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Musician’s Guide
©2008 All rights reserved. Kurzweil ® is a product line of Young Chang Co., Ltd. Young Chang®, Kurzweil ®, V. A. S. T. ®, PC3®, KDFX®,
Pitcher®, and LaserVerb®, KSP8 ™, K2661™, K2600™, K2500™, and K2000™ are trademarks of Young Chang Co., Ltd. All other products and brand names are trademarks or registered trademarks of their respective companies. Product features and specifications are subject to change without notice.
You may legally print up to two (2) copies of this document for personal use. Commercial use of any copies of this document is prohibited. Young Chang Co. retains ownership of all intellectual property represented by this document.
910511 – V1.1 September 2008
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE THE COVER
NO USER SERVICEABLE PARTS INSIDE
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL
The lightning flash with the arrowhead symbol, within an equilateral triangle, is intended to alert
the user to the presence of uninsulated
"dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
ii
IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS
INSTRUCTIONS PERTAINING TO THE RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS
WARNING:
When using electric products, basic precautions should always be followed, including the following:
1.
Read all of the Safety and Installation Instructions and Explanation of Graphic Symbols before using the product.
2.
This product must be grounded. If it should malfunction or break down, grounding provides a path of least resistance for electric current to reduce the risk of electric shock. This product is equipped with a power supply cord having an equipment-grounding conductor and a grounding plug. The plug must be plugged into an appropriate outlet which is properly installed and grounded in accordance with all local codes and ordinances.
DANGER:
Improper connection of the equipment-grounding conductor can result in a risk of electric shock. Do not modify the plug provided with the product - if it will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use an adaptor which defeats the function of the equipment-grounding conductor. If you are in doubt as to whether the product is properly grounded, check with a qualified serviceman or electrician.
3.
WARNING:
This product is equipped with an AC input voltage selector. The voltage selector has been factory set for the mains supply voltage in the country where this unit was sold. Changing the voltage selector may require the use of a different power supply cord or attachment plug, or both. To reduce the risk of fire or electric shock, refer servicing to qualified maintenance personnel.
4.
Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, or the like.
5.
This product should only be used with a stand or cart that is recommended by the manufacturer.
6.
This product, either alone or in combination with an amplifier and speakers or headphones, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist.
7.
The product should be located so that its location or position does not interfere with its proper ventilation.
8.
The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat.
9.
The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product.
10. This product may be equipped with a polarized line plug (one blade wider than the other). This is a safety feature. If you are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety purpose of the plug.
11. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time. When unplugging the power supply cord, do not pull on the cord, but grasp it by the plug.
12. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.
13. The product should be serviced by qualified service personnel when:
A.
The power supply cord or the plug has been damaged;
B.
Objects have fallen, or liquid has been spilled into the product;
C.
The product has been exposed to rain;
D.
The product does not appear to be operating normally or exhibits a marked change in performance;
E.
The product has been dropped, or the enclosure damaged.
14. Do not attempt to service the product beyond that described in the user maintenance instructions. All other servicing should be referred to qualified service personnel.
15.
WARNING:
Do not place objects on the product’s power supply cord, or place the product in a position where anyone could trip over, walk on, or roll anything over cords of any type. Do not allow the product to rest on or be installed over cords of any type.
Improper installations of this type create the possibility of a fire hazard and/or personal injury.
RADIO AND TELEVISION INTERFERENCE
WARNING:
Changes or modifications to this instrument not expressly approved by Young Chang could void your authority to operate the instrument.
IMPORTANT:
When connecting this product to accessories and/or other equipment use only high quality shielded cables.
NOTE:
This instrument has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.
These limits are designed to provide reasonable protection against harmful interference in a residential installation. This instrument generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this instrument does cause harmful interference to radio or television reception, which can be determined by turning the instrument off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the instrument and the receiver.
• Connect the instrument into an outlet on a circuit other than the one to which the receiver is connected.
• If necessary consult your dealer or an experienced radio/television technician for additional suggestions.
NOTICE
This apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the Radio Interference
Regulations of the Canadian Department of Communications.
AVIS
Le present appareil numerique n’emet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la class B prescrites dans le Reglement sur le brouillage radioelectrique edicte par le ministere des Communications du Canada.
SAVE THESE INSTRUCTIONS
Important Safety Instructions
1) Read these instructions
2) Keep these instructions.
3) Heed all warnings.
4) Follow all instructions.
5) Do not use this apparatus near water.
6) Clean only with dry cloth.
7) Do not block any of the ventilation openings. Install in accordance with the manufacturer’s instructions.
8) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10) Protect the power cord from being walked on or pinched, particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
11) Only use attachments/accessories specified by the manufacturer.
12) Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
13) Unplug this apparatus during lightning storms or when unused for long periods of time.
14) CAUTION: Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type (CR2032).
15) Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
Warning
- To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. Do not expose this equipment to dripping or splashing and ensure that no objects filled with liquids, such as vases, are placed on the equipment.
To completely disconnect this equipment from the AC Mains, disconnect the power supply cord plug from the AC receptacle.
iii
Kurzweil International Contacts
Contact the Kurzweil office listed below to locate your local Kurzweil representative.
Kurzweil Music Systems
19060 S. Dominguez Hills Dr.
Rancho Dominguez
California 90220 USA telephone: (310)637-2000 fax: (310)637-2025 http://www.kurzweilmusicsystems.com
Kurzweil Co., LTD iPark Building #102, Floor 9
Jeongja-Dong 9, Bundang-Gu
Soungnam-Shi, Gyeonggi-Do 463-859
South Korea http://www.ycpiano.co.kr
http://www.youngchang.com
iv
Chapter 1 Introduction
Chapter 2 Startup
Chapter 3 User Interface Basics
TOC-i
Chapter 4 The Operating Modes
Chapter 5 Editing Conventions
TOC-ii
Chapter 6 Program Mode
TOC-iii
TOC-iv
TOC-v
Chapter 7 Setup Mode
TOC-vi
TOC-vii
Chapter 8 Quick Access Mode
Chapter 9 Effects
TOC-viii
TOC-ix
Chapter 10 MIDI Mode
Chapter 11 Master Mode
TOC-x
Chapter 12 Song Mode and the Song Editor
TOC-xi
TOC-xii
Chapter 13 Storage Mode
Appendix A MIDI Implementation Chart
Appendix B PC3 Bootloader
Appendix C Changing PC3 Voltage
Appendix D PC3 Objects (V 1.20)
TOC-xiii
TOC-xiv
Introduction
Keeping Current
Chapter 1
Introduction
Greetings. Your new PC3 offers amazing acoustic, electric, and synthesizer sounds, combined with advanced programming features that will let you create almost any sound you can imagine. The PC3 comes loaded with 64 MB of ROM sounds, powered by Kurzweil’s newest custom chip set – cutting edge technology that nobody else has. In addition to the great sounds and programming features, the PC3 is fully equipped with performance features you’ll use at every gig. For example, there are nine conveniently situated sliders for accurately emulating the drawbars on a tone wheel organ such as a Hammond B3™. And the PC3’s 24 dedicated sound select buttons, along with its Quick Access banks will let you instantly choose and change sounds whenever you like.
If you’ve used other Kurzweil gear, you’ll have no trouble getting up and running quickly. Bear in mind, however, that the PC3’s beauties are more than skin-deep; you’ll want to read this manual, as well as the materials at the www.kurzweilmusicsystems.com website to take full advantage of your instrument.
Keeping Current
Check for new documentation and operating system upgrades before you start using your instrument. When new software is available for the PC3, it will be posted at www.kurzweilmusicsystems.com. You’ll use the PC3’s Boot Loader (described in this manual) to upgrade your instrument to use the new software.
Pictured below is the 88-key PC3x.
1-1
Introduction
Overview of the PC3
Overview of the PC3
The PC3’s 800+ programs include the Orchestral and Contemporary sound blocks, General
MIDI (GM), Stereo Triple Strike Piano, Classic Keys for realistic vintage electric piano sounds, and new String Sections. Multi-zone performance setups are also provided; many of these setups use note triggers to play factory-recorded songs that provide grooves and arpeggiation that make great templates for performance or recording. An on-board sequencer with front panel transport buttons lets you record your ideas any time inspiration strikes. This sequencer
(Song mode) lets you play back MIDI type 0 or 1 sequences, record and play back your own songs, and record multi-timbral sequences received via MIDI.
Before we get into explaining VAST, here are a few of the features that by themselves make the
PC3 an impressive stage and studio machine. It has 128-voice polyphony and is fully multitimbral, so that different programs can be played on each MIDI channel. There’s an on-board digital effects processor providing multiple simultaneous effects, including real-time effects control, internally or via MIDI. In fact, the PC3 offers more effects processing power than
Kurzweil’s much-lauded KSP8 studio effects processor.
In addition to the standard stereo audio output pair, there are two additional balanced analog outputs, as well as a digital output. All of the outputs are available to you simultaneously. For backup, storage, and moving files, there’s an xD card slot on the back panel of the PC3. The provided USB port lets you connect the PC3 to a computer for file transfer and MIDI.
How the PC3 Works
The PC3 integrates three MIDI-driven components: a MIDI controller (the keyboard, or an external MIDI controller), a sound engine, and an effects processor that employs the same effects used in Kurzweil’s KSP8. The sound engine responds to the MIDI events generated by the MIDI controller, and turns them into sounds that are processed within the variable architecture of the algorithms—or by oscillators for KB3 programs. The resulting sound can then be routed through the PC3’s effects and to the audio outputs.
1-2
Introduction
VAST Synthesis
VAST Synthesis
The PC3’s Variable Architecture Synthesis Technology (V.A.S.T.) lets you build sounds from realistic instrumental samples and sampled synth waveforms—then modify the nature of those sounds through a wide variety of digital signal-processing (DSP) functions. The PC3 also generates its own synth waveforms, which can be combined with the samples or used on their own.
While many other synthesizers may offer a fixed set of
DSP
tools (typically filtering, pitch, and amplitude modulation) the PC3’s Variable Architecture lets you arrange a combination of DSP functions from a long list of choices. The functions you choose define the type of synthesis you use.
Each layer of every program has its own DSP architecture, which we call an
algorithm
. Within each algorithm, you can select from a variety of DSP functions. Each function can be independently controlled by a variety of sources including LFOs, ASRs, envelopes, a set of unique programmable functions (FUNs), as well as any MIDI control message. The many different DSP functions and the wealth of independent control sources give you an extremely flexible, truly vast collection of tools for sound creation and modification.
New with the PC3 are powerful editing features we call
Dynamic V.A.S.T.
and
Cascade Mode
.
•
Dynamic V.A.S.T.
allows you to “wire” your own algorithms, combining different DSP functions in any order you like, including parallel and serial configurations.
•
Cascade Mode
lets you route any layer of a program into the DSP of any other layer. Any of the 32 layers of a program can go into any other layer.
When you’re ready to jump in and start creating programs, turn to Chapter 6.
KB3 Tone Wheel Emulation
In addition to VAST synthesis, the PC3 offers many oscillator-based programs that give you the classic sound of tone-wheel organs like the Hammond B3. KB3 mode, as we call it, is completely independent of VAST, and has its own set of editing procedures. Nine dedicated sliders on the
PC3’s front panel give you real-time drawbar control over these organ sounds. Buttons above the sliders control rotating speaker speed, percussion, and other organ features. The blue LED in the KB3 button will light when the current program is a KB3 program.
VA-1 Programs
The VA-1 (Virtual Analog Synthesizer) programs included with the PC3 offer realistic emulations of classic analog synthesizers, built from Kurzweil’s unique anti-aliased DSPgenerated oscillators. The PC3’s power-shaped oscillators let you transition smoothly from one waveform into another in real time, without using cross-fades.
VA-1 programs are scattered throughout the PC3. Look for them in the Synth Category and the
Classic Keys Bank. You’ll see “KVA Oscillator” appear in the Keymap screen on the left hand side of the display.
1-3
Introduction
How to Use This Manual
How to Use This Manual
This manual describes how to connect and power up your PC3, getting around the front panel, and a brief description of the operating modes. For information on editing and advanced programming features, refer to additional material provided on the Kurzweil website: http://www.kurzweilmusicsystems.com
The best way to read this manual is with your PC3 in front of you. By trying the examples we give to illustrate various functions, you can get a quick understanding of the basics, then move on to the more advanced features.
Do I Have Everything?
Your PC3 shipping carton should include the following in addition to your instrument:
• Power cable
• Sustain pedal
• USB cable
•
Getting Started
• Warranty card
manual (this book)
If you don’t have all of these components, please call your Kurzweil/Young Chang dealer.
You may also want to purchase an xD memory card for storage (32MB – 256MB will work, Type
S or no type stated, formatted FAT16), and an xD card interface for your computer, if one is not built in.
Boot Loader
When you need to update the PC3’s software or run diagnostic tests, you’ll use the Boot Loader.
To bring up the Boot Loader, hold down the
Exit
button (below the cursor buttons, to the right of
the display) while powering on your PC3. Refer to Appendix B for details on the Boot Loader.
Battery
The PC3 uses a CR2032 battery to power its clock. The battery should last five years, and a message will tell you when the battery needs replacing. The access panel on the bottom of the
PC3 (which you can easily remove with a screwdriver) allows you to get at the battery for removal and replacement.
CAUTION: Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type (CR2032).
1-4
Introduction
Options
Options
Ask your Kurzweil dealer about the following PC3 options:
Sound ROM Cards
The PC3 has sockets for 64 MB and 128 MB ROM expansion cards that you can install yourself
(the expansion kits come with complete instructions).
Pedals
The PC3 has jacks for three switch pedals (for functions like sustain or program/setup changes) and two continuous pedals (for functions like volume control and wah). Your Kurzweil dealer stocks the following optional pedals:
FS-1
KFP-1
KFP-2M
CC-1
Standard box-shaped switch pedal
Single piano-style switch pedal
Double piano-style switch pedal unit
Continuous pedal
Ribbon Controller
There’s a dedicated modular jack (like a telephone jack) on the rear panel of the PC3 for connecting this 600-mm (24-inch) ribbon controller. You can configure the PC3 to use the ribbon as a single large controller, or a three-section controller with independent settings for each section.
Breath Controller
You can plug a Yamaha (or equivalent) breath controller into the dedicated jack on the PC3’s rear panel.
1-5
Introduction
Options
1-6
Startup
Make Connections
Chapter 2
Startup
If hooking up new gear is familiar to you, and you just want to get going, here’s a quick description of what you need to get started with your PC3. If you need more information, thorough descriptions of each step follow.
Make Connections
1. Set the keyboard on a hard, flat, level surface. Make sure to leave plenty of room for ventilation.
2. Four adhesive-backed rubber feet are provided with your PC3. If you want to attach them to the bottom of the PC3 (recommended to prevent scratching your tabletop), carefully turn the keyboard over, remove the paper backing from the rubber feet and attach them now, near each corner, all on the same level.
3. Connect the power cable.
4. Make sure your sound system is at a safe volume level. Also make sure that the PC3’s
MASTER VOLUME slider (on the far left side of the front panel) is all the way down.
5. Plug in a pair of stereo headphones or run standard (1/4-inch) audio cables from your amplifier or mixer to the MIX audio outputs on the PC3. (Use the Main Left out for mono.)
Balanced (“TRS” or “Stereo”) cables are recommended.
Make Music
1. Power up your PC3, raise the level of the MASTER VOLUME slider, and check out some of the programs and setups. The PC3 starts up in Program mode by default. Press one of the mode buttons to the left of the display to switch modes.
2. If you hear distortion, reduce the gain on your mixing board, or use the pad if it has one.
3. Scroll through the program list with the Alpha Wheel, or the dedicated Category and
Program buttons, and try the PC3’s many sounds.
2-1
Startup
Startup—the Details
Startup—the Details
This section walks you through the hookup of your PC3. We’ll take a look at the rear panel, then describe the power, audio, and other cable connections.
Before You Start...
Don’t connect anything until you make sure your PC3 is properly and safely situated. Also, if your PC3 has been out in the cold, give it time to warm up to room temperature before starting it, since condensation may have formed inside the PC3. It is normal for the rear panel near the
MIDI jacks to become warm after a while.
Connecting the Power Cable (Line Cord)
The PC3 runs on AC power: 100, 120, 230, or 240 volts at 50–60 Hz. Your dealer will set the voltage switch to match the voltage in your area. The voltage level is set with a selector on the rear panel of the PC3. Unless you are sure it needs to be changed, you shouldn’t adjust this.
When you’ve connected the cable at the PC3 end (as you face the back of the PC3, the power connection is at the right), plug it into a grounded outlet. If your power source does not have the standard three-hole outlet, you should take the time to install a proper grounding system. This will reduce the risk of a shock.
2-2
Connecting Audio Cables
Analog
After you’ve turned down the level on your sound system, connect the PC3’s analog audio outputs to your sound system using a pair of stereo or mono audio cables. Mono cables will always work, but if you’re going into balanced inputs, use stereo cables for a better signal-tonoise ratio and a bit more volume. The PC3’s analog outputs are balanced, and generate a
“hotter” signal than some previous Kurzweil instruments.
You’ll find four 1/4-inch balanced audio output jacks on the rear panel. For now, connect one end of each audio cable to your mixing board or PA system inputs, and connect the other end to the jacks marked Main Left and Right on the rear panel of the PC3. If you have only one input available, use the PC3’s Main Left output to get the full signal in mono.
In Master mode you can set the Aux outputs to duplicate the Main Outs – useful for monitoring and other operations. They are always in stereo, as is the headphone out.
Startup
Startup—the Details
Digital
For digital audio output from the PC3, connect a 75-Ohm coaxial cable from the PC3’s RCA
Digital Out jack to the AES or S/PDIF input of the receiving device. You may need an RCA-to-
XLR adapter to connect with the receiving device. If the receiving device receives only optical signals, you’ll need a converter as well. The PC3’s Master Page (press the Master mode button) lets you select a range of useful sample rates for the digital output.
The RCA jack labeled "Sync In" allows you to synchronize the PC3's S/PDIF Digital Audio output sample rate to an external S/PDIF source. Although no audio signal is received by the
"Sync In" jack, its clock is received and may be used to set the output sample rate. For more,
please see Master Mode Page 1: Digital Output on page 11-3. NOTE: Sync In is NOT a "Word
Clock" input. Only a valid S/PDIF signal is recognized.
Connecting MIDI
The simplest MIDI configuration uses a single 5-pin MIDI cable: either from the MIDI Out port of your PC3 to the MIDI In port of another instrument, or from the MIDI Out port of another
MIDI controller to the MIDI In port of the PC3. There are all sorts of possible configurations, including additional synths, personal computers, MIDI effects processors, and MIDI patch bays.
Depending on your system, you may want to use the PC3’s MIDI Thru port to pass MIDI information from a MIDI controller to the PC3 and on to the next device in your system. You can also connect MIDI devices to the PC3’s MIDI Out port, which can send channelized MIDI information from the keyboard or through the PC3 from your MIDI controller.
The MIDI Thru port can be configured to serve as an additional MIDI Out by sliding the nearby switch to the Out position.
You can also use the PC3’s USB port to send and receive MIDI. By default the PC3 will show up as a USB MIDI device. If you choose USB Temporary Drive from Storage mode, the PC3 will temporarily (while on that Storage mode page) become a “virtual storage device” and USB
MIDI will be disabled. Different host programs on your computer may indicate various errors as the USB MIDI device is no longer present. Leaving Storage mode will restore USB MIDI functionality.
USB MIDI and 5-pin MIDI can be used at the same time; the MIDI signals will be combined into a single 16-channel MIDI stream.
2-3
Startup
Startup—the Details
Pedals
Plug your switch or continuous pedals into the corresponding jacks on the PC3’s rear panel. We recommend using the Kurzweil pedals described on page 1-2, but you can use almost any switch or continuous pedal, as long as it adheres to the following specifications (as most pedals do):
Switch pedals
Continuous pedals
1
/
4
-inch tip-sleeve plug
10-kOhm linear-taper potentiometer,
1
/
4
-inch tip-ring-sleeve plug with the wiper connected to the tip.
If you use a third-party (non-Kurzweil) switch pedal, make sure it’s connected before you turn on your PC3. This ensures that the pedal will work properly (it might function backward—off when it’s down and on when it’s up—if you turn on your PC3 before plugging in the pedal).
Similarly, don’t press any of your switch pedals while powering up, because the PC3 verifies each pedal’s orientation during power up. If you’re pressing a pedal, you might cause it to work backward.
The pedals are independently programmable within each zone of every setup. Here are the default settings for the five pedals you can use with the PC3:
Switch Pedal 1
Switch Pedal 2
Controller 64
(Sustain)
Controller 66
(Sostenuto)
Switch Pedal 3
Controller 67
(Soft)
Continuous Control Pedal 1
Controller 11
(Expression / Volume)
Continuous Control Pedal 2
Controller 4
(Foot Pedal) produces a “wah” effect in many setups
Breath
The 3.5mm jack labeled Breath accepts a standard breath controller, which sends standard MIDI
Breath (MIDI 2) messages. The PC3’s preset programs and setups don’t respond to breath, but if you have other instruments that do respond to Breath, you can control them from the PC3 via
MIDI.
You can also program the PC3 so that the breath controller sends a different MIDI message. This would enable you to use a breath controller to affect the PC3, but then other instruments receiving MIDI from the PC3 would no longer respond to the PC3’s breath controller (unless you also programmed them to receive the same MIDI Controller that the PC3’s breath controller is sending).
2-4
Startup
Startup—the Details
Ribbon
Plug the optional Kurzweil Ribbon Controller into the modular Ribbon jack on the rear panel.
The ribbon controller itself should rest on a flat surface; it fits nicely between the keys and the buttons and sliders on the front panel.
The ribbon is a continuous controller. You can program the ribbon controller to send MIDI
Controller messages 1–127, as well as several specialized messages. It generates values of 0–127 for whatever MIDI Controllers you assign it to send. Just press it, and slide your finger along the ribbon to change the value of the message it’s sending.
