT)
6b
01 00, 01 (Off/On)
02 00, 01 (Off/On)
01
On
Reverb, Equalizer (RV/EQ)
6b
01
On
Leslie, Vibrato (ANI/OD)
6b
03 00, 01 (Off/On)
04 00, 01 (Off/On)
01
On
Drawbar (DRAWB)
6b
01
On
Percussion (PERCUS)
6b
05 00, 01 (Off/On)
06 00, 01 (Off/On)
01
On
B-Type
03
Classic B-3
03
03
00 00 - 04
01 00 - 04
02 00 - 04
00
Mellow
Brite
00
00
Full Flats
Classic X-5
Foot
Switch
ToneWheel
set
105
b: Bank Number
00 - 0B (C - B)
Tone-wheel Parameters
Category
B-Type,
Mellow,
Brite
Wheel #
01: 1C 96: 8B
Tone-wheel Parameters
Parameter
Value
Level
-20 - +2 [dB]
HPF Cut Off
0 - 127
LPF Cut Off
0 - 127
LPF Resonance -100 - +100
*#1
:-Owner’s Manual
106
Appendix
Preset Parameters
Category
Combination Preset Parameters
Parameter
Name
Drawbar
Effect
NRPN
LSB MSB
(62) (63)
DATA
MSB
(06)
10 Characters
09
09
09
09
09
09
09
09
00
01
06
07
08
02
03
04
OD On
OD Preamp Type
09
09
09
0A
OD Drive Level Master
OD Blend Master
OD Exp. Ctrl
OD Crossover Freq
OD HF Phase Invert
EQ Bass Gain
09
09
09
09
09
0A
05
0B
0C
0D
0E
00
EQ Mid Gain
0A
01
EQ Treble Gain
0A
02
EQ Mid Freq
0A
03
Reverb On
Reberb Type
0A
0A
04
05
Reverb Depth
Reverb Time
Reverb Delay Feedback
Reverb Delay Time
0A
0A
0A
0A
06
07
08
09
00, 01 (Off/On)
00, 01 (Slow/Fast)
00, 01 (Through / Brake) ANI/OD
00 - 07 (1 - 8)
00, 01 (Off/On)
00, 01 (Off/On)
00 - 05 (V1 - C3)
ANI/OD
00 - 04
(6.1 - 7.25Hz)
00, 01 (Off/On)
00 - 02
(Dual1, Dual2, Single)
00 - 3F (0 - 63)
ANI/OD
00 - 3F (0 - 63)
00, 01 (Off/On)
00 - 05 (125 - 800Hz)
00, 01 (Off/On)
00 - 09 - 12
(-9 - 0 - +9 dB)
00 - 09 - 12
(-9 - 0 - +9 dB)
EQ/REV
00 - 09 - 12
(-9 - 0 - +9 dB)
00 - 0A
(480 - 2.9kHz)
00, 01 (Off/On)
00 - 09
00: Room 1
01: Room 2
02: Live House
03: Hall 1
04: Hall 2
05: Church
EQ/REV
06: Plate
07: Delay
08: Pannning Delay
09: Reverb + Delay
00 - 0F (0 - 15)
00 - 1F (0 - 31)
00 - 1F (0 - 96%)
00 - 3F (4.7 - 1000ms)
:-Owner’s Manual
Combination Preset Parameters
Parameter
P. load
always
Leslie On
Leslie Fast
Leslie Brake
Leslie Cabinet
Leslie Mod. Ctrl
Vibrato On
Vibrato Mode
Vibrato Rate
*#1
Category
Internal
Zone
External
Zone
Split On
NRPN
DATA
LSB MSB
MSB
(62) (63)
(06)
07
00 00, 01 (Off/On)
Manual Bass On
L&U Key Range Low
L&U Key Range High
Pedal Key Range High
Split Point
Split Lower Octave
07
07
07
07
07
07
01
02
03
04
05
06
00, 01 (Off/On)
24 - 5F
25 - 60
24 - 60
24 - 5F
00, 01 (0, +1)
Channel
Bank MSB
Bank LSB
Program Change
Octave Shift
4p
4p
4p
4p
4p
00
01
02
03
0A
Volume
Pan
4p
4p
04
05
Vel. Curve
4p
06
Exp. Min
Exp. Max
Exp. CC#
Tx. Bend On
Tx. Modulation On
Tx. Damper Source
Key Range Low
Key Range High
4p
4p
4p
4p
4p
4p
4p
4p
08
09
07
0B
0C
0D
0E
0F
00 - 10 (1 - 16 , Off)
00 - 7F
00 - 7F
00 - 7F
3E - 40 - 42
(-2 - 0 - +2)
00 - 7F
00 - 40 - 7F
(Left - Center - Right)
00 - 04
(Off, Normal - Easy)
00 - 3F (0 - 63)
40 - 7F (64 - 127)
00 , 01 (7, 11)
00, 01 (Off/On)
00, 01 (Off/On)
00 - 03 (Off, 1T, 1R, 2)
24 - 5F
25 - 60
p: Zone Number
00 - 02 (Zone 1 - 3)
P. load
INT
EXT
Appendix
Category
Combination Preset Parameters
Parameter
Upper/
Lower
Drawbar
Voice
Percussion
Voice
Voice Type
Drawbar Click Attack
Drawbar Click Release
Drawbar Env. Attack
Drawbar Env. Release
Fold Back Low
Fold Back High
Bend Range Down
Bend Range Up
Bend Mode
Bend Time
Bend Amplitude
Drawbar Click LPF
Second On
Third On
Decay Fast
Soft
Level Soft
Level Normal
Decay Fast
Decay Slow
Touch
Velocity
Key Track
Drawbar 1' Cancel
Drawbar Level
NRPN
DATA
LSB MSB
MSB
(62) (63)
(06)
20
00 00 - 02
00: B-Type
01: Mellow
02: Brite
20
20
20
20
20
20
20
20
20
20
20
20
01
02
03
04
05
06
07
08
0A
0B
0C
09
08
08
08
08
08
08
08
08
08
08
08
08
08
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
00 - 0F (0 - 15)
00 - 0F (0 - 15)
00 - 0F (0 - 15)
00 - 0F (0 - 15)
00 - 0C (C1 - C2)
2B - 30 (G4 - C5)
00 - 18 (0 - 24)
00 - 0C (0 - 12)
00 - 01 (Bend / Motor)
00 - 31 (0.1 - 5.0s)
00 - 01 (Off/On)
00 - 7F (0 - 127)
00, 01 (Off/On)
00, 01 (Off/On)
00, 01 (Off/On)
00, 01 (Off/On)
00 - 0F (1 - 16)
00 - 0F (1 - 16)
00 - 09 (1 - 9, C)
00 - 09 (1 - 9, C)
00, 01 (Off/On)
00, 01 (Off/On)
00, 01 (Off/On)
00, 01 (Off/On)
00, 01 (0, -3dB)
Category
Lower Preset Parameters
Parameter
P. load
Lower
Drawbars
DRAWB
Pedal
Drawbar
Voice
PERCUS
107
NRPN
DATA
LSB MSB
(62) (63)
MSB
(06)
16'
5 1/3'
8'
4'
2 2/3'
2'
1 3/5'
1 1/3'
1'
see Drawbar Data List
for details
Voice Type
22
00 00 - 02
00: Normal
01: Muted
02: Synth
Drawbar Attack
22
01 00 - 04
00: Slow Attack
01: No Click
02: Soft Click
03: Normal Click
04: Max Click
Bend Range Down
Bend Range Up
Sustain On
Sustain Length
Pedal Key Mode
Decay Length
Velocity
22
22
22
22
22
22
22
16'
Pedal
Drawbars 8'
02
03
04
05
06
07
08
P. load
Link L/P
Link L/P
00 - 18 (0 - 24)
00 - 0C (0 - 12)
00, 01 (Off/On)
00 - 04 (1 - 5)
00, 01 (Mono/Poly)
00 - 05 (1 - 5, Cont.)