You can configure the ribbon to have one control section that runs its entire length, or to have three sections of equal length. It sends its highest values when you press it at the end where the cable connects. When you configure it to have three sections, each section sends its highest values at the end closest to the cable.
Caution
: The modular jack is designed for connection to the Kurzweil Ribbon Controller option only.
Don’t plug any other modular plugs into the Ribbon jack.
Switching On the Power
The PC3’s power switch is on the rear panel, adjacent to the power cable connection.
When you power up, the display briefly shows some startup information. The Program mode display then appears. It looks like the diagram below, though your PC3 may be different from the example.
The first time you power up (or after a reset), your instrument will be set to operate on MIDI
Channel 1 (as shown at the far right of the top line above).
Set the volume at a comfortable level. You’ll get the best signal-to-noise ratio if you keep the PC3 at full volume, and adjust the level from your mixing board. You may also want to adjust the display contrast and brightness. There are two small knobs on the rear panel of the PC3 for this purpose.
2-5
Startup
Startup—the Details
xD Cards
You can use xD memory cards for backing up, archiving, sharing your work, and updating your software (32MB – 256MB will work, Type S or no type stated, formatted FAT16). The xD card slot is on the back panel of the PC3, but it is easily accessible from the front of the instrument. The gold contacts on the card must be facing up when you insert it; the PC3 can’t read a card when it is inserted upside down.
Caution
: Do not remove an xD card while the blue Storage Unit Busy LED (above the alpha wheel) is lit.
Removing a card while this blue LED is lit can cause data corruption.
USB Port
Next to the card slot on the back panel of the PC3 is a USB port. The USB port works for MIDI
(transmit and receive) or to connect your PC3 to a computer for file transfer. By default, the USB port is set to MIDI mode. You cannot, however, use a USB flash (or thumb) drive with the PC3’s
USB port.
We recommend that you use the USB cable provided with your PC3 and do not use extension
USB cables. The PC3’s Type B USB port is only intended for connection to a USB Type A port.
2-6
In USB Storage mode, a "KurzweilPC3" virtual drive will appear on your computer desktop. One important thing to know here is that this is a virtual drive. You can save to this drive from the
PC3, but you must immediately transfer that file to your desktop (or other folder). You must
copy data from the PC3 virtual drive to your computer’s drive or else the data will be lost.
When you leave Storage Mode, there will be a prompt telling you that the PC3 is turning back into a USB MIDI device - which you have to acknowledge. If you haven’t copied the file(s) to your desktop (or other place on the computer) it won’t be on the virtual disk when you leave storage mode.
Depending on your computer’s operating system, you may sometimes see a scary device removal warning on your desktop (for example, when the PC3 leaves the Boot Loader). You may disregard such a message without worries of damage to your PC3 or computer.
Setting the Clock
The first time you start up your PC3 is probably a good time to set the instrument’s clock to your current local time. Do this from the Master Page.
The clock will time-stamp your files that have been stored to xD cards or via USB.
Startup
PC3 Programs
PC3 Programs
The PC3 powers up in Program mode, where you can select and play programs (called patches, presets, or voices on other instruments). Programs are preset sounds composed of up to 32
layers
of samples or waveforms. If you’ve left Program mode, just press the Program mode button or Exit button to return.
Selecting Programs
When you are in Program mode, there are four basic ways to select a PC3 program:
• Press one of the Bank buttons (above the sliders on the left side of the front panel) to select a bank, then press a Category button and a Program button to choose within the bank. The
Category and Program buttons are on the front panel, between the screen and the alpha wheel.
• Type the program’s ID (number) on the alphanumeric buttonpad, then press Enter. If you make a mistake, press Clear, then start over.
• Scroll through the list using the Alpha Wheel
• Scroll through the list using the Plus or Minus button under the Alpha Wheel, or the cursor buttons (the arrow buttons to the right of the display).
The PC3 has various settings for responding to MIDI Program Change commands from external
sources. These are explained in Chapter 10, so we won’t go into them here. You should be able to
change programs by sending Program Change commands from your MIDI controller.
Easy Audition
Any time you want to hear what a program sounds like, highlight the program’s name (while in
Program mode) then press the Play/Pause button to play a brief sample. The Demo Button parameter on the Master Mode II page must be on for Easy Audition to work; the parameter is
on by default. Master mode is described in Chapter 11.
Program Mode Display
Take a minute to familiarize yourself with the Program mode display. It gives you some helpful basic information, like the MIDI transposition, what MIDI channel you’re on, and which program is currently selected.
Info Box
There’s a box at the left side of the display. The info box, as it’s called, displays information about the current program (there’s also an info box for Setup mode).
2-7
Startup
PC3 Programs
Soft buttons
On most PC3 screens, the bottom line of the display identifies the function of each of the buttons beneath the display. We call these buttons soft buttons, because they do different things depending on what’s currently showing in the display.
In Program and Quick Access modes, you can change octaves with the Octav- and Octav+ buttons under the display. The Info soft button shows you relevant details about the current item. The Xpose-/Xpose+ buttons are a shortcut for quick transposition in semitone (half step) increments. You can use them to transpose the entire PC3 as much as three octaves up or down.
The top line of the display shows the current amount of transposition (Xpose). Press both Xpose buttons simultaneously to return transposition to zero.
The Panic button (or a double press of Cancel and Enter at the bottom of the alphanumeric keypad) sends an All Notes Off message and an All Controllers Off message—both to the PC3 and over all 16 MIDI channels. You won’t need it often, but it’s nice to have.
VAST Programs
A “normal” VAST program is what most of the factory programs are. The info box contains details about the different layers in each program, usually indicating the keymap used in each layer. The line under the keymap name indicates the layer’s keyboard range. In this case, all layers extend across the entire keyboard (A 0 to C 8). The
∞ symbol to the right of each layer shows that the keymap is a stereo keymap.
KB3 Programs
KB3 (organ) programs differ from VAST programs in that they don’t have layers. Instead they rely on oscillators that mimic the tone wheels used in many popular organs. Consequently, the info box shows only the waveform used in the program. Because of their architecture, KB3 programs require different processing within the PC3. KB3 programs play only on a single channel at a time (VAST programs will work fine on that channel, too).
When you’re ready to start doing your own programming, check out Chapter 6, and check out
the Kurzweil Music Systems web site for more information.
2-8
Startup
Setups
Setups
Setups are preset combinations of programs. Setups can have up to 16 zones, each of which can be assigned to any range of the keyboard (overlapping or split). Each zone can have its own program, MIDI channel, and MIDI control assignments, as well as riff and arpeggiator settings.
Press the Setup mode button to the left of the display. Its LED will light, telling you that you’re in Setup mode. Notice that the Setup mode display is similar to the Program mode display. If the setup has four or fewer zones, the box at the left shows you the programs assigned to each of the setup’s four zones, and which MIDI channel is used for each program. If the setup is composed of more than four zones, then the box displays the first four zones; at the top of the box will be
text showing the total number of zones. See page 7-1 for a more detailed description.
Many setups include arpeggiation and note-triggered songs to create some pretty amazing grooves that you can use as is, or as templates for your own material. As you play with these setups, experiment with the sliders and other controllers for a wide range of effects. Some of these grooves keep playing after you’ve released the keys that got them going. When you want to stop them, select another setup, or press the Setup mode button (or Stop for riffs).
Quick Access
A really convenient way to select programs and setups is to use Quick Access mode, where you select a Quick Access bank from a list of factory preset or user-programmed banks. Each bank contains ten memory slots, or entries, where you can store any combination of programs or setups. While you’re in Quick Access mode, you can select any program or setup in the bank with buttons 0 through 9 or the cursor keys.
The PC3 comes with a few Quick Access banks already programmed so you can get an idea of how they work. You’ll probably create your own Quick Access banks to help you select programs and setups with a minimum of searching. Press the Quick Access mode button to the left of the display. Its LED lights, to tell you you’re in Quick Access mode.
The top line of the display tells you which Quick Access bank is selected. Use the Chan/Layer buttons (to the left of the display) to scroll through the banks. The names of each of the ten entries in the bank are listed in the center of the display. Many of their names will be abbreviated. The currently selected entry’s full name is shown near the bottom of the display.
The amount of transposition is displayed to the left of the entry name. If the current entry is a program, you’ll see the current keyboard (MIDI) channel displayed to the right of the entry’s name. If it’s a setup, you’ll see the word Setup.
The entries on the Quick Access page are arranged to correspond to the layout of the numeric buttons on the alphanumeric pad.
When you’re ready to create your own Quick Access banks, turn to Chapter 8 to learn about the
Quick Access Editor.
2-9
Startup
The Other Modes
The Other Modes
There are five other mode buttons on the front panel. See Chapters 3 and 4 for more detailed descriptions of the modes.
Effects mode
MIDI mode
Master mode
Song mode
Storage mode
Enable/disable effects presets, and set Aux overrides.
Configure the PC3 for sending and receiving MIDI information.
Define performance and control settings.
Record and edit sequences (songs); play Type 0 and Type 1 MIDI sequences.
Load and save programs, setups, sequences, and other objects via USB or
XD card.
Software Upgrades
Part of the beauty of the PC3 is the ease with which you can upgrade its operating system and objects (programs, setup, etc.) using the boot loader to install upgrades into flash ROM. You can perform the upgrade through USB or by transferring from an xD card.
At Kurzweil and Young Chang, we have a long history of support for our instruments; the K250,
K1000, K2000, K2500, and K2600 have been repeatedly enhanced, and these improvements have always been made available to instrument owners in the form of software upgrades.
Upgrading your PC3’s software is simple, painless, and—generally—free! As upgraded software becomes available, you can either get files from your Young Chang dealer or download the new stuff from the Web.
To stay in touch, check out our Web site:
http://www.kurzweilmusicsystems.com/
When you’ve acquired an upgrade, you can install it yourself in a matter of minutes. Use the
Boot Loader, as described in Appendix B.
2-10
User Interface Basics
Mode Selection
Chapter 3
User Interface Basics
This chapter will show you how to get around the front panel of your PC3. Your interactions can be divided into three primary operations: mode selection, navigation, and data entry. There is also an assignable control section.
Mode Selection
The PC3 is always in one of eight primary operating modes. Select a mode by pressing one of the mode buttons — they’re to the left of the display. Each mode button has an LED that lights to indicate the current mode. Only one mode can be selected at a time.
Program mode
Setup mode
Select and play programs, and modify them with the Program Editor.
Select and play setups (16 keyboard zones with independent MIDI channel, program and control assignments), and modify them with the
Setup Editor.
Quick Access mode
Select from a list of preset banks, each containing a list of ten programs and/or setups that can be viewed in the display for easy selection.
Modify the preset banks and create your own with the Quick Access
Editor.
Effects mode
MIDI mode
Enable/disable effects or set Aux overrides.
Define how your PC3 sends and receives MIDI information, and configure each channel to receive independent program, volume, and pan messages that override the normal Program mode settings.
Master mode
Define performance and control characteristics for the entire PC3.
3-1
User Interface Basics
Mode Buttons
Song mode
Use the PC3’s sequencer to record and play back your keyboard performance, play Type 0 and Type 1 MIDI sequences, and record multitimbral sequences received via MIDI.
Storage mode
Interface with the PC3’s xD card reader or USB port to load and save programs, setups, samples, and more.
The PC3’s tone wheel organ emulation is called KB3 mode. You automatically enter this mode when you select a KB3 program. The KB3 Bank button takes you there directly.
Mode Buttons
When you press a mode button, its LED lights up to indicate that the mode has been selected. If pressing a mode button does not light its LED, press the Exit button one or more times, then try again.
Additional labeling for each mode button indicates special functions that relate to some of the
PC3’s editors.
Bank Buttons
The Bank buttons, situated in the top left corner of the PC3’s front panel, let you choose different banks of programs (e.g., KB3 programs or Classic Keys programs). Within each bank, you can use the Program and Category buttons (to the right of the display) to select individual programs.
The Bank buttons have special functions in KB3 mode, indicated by labels beneath each button.
3-2
User Interface Basics
Sliders
Sliders
In KB3 mode, the PC3’s nine sliders emulate an organ’s drawbars. For example, slider A emulates an organ’s 16’ drawbar. In other modes, the sliders can be used to send values for different MIDI controllers. In either case, you may have to move the slider past the current value for its selected function before slider movement will have any effect.
Most VAST programs use the sliders for these functions:
A Data Filter frequency, Brightness
B MIDI 13 Filter resonance, Tremolo rate control
C MIDI 22 Layer volume, Envelope control, Lo EQ
D MIDI 23 Layer volume, Envelope control, Hi EQ
E MIDI 24 Layer volume for thumps and release
F MIDI 25 FX control 1
G MIDI 26 FX distortion drive
I
H MIDI 27 FX distortion warmth
MIDI 28 Reverb / delay control
3-3
User Interface Basics
Program and Category Buttons
Program and Category Buttons
Use the Program and Category buttons, in conjunction with the Bank buttons, to directly select
PC3 programs. Each of the 16 categories contains 8 programs.
3-4
Picking favorites
When you select a program within a category, your selection will be remembered. For example, choose program 3 in the Organ category (press Category: Organ, then Program: 3). Now move to the strings by pressing the Category: Strings button. If you press the Category: Organ button again, you will be returned to program 3 in the Organ category. In this way, each category can have a “favorite” program.
You can make program selections within each category ahead of time. This way, you’ll be able to access the program you want in any category simply by pressing appropriate category button.
Important things to remember about your “favorites”:
• You must save your PC3’s Master Table to remember your selections across power cycles.
See Chapter 11 for information about the Master Table.
• Your selections are bank-dependent. In other words, you can save eight in the Base 1 bank, eight in the Exp 1 bank, etc.
User Interface Basics
Pitch Wheel and Mod Wheel
Pitch Wheel and Mod Wheel
ARP SW
Pitch Mod
To the left of the PC3’s keyboard are the Pitch Wheel and the Mod Wheel, as well as the SW and
Arp buttons.
Push the Pitch Wheel away from you to raise the pitch of the note(s) you are playing. Pull it towards you to lower the pitch. Most programs are set so that the pitch wheel will raise and lower pitch by a whole step, although some programs use the pitch wheel to lower pitch by as much as an octave. The Pitch Wheel has a spring so that it will snap back to place (i.e., back to the original pitch) when you release it.
The Mod Wheel performs a variety of functions. Different programs may use it for filter sweeps, tremolo/vibrato, wah, or layer volume.
The Arp button turns on and off the PC3’s Arpeggiator.
The SW button (MIDI 29) can be programmed to do a variety of things. Often it is used for layer enable or effect enable.
3-5
User Interface Basics
Navigation
Navigation
The navigation section of the front panel consists of the display and the buttons surrounding it.
These navigation buttons will take you to every one of the PC3’s programming parameters.
The Display
Your primary interface with the PC3 is its backlit graphic display. As you press various buttons, this fluorescent display reflects the commands you enter and the editing changes you make. The ample size of the display (240-by-64 pixels) enables you to view lots of information at one time.
Pages
Within each mode, the functions and parameters are organized into smaller, related groups that appear together in the display. Each one of these groups of parameters is called a page. Each mode has what we call an entry-level page; it’s the page that appears when you select that mode with one of the mode buttons. Within each mode and its editor(s), the various pages are selected with the navigation buttons. There are many pages, but there are a few features common to each page.
The illustration below shows the entry-level page for Program mode.
3-6
The Top Line
On the top line of most pages, there’s a reminder of which mode you’re in and which page you’re on. Many pages display additional information in the top line, as well. The
Program-mode page above, for example, shows you the current amount of MIDI transposition and the currently selected MIDI channel. The top line is almost always “reversed”—that is, it has a white background with blue characters.
The Bottom Line
The bottom line is divided into six (sometimes fewer) sets of reversed characters that serve as labels for the six buttons directly beneath the display. These labels—and the functions of the buttons—change depending on the currently selected page. Consequently the buttons that select these functions are called “soft” buttons.
User Interface Basics
Navigation
The Soft Buttons
The soft buttons are called “soft” because their functions change depending on the currently selected mode and page. Sometimes they perform specific functions, like changing MIDI channels in Program mode. In the Program Editor and other editors, they’re also used to move to different pages of programming parameters. If a soft button’s label is in all capital letters
(KEYMAP, for example), pressing the corresponding soft button takes you to a page of parameters. If the soft button is labeled in lower-case or mixed-case letters (Save, for example), the soft button performs some kind of function.
The Cursor Buttons
To the right of the display are four buttons arranged in a diamond fashion. These are called the cursor buttons. They move the cursor around the currently selected page, in the direction indicated by their labels. The cursor is a highlighted (reversed) rectangle (sometimes it’s an underscore). It marks the value of the currently selected parameter.
Programming the PC3 involves selecting various parameters and changing their values. Select parameters by highlighting their values with the cursor. You can change the highlighted value with any of the data entry methods described in the data entry section below.
The Chan/Layer Buttons
To the left of the display are two buttons labeled Chan/Layer. Their function depends on the current mode. In Program mode, for example, they shift through the MIDI channels, showing the program assigned to each channel. This changes the MIDI channel the PC3 uses internally, as well as the channel you’re using to send information to other synths connected to the PC3’s
MIDI Out port (MIDI slaves). Changing the current MIDI channel also changes the corresponding setting on the MIDI mode TRANSMIT page. When you press both Chan/Layer
buttons at the same time you will be returned to Channel 1, Check out the chart on page 3-10 for
more shortcuts you can make with double button presses.
When you’re in the Program Editor, the Chan/Layer buttons let you view each layer in the program. You can see the corresponding parameters in each layer by scrolling through the layers with these buttons. In the Setup Editor, the Chan/Layer buttons scroll through the zones in the current setup. In Quick Access mode, they scroll through the Quick Access banks, and in Song mode they scroll through recording tracks.
We’ll let you know, when applicable, what the Chan/Layer buttons do.
3-7
User Interface Basics
Navigation
The Edit Button
The Edit button activates each of the PC3’s editors, and acts as a shortcut to many pages within the Program Editor. Pressing the Edit button tells the PC3 that you want to change some aspect of the object marked by the cursor. For example, when a program is selected and you press Edit, you enter the Program Editor. If a setup is selected, you enter the Setup Editor.
There are editors accessible from just about every operating mode. To enter an editor, choose one of the modes (mode selection), and press Edit. An editing page for that mode will appear. You can then select parameters (navigation) and change their values (data entry). If the value of the selected parameter has its own editing page, pressing the Edit button will take you to that page.
For example, in the Program Editor, on the PITCH page, you might see LFO1 assigned as the value for Pitch Control Source 1. If you select this parameter (the cursor will highlight its value—LFO1 in this case), then press the Edit button, you’ll jump to the page where you can edit the parameters of LFO1. Naturally, you can find every page in the current editor by using the soft buttons, but often it’s easier to use the Edit button shortcut.
The Exit Button
Press Exit to leave the current editor. If you’ve changed the value of any parameter while in that editor, the PC3 will ask you whether you want to save your changes before you can leave the editor. See Chapter 5 for information on saving and naming. The Exit button also takes you to
Program mode if you’re on the entry level page of one of the other modes. If at some point you can’t seem to get where you want to go, press Exit one or more times to return to Program mode, then try again.
3-8
User Interface Basics
Data Entry
Data Entry
The data entry section of the front panel includes the Alpha wheel, the Plus/Minus buttons, and the 14-button alphanumeric pad.
The Alpha Wheel
The Alpha Wheel is especially useful because it can quickly enter large or small changes in value. If you turn the Alpha Wheel one click to the right, you’ll increase the value of the currently selected parameter by one increment. One click to the left decreases the value by one increment. If you turn it rapidly, you’ll jump by several increments. You can also use the Alpha
Wheel to enter names when you’re saving objects.
The Plus/Minus Buttons
These buttons are located just under the Alpha Wheel. The Plus button increases the value of the currently selected parameter by one, and the Minus button decreases it by one. These buttons are most useful when you’re scrolling through a short list of values, or when you want to be sure you’re changing the value by one increment at a time. One press of the Plus or Minus button corresponds to one click to the right or left with the Alpha Wheel. These buttons will repeat if pressed and held.
Pressing the Plus and Minus buttons simultaneously will move you through the current list of values in large chunks instead of one by one. Don’t confuse these buttons with the +/- button on the alphanumeric pad. This button is used primarily for entering negative numeric values and switching from uppercase to lowercase letters (and vice versa).
The Alphanumeric Pad
As its name implies, this set of 14 buttons lets you enter numeric values, and to enter names one character at a time. Depending on where you are, the PC3 automatically enters letters or numerals as appropriate (you don’t have to select between alphabetic or numeric entry).
When you’re entering numeric values, press the corresponding numeric buttons, ignoring decimal places if any (to enter 1.16, for example, press 1, 1, 6, Enter). The display will reflect your entries, but the value won’t actually change until you press Enter. Before pressing Enter, you can return to the original value by pressing Cancel. Pressing Clear is the same as pressing 0 without pressing Enter.
When entering names, you can use the Left/Right cursor buttons or the <<< / >>> soft buttons to move the cursor to the character you want to change. Use the labels under the alphanumeric buttons as a guide to character entry. Press the corresponding button one or more times to insert the desired character above the cursor. The Cancel button is equivalent to the >>> soft button, and Enter is the same as OK. The Clear button replaces the currently selected character with a space. The +/- button toggles between uppercase and lowercase letters.
There’s also a convenient feature called keyboard naming, which lets you use the keyboard to
enter characters in names. See page 5-4.
3-9
User Interface Basics
Data Entry
Double Button Presses
Pressing two or more related buttons simultaneously executes a number of special functions depending on the currently selected mode. Make sure to press them at exactly the same time.
In this mode or editor…
Program mode
Setup mode
…pressing these buttons simultaneously…
…does this:
ARP, SW
Octav-, Octav+
Brings up quick arpeggiator configuration page.
Reset MIDI transposition to 0 semitones. Double-press again to go to previous transposition.
Chan/Layer
Plus/Minus
Set current MIDI channel to 1. Sets layer 1 in Program editor.
Step to next Program bank (increments of 128).
Plus/Minus Moves through list of Setups in increments of 128.