00 - 04 (Off, 1 - 4)
see Drawbar Data List
for details
Link L/P
16'
Upper
Drawbars 5 1/3'
8'
4'
2 2/3'
2'
1 3/5'
1 1/3'
1'
see Drawbar Data List
for details
UK
*#1
:-Owner’s Manual
108
Appendix
Leslie Parameters
Category
Combination Preset Parameters
NRPN
LSB MSB
(62) (63)
Parameter
Name
Cabinet
#1 - 8
Slow Speed Horn
Slow Speed Bass
Fast Speed Horn
Fast Speed Bass
Rise Time Horn
Rise Time Bass
Fall Time Horn
Fall Time Bass
Brake Time Horn
Brake Time Bass
Volume Horn
Volume Bass
Mic. Angle
Mic. Distance
Horn Character
06
06
06
06
06
06
06
06
06
06
06
06
06
06
06
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
DATA
MSB
(06)
(10 Characters)
Default
00 - 09(0, 24 - 48rpm)
00 - 09(0, 24 - 48rpm)
00 - 15(0, 375 - 435rpm)
00 - 15(0, 375 - 435rpm)
00 - 18(0.2 - 5.0s)
00 - 18(0.5 - 12.5s)
00 - 18(0.2 - 5.0s)
00 - 18(0.5 - 12.5s)
00 - 18(0.2 - 5.0s)
00 - 18(0.5 - 12.5s)
00 - 0C(-12 - 0dB)
00 - 0C(-12 - 0dB)
00 - 06(0 - 180deg)
00 - 08(0.3 - 2.7m)
00 - 02(Flat, Mid, Deep)
05 (36rpm)
05 (36rpm)
07 (393rpm)
07 (393rpm)
0A (2.2s)
0D (7.0s)
04 (1.0s)
0F (8.0s)
05 (1.2s)
13 (10s)
0C (0dB)
0C (0dB)
04 (120deg)
01 (0.6m)
00 (Flat)
System Parameters
Category
System Parameters
Data Range
Parameter
Default
MIDI
MIDI In Port
Local
TRx. NRPN
TRx. Prog. Change
TRx. Drawbar Regi.
TRx. Wheel Control
Rx. Dump
TRx. Channel Upper
TRx. Channel Lower
TRx. Channel Pedal
Lower/Pedal , In1/In2
Off / On
Off / On
Off / On
Off / On
Off / On
Off / On
1 - 16, Off
1 - 16, Off
1 - 16, Off
In1/In2
On
On
On
On
On
On
1
2
3
Display
To Shortcut
Time Out
0, 1, 2s, No
4, 8, 16, No
1s
No
Ext.
Leslie
Noise
Gate
Channel
1, 2or3
1
Return
Threshold1,
Threshold2,
Open
Threshold1
*#1
:-Owner’s Manual
Bank
Select
MSB
Bank
C
1
C#
2
D
3
D#
4
E
5
F
6
F#
7
G
8
G#
9
A
10
A#
11
B
2
3
4
5
6
7
8
9
10
11
12
G
G#
A
A#
B
Preset Key
C
ex: Change to Bank E - Key C# via MIDI...