Chan/LayerSet zone 1.
Up/Down cursor buttons Toggle between Play and Stop.
Song mode
Storage mode
Program Editor
Any Editor
Save Dialog
Left/Right cursor buttons up/down cursor buttons
Chan/Layer
Plus/Minus
2 leftmost soft buttons
Center soft buttons
2 rightmost soft buttons
Left/Right cursor buttons
Up/Down cursor buttons
Cancel/Enter
Plus/Minus buttons
Select all items in a list. Move cursor to end of name in naming dialog.
Clear all selections in a list. Move cursor to beginning of name in naming dialog.
Select Layer 1.
Scroll through the currently selected parameter’s list of values in regular or logical increments (varies with each parameter).
Reset MIDI transposition to 0 semitones. Double-press again to go to previous transposition.
Select Utilities menu.
Reset MIDI transposition to 0 semitones. Double-press again to go to previous transposition.
Display Tap Tempo page.
Toggle between Play and Stop of current song.
Panic (sends all notes/controllers off message on all 16 channels).
Toggle between next free ID and original ID.
3-10
User Interface Basics
Intuitive Data Entry
Intuitive Data Entry
Many parameters have values that correspond to standard physical controllers. In many cases, you can select these values “intuitively,” rather than having to scroll through the Control Source list. Do this by selecting the desired parameter, then holding the ENTER button while moving the desired physical control.
For example, on the LAYER page in the Program Editor, you can set the range of the currently selected layer as follows: use the cursor buttons to move the cursor to the value for the LoKey parameter, press (and hold) the Enter button, then press the note you wish to be the lowest note for the currently displayed layer. The note you triggered will appear as the value for the LoKey parameter. Repeat the process for the HiKey parameter.
Another example: select Program 199 while in Program mode. Press Edit to enter the Program
Editor. Press the PITCH soft button to select the PITCH page. Move the cursor to the Src1 parameter. Hold the Enter button, and move the Pitch Wheel. PWheel will be selected as the value for Src1.
You can also use the keyboard to choose control sources, since most key numbers correspond to a value on the control source list. If you have a certain control source that you use over and over
(for example, LFO1), this can be the quickest way to enter its value. To do this: highlight a parameter which uses a value from the control source list, hold down Enter, then strike the key corresponding to the control source you want to choose. LFO1, for example, is assigned to B5.
Also, for almost every parameter, you can hold the Enter button and move the Data Slider
(Slider A) to run through the range of values for the currently selected parameter. This is not as precise as the Alpha Wheel, but much faster.
Changing the Current Layer in Multi-Layer Programs
When editing a multi-layer program, you can quickly switch between layers by holding the
Enter
button, then striking a key. The PC3 will change the current layer to that key’s layer. If the key is part of more than one layer, subsequent key strikes will cycle through each layer that has that key in its range.
Note:
This method for changing the current layer in a multi-layer program will NOT work if the currently highlighted parameter has a note number or control source for its value. In this case, the key you
strike will function as described in Intuitive Data Entry, above.
3-11
User Interface Basics
Search
Search
There’s a convenient way to find any string of characters within the currently selected list, or range of values. Hold the Enter button and press any of the numeric buttons. A dialog appears.
Type in the string of characters you want to find. For example, if you’re looking at the program list and you want to find all programs containing the word “Horn,” you would type h-o-r-n.
This function is not case-sensitive; it will find upper and lower case characters regardless of what you type.
When you’ve typed the string of characters you want to find, press Enter. The PC3 searches through the current list of objects or values, finds all items that match the string of characters you typed, and displays the first one it finds. Hold Enter and press one of the Plus/Minus buttons to search for the next higher- or lower-numbered object that contains the string of characters.
The string you select remains in memory. You can store and select a string of characters with each of the numeric buttons. Hold Enter and press one of the numeric buttons at any time to select that string for a search. When the string appears, you can change it, or just press Enter to find that string.
Quick Song Recording and Playback
There are three buttons—labeled Record, Play/Pause, and Stop—below the mode selection buttons. They control the recording and playback of songs from any mode; you don’t have to be in Song mode to record or play back. However, you’ll need to make sure that the Demo Button parameter on Master Mode Page 2 is set to “Off.” Otherwise these buttons are used for Easy
Audition (see page 2-7). Master Mode is described in Chapter 11.
Using these buttons affects the current track of the current song—that is, the song and track that were selected the last time you were in Song mode. When you record, the recording track and recording mode are determined by the current settings in Song mode; likewise for the playback mode when you’re playing a song.
When the sequencer status is STOPPED (neither the Record-button LED nor the Play/Pausebutton LED is lit or flashing), press Record to put the sequencer in REC READY status. The
Record
-button LED lights (red). Then press Play/Pause to start recording. The Play/Pause- button flashes (green) to indicate the tempo. Any countoff is determined by the current Songmode setting for the CountOff parameter. Press Play/Pause or Stop to end recording and go to the Save dialog, where you can save the song, or discard it.
When the sequencer status is STOPPED, press Play/Pause to begin playing the current song.
Press Play/Pause again to pause playback, and again to resume. Press Stop to end playback.
See Chapter 12 for more information on Song Mode.
3-12
The Operating Modes
What the Modes Are
Chapter 4
The Operating Modes
In this chapter we’ll discuss the theory behind the mode concept, and we’ll describe the basic operating features of each mode.
What the Modes Are
The modes exist to make the PC3 logical to work with. With as many performance and programming features as the PC3 has, it’s helpful to break them into groups. These groups are called modes. There are eight primary modes; they’re described briefly in the section called
Using the Modes on page 4-2, then the rest of the manual is dedicated to explaining each primary
mode in turn.
Each mode is named for the kind of operations you perform while in that mode, and each mode’s editor (if any) contains all of the parameters related to editing the type of object found in that mode. In Setup mode, for example, you select setups (and only setups) for performance or editing. All of the setup-editing parameters are grouped together on the Setup-Editor page, which is accessible through Setup mode.
Selecting Modes
When the PC3 is on, it’s always operating in one of the eight primary modes represented by the
LED-highlighted buttons to the left of the display—or in one of the editors corresponding to the current operating mode. Pressing one of the mode buttons selects the corresponding mode. This is the mode’s entry level. At the entry level, the LED of the selected mode is lit. Only one mode can be selected at a time.
From any primary mode, you can get to any other primary mode simply by pressing one of the mode buttons. If you’re in an editor, however, you must press Exit to return to the mode’s entry level before selecting another mode.
All of the modes except Storage mode give you access to one or more editors for changing the values of the parameters within that mode. Press the Edit button to enter the editor of the currently selected mode. When you do this, the mode LED goes out.
It’s possible to enter another mode’s editor without leaving the currently selected mode. For example, if you press Edit while in Setup mode, you’ll enter the Setup Editor. The Setup-Editor page will appear, and the Program parameter will be highlighted by the cursor. If you press Edit again, you’ll enter the Program Editor, where you can edit the currently selected program. While you can edit and save programs as you normally would, you’re still in Setup mode, and you can’t select another mode at this point. When you exit the Program Editor, you’ll return to the
Setup-Editor page. Press Exit again, and you’ll leave the Setup Editor, returning to the
Setup-mode page.
4-1
The Operating Modes
Using the Modes
The following table lists the procedures for moving between modes and editors. Note that the
Exit
button won’t always take you where the table says it will; it often depends on how you got where you are. The table assumes that you’ve entered a given editor via its corresponding mode.
You’ll always return to Program mode eventually if you press Exit repeatedly.
Current Mode/
Editor Status
Any mode
Program mode
Program Editor
Available Modes/
Editors
All other modes
Program Editor
Program mode
Setup mode
Setup Editor
Setup mode
Program Editor
Quick Access mode
Quick Access EditorQuick Access mode
Song mode
Most editors
Song Editor
Program Editor
Previous mode or editor
How to Get There
Press corresponding mode button
Press Edit
Press Exit
Press Exit
On CH/PRG page: select LocalPrg parameter; press Edit
Select CurSong parameter; press Edit
Select Program parameter; press Edit
Press Exit
Finding Square One
If, at any time, you don’t know where you are, and the mode LEDs are all unlit, press Exit one or more times. This will return you to the entry level of whatever mode you were in, and if you press Exit enough times, you will always return to Program mode, the startup mode. If you’ve made any changes, you’ll be asked whether you want to save before leaving any editor. Press the No soft button or the Exit button if you don’t want to save. If you want to save, press the
Rename
or Yes soft button, and you’ll see the Save dialog, which is described in Saving and
Naming on page 5-2.
Using the Modes
You can play your PC3 regardless of the mode you’re in. The PC3’s MIDI response is almost always active. Even so there are three modes that are more performance-oriented than the others. These are Program, Setup, and Quick Access modes. We’ll describe each of the eight modes briefly in this section.
Program Mode
The PC3 starts up in Program mode, where you can select, play, and edit programs. The
Program mode entry-level page shows the currently selected program, as well as a small segment of the program list.
The Program Editor takes you to the core of the PC3’s sound editing parameters.
Setup Mode
Setup mode lets you select, play, and edit setups. Setups consist of up to 16 separate zones, split or overlapping, each having its own program, MIDI channel, and control parameters. Setups are great for performance situations, whether you’re playing multiple PC3 programs or controlling additional synths connected to the PC3’s MIDI Out port. Chapter 7 describes Setup mode.
4-2
The Operating Modes
Using the Modes
If you’re using a different MIDI controller, you can make use of Setup mode even if your MIDI controller can transmit on only one MIDI channel at a time. To do this, go to the RECEIVE page in MIDI mode (by pressing the RECV soft button while in MIDI mode), and set the Local
Keyboard Channel parameter to a value that matches the transmit channel of your MIDI controller. When you select Setup mode, the PC3 will interpret incoming MIDI information according to the settings for the currently selected setup. See the discussion of the Local
Keyboard Channel parameter in Chapter 10 for details.
Quick Access Mode
Another feature for live performance, Quick Access mode enables you to combine programs and setups into banks of ten entries. Each of these programs or setups can be selected with a single alphanumeric button. Different banks are selected with the Chan/Layer buttons. There’s a selection of factory preset banks, and you can use the Quick Access Editor to create your own banks and store them in the PC3’s memory. There’s a full description in Chapter 8.
You can also use Quick Access banks as a way to remap incoming or outgoing Program Change commands.
Effects Mode
Effects mode sets the behavior of the PC3’s effects processor. The Effects mode page lets you tell the PC3 how to select effects configurations called chains. Chapters 9 shows you how.
MIDI Mode
You’ll use MIDI mode to configure the PC3’s interaction with other MIDI instruments, by setting parameters for transmitting and receiving MIDI. You’ll also use it to configure your PC3 for multi-timbral sequencing. On the CHANNELS page, you can assign a program to each channel, and enable or disable each channel’s response to three types of MIDI control messages: Program
Change, volume and pan. See Chapter 10.
Master Mode
Master mode, described in Chapter 11, contains the parameters that control the entire PC3.
Global settings for tuning, transposition, velocity and aftertouch sensitivity, and other preferences are adjusted here. You can also get to GM Mode from here and set the sample rate for the PC3’s digital output.
Song Mode
Song mode enables you to play sequences (songs) stored in the PC3’s memory, and provides a fully featured sequencer that you can use to record songs. You can also record multi-timbrally via MIDI, or load standard MIDI files (Type 0 or 1). The Song Editor also enables you to modify
existing sequences stored in memory. See Chapter 12.
Storage Mode
Storage mode lets you load and save programs and other objects using an xD card. See
4-3
The Operating Modes
Using the Modes
4-4
Editing Conventions
Introduction to Editing
Chapter 5
Editing Conventions
Introduction to Editing
Programming (editing) the PC3 always involves three basic operations: mode selection, navigation, and data entry.
First, select the mode that relates to the object you want to edit—a program, a setup, etc. Then select the object you want to edit, and press the Edit button to enter the editor within that mode.
An editor contains all the parameters that define the object you’re programming.
Next, you navigate around the editor’s page(s) with the soft buttons, and select parameters with the cursor (arrow) buttons. When you’ve selected a parameter (its value is highlighted by the cursor), you can change its value with one of the data entry methods. When you change a value, you’ll normally hear its effect on the object you’re editing. The PC3 doesn’t actually write your editing changes to memory until you save the object you’re working on. It then allows you to choose between writing over the original object, or storing the newly edited version in a new memory location.
What’s an Object?
If you’ve been wondering what we mean by the term “object,” it’s an expression we use for anything that can be named, saved, deleted, or edited. Here’s a list of all the types of objects:
Programs
Setups
Factory-preset or user-programmed sounds stored in ROM or flash memory. A program is one or more layers of sound, with programmable
DSP functions applied to the keymaps within each layer.
Factory-preset or user-programmed MIDI performance presets consisting of up to 16 zones, each with its own program, MIDI channel, and controller assignments, and (optionally) arpeggiation specifications.
Songs
Chains
Sequence files loaded into memory, or MIDI data recorded in Song mode.
Factory-preset or user-programmed configurations of the PC3’s onboard digital audio effects processor.
Quick Access banks
Factory-preset or user-programmed banks of ten entries each, that store programs and setups for single-button access in Quick Access mode.
Master tables
The values that are set for the global control parameters on the
Master-mode page, as well as the settings for the parameters on the
CHANNELS page in MIDI mode, and the programs currently assigned to each MIDI channel.
Name tables
Contains a list of dependent objects needed by the other objects in a file at the time the file was saved.
5-1
Editing Conventions
Object Type and ID
Object Type and ID
The PC3 stores its objects in memory using a system of ID numbers that are generally organized into banks. Each object is identified by its object type and object ID; these make it unique. An object’s type is simply the kind of object it is, whether it’s a program, setup, song, or whatever.
The object ID is a number from 1 to the maximum that distinguishes each object from other objects of the same type. For example, within a bank you can have a setup, a program, and an effect, all with ID 201; their object types distinguish them. You can’t, however, have two programs with ID 201.
Object Type
Program
Setup
Velocity Map
Object ID
201
404
1
Object Name
Hot Keys
Silicon Bebop
Linear
ROM (factory preset) objects have ID numbers in a number of banks. When you save objects that you’ve edited, the PC3 will ask you to assign an ID. If the original object was a ROM object, the
PC3 will suggest the first available ID in the User Bank (starting at 1025). If the original object was a memory object, you’ll have the option of saving to an unused ID, or replacing the original object. Double press the - and + buttons (beneath the alpha wheel) to select the next available user location.
Objects of different types can have the same ID, but objects of the same type must have different
IDs to be kept separate. When you’re saving an object that you’ve edited, you can assign the same ID to an existing object of the same type, but if you do, the new one will be written over the old one. For example, if you assign an ID of 1 to a program you’ve edited, the PC3 will ask you if you want to “replace” the ROM program currently stored with that ID.
Many parameters have objects as their values—the VelTouch parameter on the Master mode page, for example. In this case, the object’s ID appears in the value field along with the object’s name. You can enter objects as values by entering their IDs with the alphanumeric pad. This is especially convenient for programs, since their ID numbers are usually the same as their MIDI program change numbers..
The object type and ID enable you to store hundreds of objects without losing track of them, and also to load files from storage without having to replace files you’ve already loaded.
Saving and Naming
When you’ve edited an object to your satisfaction, you’ll want to store it in memory. There’s a standard procedure for saving and naming, which applies to all objects. You can press the Save soft button, of course, but it’s easier to press the Exit button, which means “I want to leave the current editor.” If you haven’t actually changed anything while in the editor, you’ll simply exit to the mode you started from. If you have made changes, however, the PC3 will ask you if you want to save those changes. This is the first Save dialog, the EditProg: Exit page. Press Cancel to resume editing, No to exit the editor, or Yes to save your edits and move to the EditProg: Save page.
The Rename soft button on the EditProg: Save page takes you immediately to the naming dialog, where you assign a name to the object you’re saving. You haven’t saved yet, but you’ll be able to after you’ve named the program.
The cursor underlines the currently selected character. Press the <<< or >>> soft buttons to move the cursor without changing characters. Press an alphanumeric button one or more times to enter a character above the cursor. The characters that correspond to the alphanumeric buttons
5-2
Editing Conventions
Saving and Naming
are labeled under each button. If the character that appears is not the one you want, press the button again. Press the +/- button on the alphanumeric pad to switch between upper and lower case characters.
Press 0 one or more times to enter the numerals 0 through 9. Press Clear (on the alphanumeric pad) to erase the selected character without moving any other characters. Press the Delete soft button to erase the selected character. All characters to the right of the cursor will move one space left. Press the Insert soft button to insert a space above the cursor, moving all characters to the right of the cursor one space to the right.
Press the Cancel soft button if you decide not to name the object. Press OK when the name is set the way you want to save it.
In addition to the letters and numerals, there are three sets of punctuation characters. The easiest way to get to them is to press one of the alphanumeric buttons to select a character close to the one you want, then scroll to it with the Alpha Wheel. Here’s the whole list:
! “ # $ % & ’ ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9
: ; < = > ? @ A through Z
[ \ ] ^ _ ` a through z. (space).
Pressing the Plus/Minus buttons simultaneously is a short cut to the following characters:
0
, A, a and (space).
If you’re wondering how we came up with this sequence of characters, it’s composed of ASCII characters 33 through 122.
When you press OK, the final Save dialog appears, where you assign an ID to the edited object.
If you change your mind about the name, press the Rename soft button for another try.
ROM Objects
If the object you started from was a ROM (factory preset) object, the PC3 will automatically suggest the next available (unused) ID as the ID for the edited object. If that’s the ID you want, press the Save soft button, and the object will be stored in memory with that ID. Otherwise, you can select any ID from 1 to the maximum. This page also gives you the opportunity to return to the naming dialog (as described in the previous section) or, by pressing the Object soft button,
to access the Object Utilities (described in Chapter 13).
If you select an ID that’s already in use, the PC3 will tell you that you’re going to replace the
ROM object that’s already been assigned that ID. If you don’t want to do that, you can select a different ID. Or you can press the Plus/Minus buttons simultaneously to toggle between the ID that the PC3 suggested and the original ID. Or press the Cancel soft button to cancel the operation.
If you decide not to cancel or change the ID, and you press the Replace soft button, the PC3 will write your newly edited object over the existing ROM object. Actually, it only appears that way, since you can’t truly write to ROM. The ROM object will reappear if you delete the newly edited object (there are soft buttons in each editor for deleting objects).
Memory Objects
If the original object was a memory object, the PC3 will assume you want to replace it, and will suggest the same ID as the original object. (In all modes other than Song mode, a diamond icon preceding an item’s ID indicates a memory object). As with ROM objects, you can cancel,
5-3
Editing Conventions
Saving and Naming
replace, or change the ID and save to an unused ID. If you replace a memory object, however, it’s definitely gone!
Keyboard Naming
The keyboard naming feature makes naming objects convenient, by letting you use the keyboard (or your MIDI controller) to enter the name of the object you’re modifying.
When you’re in a Rename dialog, use either of the Chan/
Layer
buttons to change between the keyboard naming states: Off (disabled), On, and
Adv
(Advance).
When set to On or Adv, the keys
(MIDI note numbers, actually) correspond to all the characters
also equivalents to the cursor movement, insertion, deletion, and OK (Enter) buttons.
On
requires you to move the cursor to enter each letter, just as you have to do when using the normal data entry methods for naming. Adv automatically moves the cursor one space to the right each time you strike a key, just like a typewriter or computer keyboard. This is the most convenient setting.
Move cursor to start of name
Move cursor left one space
Move cursor right one space h H i I j J k K l L m M n N o O p P
(Shift)
(Space) a A b B c C d D e E f F g G q Q r R s S t T u U v V w W x X y Y z Z
(Space)
(Shift)
Move cursor left one space
Move cursor right one space
Move cursor to end of name
A0 to C8
(Standard 88-note Keyboard)
A0
C2
C3
C4
C5
C6
C7
Delete; move characters left one space
Insert; move characters right one space
2 @
3 #
4 $
5 %
6 ^
7 &
8 *
9 (
0 (zero) )
- (Hyphen) _ (Underscore)
= (Equals) +
(Backspace)
; (Semicolon) : (Colon)
' (Apostrophe) '' (Quote)
, (Comma) <
. (Period) >
/ (Slash) ?
[ (Left bracket) ` (Back quote)
] (Right bracket) \ (Backslash)
(OK, Enter)
Delete; move characters left one space
Insert; move characters right one space
Use the (Shift) keys or
Sustain pedal to enter upper-case and special characters
C8
5-4
Editing Conventions
Deleting Objects
Deleting Objects
Within most editors, there are soft buttons for deleting objects. When you want to delete an object, press the Delete soft button, and the PC3 will ask you if you want to delete the object. (At this point in the dialog, you can select another object with any of the data entry methods.) Press
OK
if you want to delete it, or press Cancel if you don’t. The PC3 won’t let you delete ROM objects (also known as “factory” objects).
Memory objects, on the other hand, are gone when you delete them! If you’ve “replaced” a ROM object by saving a memory object with the same ID, the ROM object is invisible, but still there.
Deleting the memory object stored at the same ID will restore the ROM object.
You’ll often delete objects to gain memory space, or to organize the memory banks before saving objects to storage. To delete multiple objects, use the Delete Objects utility available in Master
mode. It’s described on page 11-8.
Dependent Objects
A dependent object is an object that’s linked in memory with at least one other object. For example, if you create a setup that uses a program that you also created, that program is a dependent object of the setup.
When you start to delete an object that has dependent objects, the Delete dialog gives you a choice: Delete dependent objects? If you press Yes, the PC3 will delete the object and all its dependent objects when you execute the Delete function. In our example, if you were deleting the setup you created, and you chose to delete dependent objects, the dependent program would get deleted as well. If you press No at the Delete dependent objects? prompt, the PC3 deletes only the object, but keeps the dependent objects. In our example, the setup would get deleted, but the dependent program would remain.
When deleting objects and their dependents, the PC3 deletes only those dependent objects that aren’t dependent on other objects that you’re not deleting. For example, suppose you have two setups that contain the same program. If you delete one of the setups, and delete dependent objects with it, the setup gets deleted, but the program that’s contained in the other setup remains in memory.