C#
D
D#
E
F
F#
Adjust B
*#1
0
1
Combi. and Bank/Program Messages
Program Change
Bx 00 04 Cx 01 (x=Upper Channel)
Appendix
109
:-Owner’s Manual
110
Appendix
Specifications
Sound Generator
2 x VASE III as
Digital Tone-wheels
Keyboard
73 (61 + 12 Preset keys)
Water Fall with Velocity
Harmonic Drawbars
Upper
9 Pitches, B-type/Mellow/Brite
Lower
9 Pitches
Pedal
2 Pitches, Muted/Normal/Synth
Percussion
Tabs
Second On, Third On,
Fast Decay, Soft
Adjustable
Touch, Velocity,
Decay (Fast, Slow)
Level (Soft, Normal)
Tuning
Master
430 - 450 1Hz Steps
Transpose
-6 - 0 - +6 semitones
Effects
Internal Leslie
On, Fast, Brake
Digital, 2 Rotors
Vibrato and Chorus
V1, V2, V3, C1, C2, C3
Upper&Lower On/Off
Speed: 5(6.10 - 7.25Hz)
Pre-amp
Preamp On, Overdrive
Vacuum tube amplifier
Equalizer
3 Bands
Reverb
10 Programs
Sustain
5 Lengths (Pedal)
Internal Zone
Tabs
Split
Manual Bass
Adjustable
Map Low, High
Split Point
Lower Octave
Pedal Top key
*#1
:-Owner’s Manual
Combination Presets
12 banks x 11 Presets
+ Adjust B
Switchable: Link/Independent
Controllers
Switches
Power On / Off
Rotary Controllers
Master Volume
Tube Overdrive
Tone
Wheels
Pitch Bend
Modulation
Display
20-characters, 2 lines
with 9 control switches
and Rotary encoder
Storage
CompactFlash card slot
MIDI
Templates: 3 modes
Zoned 3 parts
and Keyboard Ch.
Connections
AC Inlet
MIDI In1, In2, Out
Exp. Pedal 1, 2,
Foot Switch 1,
Effect Send, Return,
Line Out L/Mono, R,
Headphone,
11-pin Leslie
Dimension
119(W) x 40 (D) x 12(H)cm
Weight
19.5kg
SERVICE
111
Hammond maintains a policy of continuously improving and upgrading its instruments and therefore reserves
the right to change specifications without notice. Although every attempt has been made to insure the accuracy
of the descriptive contents of this Manual, total accuracy cannot be guaranteed.
Should the owner require further assistance, inquiries should first be made to your Authorized Hammond
Dealer. If you still need further assistance, contact Hammond at the following addresses:
In the United States Contact:
In Europe contact:
All other countries contact:
HAMMOND SUZUKI USA, Inc.
733 Annoreno Dr.
Addison, IL 60101
UNITED STATES
HAMMOND SUZUKI EUROPE
B.V.
IR. D.S. Tuynmanweg 4A
4131 PN Vianen
THE NETHERLANDS
HAMMOND SUZUKI Ltd.
25-11, Ryoke 2 Chome
Hamamatsu 430-0852
(Shizuoka)
JAPAN
Website:
www.hammondorganco.com
E-mail: [email protected]
Website: www.hammondsuzuki.com
Website: www.suzuki-music.co.jp
Technical materials are available and can be obtained by mailing a request to the appropriate address listed above
marked ATTENTION: SERVICE DEPARTMENT.
Manufacturer:
SUZUKI MUSICAL INSTRUMENT MFG. CO., Ltd.
25-12, Ryoke 2 Chome
Hamamatsu 430-0852 (Shizuoka)
JAPAN
*#1
:-Owner’s Manual
HAMMOND SUZUKI, LTD., Hamamatsu, Japan
Printed in Japan
00457-40096
V1.20-040618
*#1
:-
Demonstration Songs and Composers
Playing the demonstration performance:
1. Touch the [DEMO] Button.
2. Select the song by using [PAGE] Button.
3. Touch the [4]X Button to play.
Songs / Composers
1. XK-3 Happy
Joey DeFrancesco
2. Acid Wash
Tony Monaco
3. Shooting Star
Daisuke Kawai
4. B-3 Cookin’
Deryl Winston
5. Liberation
Takanobu Masuda
6. Somthing Slow
Joey DeFrancesco
7. Shakin’
Joey DeFrancesco
Joey DeFrancesco
Joey started playing at the age of four. He recalls,
“I could just play. I was already hearing Jimmy
Smith and stuff like that around the house. Then
one time my Dad, “Papa John” DeFrancesco,
brought the Hammond organ home from the gig.