Saving and Loading Files—Storage Mode
Saving a file simply involves selecting objects or a complete bank of objects to be stored as a single file. All objects with IDs within that range will be saved to the file. When you load a file, the PC3 asks you which bank will receive the file. You can load a file into any of the sixteen banks, regardless of the bank it was saved from. The PC3 will automatically reassign the object
IDs.
See Chapter 13 for more information on loading and saving files.
5-5
Editing Conventions
Special Button Functions
Special Button Functions
The Mode buttons and the Chan/Layer buttons have additional functions, depending on the mode or editor you’re in. The table below describes some of these special button functions.
Button Mode or Editor
Program Editor
Mutes Layer 1 of current program
Song Mode
Program
Mute 1
Setup
Mute 3
Q Access
Solo
Effects
FX Bypass
MIDI
Mute 2
Master
Mute 4
Song
Mute Active
Storage
Compare
Chan / Layer
Edit
Mutes Layer 3 of current program
Solos current layer
Bypasses (mutes) current program’s FX preset (plays program dry)
Mutes Layer 2 of current program
Mutes Layer 4 of current program
Mutes active layer of current program
Negates effect of unsaved edits and plays last-saved (unedited) version of object being edited
In Program Editor, these two buttons scroll through layers of current program; in Setup
Editor, scroll through zones of current setup; in Quick Access mode, scroll through entries in current Quick Access bank
Change recording track
Whenever cursor is highlighting an editable object or parameter, takes you to corresponding editor or programming page
5-6
Program Mode
VAST and KB3 Programs
Chapter 6
Program Mode
Programs are the PC3’s performance-level sound objects. They’re preset sounds equivalent to the patches, presets, voices, or multis that you find on other synths.
Program mode is the heart of the PC3, where you select programs for performance and editing.
The PC3 is packed with great sounds, but it’s also a synthesizer of truly amazing depth and flexibility. When you’re ready to start tweaking sounds, the Program Editor is the place to start.
The PC3 offers two new powerful editing features: Cascade Mode and Dynamic VAST.
•
Cascade Mode
lets you route any layer of a program into the DSP of any other layer. Any of the 32 layers of a program can go into any other layer.
•
Dynamic VAST
lets you “wire” your own algorithms. You can combine different DSP functions in any order you like, including parallel and serial configurations.
VAST and KB3 Programs
It is important to understand the difference between VAST programs and KB3 programs.
VAST
programs contain up to 32 layers, each of which contains a keymap, which in turn consists of a number of samples assigned to a particular keyboard range.
KB3
programs use a much different architecture. There are no layers or algorithms, just a bunch of oscillators that start running as soon as you select a KB3 program.
The next two sections give more detailed descriptions of the differences in structure between
VAST programs and KB3 programs. There are several performance features (and a few issues)
unique to KB3 programs; these are discussed on page 6-4. After that, there are descriptions of the
Program mode features that are common to both types of programs.
6-1
Program Mode
VAST Program Structure
VAST Program Structure
You might want to take a look at Figure 6-1 on page 6-3, which depicts the hierarchy of a VAST
program, from individual samples all the way up to setups, which can contain up to 16 programs.
Every VAST program contains at least one layer. A layer consists of a keymap and an algorithm for processing the samples contained in the keymap. Each sample is a separate digital recording of some kind of sound: musical, vocal, industrial, any sound at all. Individual samples are assigned to specific key ranges (from A 2 to D 3, for example), and are also assigned to be triggered at specific attack velocities. These assignments constitute the keymap.
When you trigger a note, the PC3 looks to the keymap of each layer of the currently active VAST program(s) to determine which samples to play. The sound engine then fetches the requested samples and generates a digital signal representing the sound of the samples. This signal first passes through the five DSP functions that make up the algorithm. It then passes through the
PC3’s effects processor, and finally appears—with some level of effects applied to it—at one or more of the audio outputs.
The layer is the VAST program’s basic unit of polyphony, that is, each layer constitutes one of the 128 voice channels the PC3 can activate at any time. If you have a program that consists of two layers covering the note range from A 0 to C 8, each key you strike triggers two voice channels.
6-2
Program Mode
VAST Program Structure
Zone
1
Zone
2
Zone
3
Zone
4
Zone
5
Zone
6
Zone
7
Zone
8
16 keyboard zones— each with independent program, MIDI channel, and control assignments
Selected for performance and editing in Program mode; up to 32 layers per program
A keymap processed through an algorithm, modulated by control sources
Up to 128 sample roots, assigned to play at programmable key and velocity ranges
Individual digital sound recordings stored in
ROM; stereo samples use two voices of polyphony
Figure 6-1 VAST Program Structure
6-3
Program Mode
KB3 Program Structure
KB3 Program Structure
There’s nothing quite like the sound of the classic Hammond™ B-3 tone wheel organ, especially when played through a Leslie™ rotating speaker system. We’ve done extensive testing and analysis with several tone wheel organs, and created our own models to emulate the unique tone wheel sound. We even took into account the way that older organs start to sound different
(and arguably better) as their capacitors begin to leak—and we included a parameter that lets you vary the amount of grunge (leakage) in your sound.
KB3 programs use oscillators to emulate the tone wheel sound. Each oscillator operates independently, and has its own pitch and amplitude control. You can control how many oscillators are used for a KB3 program. There are two oscillators per voice, for a total of 256. You can use up to 91 of them in a KB3 program (the 92nd is reserved to produce key click). Because the oscillators start running as soon as you select a KB3 program, there are always voices available—unlike VAST programs, which start “stealing” notes when you reach the polyphony limit.
The oscillators—we’ll call them tone wheels from here on—are divided into an upper and lower group. The upper tone wheels use the samples in the PC3’s keymaps to generate sound, while the lower tone wheels use sine waves. You can change the keymap of a KB3 program’s upper tone wheels to produce a large array of sounds.
KB3 Mode
KB3 programs are different enough from VAST programs that we use the term KB3 mode to describe what’s going on when you play a KB3 program. Whenever you play a KB3 program, you are in KB3 mode. The blue LED in the KB3 button will light when the current program is a
KB3 program.
If you want to create your own KB3 program, start by editing an existing KB3 program.
You can play KB3 programs only on a single channel at a time.
6-4
Program Mode
KB3 Program Structure
Real-time Controls in KB3 Mode
You have real-time control over many components of KB3 programs directly from the front panel. The sliders emulate the drawbars that are so essential to the tone wheel sound, while the buttons above them (they’re called the Mute buttons, because they normally mute and solo zones in Setup mode) can control the KB3 effects: Leslie, vibrato, chorus, and percussion.
When you’re in Program mode, the Mute buttons always control KB3 effects. In a setup containing a KB3 program, if you want the Mute buttons to control KB3 effects, you’ll have to edit the setup, because in Setup mode, the Mute buttons mute and unmute zones by default.
1. Go to Setup mode, and select the setup you want to edit. Press Edit.
2. Press either more soft button until you see the COMMON soft button. Press it, and your display should show the following screen:
3. Select the Mutes parameter and change its value to KB3 Control.
4. Don’t forget to save.
Playing KB3 Programs
One of the standard performance features of many tone wheel organs is the set of drawbars for emulating the stops on a pipe organ. Moving the drawbars controls the amplitude of either the fundamentals or the harmonics of the notes (out to increase amplitude, in to decrease it).
The PC3’s sliders serve as the nine drawbars found on most tone wheel organs. Pushing the sliders up is the equivalent of pushing the drawbars in (removing fundamentals or harmonics).
Subharmonics
16'
Slider A
5
1
/3'
Slider B
Table 6-1
Fundamental
8'
Slider C
Harmonics
4'
Slider D
2
2
/3'
Slider E
2'
Slider F
1
3
/5'
Slider G
Standard Drawbar Settings for the Hammond B3
1
1
/3'
Slider H
1'
Slider I
KB3 Mode Buttons (Mute Buttons)
When the Mute buttons are enabled for KB3 control, their LEDs indicate the status of the various effects for the current KB3 program. This status is saved as part of each program. You can change the effects in real time by pressing the buttons (or by sending the appropriate MIDI
Controller values from your MIDI controller).
6-5
Program Mode
KB3 Program Structure
In normal operational modes, using the Mute buttons to change a program’s KB3 effects doesn’t affect the program; the effects return to their programmed settings the next time you select the program. If, however, you’re in an editor when you change the effects, you’re actually editing the program. If you like the changes, you can save the program with the new KB3 effects settings. If you don’t like the changes, you can exit without saving, and the program will revert to its previous settings.
The Mute buttons also send MIDI Controller information to the PC3’s MIDI Out port. See
Column 2 of Table 6-3 to check which Controller numbers the buttons send.
Of course, you can change the programmed settings for the KB3-mode buttons. For each of the buttons, there’s a corresponding parameter in the Program Editor.
Effect
Category
7
8
5
6
3
4
1 Rotary
2
Vibrato
Percussion
Table 6-2
Button Name
Fast / Slow
On / Off
Chorus / Vibrato
Depth 1 / 2 / 3
On / Off
Volume Loud / Soft
Decay Fast / Slow
Pitch High / Low
Corresponding
Page and
Parameter
MISC: SpeedCtl
MISC: VibChorCtl
MISC: VibChorSel
MISC: VibChorSel
PERC: Percussion
PERC: Volume
PERC: Decay
PERC: Harmonic
Comments
Disabled if Button 2 is off
Disabled if Button 2 is off
Disabled if Button 5 is off
Disabled if Button 5 is off
Disabled if Button 5 is off
KB3 Mode Buttons and Corresponding Parameters
MIDI Control of KB3 Programs
When you’re playing a KB3 program from an external MIDI source, there are two things to keep in mind:
• Certain MIDI Controller numbers always control specific KB3 features
• The value of the LocalKbdCh parameter affects how KB3 programs respond to MIDI
Controller messages
Controller Numbers
Table 6-3 lists the MIDI Controller numbers that control KB3 features. The first column lists
the Controller numbers that KB3 programs always respond to (the PC3 also sends these
Controller numbers to its MIDI Out port when you’re using the local keyboard channel—we’ll
say more about that on page 6-7).
6-6
Program Mode
KB3 Program Structure
KB3 Program Feature
Drawbar1
Drawbar2
Drawbar3
Drawbar4
Drawbar5
Drawbar6
Drawbar7
Drawbar8
Drawbar9
Expression Pedal
Percussion On/Off
Percussion High/Low
Percussion Loud/Soft
Percussion Fast/Slow
Rotating Speaker Slow/Fast
Vibrato/Chorus On/Off
Vibrato/Chorus Selector
Key Click Level
Leakage Level
Table 6-3 KB3 MIDI Controller Assignments
MIDI
Controller
Number
PC3
71
70
68
95
28
11
73
72
93
89
90
24
25
26
27
6
13
22
23
Local Keyboard Channel
The local keyboard channel enables the PC3 to receive MIDI information on a single channel, then rechannelize that information so you can play and control all 16 zones of a setup, even if your MIDI source transmits on only one channel. When you’re in Program mode, the local keyboard channel remaps incoming information to the PC3’s current channel (the one shown in the top line of the display).
The LocalKbd parameter (on the RECEIVE page in MIDI mode) defines the local keyboard channel. When you’re in Program mode, and playing a KB3 program, you may want to leave
LocalKbd set to None, which is its default value. In this case the MIDI Controller messages for
KB3 control listed in Table 6-3 are certain to work.
There are some possible disadvantages to this, however. First, the PC3 doesn’t relay incoming
MIDI to its MIDI Out port. Perhaps more importantly, if you change the channel on your MIDI source, the PC3 plays the program on the channel used by your MIDI source—regardless of the
PC3’s current channel. For example, if your MIDI source transmits on Channel 1, and you set the
PC3’s current channel to 2, you’ll still play the program assigned to Channel 1. If that’s the way you like it, there’s no problem.
6-7
Program Mode
KB3 Program Structure
You may find it more convenient to use the local keyboard channel. In this case, the PC3 remaps incoming MIDI to the PC3’s current channel, so in Program mode, you’ll always play the program on the PC3’s current channel. Incoming MIDI also gets sent to the PC3’s MIDI Out port. On the other hand, in this case your MIDI source’s transmitting channel must match the
PC3’s local keyboard channel for anything to work. Furthermore, for KB3 programs, some of the
MIDI Controller numbers listed in Table 6-3 won’t necessarily work.
Things are a bit different for playing setups. In this case, you must use the local keyboard channel to be able to play and control all of the setup’s zones. Set LocalKbd to match the channel your external MIDI source is using (so if, for example, your MIDI source transmits on Channel 1, set LocalKbd to 1). All MIDI information that the PC3 receives on the local keyboard channel gets remapped to the channels and control destinations used by the zones in the setup.
The PC3 also remaps certain MIDI Controller messages that it receives on the local keyboard channel, so that they correspond (in most cases) to the default assignments for the PC3’s physical controllers (Mod Wheel, sliders, ribbons, etc.). While this ensures that the physical controllers work in a consistent and relatively standard fashion for most setups and VAST programs, it necessitates a few adjustments to make incoming MIDI Controller messages control
the KB3 features listed in Table 6-3. Without these adjustments, some of the KB3 features won’t
respond to MIDI Controller messages—this is true when you’re playing programs as well as when you’re playing setups.
To make everything work properly, you need to make sure that all the appropriate physical controllers are assigned for KB3 control. Physical controller assignments are handled by setups, and are defined by parameters on several pages in the Setup Editor. Each zone of a setup has its own controller assignments. Programs don’t have controller assignments, so they “borrow” them from a special setup that’s reserved for that purpose. This setup is called the Control
Setup; it’s determined by the value of the ControlSetup parameter (on the TRANSMIT page in
MIDI mode). You can read about Control Setups in detail on page 6-9.
When you’re playing a setup on the local keyboard channel, each zone that uses a KB3 program must have the appropriate physical controller assignments. When you’re playing a KB3 program, Zone 1 of the Control Setup must have the appropriate physical controller assignments.
One final word—for now—about using the local keyboard channel: all the MIDI information received on the local keyboard channel also gets sent—after being remapped—to the PC3’s MIDI
Out port. There’s a discussion of the local keyboard channel in Chapter 10.
6-8
Program Mode
The Program Mode Page
The Program Mode Page
The top line of the Program mode entry-level page shows your mode location, the present MIDI transposition, the MIDI bank number and MIDI program number of the highlighted program, and the current MIDI channel.
The info box at the left of the Program mode page gives you information about the current program. Generally, the info box shows the keymap assigned to each layer. The line beneath the name of the keymap indicates the keyboard range of that layer. In the diagram above, for example, there’s one layer that extends from C 0 to C 8—the default range. The representation of these layer ranges is approximate; they’re intended to let you know if you have a layered keyboard (lines overlapping) or a split keyboard (lines not overlapping). The info box can display up to four layers at a time. If the current program has more than four layers, you can view their keymaps by pressing and holding down the Enter button and scrolling with the
Chan/Layer
buttons.
For KB3 programs, the info box shows the keymap used for the upper tone wheels.
Control Setup
The Control Setup defines what the PC3’s physical controllers (wheels, sliders, pedals, etc.) do while you’re in Program mode. It’s a convenient way to apply the controller assignments in your setups globally. Just choose an existing setup to be the Control Setup using the
ControlSetup parameter on the MIDI mode TRANSMIT page.
While you’re in Program mode, many of the controller assignments for Zone 1 of the Control
Setup also apply to the programs you play (this is true for MIDI control messages as well, unless you have turned off MIDI control).
6-9
Program Mode
The Program Mode Page
If you don’t like the way the physical controllers work in Program mode, you can either select a different Control Setup, or edit the existing one. Any changes you make to the current Control
Setup will also affect the way that setup works in Setup mode.
There are a few important points to remember about the Control Setup:
• The current Control Setup governs controller assignments for all modes except Setup, where each setup has its own unique assignments.
• The current Control Setup is used by all programs in Program mode.
• You cannot change the Control Setup from within Program mode.
• The Control Setup doesn’t affect the sound of a program, only the assignments of certain physical controllers. The samples and keymaps assigned to a program are unaffected by the
Control Setup. While you’re in Program mode, the PC3 ignores the programs assigned to the setup that you choose as the Control Setup.
• Almost all of the VAST programs in the PC3 are designed to respond to the controller assignments in the default Control Setup (126 Internal Voices). Therefore you’ll want to use
126 Internal Voices
as the Control Setup in most cases. However, if you want to change the controller assignments for any program or set of programs (either VAST or KB3), use a
Control Setup that has the controller assignments you want.
The Soft Buttons in Program Mode
Use the Octav– and Octav+ soft buttons to transpose up or down by a full octave. Pressing both
Octav
buttons simultaneously returns the transposition to its original setting.
Pressing the Panic soft button sends an All Notes Off message and an All Controllers Off message on all 16 MIDI channels.
Press the Info soft button to see all of the controller assignments of the current program. Scroll down the page using the Alpha Wheel or the Plus/Minus buttons.
The Xpose-/Xpose+ buttons are a shortcut for quick transposition in semitone (half step) increments. You can use them to transpose the entire PC3 as much as three octaves up or down.
The top line of the display shows the current amount of transposition (Xpose). Pressing both
Xpose
buttons simultaneously returns the transposition to zero. The Xpose buttons transpose the PC3, as well as any MIDI devices connected to the PC3’s MIDI Out port. Changing the transposition with the soft buttons also changes the corresponding setting on the MIDI mode
TRANSMIT page.
Controller Entry Values in Program Mode
To capture entry values for sliders, go to the Controllers page by pressing the CTLS soft button in the program editor. The soft button next to it, “SetCtl,” allows you to capture the values of your sliders, Mwheel and MIDI 29 (the SW button, located above the Mod Wheel).
Similarly, when using a KB3 program, you can capture the entry values for the drawbars (the sliders) by pressing the “SetDBR” soft button in the KB3 program editor (this button is located next to the DRAWBR soft button).
6-10
Program Mode
Editing VAST Programs
Editing VAST Programs
The Program Editor is where you begin to modify the PC3’s resident sounds, and to build your own sounds around sample keymaps and/or waveforms. There’s virtually no limit to the sounds you can create using the tools in the Program Editor.
This section describes the Program Editor as it applies to VAST programs. See Editing KB3
Programs on page 6-53 for information about editing KB3 programs.
To enter the Program Editor, start in Program mode and press Edit. The Program-mode LED will go out, and the KEYMAP (Keymap) page will appear.
The top line of the display gives you the usual reminder of your location. It also tells you which layer you’re viewing, and how many layers there are in the program. You can use the
Chan/Layer
buttons to scroll through the layers, if the program has more than one.
Here’s a method for jumping quickly to a specific layer in a program—it’s especially useful in multi-layered drum programs. Hold the Enter button and strike a key. The display will show the layer(s) assigned to that key. If more than one layer is assigned to the same key, repeatedly striking the key (while continuing to hold the Enter button) will cycle through all layers assigned to that key. This method will work in most places within the Program Editor, but there is an exception: if the parameter you have highlighted has a note number or control source as its value, then holding Enter and striking a note will call up that note or control source. For all other parameters, however, this method will switch between layers.
The Soft Buttons in the Program Editor
The Program Editor’s soft buttons are labeled by the words that appear in the bottom line of the display. These buttons have two important jobs in the Program Editor: selecting pages, and selecting specific functions. If a soft button is labeled in all uppercase letters, pressing it will take you to the page it describes. If the button is labeled in mixed uppercase and lowercase letters, pressing it will execute the software function described by the label. Pressing the LAYER soft button, for example, will take you to the Layer page, while pressing the Save soft button will initiate the process for saving the currently selected program.
There are more pages and functions in the Program Editor than there are soft buttons. Therefore, two of the soft buttons are dedicated to scrolling through the list of pages and functions. If you don’t see the button for the page or function you want to select, press one of the soft buttons labeled more, and the labels will change. This doesn’t change the currently selected page, it merely changes the selection of available soft buttons.
6-11
Program Mode
Editing VAST Programs
Two of the soft buttons in the Program Editor are special cases. They’re the soft buttons that select the editing pages for the first and last DSP functions (Pitch and Level, respectively) of the current program’s algorithm. One of these soft buttons is labeled PITCH, and pressing it will take you to the DSPCTL (DSP Control) page with the Pitch parameter highlighted. The other one of these soft buttons is labeled AMP, and pressing it will take you to the DSPCTL page with the Level parameter highlighted.
Additionally, pressing the DSPCTL soft button will take you to the DSPCTL page.
The MODE Buttons in the Program Editor
When in the Program editor, each of the MODE select button has a different function. Beside each button is the name of its function in the Program editor. When activated, the button’s LED will light up.
Mute 1, 2, 3, and 4
Each of the top four MODE select buttons serve to mute one of the current program’s first four layers. Pressing the Program button mutes layer 1, pressing the MIDI button mutes layer 2, pressing the Setup button mutes layer 3, and pressing the Master button mutes layer 4.
Solo
Pressing the Q Access button solos the current layer.
Mute Active
Pressing the Song button mutes the current layer.
FX Bypass
Pressing the Effect button bypasses all effects. Note, however, that if either of the Aux Overrides in Effects mode are active, then those effects are still applied.
Compare
Pressing the Storage button calls up the Compare Editor, which recalls the program pre-edit settings, allowing you to compare your edited program with the original program. Pressing the
Storage
button again returns you to the Program editor.
Using the Compare Editor makes no changes to the current program.
6-12
Program Mode
Algorithm Basics
Algorithm Basics
Press the ALG soft button in the Program Editor to take you to the Algorithm (ALG) page. The basic definition: an algorithm is the “wiring” (signal path) of a sample to the audio outputs, through a series of digital signal processing (DSP) functions that you select. The PC3’s algorithms are the core of Variable Architecture Synthesis Technology. The DSP functions are synthesis tools (filters, oscillators, etc.) that you assign to the various stages of the algorithm.
The DSP functions you choose determine the type of synthesis you use.
Each of the 57 available algorithms represents a preset signal path. With our new Dynamic
VAST feature, you can edit any preset signal path and make your own, unique algorithms, but that will be explained further on in this section. Take a look at Algorithm 1 in the diagram below.
It’s one of the simplest algorithms.
The DSP functions are represented by the rectangular blocks. The lines connecting the blocks together indicates the flow of the digital signal from left to right; they represent what we call the
“wire” of the algorithm: the actual physical path that the signal follows through the algorithm.
Selecting different algorithms can be compared to connecting different DSP functions with different wiring diagrams.
Think of the left side of each block as its input, and the right side as its output. Depending on the algorithm, the signal may split into two wires, enabling part of the signal to bypass certain portions of the algorithm. Split wires may rejoin within the algorithm, or they may pass all the way through as split signals. If the last block has two wires at its output, we call it a doubleoutput algorithm. If it has one wire, it’s a single-output algorithm, even if there are two wires in earlier portions of the algorithm.
Each block of the algorithm represents a certain function in the signal path. In every noncascaded algorithm (more on Cascade mode later), the signal flows first through a one-stage
DSP function that controls the pitch of the samples in the keymap (this function is represented as a block labeled PITCH in the upper right-hand corner of the display). In fact, the first DSP function in each algorithm always controls pitch, even though it doesn’t apply in every instance and, as will be explained later in this section, it is bypassed in cascaded algorithms. Similarly, the last DSP function always controls the final amplitude of the signal (this function is represented as a block labeled AMP in the upper right-hand corner of the display).
The number of function-parameters a DSP function can have depends on the relative size of its function-block on the Algorithm page; for instance, a function-block that is three slots long can have up to three function-parameters, whereas a function-block that is two slots long can have up to two function-parameters. For each function-parameter, there’s a corresponding “subpage” on both the DSPCTL and DSPMOD pages. On the DSPCTL subpages, there are fine adjust and
hard-wired parameters with which you can make fixed adjustments to the function-parameter. On
the DSPMOD subpages, there are programmable parameters that you can assign to any control
6-13
Program Mode
Algorithm Basics
source in the Controller List to modulate the function-parameter. The above italicized
parameter-types are described in Common DSP Control Parameters on page 6-14. More
information on the subpages can be found in The DSP Control (DSPCTL) Page on page 6-28 and
The DSP Modulation (DSPMOD) Page on page 6-29.
Highlighting any of the function-blocks on the ALG page and pressing the Edit button takes you to the DSPCTL page.
Common DSP Control Parameters
The type of DSP function available for any function block depends on the algorithm. Some of the specialized functions like the PANNER are always located just before the final AMP function. Others, like the three-input functions, appear only in algorithms that are structured for three-input functions.
You can change the nature of each layer of a program simply by assigning different DSP functions to the layer’s algorithm. Your level of control goes much deeper than that, however.
Each DSP function has one or more parameters to which you can patch a variety of control sources to modify the behavior of the DSP functions themselves.
The parameters on the various control-input pages are very similar; in fact, there are six parameters that appear on almost every page. Consequently we refer to them as the common
DSP control parameters. Although the parameters on the control-input pages differ slightly from function to function, you can expect to see some or all of the common DSP control parameters whenever you select the control-input page for any of the DSP functions.
You’ll recognize the common DSP control parameters, along with several other parameters.
Keep in mind that there’s a set of common control parameters for each of the DSP functions; in this case we’re describing them only as they apply to the pitch control function.
Function-parameter
Unlike the other five common DSP parameters, the function-parameters are accessible on both the DSPCTL page and the DSPMOD page. They are listed along the left-hand side of each page; any changes made to them on one page are reflected in the other. The label of each functionparameter depends on its function in the current program’s algorithm. For example, the Pitch function’s function-parameter is labeled Pitch; whereas the two-block Lopass function’s function-parameters are labeled LP Frq and LP Res.
6-14
Program Mode
Algorithm Basics
By adjusting the function-parameter, you can add a fixed amount of adjustment to any DSP function. For the Pitch function, adjusting the function-parameter will change the pitch in semitone increments. Use this as a starting point to set the pitch where you want it to be normally. This will shift the pitch of the currently selected layer, and will affect the playback rate of sampled sounds. Sampled sounds have an upper limit on pitch adjustment. It’s normal for the pitches of sampled sounds to “pin” (stop getting higher) when you adjust the pitch upward in large amounts. The oscillator waveforms can be pitched higher. Any sound can be pitched downward without limit.
The primary use of adjusting the function-parameter or fine adjust parameter (which will be explained under the next heading) is to offset the cumulative effects of the other DSP function parameters. For example, you might set a high value for key tracking (defined below) for a dramatic change in effect across the keyboard. The effect might be too much at one end of the keyboard, however, so you could use one of the adjust parameters to reduce the initial amount of that effect.
The PC3 always uses real values of measurement, rather than just arbitrary numbers, for adjustable parameters. This means that you specify pitch in semitones (ST) and cents (ct), and amplitude in decibels (dB).
Remember that the parameters on the control-input pages are cumulative—they can add to or subtract from the effects of the other parameters on the page, depending on their values. For example, even if you’ve adjusted the pitch of a sample so high that it pins, the effects of the other parameters may bring the pitch back down to a workable range.
Only the function-parameters can be modulated by a control source.
Fine Adjust Parameter
You can add slight detuning to the pitch with the fine adjust parameters. Notice that there are actually two fine adjust parameters for the Pitch function: one that changes the pitch in cents
(100ths of a semitone), and one that changes it according to its frequency (in increments of
Hertz—cycles per second). Since we’re discussing the universal control sources here, and not specifically pitch, we’ll move on for now, as the Hz parameter applies only to pitch-related
functions. See The PITCH Page on page 6-26 for a more thorough description of Hz.
Hard-wired Parameters
Key Tracking
This is a quick way to get additional control based on the MIDI note number of each note you trigger. Key tracking applies a different control signal value for each note number. In the case of pitch, key tracking enables you to change the tuning of each note relative to its normal pitch.
Middle C is the zero point. Regardless of the key tracking value, there is no effect on Middle C. If you set a nonzero value for key tracking, the effect increases for each note above or below
Middle C. In the case of pitch, for example, say you assign a value of 5 cents per key for the key tracking parameter. Triggering Middle C (C 4 on the PC3) will play a normal C 4. Triggering C
#
4 will play a note 5 cents higher than C
#
4. Triggering D 4 will play a note 10 cents higher than D
4, and so on. Notes below Middle C will be tuned lower than their normal pitches. If you set a negative value for key tracking, notes above Middle C will be tuned lower than their normal pitches.
Keep in mind that key tracking on the PITCH page works in conjunction with the key tracking parameter on the KEYMAP page. This is why you can set the KeyTrk parameter on the PITCH page to 0ct/key, and notes still increase in pitch by 100 cents/key as you go up the keyboard. It’s because the KeyTrk parameter on the KEYMAP page is already set at 100 cents per key.
6-15
Program Mode
Algorithm Basics
Velocity Tracking
A positive value for velocity tracking will raise the pitch as you trigger notes with higher attack velocities. This is great for getting a trace of detuning based on your attack velocity, especially in drum programs, where you can make the pitch of the drum samples rise slightly with highervelocity Note Ons, just as drums do when you strike them harder. Negative values will lower the pitch as you increase the attack velocity.
Programmable Parameters
Source 1 (Src1)
This parameter takes its value from a long list of control sources including every MIDI control number, a host of LFOs, ASRs, envelopes and other programmable sources.
Src1 works in tandem with the parameter beneath it on the page: Depth. Choose a control source from the list for Src1, then set a value for Depth. When the control source assigned to Src1 is at its maximum, the pitch will be altered to the full depth you set. For example, if you set Src1 to
MWheel
, and set Depth to 1200 ct, the pitch will rise as you push the Mod Wheel up on your
PC3 or MIDI controller, reaching a maximum of 1200 ct (12 semitones, or one octave).
Source 2 (Src2)
This one’s even more programmable. Like Src1, you choose a control source from the list. But instead of setting a fixed depth, you can set a minimum and maximum depth, then assign another control source to determine how much depth you get. Try this example. (Make sure Src1 is set to OFF first, so the two sources don’t interact.) Start with Program 199, and press Edit.
Press the PITCH soft button to select the PITCH page. Set the Src2 parameter to a value of LFO1, then set the Minimum Depth parameter to 100 ct, and Maximum Depth to 1200 ct. Then set the
Depth Control parameter to MWheel. This lets you use the Mod Wheel to vary the depth of the oscillation in pitch generated by the LFO.
Now, when the Mod Wheel is down, the pitch will oscillate between a semitone (100 ct) up and a semitone down (the default waveform for LFO1 is a sine wave, which goes positive and negative). With the Mod Wheel up, the pitch will oscillate between an octave up and an octave down.
Since the Mod Wheel is a continuous control, you can achieve any amount of depth control between the minimum and maximum. If you had set the Depth Control to Sustain, for example, then you’d get only two levels of depth control: the maximum (1200 cents) with your MIDI controller’s sustain pedal down, or the minimum (100 cents) with the sustain pedal up.
6-16
Program Mode
Algorithm Basics
Alt Input for Algorithms (Cascade Mode)
Cascade mode is a particularly powerful feature of the PC3 that allows you to create unique algorithms of previously unattainable levels of complexity. The following three figures show the signal path of a program configured using the PC3’s new Cascade mode:
On the ALG (Algorithm) page of every layer, the Alt Input parameter lets you select any other layer to go through the current layer’s DSP. You can set it up so that layer 1 goes into layer 2 into
3 (as shown above). If you turn down the volume on layers 1 and 2, then you are hearing true cascading—it’s like a big chain with each algorithm feeding into the next, and what you hear is layer 3’s output. You can also have the volumes of all three layers turned up, which will mix the signal of all three layers. You could, in the same program, also decide to run layer 4 into 5 into 6 into 13 into 25 if you wanted. Any of the 32 layers can go into any other layer.
6-17
Program Mode
Algorithm Basics
The Cascade mode algorithms (very much like triple mode on a K2600) start at ID 101. Note in the above figures how algorithm 101 looks very similar to algorithm 1. Each Cascade mode algorithm corresponds to its non-cascade equivalent, which has the same ID number minus 100.
For example, algorithm 105 is a cascade mode version of algorithm 5. On the Alg page, select which layer you want to have running through your cascade layer with the Alt Input parameter.
Make sure to turn down the Amp volume on your source layers if you only want to hear what's coming out of the cascade layer.
For more information on the PC3’s advanced editing capabilities, including the new Alt Input for Algorithms that allows you to greatly expand the number of processing functions you can string together, check out the Kurzweil Music Systems website.
Dynamic VAST
The Dynamic VAST editor is yet another particularly powerful feature of the PC3 that allows you to edit the wiring of an algorithm. With Dynamic VAST, literally thousands of wiring schemes are possible. Using Cascade mode in conjunction with Dynamic VAST gives you almost infinite control over your program’s sound and behavior by enabling you to create your own unique, complex algorithms.
To enter the Dynamic VAST editor, select the ALG (Algorithm) page by pressing the ALG soft button. Highlight the Algorithm parameter, select an algorithm, and press the edit button. This action calls up the Edit Algorithm (EditAlg) page in which you can edit the wiring of the selected algorithm.
6-18
Parameter
Inputs
Outputs
Number of Blocks
Output Mode
Range of Values
1, 2
1, 2
1 to 4
Normal, Sep. L/R
Default
1
1
2
Normal
In addition to having a selectable function, each function block has three editable parameters: number of inputs, number of outputs, and block size (the Output Mode parameter is an editable parameter of the algorithm as a whole). When you first enter the EditAlg page, there will be a cursor in the parameter field, and the first block of the algorithm will be highlighted. To select a block for editing, move the cursor down the display until no parameter field is highlighted; then, using the < and > buttons, highlight the block you wish to edit. Press the ^ button to move the cursor back into the parameter fields, and then select the parameter you wish to edit.
Program Mode
The KEYMAP Page
The Output Mode parameter determines the number of outputs from the algorithm. With
Output Mode set to Normal, the algorithm has one output. With Output Mode set to Sep. L/R, the algorithm has two outputs, each of which is sent to a separate stereo channel.
To edit the signal path, select either an input of a block or an output of the entire algorithm. By scrolling with Alpha Wheel or the - and + buttons, you can see every possible configuration for that selected signal path.
The KEYMAP Page
Press the KEYMAP soft button to call up the KEYMAP page. The parameters on this page affect sample root selection, i.e., which samples are played on which keys.
Parameter
Keymap
Transpose
Key Tracking
Velocity Tracking
Alt Method
Stereo
Timbre Shift
Playback Mode
Alt Control
Range of Values
Keymap List
-128 to 127 semitones
± 2400 cents per key
± 7200 cents
Switched, Continuous
Off, On
± 60 semitones
Norm, Rvrs, Bidirectional, Noise
Control Source List
Default
1 Piano f Left
0
100
0
Switched
Off
0
Normal
Off
Keymap
Assign keymap from ROM to the current layer. Keymaps are collections of samples assigned to note and velocity ranges.
Transpose (Xpose)
Transpose the current keymap up as much as 127 semitones (ten octaves and a perfect fifth) or down as much as 128 semitones (ten octaves and a minor sixth).
6-19
Program Mode
The KEYMAP Page
Key Tracking (KeyTrk)
This is one of the six common DSP control parameters. On the KEYMAP page, key tracking affects the interval between notes. The default value of 100 cents (a cent is a hundredth of a semitone) gives you the normal semitone interval between each note. Higher values increase the interval; lower values decrease it. Negative values will cause the pitch to decrease as you play higher notes.
When you make changes to this parameter, you’ll need to keep in mind that KeyTrk on the
KEYMAP page works in conjunction with KeyTrk on the PITCH page. Therefore, you’ll need to check the KeyTrk value on both pages to see how key tracking works within a program. Unless you’re looking for nonstandard note intervals, the values of the KeyTrk parameters on the
PITCH and KEYMAP pages should add up to 100 cents.
Velocity Tracking (VelTrk)
This is another common DSP control parameter. As with the other parameters on the KEYMAP page, this shifts the position of the keymap. Different attack velocities will play different pitch shifts of the sample root assigned to that note range. If the shift is great enough, the next higher or lower sample root will be played, which in some cases (many drum programs, for example) will play an entirely different sound. Positive values will play higher pitches of the sample root when you use hard attack velocities (they shift the keymap downward), while negative values will play lower pitches.
Method (AltMethod)
See Alternative Switch (AltControl and AltMethod) below.
Stereo
You’ll use this parameter when you’re working with stereo samples.
When you set this parameter to On, the KEYMAP page changes slightly:
6-20
An additional Keymap parameter appears. The two keymap parameters are distinguished as
Keymap 1 and Keymap 2. The KEYMAP page parameters will affect both keymaps. When the
Stereo parameter is set to On, the OUTPUT page for the current layer will show an additional pair of Pan parameters.
The PC3 contains both stereo and mono samples. Keymaps designed for stereo use are labeled with names beginning with “Stereo” or ending in “Left,” “Right,” “L,” or “R.” For stereo keymap playback, set Stereo “On” and assign corresponding Left and Right keymaps to
Keymap1 and Keymap2 respectively. For keymaps beginning with “Stereo,” assign the same keymap to both Keymap1 and Keymap2. If you select the same keymap for Keymap1 and
Keymap2, the PC3 automatically uses the left side for Keymap1 and the right side for Keymap2.
Program Mode
The KEYMAP Page
Once you have the keymaps assigned, go to the OUTPUT page and set the panning for each sample as desired. Keep in mind that using stereo keymaps reduces the polyphony of the program. For example, if you had a two-layer program with stereo keymaps in each layer, each note you play would use 4 of your 128 voices, allowing a total of 32 notes before all the voices have been used.
If you’re not using stereo samples, you should set this parameter’s value to Off.
Timbre Shift
This parameter works only on multi-sample keymaps, and changes the root selection for each key you play. With this parameter you can radically alter the current layer’s timbre (basic sound characteristics). The nature of the change depends on the timbre itself, so this parameter calls for experimentation. Basically, timbre shifting changes a note’s timbre by imposing different harmonic qualities onto the note. A timbre-shifted note retains its original pitch, but its harmonics are those of the same timbre at a higher or lower pitch. Positive values for this parameter tend to brighten a sound, while negative values darken.
Here’s an example. If you shift the timbre up 4 semitones, then playing C 4 will result in the pitch
C 4, but will actually play the sample normally assigned to G
#
3, and shift its pitch up four semitones. This will increase the playback rate of the sample, so although the pitch remains normal, the timbre is brighter. You’d get the same effect by setting the Xpose parameter on the
KEYMAP page to -4 semitones, then setting the Adjust on the PITCH page to +4 semitones. For multi-sample layers with narrow key ranges, large amounts of timbre shifting will cause different sample roots to be played back.
Playback Mode
This gives you numerous options for manipulating the samples in the current layer as you trigger them. Normal leaves the samples unaffected, while Reverse plays them in reverse. At a value of Reverse, the samples will continue to loop as long as notes are sustained. To play them just once in reverse, you would adjust the length of the layer’s amplitude envelope (explained later in this chapter). BiDirect (bidirectional) causes the samples to loop infinitely, alternating between normal and reversed playback. Noise replaces the samples with a white noise generator.
Alternative Controller (AltControl)
See Alternative Switch (AltControl and AltMethod) below.
Alternative Switch (AltControl and AltMethod)
Many, but not all, PC3 sample roots have been pre-assigned a carefully chosen, fixed alternate sample start or end point that can be selected using the Alternate Switch feature (AltControl and
AltMethod parameters). This feature allows you to control the sample playback start/end time triggered by any control source.
Use the AltControl parameter to specify a control source that will cause the sample to begin or end at the Alt point. Then use the AltMethod parameter to choose between switched and continuous calculation of the Alt point. If the value of AltMethod is Switched, the PC3 will use the Alt point when the relevant control source is at a value greater than 64 at Note Start. If
AltMethod is Continuous, the Alt point will vary depending on the value of the relevant control source at Note Start.
6-21
Program Mode
The LAYER Page
As an example, suppose you’re working with a flute keymap and wish to control the amount of chiff heard at the beginning of the sound. On the KEYMAP page in the Program Editor, set
AltControl to MWheel. Now the Mod Wheel controls how much of the initial sample attack is used. If you set AltMethod to Switched and move the Mod Wheel at least half-way up, at Note
Start the sample will begin at the pre-set alternate start point (in this case, slightly past the initial chiff). If you set the AltMethod to Continuous, the PC3 will interpolate the sample’s starting point based on the position of the Mod Wheel. If the Mod Wheel is 75% of the way up at Note
Start. the sample will begin 75% of the way between normal and alternate start points.
Emulating Legato Play
If you place the Alt point after the initial attack transients of the sample, then you can use the Alt
Switch to emulate legato playing in an acoustic instrument. As an example, set Keymap to
14 Flute
. Now set the AltControl parameter to Chan St (Channel State). Now if you play notes separately, the initial breathy chiff will be heard. But if you play the notes legato (connecting them smoothly), the Alt point is used and you do not hear the chiff. This is because the Chan St is turned on as long as any note is being held. Most of the PC3’s ROM samples have their Alt points set for purposes of legato play. In most cases the difference in attacks is subtle, but for some sounds, like drums, the difference can be more noticeable.
The LAYER Page
Press the LAYER soft button to call up the LAYER page. Here you’ll set a number of parameters that affect the current layer’s keyboard range, attack and release characteristics, and response to various controls.
6-22
Parameter
Low Key
High Key
Low Velocity
High Velocity
Bend
Trig
Delay Control
Minimum Delay
Maximum Delay
Layer Enable
Range of Values
C -1 to G 9
C -1 to G 9 ppp to fff ppp to fff
Off, Key, All
Normal, Reversed
Control Source list
0 to 25 seconds
0 to 25 seconds
Control Source list
Default
C 0
C 8 ppp fff
All
Normal
Off
0
0
On
Program Mode
The LAYER Page
Parameter Range of Values
Enable Sense
Enable Min
Enable Max
Normal, Reversed
± 127
± 127
Opaque LayerOff, On
Sustain Pedal Off, On, On2
Sostenuto Pedal
Freeze Pedal
Ignore Release
Hold Through Attack
Hold Until Sustain
Off, On
Off, On
Off, On
Off, On
Off, On
Default
On
On
Off
Off
Off
Normal
64
127
Off
On
Low Key (LoKey)
This sets the lowest active note for the current layer. This parameter’s value cannot be set higher than the value for HiKey. The standard MIDI key range is C 1—G 9 (0-127). Middle C is C 4
(ISP).
High Key (HiKey)
Here you set the highest active note for the current layer. This parameter’s value cannot be set lower than the value for LoKey.
Low Velocity (LoVel)
With this parameter you define the lowest attack velocity at which the layer will be enabled
(generate a sound). The values for this parameter and the next are expressed in the standard musical dynamics markings, similar to the values available for the velocity maps. Attack velocities that are below this threshold will not trigger notes. If you set this parameter’s value higher than the HiVel value, the layer will not play at all.
High Velocity (HiVel)
Similarly, this will set the highest attack velocity at which the layer will be enabled. Attack velocities above this threshold will not trigger notes in this layer.
Using LoVel and HiVel, you can set up velocity switching between up to eight layers. If you
need even more, you can do it using the Enable and Enable Sense (S) parameters (page 6-24).
Pitch Bend Mode (Bend)
This determines how Pitch bend control messages will affect the current layer. A value of All bends all notes that are on when the Pitch bend message is generated. A value of Key bends only those notes whose triggers are physically on when the Pitch bend message is generated
(notes held with the sustain pedal, for example, won’t bend). This is great for playing guitar solos on top of chords—play a chord, hold it with the Sustain pedal, then play your licks and bend them all you want; the chord won’t bend with it. A value of Off disables Pitch bend for the current layer.
6-23
Program Mode
The LAYER Page
Trigger (Trig)
Set Trig to Rvrs to have notes triggered on key-up. The initial velocities of notes triggered this way are determined by the release velocities of the keys that trigger them. The default setting is
Norm
.