When I heard that sound I really got into it. My
Dad guided me in the right direction, the do’s
and the don’ts, but he was never very forceful
about it.” At the age of 10, Joey was already
playing for money on weekend gigs. By high
school, he was working steadily around Philadelphia, receiving first-hand instruction from the
top-shelf organists who come through the city
such as Jimmy Smith, Jack McDuff, and numerous others. His high visibility career kicked off
when Miles Davis asked Joey to join his late 80s
band. Joey then signed a contract with Columbia
that resulted in five records from 1989 to 1994.
With the release of his album, “All of Me” in
1989, Joey emerged on the jazz scene. The global jazz community has credited Joey and his recordings, from the late 1980s and early 1990s, as
the singular sensation for rekindling a love for
the Hammond B-3 organ. In 2003, Joey and his
band released their latest hit CD, “Falling in Love
Again”. This CD featured the Hammond “New”
B-3 organ. For the year 2002/2003, the magazine Downbeat chose Joey as “the Jazz Organist
of the Year”. Currently Joey is very active at
Hammond Suzuki. Besides participating at dealer
promotions, national conventions, concerts, and
clinics, he contributes to Hammond product development.
Tony Monaco
Tony started playing the accordion when he was
eight years old. When he was twelve, he was given
a Jimmy Smith album and instantly knew that
Jazz Organ was his calling. Tony began playing
in Jazz nightclubs around Columbus Ohio while
he was still learning the art of Hammond B3 organ. He was influenced by hometown Organists
such as Hank Marr and Don Patterson. Tony’s
newfound fascination led him to jazz organ legends Jimmy McGriff, Richard “Groove” Holmes,
Charles Earland, Jack McDuff, and Dr. Lonnie
Smith. Here he found an unlimited source of inspiration ; he just couldn’t get enough! On Tony’s
sixteenth birthday, he received a phone call from
Jimmy Smith. This was a great honor and really
boosted his enthusiasm as an organist. When he
was twenty, Jimmy Smith invited Tony to come
play with him at his club in Woodland Hills LA.,
California. An experience Tony would never forget. In April 2000, Tony met jazz Organist Joey
DeFrancesco while Joey was playing in Columbus, Ohio. The two of them became instant
friends. Joey recognized Tony’s talents right away
and offered to produce a CD for him. Tony’s recording “Burnin’ Grooves” sparked international
attention. Tony now travels and plays the “New
B3” organ as his relationship with Hammond
Suzuki has grown.
Deryl Winston
Deryl Winston is a long time resident of San Diego.
He began playing the Hammond Organ at age 14 while
still living in his native home of Seattle Washington.
Deryl was tutored by two of the finest Gospel musicians in the form of his mother Alice Winston (a concert pianist) and Aunt Jean McGraw (Hammond Organist). It was not long before many in the Seattle
area became familiar with Deryl and the amazing talent and skill he showed on the Hammond Organ. By
early 2000, Deryl was introduced to the Executives at
Hammond Suzuki USA. They were very impressed
with Deryl and invited him to the Annual Namm Convention in Anaheim Ca. to become one of their artist’s.
Deryl still continues to travel in the capacity as a
Hammond Concert Artist. He provides dedication
concerts and conducts seminars on Hammond Organ
and it’s importance in Gospel music. He’s very thankful and proud to represent such a fine company as
Hammond Suzuki USA. Deryl’s motto is “You ain't
Jammin, unless there’s a Hammond”!
Takanobu Masuda
Started playing the organ when small. Has been interested in the Hammond Organ since about 15. Purchased the new X-5 and Leslie #760 at the age of 18,
then studied mainly Rock style performance and approach.
Later, as a session keyboardist, joined the recordings
and lives of various artists. Now gives advice to the
makers (Hammond Suzuki) about the XB/XM series
from the viewpoint of a professional musician.