Delay Control (DlyCtl)
Here you select, from the Control Source list, a control source that will delay the start of all notes in the current layer. The length of the delay is determined by MinDly and MaxDly (described below). You’ll assign a continuous control like MWheel for the DlyCtl parameter when you want to vary the delay time, and a switch control if you want the delay to either be its minimum value (switch off), or its maximum (switch on). The delay control will affect only those notes triggered after the delay control source is moved; the delay time is calculated at each note start, based on the status of the delay control source at that time.
Minimum Delay (MinDly), Maximum Delay (MaxDly)
The length of the delay is determined by these two parameters. When the control source assigned to DlyCtl is at its minimum, the delay will be equal to the value of MinDly. The delay will be equal to the value of MaxDly when the control source is at its maximum. If DlyCtl is set to OFF, you get the minimum delay. If it’s set to ON, you get the maximum delay. This doesn’t change the note’s attack time, just the time interval between the Note On message and the start of the attack. The delay is measured in seconds.
Enable
This assigns a control source to activate or deactivate the layer. When the value of the assigned control source is between the minimum and maximum thresholds set by the Sense (S) parameter, the layer is active. When the value of the assigned control source is below the minimum or above the maximum, the layer is inactive. By default, many layers have the Enable parameter set to ON, so the minimum and maximum thresholds don’t matter. They’re relevant only when Enable is set to a specific control source (like MWheel).
Some local control sources (KeyNum and AttVel, for example) are not valid for the Enable parameter. In these cases, you should use the global equivalent (GKeyNum and GAttVel in this example).
Enable Sense (S)
This parameter determines how and when a layer is enabled by the control source assigned for the Enable parameter. Enable Sense has three values: orientation, minimum, and maximum.
Suppose for a moment that you’re editing a program, and in the current layer you’ve set the value of Enable to MWheel, which causes the Mod Wheel to control whether the layer is active.
The default values for Enable Sense are as follows: orientation is Norm; minimum is 64, and maximum is 127. This means that when the Mod Wheel is less than halfway up, the layer is disabled. The layer plays only when the Mod Wheel is more than halfway up.
Change the orientation to Rvrs, and the layer plays only when the Mod Wheel is less than halfway up. Change the orientation back to Norm, and change the minimum to 127. Now the layer plays only when the Mod Wheel is all the way up.
6-24
Program Mode
The LAYER Page
You could use this parameter to set up a two-layer program that would let you use a MIDI control to switch between layers, say a guitar sound and a distorted guitar. Both layers would have their Enable parameters set to the same control source, say MWheel. One layer would have its Enable Sense orientation set to Norm, and the other would have it set to Rvrs. Both layers would have their Enable Sense minimums set to 64, and their maximums to 127. The first layer would play when your Mod Wheel was above its midpoint, and the second layer would play when the Mod Wheel was below its midpoint. (You could achieve the same effect by having the Enable Sense orientation in both layers set to Norm, and the minimum and maximum values set as follows: minimum 0 and maximum 63 for one layer; minimum 64 and maximum 127 for the other.)
Using this parameter in conjunction with the Enable parameter, you can easily create velocityswitching for as many layers as you have in your program. This is useful for drum programs, since you can define a different velocity-trigger level for each of the 32 layers available in drum programs.
First, set the Enable parameter for the Layer 1 to a value of GAttVel (global attack velocity). This causes the layer to play based on the attack velocity of your keystrokes. Then set the Enable
Sense (S) parameter to a value of Norm, and adjust its minimum and maximum values (the two numerals to the right of Norm) to a narrow range. Don’t use negative values, since they don’t apply when you’re using GAttVel as the layer enabler.
Repeat this for each layer in the program. Bear in mind that if you want to set up 32 different velocity levels for a program, with equal intervals between each layer, then you have a range of
4 for each level (Layer 1 is 0–3, Layer 2 is 4–7, and so on). It won’t be easy to play precisely enough to trigger the layer you want. On the other hand, if you’re using Song mode or an external sequencer, you can edit attack velocity levels, and get exactly the results you want.
Opaque
An opaque layer blocks all higher-numbered layers in its range, allowing only the opaque layer to play. This is an easy way to change a small range of notes in a program, leaving the original sound playing above and below the new sound.
Start with a one-layer program, and create a new layer (Layer 2) with the NewLyr soft button.
On the KEYMAP page for Layer 2, select the keymap you want to use, then on the LAYER page, set Layer 2’s range (say, C 3 to D 3), and set its Opaque parameter to On. Then go to Layer 1, and duplicate it (with the DupLyr soft button); the duplicate layer becomes Layer 3. You now have a three-layer program. Delete Layer 1 (the original layer); Layer 2 (the new layer you created) becomes Layer 1, and Layer 3 becomes Layer 2. Now Layer 2 blocks out Layer 3 (the duplicate of the original layer) at the notes C 3–D 3.
Sustain Pedal (SusPdl)
When this parameter is on, the layer will respond to all sustain messages (MIDI 64). When off, the current layer will ignore sustain messages. On2 means that the sustain pedal will not catch the release of a note that is still sounding when the sustain message is received; this can be very useful in a program that uses amplitude envelopes with a long release time.
Sostenuto Pedal (SosPdl)
When Sostenuto is on, the layer will respond to all sostenuto messages (MIDI 66). When off, the layer ignores sostenuto messages. Sostenuto, as you may know, is a feature found on pianos that have three pedals. Pressing the Sostenuto pedal on a piano (usually the middle pedal) sustains the notes whose keys you were holding down when you pressed the pedal. Notes played after the pedal is already down do not get sustained.
6-25
Program Mode
The PITCH Page
Freeze Pedal (FrzPdl)
This parameter activates or deactivates the layer’s response to Freeze pedal messages (MIDI 69).
The Freeze pedal control causes all notes that are on to sustain without decay until the Freeze pedal control goes off. If a note is already decaying, it will freeze at that level.
Ignore Release (IgnRel)
When on, the layer will ignore all Note Off messages received by the PC3. This should be used only with sounds that decay naturally, otherwise the sounds will sustain forever. When IgnRel is off, the layer responds normally to Note Off messages. This parameter can come in handy when your PC3 is slaved to a drum machine or sequencer, which sometimes generates Note Ons and
Note Offs so close together that the envelope doesn’t have time to play before the note is released. You’ll also want to use this parameter when you’re playing staccato, and the sound you’re playing has a long amplitude envelope. This parameter should be used only with notes that eventually decay to silence. Sustaining sounds will sustain forever.
Hold Through Attack (ThrAtt)
When on, this parameter causes all notes in the layer to sustain through the entire first attack segment of their amplitude envelopes, even if the notes have been released. If you have a sound with a slow attack, or an attack that’s delayed with the delay control, setting this parameter to
On will make sure your notes reach full amplitude even if you’re playing fast. When set to Off, notes will release as soon as you release the note (generate a Note Off). If the first attack segment of the layer’s amplitude envelope is very short, you probably won’t notice a difference between values of On and Off.
Hold Until Decay (TilDec)
When on, this parameter causes all notes in the layer to sustain through all three attack segments in their amplitude envelopes even if the notes have been released. Looped amplitude envelopes will not loop, however, if the notes are released before reaching the end of the final attack segment. Notes will go into their normal releases if they are released after the envelope has looped. When set to Off, notes will release as soon as a Note Off message is generated.
The PITCH Page
Pressing the PITCH soft button takes you to the DSPCTL page with the Pitch function
highlighted. See The DSP Control (DSPCTL) Page on page 6-28 for more information on the Pitch
function.
The AMP Page
Pressing the AMP soft button takes you to the DSPCTL page with the Amp function (labeled as
“Level”) highlighted. See The DSP Control (DSPCTL) Page on page 6-28 for more information on
the Amp function.
6-26
Program Mode
The Algorithm (ALG) Page
The Algorithm (ALG) Page
Press the ALG soft button to call up the Algorithm (ALG) page. The top line of the display gives you the usual mode reminder, and tells you which layer you’re looking at, as well as how many layers are in the current program. You can view the ALG pages of any other layers in the program by using the Chan/Layer buttons.
The central portion of the page shows the algorithm for the currently selected layer. You see the number of the algorithm (from 1 to 28, 101 to 129, and the IDs for any user-defined algorithms) and a graphic representation of the signal path, as well as the currently selected DSP functions within the signal path.
To use a different algorithm, select the Algorithm parameter and use any data entry method to select a different one. To change the DSP function within an algorithm, move the cursor to the block you want to change, then use the Alpha Wheel or Plus/Minus buttons. There’s a staggering number of combinations of algorithms and DSP functions alone, not to mention the numerous controls that can be used to modify the DSP functions.
Note
: Changing a layer’s algorithm can affect the layer’s sound drastically. It’s a good idea to bring down the volume of your PC3 or your sound system before changing algorithms.
See Algorithm Basics on page 6-13 for information on editing algorithms.
6-27
Program Mode
The DSP Control (DSPCTL) Page
The DSP Control (DSPCTL) Page
Before reading further, be sure to read Algorithm Basics on page 6-13 and Common DSP Control
Parameters on page 6-14.
Press the DSPCTL soft button to call up the DSP Control (DSPCTL) page, which is displayed below:
Function
Pitch
(Function)
(Function)
(Function)
(Function)
Level
Parameter
Pitch
Fine Adjust
Hertz Adjust
Key Tracking
Velocity Tracking
(Function-Parameter)
(Function-Parameter)
(Function-Parameter)
(Function-Parameter)
Level
Key Tracking
Velocity Tracking
Range of Values
-128 to 127 semitones
± 100 cents
± 10.00 Hertz
± 2400 cents/key
± 7200 cents
(Depends on Function)
(Depends on Function)
(Depends on Function)
(Depends on Function)
-96 to 24 decibels
± 2.00 decibels/key
± 96 decibels
Default
0
0
0
0
0
(Depends on Function)
(Depends on Function)
(Depends on Function)
(Depends on Function)
-6
0
35
Each field in the left-hand column of the page is a function-parameter of the current layer’s algorithm. You can coarsely adjust the function-parameter in these left-hand fields—as noted in
Common DSP Control Parameters, any adjustments made to the function-parameters on the
DSPCTL page are reflected in the corresponding function-parameters on the DSPMOD page.
The right-hand side of the DSPCTL page is the subpage of the highlighted function-parameter— on the subpage are the fine adjust parameters and hard-wired parameters. To access the parameters on the subpage, highlight the function-parameter you wish to edit, and then press the > button to move the cursor into the subpage.
6-28
Program Mode
The DSP Modulation (DSPMOD) Page
The label of a function-parameter depends on its corresponding function-block in the current layer’s algorithm. The above DSPCTL page corresponds to the following algorithm:
The DSP Modulation (DSPMOD) Page
Before reading further, be sure to read Algorithm Basics on page 6-13 and Common DSP Control
Parameters on page 6-14.
Press the DSPMOD soft button to call up the DSP Modulation (DSPMOD) page, which is displayed below:
Parameter
Source 1
Depth
Source 2
Depth Control
Minimum Depth
Maximum Depth
Range of Values
Control Source List
(Depends on Function)
Control Source List
Control Source List
(Depends on Function)
(Depends on Function)
Default
0
0
Off
0
Off
Off
Each field in the left-hand column of the page is a function-parameter of the current layer’s algorithm. You can coarsely adjust the function-parameter in these left-hand fields—as noted in
Common DSP Control Parameters, any adjustments made to the function-parameters on the
DSPMOD page are reflected in the corresponding function-parameters on the DSPCTL page.
The right-hand side of the DSPCTL page is the subpage of the highlighted function-parameter— on the subpage are the programmable parameters. To access the parameters on the subpage, highlight the function-parameter you wish to edit, and then press the > button to move the cursor into the subpage.
6-29
Program Mode
The OUTPUT Page
Each function-parameter’s subpage contains the programmable parameters of the highlighted function-parameter. By assigning control sources to modulate a function-parameter, you can enable real-time control of your program’s sound and behavior. You can assign Src1 to any control source, and can specify its maximum value with the Depth parameter. Src2 is different— you can assign it to any control source, but can also assign a control source to its maximum value with the DptCtl parameter. You can then specify the range of Src2’s depth with the
MinDepth and MaxDepth parameters.
The label of a function-parameter depends on its corresponding function-block in the current layer’s algorithm. The above DSPMOD page corresponds to the following algorithm:
The OUTPUT Page
Press the OUTPUT soft button to get to the OUTPUT page, where you set the layer’s pre- and post-FX panning. There are actually four different configurations of the OUTPUT page; which one you see depends on whether the current layer uses a stereo keymap, and whether it uses
program FX or layer-specific effects (more on this in The Program FX (PROGFX)
Page on page 6-46 and The Layer FX (LYR_FX) Page on page 6-49).
Regardless of the page’s configuration, there are parameters for adjusting the pan position, the pan mode, the pan table (if any), the crossfade control, and the crossfade sense. Layers that use stereo keymaps, or that use layer-specific FX, have additional parameters on their OUTPUT pages. The following page is for a mono keymap program that uses program FX:
6-30
Parameter
Pan (or Pan 1)
(Pan 2)
Pan Mode
Range of Values
± 64
± 64
Fixed, +MIDI, Auto, Reverse
Default
0
63
+MIDI
Program Mode
The OUTPUT Page
Parameter
(Output Pan)
(Output Gain)
(Output Pan Mode)
Pan Table
Crossfade Control
Crossfade Sense
Drum Remap
Exclusive Zone Map
Range of Values
± 64
-96 to 48 decibels
Fixed, +MIDI
Pan Table List
Control Source List
Normal, Reversed
Off, Kurz1, Kurz2
Zone Map List
Default
0
0
+MIDI
0 None
Off
Norm
Off
0 None
Pan
Use this parameter to position the current layer’s pre-FX signal. Negative values pan the signal to the left channel, positive values pan to the right, and a value of zero pans to the center. To adjust the post-FX, final-stage gain and panning of the current program, go to the COMMON
page and adjust the Output parameters (see The COMMON Page on page 6-33); or to adjust a
layer’s post-FX audio signal individually, go to the LYR_FX page and set the Layer FX Mode
parameter to Layer-Specific FX (see The Layer FX (LYR_FX) Page on page 6-49), and then return
to the OUTPUT page and adjust the output parameters.
An additional pan parameter (Pan2) appears if you have the Stereo parameter on the KEYMAP page set to a value of On.
Pan Mode
When the mode is Fixed the pan position remains as defined with the Pan parameter, ignoring
MIDI pan messages. When the mode is +MIDI, MIDI pan messages (MIDI 10) will shift the sound to the left or right of the Pan parameter setting. Message values below 64 shift it left, while those above 64 shift it right. A setting of Auto assigns the pan setting of each note based on its MIDI note number. In this case, Middle C (MIDI note number 60) is equivalent to the Pan parameter’s setting. Lower notes shift increasingly left, while higher notes shift increasingly right. A setting of Reverse shifts low notes right, and high notes left. MIDI pan messages will also affect the pan position when values of Auto and Reverse are selected.
6-31
Program Mode
The OUTPUT Page
Output: Pan, Gain, and Mode
When the Layer FX Mode parameter is set to Layer-Specific FX on the LYR_FX page, three additional parameters appear on the OUTPUT page: Out Pan, Out Gain, and Out Pan Mode.
6-32
These parameters are analogous to the output parameters on the COMMON page, but are layerspecific—the COMMON output parameters apply to all layers. You can use the output parameters on the OUTPUT page to adjust the panning and gain of the post-FX signal of the
current layer.
Pan Table
The factory preset pan tables are key-specific panning schemes by which the note that each key produces is uniquely panned. These tables are particularly useful for producing the stereo image of a drum set when creating percussion programs, or for producing the stereo image of a piano when creating piano programs.
Crossfade and Crossfade Sense (XFadeSense)
The Crossfade parameter lets you select a control source to fade the current layer’s amplitude from zero to maximum. When XFadeSense is Normal, the layer is at full amplitude when the
Crossfade control is at minimum. With XFadeSense set to Reverse, the layer is at zero amplitude when the Crossfade control is at minimum.
This parameter is similar to the Src1 and Depth parameters for the Amp function on the
DSPCTL and DSPMOD pages, but the attenuation curve for the Crossfade parameter is optimized specifically for crossfades.
To crossfade two layers in the same program, assign the same control source for the CrossFade parameters in both layers, then set one of their XFadeSense parameters to a value of Norm, and the other’s to Rvrs.
Drum Remap
In most keyboard and synthesizers, drum programs are mapped as dictated by the General
MIDI (GM) industry standard. The GM drum map isn’t optimally intuitive in terms of playability, so we developed our own unique keymap that is more intuitive and lends better to performance. However, the GM drum map is so commonplace that many players feel most comfortable playing drum programs with the GM drum map. So, we designed the PC3 such that you can remap drum programs to the GM drum map.
The Drum Remap parameter can be set to Off (no mapping), Kurz1, or Kurz2. Kurz1 and Kurz2 correspond to two different layouts used in the factory drum programs. You can set drum remap to None (no remapping) or GM on the first Master mode page.
Program Mode
The COMMON Page
You can remap the keymaps of any program, but you probably won’t want to do this. Drum remapping, say, a piano program (e.g., 1 Standard Grand) will result in very unpiano-like behavior.
Exclusive Zone Map
The Exclusive Zone Map is another parameter that applies principally to drum programs. When using a drum program, you may want the closed hi-hat sounds to “cut off” open hi-hat sounds.
Since you can remap the keymaps of drum programs, this parameter remaps “cut off keys” accordingly.
Like Drum Remap, you can use this parameter on any program, but you probably won’t want to do this.
The COMMON Page
The COMMON page is reached by pressing the COMMON soft button in the Program Editor.
Here’s where you find 12 frequently-used parameters that affect the entire current program, not just the current layer.
Notice that when the Monophonic parameter is set to its default value of Off, the four monophonic parameters do not appear on the page.
Parameter
Pitch Bend Range Up
Pitch Bend Range Down
Monophonic
(Legato Play)
(Portamento)
(Portamento Rate)
(Attack Portamento)
Globals
Output Gain
Output Pan
Output Pan Mode
Demo Song
Range of Values
± 7200 cents
± 7200 cents
Off, On
Off, On
Off, On
1 to 3000 keys per second
Off, On
Off, On
-96 to 24 decibels
± 64
Fixed, +MIDI
Demo Song List
Default
Off
70
On
Off
200
-200
Off
Off
0
0
+MIDI
0 None
6-33
Program Mode
The COMMON Page
Pitch Bend Range Up and Down
Use these parameters to define how much the pitch will change when you move your Pitch
Wheel. For both Pitch Bend Range parameters, positive values will cause the pitch to bend up, while negative values will cause the pitch to bend down. Large positive values can cause samples to bend to their maximum upward pitch shift before the Pitch Wheel is fully up (or down). This will not happen when bending pitch down.
Monophonic
When off, the program is polyphonic—it can play up to 128 notes at a time. Notice that when the
Monophonic parameter is off, the LegatoPlay parameter and the three Portamento parameters do not appear on the COMMON page. This is because only monophonic programs can use portamento.
When On, the program will play only one note at a time. This makes it possible to use and to determine the behavior of the portamento feature.
6-34
Legato Play
When Legato Play is on, a note will play its attack only when all other notes have been released.
This is useful for realistic instrumental sounds.
Portamento
This parameter is either on or off. The default value of Off means that portamento is disabled for the current program.
Portamento is a glide between pitches. On actual acoustic instruments like violin and bass, it’s achieved by sliding a finger along a vibrating string. On most keyboards that offer portamento, it’s achieved by holding down a key that triggers the starting note, then striking and releasing other keys. The pitch glides toward the most recently triggered note, and remains at that pitch as long as the note remains on. The PC3 gives you two ways to get portamento. See the Attack
Portamento parameter below.
When you’re applying large amounts of portamento to multi-sampled sounds (Acoustic Guitar, for example), the PC3 will play more than one sample root as the pitch glides from the starting pitch to the ending pitch. This may cause a small click at each sample root transition. You can reduce the number of clicks you’ll hear by entering the Program Editor and adjusting the
KeyTrk parameter on both the KEYMAP and PITCH pages. The quickest way is to set the
KeyTrk value on the KEYMAP page to 0, and to 100 on the PITCH page. This will stretch the sample root that plays at C 4 across the entire keyboard. Now any amount of portamento will play only one sample root, and the clicks will disappear.
Program Mode
The COMMON Page
There’s a tradeoff here, since many sounds will change in timbre as these single sample roots are pitch-shifted during the portamento. This will be most noticeable for acoustic instrument sounds, and may not be noticeable at all for single-cycle waveforms like sawtooth waves.
Furthermore, some samples will not glide all the way up to the highest notes—there’s a limit to the amount of upward pitch-shifting that can be applied to samples. If this doesn’t work for you, you can compromise between the number of clicks and the amount of timbre change by further adjusting the KeyTrk parameters on the KEYMAP and PITCH pages.
As long as the combined values of the KeyTrk parameters on both pages add up to 100, you’ll have normal semitone intervals between keys. If you set both parameters to values of 50, for example, the sound will still play normally, and you’ll have several sample roots (about half the number of the original sound) stretched evenly across the keyboard, instead of just one. This will give you fewer clicks than in the original sound, but not as much change in timbre as setting the KEYMAP KeyTrk value all the way to 0. Set the KEYMAP KeyTrk parameter higher to reduce the change in timbre, or set the PITCH KeyTrk value higher to reduce the number of clicks. Just make sure the combined values add up to 100, to preserve the normal intervals between notes.
Portamento Rate
The setting for Portamento rate determines how fast the current note glides from starting pitch to ending pitch. The value of this parameter tells you how many seconds the note takes to glide one semitone toward the ending pitch. At a setting of 12 keys/second, for example, the pitch would glide an octave every second. The list of values is nonlinear; that is, the increments get larger as you scroll to higher values.
Attack Portamento
This parameter toggles between two types of portamento. When set to On, the PC3 remembers the starting pitch so you don’t have to hold a note on to achieve portamento. The pitch always glides to each new note from the previously triggered note. When set to Off, the pitch will glide to the most recently triggered note only when the previous note is still on (in other words, you must use legato fingering).
Globals
This is another toggle, which affects LFO2, ASR2, FUNs 2 and 4. When off, these three control sources are local; they affect each individual note in the layers that use them as a control source.
They begin operating each time a note in that layer is triggered.
When the Globals parameter is set to On, these control sources become global, that is they affect every note in every layer of the current program, they’re not specific to any one layer. When these control sources are global, they begin operating as soon as the program is selected. When
Globals are on, LFO2, ASR2, and FUNs 2 and 4 will appear on their respective pages preceded by the letter G to indicate that they’re global.
You’ll use global control sources when you want to affect all notes in a program uniformly, and local control sources when you want to affect each note independently. For example, you’d use a global LFO controlling pitch to create a Leslie effect on an organ sound, since you want the affect applied to all the notes you play. You’d use a local LFO controlling pitch to create a vibrato for a solo violin, since you want to be able to vary the rate and depth of the vibrato for each note.
6-35
Program Mode
The LFO Page
Output: Gain, Pan, and Pan Mode
The Output parameters on the COMMON page allow you to adjust the final-stage gain and panning of the post-FX signal. Use the OutGain parameter to cut or boost the signal. Use the
OutPan parameter to pan the signal; negative values pan the audio signal to the left channel, positive values to the right, and a value of zero pans to the center.
When the OPanMode is set to Fixed the pan position remains as defined with the OutPan parameter, ignoring MIDI pan messages. When the OPanMode is set to +MIDI, MIDI pan messages (MIDI 10) will shift the sound to the left or right of the Pan parameter setting. Message values below 64 shift it left, while those above 64 shift it right.
Demo Song
The Demo Song parameter allows you to choose the demo song for the current program. The demo song is a short, pre-programmed song that gives you a demonstration of the program in a musical context. You can play a program’s demo song in any page in the Program mode by pressing the Play/Pause button, and stop the song by pressing the Stop button (both buttons are located under the MODE buttons on the front panel).
When in the Program mode entry-level page, you can hear a demo song in whatever program you want by pressing the Play/Pause button with one program selected, and then selecting another program. None of the KB3 programs have demo songs, but by this method, you could, for example, hear the demo song for program 83 Big Old Jupiter played with the KB3 program
53 Testify
.
The LFO Page
LFOs are low-frequency (i.e., subsonic frequency) oscillators. You’ll use the LFO page to define the behavior of the two LFOs available to each layer. LFOs are periodic (repeating) control sources. The basic elements are the rate and shape, which define how frequently the LFO repeats, and the waveform of the modulation signal it generates.
With the PC3, you can set upper and lower limits on each LFO’s rate, and assign a control source to change the LFO’s rate in realtime, if you wish.
Because of its periodic nature, the LFO is perfect for creating effects like vibrato (cyclic variation in pitch) and tremolo (cyclic variation in amplitude). When you’re editing LFOs, or any control source, remember that it must be assigned to control some parameter before you’ll hear the effects of your edits.
LFO1 is always local, meaning that it’s triggered with each Note On event, and runs independently for each note in the layer. LFO2 is local by default, but can be made global. This is done on the COMMON page, by setting the Globals parameter to On, which causes LFO2,
ASR2, FUN2 and FUN4 all to become global. Global controls uniformly affect every note in each layer.
6-36
Program Mode
The LFO Page
Parameter Group (Available for each of LFO1 and LFO2)
Minimum Rate
Maximum Rate
Rate Control
LFO Shape
LFO Start Phase
Range of Values
1/4 note, 1/8 note, 1/8 triplet, 1/16 note,
0 to 24 Hz
0 to 24 Hz
Control Source List
LFO Shape List (Ref. Guide)
0, 90, 180, 270 Degrees
Default
0.00
0.00
Off
Sine
0
Minimum Rate
This is the slowest rate at which the LFO runs. When its Rate Control is set to OFF, or when the control source assigned to it is at its minimum, the LFO runs at its minimum rate. As previously mentioned, the values 1/4 note, 1/8 note, 1/8 triplet, and 1/16 note sync the Minimum Rate with the PC3’s system tempo. Of course, if you choose to tempo sync your LFO, then the LFO rate is fixed, and you can specify neither Maximum Rate nor Rate Control. The display changes thusly:
Maximum Rate
This is the fastest possible rate for the LFO. When its Rate Control is set to ON, or when the control source assigned to it is at its maximum, the LFO runs at its maximum rate.
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Program Mode
The ASR Page
Rate Control
Assign any control source in the list to modulate the LFO’s rate between its minimum and maximum. A continuous control like the Mod Wheel is a natural choice, enabling you to get just about any rate between minimum and maximum. But you can use a switch control too, to get just the minimum or maximum with nothing in between. Assigning MPress as the rate control for an LFO vibrato gives you an easy way to increase the vibrato rate in realtime, as you can on many acoustic instruments.
LFO Shape
The shape of the LFO waveform determines the nature of its effect on the signal its modulating.
An easy way to check the effects of the different LFO shapes is to set LFO1 as the value for the
Src1 parameter on the PITCH page, and set the Depth for Src1 to 400 cents or so. Then go to the
LFO page, set the Min and Max rates for LFO1 at 0.00 Hz and 4.00 Hz or so, and set the Rate control to MWheel. Now play your MIDI controller and you’ll hear the LFO’s rate change when you move its Mod Wheel. Select different LFO Shapes and check out the effect on the pitch.
LFO Phase
Use this parameter to determine the starting point of the LFO’s cycle. One complete cycle of the
LFO is 360 degrees. 0 degrees phase corresponds to a control signal value of 0, becoming positive. Each 90-degree increment in the phase represents a quarter-cycle of the LFO.
When an LFO is local, the phase parameter gives you control over the starting point of the LFO for each note (for example, you could make sure every vibrato started below the pitch you played instead of at the pitch you played). The LFO’s phase also affects global LFOs, although it’s often indistinguishable, since global LFOs start running as soon as the program containing them is selected, even if you don’t play any notes.
The ASR Page
ASRs are three-section unipolar envelopes—attack, sustain, and release. The PC3’s ASRs can be triggered by a programmable control source, and can be delayed. ASR1 is always a local control.
ASR2 is local by default, but becomes global if the Globals parameter on the COMMON page is set to On. ASRs are frequently used to ramp the depth of pitch or amplitude in a vibrato or tremolo, enabling delays in those effects. The ASR page consists of two rows of five parameters, one row for each of the ASRs.
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Parameter
Trigger
Range of Values
Control Source List
Default
Off
Program Mode
The ASR Page
Parameter
Mode
Delay
Attack
Release
Range of Values
Normal, Hold, Repeat
0 to 30 seconds
0 to 30 seconds
0 to 30 seconds
Default
Normal
0 seconds
0 seconds
0 seconds
Trigger
This defines the control source that starts the current layer’s ASRs. The ASR starts when the trigger switches from off to on. If the Trigger parameter is set to ON, a global ASR starts running immediately when you select a program that contains it. A local ASR starts running as soon as you trigger a note in the layer that contains it. Switch controls are better suited for ASR triggers because of their binary (on/off) nature. A continuous control will trigger the ASRs when its signal value is above its midpoint.
Mode
This parameter sets the sustain section of the ASR. The ASR’s mode determines what the ASR does when it finishes its attack section. If the Mode parameter is set to Normal, the ASR will run directly from its attack section to its release section (no sustain). At a setting of Repeat, the ASR will cycle through the attack and release sections, then loop forward and cycle through again until the ASR’s trigger switches off. If the mode is set to Hold, the ASR maintains its position at the end of the attack section until the ASR’s trigger switches off. The ASR then goes into its release section. If the ASR’s trigger switches off before the attack section is complete, the ASR goes directly to its release section.
Delay
When the ASR’s trigger switches on, the ASR will start immediately if this parameter is set to zero. Nonzero values will cause a corresponding delay between the ASR trigger and the start of the ASR.
Attack
This defines how long the ASR takes to ramp up from minimum to maximum effect on whatever it’s patched to.
Release
This defines how long the ASR takes to fade to minimum from its maximum. If the ASR’s trigger switches off before the ASR has reached maximum, the ASR releases from that level.
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Program Mode
The Function (FUN) Page
The Function (FUN) Page
FUN is short for function. The PC3’s four FUNs greatly extend the flexibility of the control sources. Each FUN accepts input from any two control sources, performs a selectable function on the two input signals, and sends the result as its output, which can be assigned like any other control source. Using the FUNs involves defining them on the FUN page, then assigning one or more of them as control sources. The FUN page looks like this:
There are three parameters for each FUN. Inputs a and b can be any control source from the
Control Source list. The control sources you want to combine are the ones you’ll assign as the values for these parameters.
The Function parameter determines what mathematical function is applied to the two inputs.
When a FUN has been assigned as a control source, the PC3 reads the values of the two control sources defined as Inputs a and b. It then processes them according to the setting for the
Function parameter, and the resulting value is the FUN’s output.
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Program Mode
The Amplitude Envelope (AMPENV) Page
The Amplitude Envelope (AMPENV) Page
Amplitude envelopes have three sections: attack, decay, and release. The attack section determines how long each note takes to reach its assigned amplitude level after you trigger a
Note On event. The decay section determines how quickly and how much a sustained sound fades before a Note Off is triggered. The release section determines how quickly a sound fades to silence after a Note Off is triggered.
Press the AMPENV soft button to reach the Amplitude Envelope page. For many programs, it will look like the diagram below, which tells you that the amplitude for the current layer is the default, “natural” ROM amplitude envelope that’s applied to each sample and waveform during its original development process. You’ll leave the amplitude envelope in Natural mode when you don’t want to change the way the current layer’s loudness develops.
If you want to build your own amplitude envelope, just turn the Alpha Wheel a click. The value
Natural
will change to User, and a set of AMPENV parameters will appear. The sound will change when you do this, because the default settings for the User envelope, as shown in the diagram below, take effect as soon as you leave Natural mode. Returning to Natural mode applies the original amplitude envelope once again.
Many programs feature User envelopes with appropriate envelope settings. This is usually the case for programs that use samples of acoustic instruments, since it provides a convenient starting point for you to adjust the envelopes.
You’ll tweak the parameters on the AMPENV page when you want to shape the amplitude characteristics of your sounds. A graphic view of the amplitude envelope will appear on the display to give you a visual sense of the envelope’s characteristics. The dots along the envelope graphic indicate the breakpoints between the envelope’s various segments. The small horizontal arrow represents the end of the decay section. The small downward-pointing arrow represents the beginning of the release section.
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Program Mode
The Amplitude Envelope (AMPENV) Page
Because the PC3’s ROM samples are stored in a compressed format, applying an altered amplitude envelope can change more than just the amplitude of your sound, since it also changes the rate at which the samples are decompressed for playback. When the samples are made to play back with altered envelopes, the timbres can evolve in new and interesting ways.
The AMPENV page’s top line gives you the usual location reminder, points out the currently selected layer, and tells you the relative scale of the envelope’s graphic view. The envelope graphic shrinks in scale as the segment times get longer. This auto-zoom feature maximizes the available display space. Try lengthening one of the segment times. The envelope graphic will stretch to fill the display from left to right. When it fills the display, it will shrink to half its size, and the top line will indicate that the scale has changed (from [1/1] to [1/2], for example).
Each parameter on this page has two values, as listed below. For the envelope segments, the first
(upper) value is the duration of the segment, and the second is the amplitude level at the completion of the segment. For the Loop parameter, the values define how the envelope loops, and how many times the loop cycles.
Parameter Group
Attack Segment 1, 2, 3
Decay Segment
Release Segment 1, 2, 3
Loop
Parameter
Time
Level
Time
Level
Time
Level
Type
# of loops
Range of Values
0 to 60 seconds
0 to 100%
0 to 60 seconds
0 to 100%
0 to 60 seconds
0 to 150% (Release Segment
3 is always set to 0%)
Off, Forward, Bidirectional
Infinite, 1 to 31 times
Attack Segment Times
These indicate how long it takes for the current layer’s amplitude to reach its final level from its starting level.
Attack Segment Levels
These are the final levels that each segment achieves at completion. The levels are expressed as percentages of the maximum possible amplitude for the current layer. Attack segment 1 always starts at zero amplitude, and moves to its assigned level in the time specified by its time value.
So the default settings of 0 seconds and 100% mean that the first segment of the attack section moves instantly from zero amplitude to 100% amplitude. Increase the time of Attack segment 1 if you want the sound to ramp up more slowly.
Attack segments 2 and 3 affect the sound only when you set a nonzero value for time. They will then move to their assigned levels in the time specified. Their starting levels are equal to the final levels of the preceding segment.
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Program Mode
The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages
Decay Segment
The decay section has only one segment. It has values for time and level, just as for the attack section. The decay section begins as soon as the attack section has been completed. It starts at the same amplitude level as the attack segment preceding it, and moves to its assigned level in the time specified. You’ll hear a note’s decay section only when the attack section is completed before a Note Off message is generated for that note.
To create a sustaining envelope, simply set the Decay segment’s level to a nonzero value.
Release Segments
Like the attack and decay sections, each of the three segments in the release section has values for time and level. Each segment reaches its assigned level in the time specified for that segment.
Release segment 1 starts at the Note Off event for each note, at the current amplitude level of that note—whether it’s in the attack section or the decay section. It then moves to its assigned level in the time specified. Release segments 2 and 3 start at the final levels of the segments before them. Release segments 1 and 2 can be set to any level from 0 to 150%. Release segment 3 always has a level of 0%, so you can’t adjust its level. In place of its Level parameter you see a parameter that lets you toggle between User envelopes and the sound’s preprogrammed natural envelope.
Loop Type
There are seven different values for Loop type.
A value of Off disables looping for the current layer’s amplitude envelope.
Values of seg1F, seg2F, and seg3F are forward loops. In each case, the amplitude envelope plays through the attack and decay sections, then loops back to the beginning of the first, second, or third attack segments, respectively.
Values of seg1B, seg2B, and seg3B, are bidirectional loops. The amplitude envelope plays through the attack and decay sections, then reverses and plays backward to the beginning of the first, second, or third attack segment, respectively. When it reaches the beginning of the assigned attack segment, it reverses again, playing forward to the end of the decay section, and so on.
Number of Loops
A value of Inf makes the amplitude envelope loop until a Note Off is generated. Values of 1 through 31 indicate how many times the loop will repeat after the amplitude envelope has played once through its normal cycle.
Regardless of the loop type and the number of loops, each note goes into its release section as soon as its Note State goes off (that is, when a Note Off is generated). The envelope will continue to loop as long as Note State remains on, whether it’s held on by a pedal, by the IgnRel
parameter (described in the section entitled The LAYER Page on page 6-22), or whatever.
The Envelope 2 (ENV2) and Envelope 3 (ENV3) Pages
The PC3 offers two envelopes in addition to AMPENV. Like AMPENV, ENV2 and ENV3 can be assigned like any other control source. Unlike AMPENV, however, ENV2 and ENV3 can be bipolar. This means that you can set negative values for them. (Obviously, you can’t have an amplitude less than zero, so AMPENV is unipolar—the values range from either 0 to 100% or 0 to 150%.) A bipolar envelope controlling pitch, for example, could modulate the pitch both above and below its original level.
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Program Mode
The Envelope Control (ENVCTL) Page
Another difference is that AMPENV always controls the amplitude of the layer, so even if you use it as a control source for other functions, it will still affect the layer’s amplitude. ENV2 and
ENV3 affect only those layers that have them assigned as a control source. Also, AMPENV uses an exponential attack (the amplitude rises much faster at the end of the attack segment than it does at the beginning), while ENV2 and ENV3 use linear attacks (the attack segment increases at the same rate from start to finish).
The pages for Envelopes 2 and 3 are reached with the soft buttons ENV2 and ENV3. When you select these pages, you’ll find a display that looks very much like the AMPENV page. The only differences are that you can program an amount for Rel3; the Rel1 and Rel2 limits, which are
±100%; and in the envelope graphic, which has a dotted line running horizontally across the display. This is the zero level line; negative level values for the various envelope segments will cause the envelope graphic to dip below this line.
The Envelope Control (ENVCTL) Page
Envelopes are control sources with outputs that evolve over time without repeating (unless you want them to). You can make the envelopes even more powerful by using envelope control. This gives you realtime control over the rates of each section of the envelopes. Press the ENVCTL soft button to reach the ENVCTL page.
The display’s top line reminds you of the current layer. The first line of text in the center of the display shows five of the common DSP control parameters: Adjust, Key tracking, Velocity tracking, and Source/Depth.
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Program Mode
The Envelope Control (ENVCTL) Page
This page is a table showing the five envelope control parameters, and their values for each of the three sections of the envelopes. Additionally, the line above the soft buttons lets you make use of the Impact feature, which adds an amplitude overshoot to the first 20 milliseconds of a note’s attack. It’s important to keep in mind that if you set up an envelope control source, it affects Envelopes 2 and 3, as well as the amplitude envelope (Natural or User). Furthermore, the values for the various parameters are cumulative. With the exception of Impact, though,
ENVCTL does not affect the attack sections of natural envelopes.
The parameters and values in the following list apply to each of the three envelope sections— attack, decay, and release. We’ll describe them only once, since their functions are largely the same for each envelope section. The only difference is with velocity tracking, which is hard-wired to control only the attack sections of the envelopes (you can assign attack velocity as the value for the Source parameter in each of the sections, however).
The values of each of these parameters multiply the rates of the envelope sections they control.
Values greater than 1.000x make the envelope sections run faster (they increase the rate), while values less than 1.000x make the envelope sections run slower. Say for example that on the current layer’s AMPENV page you had set the Decay section’s time at 2.00 seconds, and its level at 0%. This sets the layer’s amplitude to fade to silence two seconds after the completion of the last attack segment. The decay time is two seconds; the decay rate is 50% per second. Now if you select the ENVCTL page and set the Decay Adjust parameter to a value of 2.000x, you’ve increased the decay rate by a factor of two. The rate increases to 100% per second, and the decay time is now one second instead of two.
Parameter Group (Available for each of Att, Dec, Rel, Imp)
Adjust
Key Tracking
Velocity Tracking
Source
Depth
Range of Values
0.018 to 50.000x (-24.0 to 24.0 dB for Imp)
0.018 to 50.000x (-2.00 to 2.00 dB for Imp)
0.018 to 50.000x (Not available for Dec or Rel; -24.0 to 24.0 dB for Imp)
Control Source List
0.018 to 50.000x (-24.0 to 24.0 dB for Imp)
Adjust
This is the familiar Coarse adjust found on many other pages. Use it here to change the rate of one of the envelope sections without reprogramming the envelope itself. This parameter doesn’t give you realtime control over the envelope. It is, however, a good way to adjust the natural envelopes without switching to a User envelope and trying to approximate the Natural envelope.
Key Tracking
This uses the MIDI note number of each key as the control input for the current layer’s corresponding envelope section. When the value of this parameter is greater than 1.000x, notes above C 4 will make the envelope section run faster, while notes below C 4 will make it run slower. When the value of this parameter is less than 1.000x, notes above C 4 will make the envelope section run slower, and notes below C 4 will make it run faster. This gives you realtime envelope control right from your MIDI controller. You might use it, for example, to cause an acoustic guitar sound to decay quicker at the high end (set the key tracking to a positive value).
6-45
Program Mode
The Program FX (PROGFX) Page
Velocity Tracking
Use your attack velocity as the control input for the current layer’s attack section (this parameter doesn’t apply to decay or release). When the value of this parameter is greater than 1.000x, attack velocities greater than 64 make the attack section run faster, and attack velocities below 64 make it run slower. This gives you realtime attack control over the envelope.
Source, Depth
These two parameters work together to let you assign a control like the Mod Wheel to affect the current layer’s envelopes in realtime. The value of the Source parameter defines which control affects the envelope section, and the value of the Depth parameter defines how much the rate is multiplied when the control is at its maximum.
Impact
Impact punches the volume during the first 20 milliseconds of the attack of an envelope. Use this feature to get maximum “thump” from your bass and drum sounds.
The Program FX (PROGFX) Page
Press the PROGFX soft button to call up the Program FX (PROGFX) page. This is the page that you will use to apply effects to a program, and to configure the routing of the various pre- and post-FX audio signals. Effects chosen on this page affect every layer of the current program. The
section The Layer FX (LYR_FX) Page on page 6-49 contains information on using layer-specific
effects. The PROGFX page appears thusly:
6-46
Parameter
Insert
Aux 1, Aux 2
Output
Auxiliary Send
Parameters
Aux Modulation
Aux Send (dB)
Aux Send (%)
Aux Pre/Post Insert
Type
Range of Values
Chain List
Chain List
Main, Sec.
off, -95 to 24 decibels
0 to 100%
Post, Pre dB, %
Control Source List
Default
0 None
0 None
Main
0
0
Post dB
On
Program Mode
The Program FX (PROGFX) Page
On the PC3, a program can have up to 11 insert effects and 2 aux effects using up to 16 DSP
“units.” An insert is essentially just an effect that you apply to a program or layer, while aux effects receive signal from all active programs’ aux sends. Note the 0/0 Units in the middle of the top line of the page. This figure indicates how many of the total units are being used by the highlighted insert; the left-hand number is the size of the insert, and the right-hand number is the total number of units being used by the program.
If you exceed the maximum number of DSP units, the PC3 will notify you that you have done so, and no effects will be applied to the program.
Insert
The Insert effect is the effects chain that is applied to the main audio bus.
Aux 1, Aux 2
The Aux effect is the effects chain that is applied to the selected auxiliary audio bus.
Output
The Output specifies the analog output to which the selected bus is routed. Setting the Output to
Main
routes the signal of the selected bus to the main outputs. Setting the Output to Sec. routes the signal of the selected bus to the auxiliary outputs.
Auxiliary Send Parameters
The Auxiliary Send parameters determines the level of the program signal sent to the auxiliary effects chain.
Aux Send
The Aux Send parameter determines the level of the program signal sent to the auxiliary effects chain.