Daisuke Kawai
Started music career as a studio musician in 1989.
Has supported Cornelius, Shinji Takeda and, recently, the Morning Musume, Ayumi Hamasaki,
and coba, etc.
Actively performing with his own band “Tone
Wheels”, and the new unit “Opus”.
‹ All the copyrights of these demo-songs belong to
Suzuki Musical Inst. Mfg. Co., Ltd.
‹ Reproducing these demo-songs for use other than
listining individually is prohibited by law.
‹ While the demo-songs are playing, the controllers
do not function, except [MASTER VOLUME],
[LESLIE BRAKE], [LESLIE ON], [LESLIE FAST],
[VIBRATO & CHORUS] and [REVERB].
C#
D
D#
E
F
F#
G
G#
A
A#
B
1
2
3
4
5
6
7
8
9
10
11
B-3
Demo Song
Intro 2
Intro 1
Lo & Hi
Church
Tibia
Theatre
Rock
Gospel
Jazz
Default
Bank
Cancel
Cancel
Cancel
Cancel
Cancel
Cancel
Cancel
Cancel
Cancel
Cancel
Cancel
Cancel
C
1
Jimmy
3
Gospel
3
Some
Lovin
Theatre
D#
Tibia &
Vox
Principl
8
Lo & Hi
3
Four
Beat
S.F.
4ever
Jimmy
2
Gospel
2
Perc
Holow
Theatre
D
Tibia
8&2
Flute
8&4
Lo & Hi
2
Percuss
Bass
Choke
Nose
Jimmy
1
Gospel
1
Purple
Theatre
C#
Tibia
8&4
Gedeckt
8
Lo & Hi
1
White
Shade
7
Fr.
Horn
Salicional
Flutes
8&4
Bx 00 04 Cx 01 (x=Upper Channel)
Dulciana
Oboe
Horn
Triplet
90
Blue
Tigers
Perc
16 & 4
Gamba
Clst
Tibia
16 & 4
Theatre
F#
Rock
2
Praise
2
Smooth
Bass
Purple
F#
Stopped
Fl
Le
Femme
Surf
Coast
M3
Low Man
Rohr
Flute
Tibia
16 & 8
Theatre
F
Rock
1
Praise
1
Groove
Funky
F
Preset Key
6
B-3
Cookin'
Tea
Lounge
Funk
Bass
Odd
Harm
Princ
Chrs
Tibia
8,4 & 2
Theatre
E
Booker
Gospel
4
Burner
Groove
E
5
SomeSlow SomeSlow SomeSlow AcidWash AcidWash
2
1
3
1
2
Soloist
Warmth
Lo & Hi
1
Jimmy
4
D#
3
D
C#
2
Full
1
Rock
3
Theatre
A
Full
2
Meditation
Fat
Bass
Full
Organ
A
10
Shooting
2
Shooting
1
Trumpet
Triplet
110
Triplet
100
Diapason
Popcorn
Cute
Solo
Solo
16 & 2
10th
Avenue
Sesquialtr
Cornet
Liberatio
2
Full
Church
Full
Swell
Triplet
130
N. E. S.
Full
Hamm
Sforzando
Full
Tibia
Full
Theatre
Full
Overd
Full
Gospel
All
Nine
Full
Church
A#
11
Liberatio
1
Triplet
120
Doubling
Eddieswind
Chrs &
Mxt
Tibia
Tibia
Tibia
16, 8 & 4 16,8,4&2 16,8,4,2,1
Theatre
G#
Praise
4
Praise
3
Theatre
G
Jimmy
MC
Full
Tibias
G#
9
Shirley
Funky
2
G
8
B
12
:-
ex: Change to Bank E - Key C# via MIDI...
C
0
Bank
Select
MSB
Program Change
*#1
Factory Presets
Adjust B
00457-40100 V1.2
Printed In Japan