Pre/Post Insert
The Pre/Post Insert parameter determines the point at which the auxiliary effect is applied to the signal. When this parameter is set to Post, the PC3 applies the auxiliary effect to the signal
post-insert, i.e., after the insert effect has been applied. When this parameter is set to Pre, the PC3
applies the auxiliary effect to the signal pre-insert.
To hear a program put through two effects in series (i.e., through two cascaded effects), choose your desired effects for the Insert and either Aux (for whatever Aux you choose, the other should be set to 0 None), set each bus’ Output to Main, and set the Aux Send parameter to either
0 dB
or 100%. Then, set the Pre/Post Insert parameter to Post.
To hear a program put through two effects in parallel (i.e., through two distinct effects), choose your desired effects for the Insert and either Aux (again, for whatever Aux you choose, the other should be set to 0 None), set each bus’ Output to Main, and set the Aux Send parameter to either
0 dB
or 50%. Then, set the Pre/Post Insert parameter to Pre.
With respect to each other, the Auxes are always in parallel, that is, they cannot be cascaded.
6-47
Program Mode
The Program FX (PROGFX) Page
Type
The Type parameter determines how the selected wet aux signal (i.e., with effects applied) is mixed into the final signal. Additionally, it determines the units in which the Aux Send parameter values are.
When Type is set to dB, the Aux Send parameter values are in units of decibels (dB). The value specified in the Aux Send parameter is the amount of program signal sent to the aux effects chain. To hear equal parts wet signal and dry signal (the signal with no effects applied) on the main audio output, set the main Insert effect to 0 None and the Insert Output to Main, and set the Aux 1 effect to your desired effect and the Aux 1 Output to Main. Then, set the Aux1 Send to
0dB
. If you want only wet signal on the main audio output, set the main Insert Output to Sec.—
keep in mind that by this method, the dry signal is sent to the auxiliary audio outputs.
When Type is set to %, the Aux Send parameter values are in units of percent (%). The value specified in the Aux Send parameter is the percentage of which the wet auxiliary signal comprises the final signal—the insert signal comprises the rest of the final signal. To hear equal parts wet signal and dry signal on the main audio output, set the main Insert effect to 0 None and the Insert Output to Main, and set the Aux 1 effect to your desired effect and the Aux 1
Output to Main. Then, set the Aux1 Send to 50%. If you want to hear only the wet signal, set the
Aux1 Send to 100%.
Aux1 Mod, Aux2 Mod
The Aux Mod parameter gives you real-time control over the amount of program signal sent to the aux effects chain. You can set the Aux Mod parameter to any PC3 control source. The amount that you specify for the Aux Send parameter is the maximum value that the Aux Mod control source can send—the minimum value is 0.
6-48
Program Mode
The Layer FX (LYR_FX) Page
The Layer FX (LYR_FX) Page
Press the LYR_FX soft button to call up the Layer FX (LYR_FX) page. On this page, you can apply layer-specific effects. There are three Layer FX Modes: Use Program FX, Layer-Specific
FX
, and Use Another Layer’s FX.
Use Program FX Mode
With Use Program FX Mode selected, the current layer will use the effects configured on the
Program FX (PROGFX) page. See The Program FX (PROGFX) Page on page 6-46 for more
information on program FX.
Layer-Specific FX Mode
With Layer-Specific FX selected, you can configure the effects for the current layer. This mode’s parameters are similar to those of the PROGFX page. This mode is shown in the following display:
All of the Layer-Specific FX mode parameters have the same functions and ranges of values as
their corresponding parameters on the PROGFX page. See The Program FX (PROGFX)
Page on page 6-46 for more information on these parameters.
Use Another Layer’s FX Mode
With Use Another Layer’s FX selected, you can put the current layer through the effects of another layer. You can specify the layer through whose effects you wish to put the current layer.
6-49
Program Mode
The Controllers (CTLS) Page
The Controllers (CTLS) Page
Press the CTLS soft button to call up the Controllers (CTLS) page. The Controllers page is a list of the controllers on the PC3 you will be most likely to use as control sources and the values of those controllers. The page appears thusly:
6-50
Controller
Slider A (6)
Slider B (13)
Slider C (22)
Slider D (23)
Slider E (24)
Slider F (25)
Slider G (26)
Slider H (27)
Slider I (28)
Modwheel (1)
Breath Controller (2)
Switch 2 (29)
Range of Values
None, 0-127
None, 0-127
None, 0-127
None, 0-127
None, 0-127
None, 0-127
None, 0-127
None, 0-127
None, 0-127
None, 0-127
None, 0-127
0, 127
Default Value
0
0
0
0
0
0
0
0
0
0
0
0
In addition to being able to enter controller values, you can use the SetCtl soft button (located to the right of the CTLS soft button), which captures the positions of the controllers listed on the page. Keep in mind that because the controllers are digital, you must engage the controller every time you change programs before the PC3 recognizes any change in the controller value. If you change programs, and then press the SetCtl soft button before engaging any of the controllers, the control values will remain at zero.
The number in parentheses that appears next to the controller name is the MIDI controller number with which that controller transmits and receives by default, i.e., with the Control Setup set to 126 Internal Voices on the MIDI mode Transmit page. See Control Setup and Chapter 7:
Setup Mode and Setup Editor for more information on the Control Setup.
Program Mode
Function Soft Buttons
Function Soft Buttons
The remainder of this chapter describes the soft buttons that perform specific functions, as opposed to selecting programming pages. The descriptions below are arranged in the order in which you would see the soft buttons if you pressed the more> button repeatedly. You can always get to these buttons, regardless of which page is currently selected.
Set Controllers (SetCtl)
As explained in The Controllers (CTLS) Page, the SetCtl soft button captures the values of the nine sliders, modwheel, breath controller, and switch.
New Layer (NewLyr)
Create a new layer, numbered one above the highest existing layer. The new layer’s parameters are those of the single layer in Program 999, called Default Program. When you press this button, the PC3 will tell you that it is creating a new layer, then will return to the page you were on. The new layer becomes the current layer, and is the highest-numbered layer in the program.
If the current program already has its maximum number of layers, the PC3 will tell you that you can’t add any more.
Program 999 makes a good template for programs that you build from the algorithm up. You might want to edit Program 999 to adjust one or more parameters to values you want to use in your template program. If you like the settings of the default layer as they are, however, remember not to make any permanent changes to Program 999.
Duplicate Layer (DupLyr)
Create a copy of the current layer, duplicating the settings of all its parameters. The copy becomes the current layer, and is the highest-numbered layer in the program.
Import Layer (ImpLyr)
Copy a specific layer from another program into the current program. This button brings up a dialog that prompts you to select a layer number and a program number. The dialog tells you the currently selected layer, and the total number of layers in the program. Use the Layer– or
Layer+
soft buttons (or the alpha wheel) to change the layer number. If the current program has only one layer, pressing these buttons will have no effect. Use Prog– or Prog+ soft buttons (or the alpha wheel) to change the program number.
While you are in this dialog, you can listen to the layer you are selecting to import, along with all other layers in the current program. If you want to hear the layer to be imported by itself, you must mute the other layers.
When you have selected the desired layer from the desired program, press the Import soft button, and the selected layer will be copied from the selected program, becoming the current layer. Importing layers is a convenient alternative to creating layers from scratch. If you have a favorite string sound, for example, and you want to use it in other programs, just import its layer(s) into the program you’re building. This will preserve the envelopes and all the control settings so you don’t have to reprogram them.
Delete Layer (DelLyr)
Delete the current layer. When you press this button, the PC3 asks you if you want to delete the layer; press the Yes soft button to start the deletion process, or the No soft button to cancel it.
This prompt prevents you from accidentally deleting a layer.
6-51
Program Mode
Function Soft Buttons
Name
Call up the page that enables you to change the name of the current program.
Save
Start the process of saving the current program.
Delete
Delete the current program from memory. You can also delete any other program from memory by scrolling through the list that appears when you press the Delete soft button, then pressing
Delete again when the desired program is selected. If you attempt to delete a ROM program, the
PC3 will say it’s deleting the program, but it doesn’t actually do it.
Dump
Send a MIDI System Exclusive dump of the current program’s settings.
6-52
Program Mode
Editing KB3 Programs
Editing KB3 Programs
You can edit a wide assortment of any KB3 program’s parameters. You can also create your own
KB3 programs, though you must start with an existing KB3 program to do this. A regular PC3 program cannot be turned into a KB3 program. If you’re not sure whether the current program is a KB3 program, check the KB3 button (located above the right most slider). If the blue LED is on, then the current program is a KB3 program.
Enter the KB3 program editor by pressing the Edit button while a KB3 program is selected in program mode. You’ll quickly see that the KB3 editor differs from the standard VAST program editor.
The Tone Wheels (TONEWL) Page
KB3 Mode uses DSP-generated waveforms for the lower half of its tone wheels and samples for the upper half of its tone wheels. Using the parameters on the TONEWL page, you can specify which sample you wish to use, the number of tone wheels (which will affect how many other voices are available to you), and other related settings.
Parameter
Upper Tone Wheel Keymap
Upper Volume Adjust
Number of Tone Wheels
Organ Map
Wheel Volume Map
Globals
Lower Transposition
Upper Transposition
Range of Values
Sample List
-96 to 96 dB
24 to 91
Equal, Peck’s, Bob’s, Eric’s
Equal, Bright, Mellow, Junky
On, Off
-120 to 127 semitones
-168 to 87 semitones
Upper Tone Wheel Keymap
Use this parameter to indicate the keymap (and thereby the samples) to use for the upper tone wheels. You can use any keymap from ROM, though you must specify a keymap that uses looped samples for KB3 Mode to work correctly. When in Program mode, the keymap assigned to the program appears in the info box.
6-53
Program Mode
The Tone Wheels (TONEWL) Page
Upper Volume Adjust
Since sample volumes can vary, while the volume of DSP-generated waveforms will remain consistent, you may find it necessary to adjust the level of the sample-based tone wheels. This parameter lets you adjust the amplitude of the upper (sample-based) tone wheels relative to amplitude of the waveform-generated tone wheels.
Number of Tone Wheels
This parameter lets you specify the number of tone wheels used by a KB3 program. The classic tone wheel organs used 91 tone wheels, though the lowest 12 were for the pedals only.
Therefore, you may find 79 a good number of tone wheels to specify for realistic organ emulations. This would leave you 88 voices for other programs. You can specify up to 91 tone wheels. The number of PC3 voices used by a KB3 program is (number of tone wheels + 1) / 2, rounded to the next highest whole number if the result is a fraction. So, for example, with 79 tone wheels specified you would use 40 voices. Keep in mind that these voices are permanently allocated and running while the KB3 program is selected, and cannot be stolen. The additional voice used by KB3 programs is for keyclick.
Organ Map
The organ map controls the relative amplitude of each key, per drawbar. Like the wheel volume maps, these maps are based on measurements we’ve made on actual organs. Equal uses the same volume for each key and drawbar, and is not based on a real B3. Peck’s is a good normal map, from a B3 in good condition. Eric’s is a bit more idealized; it’s smoothed out, but less realistic. Bob’s is more uneven, based on an old B3.
Wheel Volume Map
The wheel volume map determines the volume level for each tone wheel. We’ve provided several tone wheel volume maps here, based on measurements we’ve taken on different organs.
Equal
is a map with all tone wheels at the same volume. It’s not based on a real B3. Bright is a good normal map, based on a B3 in good condition. Junky is based on a B3 with an uneven, rolled-off response. Mellow is somewhere between Bright and Junky.
You can also apply EQ to control wheel volumes based on the frequencies of each tone wheel.
Globals
This is another toggle, which affects LFO2, ASR2, FUNs 2 and 4. When off, these three control sources are local; they affect each individual note in the layers that use them as a control source.
They begin operating each time a note in that layer is triggered.
When the Globals parameter is set to On, these control sources become global, that is they affect every note in every layer of the current program, not just the one to which they’re applied.
When these control sources are global, they begin operating as soon as the program is selected.
When Globals are on, LFO2, ASR2, and FUNs 2 and 4 will appear on their respective pages preceded by the letter G to indicate that they’re global. You’ll use global control sources when you want to affect each note in a given layer uniformly, and local control sources when you want to affect each layer’s note independently.
Lower Transpose / Upper Transpose
These two parameters let you transpose the upper and/or lower tone wheels in semitone steps away from their default tunings.
6-54
Program Mode
The Drawbars (DRAWBR) Page
The Drawbars (DRAWBR) Page
Press the Drawbr soft button to view the DRAWBR Page. This page lets you edit KB3’s drawbars.
Mode
When you set Mode to Preset, the preset drawbar settings on this page will be installed at program selection. The drawbar values will immediately change, however, as soon as you move the corresponding drawbar. Set Mode to Live if you want the drawbar volume settings at program selection to be determined by the positions of the drawbar controllers (sliders). With either setting, any engagements of the drawbar controllers subsequent to program selection will affect drawbar volumes.
Steps
This parameter lets you specify the increments by which drawbar volumes will change. Choose either 0–8, to approximate the drawbar settings on actual organs, or choose 0–127 for a finer degree of resolution.
Volume
This parameter appears only if you’ve set Mode (see above) to Preset. Use the Volume parameter to set the preset volume of each of the nine drawbars. The available values will be
0–8
or 0–127, depending on the setting of the Steps parameter.
Tune
This parameter lets you tune each of the nine drawbars up or down in semitone steps. The values for the Tune parameter on the DRAWBR page shown above represent standard drawbar
settings on a real B3, as shown in Table 6-1 on page 6-5.
The Set Drawbars (SetDBR) Soft Button
Press the SetDBR soft button to capture the current position of the drawbars, and use those positions as the preset drawbar positions on the DRAWBR page.
6-55
Program Mode
The PITCH Page
The PITCH Page
The PITCH page parameters for KB3 programs is much like the PITCH page parameters for
VAST programs. The only difference is that for KB3 programs, there are no Hz, KeyTrk, or
VelTrk parameters. For a full description of the PITCH-page parameters, see Common DSP
Control Parameters on page 6-14, The DSP Control (DSPCTL) Page on page 6-28, and The DSP
Modulation (DSPMOD) Page on page 6-29.
The AMP Page
The AMP page parameters for KB3 programs is much like the AMP page parameters for VAST programs. The only difference is that for KB3 programs, there are no KeyTrk or VelTrk
parameters. For a full description of the AMP page parameters, see Common DSP Control
Parameters on page 6-14, The DSP Control (DSPCTL) Page on page 6-28, and The DSP Modulation
(DSPMOD) Page on page 6-29.
6-56
Program Mode
The PERC1 Page
The PERC1 Page
Percussion is a characteristic feature of tone wheel organs. It’s especially useful while soloing, since percussion adds an extra “plink” (actually an extra tone at a defined harmonic) to the attack. You can reach the percussion parameters by pressing the Perc1 and Perc2 soft buttons.
Parameter
Percussion
Volume
Decay
Harmonic
Velocity Tracking
Low Harmonic
High Harmonic
Range of Values
Off, On
Soft, Loud
Slow, Fast
Low, High
0 to 100%
Drawbar 1 to 9
Drawbar 1 to 9
Percussion
This is where you turn the percussion effect on or off. Percussion is created by a decaying envelope applied to one of the nine drawbars. The percussion effect is “single-triggered,” which means that once it’s triggered, it won’t trigger again until all keys (or whatever you’re using to trigger notes) go up. So if no keys are down, and you play a chord, percussion gets applied to all notes in the chord (and in fact, to all notes that are triggered during the short duration of the percussion envelope). Once the envelope runs its course, any notes you play while at least one key is held down get no percussion. On keyboard models, you can turn percussion on or off by pressing Assignable Controller Button 5 (Mute button 5).
Volume
This parameter switches between loud and soft percussion settings. The actual amplitude is set on the PERC2 page. On keyboard models, you can toggle between loud and soft by pressing
Assignable Controller Button 6 (Mute button 6).
Decay
This parameter switches between fast and slow percussion settings. The actual decay rate is set on the PERC2 page. On keyboard models, you can toggle between slow and fast decay by pressing Assignable Controller Button 7 (Mute button 7).
6-57
Program Mode
The PERC1 Page
Harmonic
This parameter switches between high and low harmonic percussion settings. The actual pitch is controlled by the LowHarm and HighHarm parameters. On keyboard models, you can toggle between low and high harmonics by pressing Assignable Controller Button 8 (Mute button 8).
VelTrack
Here is where you specify the degree to which key velocity controls percussion volume. A value of zero corresponds to no velocity tracking, which is like a real tone wheel organ. Other values add velocity tracking, so that increased velocity results in louder percussion.
LowHarm
Controls which drawbar is used as the basis for the percussion when Harmonic is set to Low. On an actual tone wheel organ, this is Drawbar 4 (2nd harmonic). The actual pitch obtained depends on the drawbar tuning.
HighHarm
Controls which drawbar is used as the basis for the percussion when Harmonic is set to High.
On an actual tone wheel organ, this is Drawbar 5 (3rd harmonic). The actual pitch obtained depends on the drawbar tuning.
StealBar
Controls which drawbar is disabled when the percussion effect is turned on. On an unmodified tone wheel organ, the ninth drawbar is the one disabled. Any drawbar can be selected.
6-58
Program Mode
The PERC2 Page
The PERC2 Page
Parameter Group (Available for each combination of the Volume and Decay parameters on the PERC1 page)
Percussion Level
Decay Time
Organ Volume Level
Range of Values
0 to 24.0 dB
0.01 to 5.10 seconds, in 0.02-second increments
-12.0 to 12.0 dB
PercLevel, DecayTime, OrgLevel
With these parameters you can control the amplitude and decay time of the percussion effect for all combinations of the Volume and Decay parameters (on the PERC1 page). You can also adjust the level of the organ relative to the percussion, for accurate emulation of classic organs.
The KEYCLK Page
The Key Click feature adds a decaying burst of pitched noise to the attack of notes. Unlike the percussion, the key click is “multi-triggered,” which means that every new note will trigger it.
The parameters on this page primarily control the decay, volume, and pitch of the key click.
Parameter
Key Click
Volume
Decay Time
Velocity Tracking
Range of Values
Off, On
-96.0 to 0.0 dB, in 0.5-dB increments
0.005 to 1.280 seconds, in 0.005-second increments
0 to 100%
6-59
Program Mode
The KEYCLK Page
Parameter
Random
Retrigger Threshold
Note Attack
Note Release
Range of Values
0 to 100%
-96.0 to 0.0 dB, in 0.5-dB increments
Normal, Hard, PercHard
Normal, Hard
KeyClick
This is where you turn Key Click on or off.
Volume
This parameter sets the level of the keyclick; the noise decays from the level you set here. This level is scaled by the drawbar levels, as well as the expression pedal level.
Decay
Sets the basic decay time of the noise envelope. Smaller values produce a shorter burst.
VelTrk
Controls the degree to which key velocity affects the key click volume. A value of zero means that the key velocity has no effect on the key click volume (which is like a real tone wheel organ).
Other values add volume as the velocity increases.
Random
Controls the degree to which a random amount of amplitude variation is added to the key click.
ReTrigThresh
This parameter lets you set the volume level below which key click must decay before it will be retriggered.
Note Attack
Controls the attack characteristic of notes. Normal provides a smoothed attack, while a setting of Hard has an instant attack and will produce an audible click, in addition to any amount of key click specified with the other parameters on this page (you might prefer not to specify any additional key click when you use this setting). PercHard sets a hard attack level for percussion only; notes without percussion use a normal attack.
Note Release
Controls the release characteristic of notes. A setting of Normal has a smoothed release, while a setting of Hard has an instant release. Hard will produce an audible click.
6-60
Program Mode
The MISC Page
The MISC Page
The MISC page contains an assortment of control parameters, including Leslie speed control and vibrato/chorus selection.
Parameter
Preamp/Expression Response
Leakage
Leak Mode
Speed Control
Vibrato/Chorus Control
Vibrato/Chorus Type Selection
Volume Adjust
Bend Range Up
Bend Range Down
Sustain
Sostenuto
Leslie Pedal
Range of Values
Off, On
-96.0 to 0.0 dB, in 0.5-dB increments
None, Type A, Type X, Type Y, Type Z
Slow, Fast
Off, On
Vib1, Vib2, Vib3, Chor1, Chor2, Chor3
-96 to 96 dB
± 7200 cents
± 7200 cents
Off, On
Off, On
None, Sustain, Sost, Soft
PreampResp
Set this parameter On or Off to enable or disable the preamp+expression pedal part of the KB3 model. Turning this On (the default) makes KB3 programs function like stock organs. The expression pedal in this case is more than a volume pedal; it actually functions like a “loudness control,” varying the frequency response to compensate for the ear’s sensitivity at different volumes. In addition, the preamp provides a de-emphasis curve to compensate for the built-in tone wheel volume pre-emphasis. Turning preamp response Off emulates organs that have been modified to have a direct out (before the preamp and expression pedal).
Leakage
Controls the level of the simulated crosstalk and signal “bleed” of adjacent tone wheels in the model. This is provided to help “dirty up” the sound to make it a bit more realistic. A setting of
-96 dB gives the purest tones; other values add more simulated leakage. This level is scaled by the drawbar levels, as well as the expression pedal level.
6-61
Program Mode
The MISC Page
LeakMode
Selects between different leakage models, determining which leakage harmonics are emphasized. TypeA provides an overall tone wheel leakage, with all tone wheels leaking a small amount. TypeX, TypeY, and TypeZ emulate different degrees of drawbar leakage, where the leakage components correspond to the nine drawbars, instead of all the tone wheels.
SpeedCtl
Select either Fast or Slow to choose the speed of the rotary speaker emulation. On keyboard models, you can toggle between fast and slow speed using Assignable Controller Button 1
(Mute button 1).
When you select a KB3 program, the PC3 sends several MIDI Controller messages both locally and to the MIDI Out port. One of those messages is Controller number 68, with a value corresponding to the value of SpeedCtl (Slow = 0, Fast = 127).
VibChorCtl
Choose On or Off to turn on or off either vibrato or chorus (as selected with the VibChorSel parameter). On keyboard models, you can toggle between on and off using Assignable
Controller Button 2 (Mute button 2).
When you select a KB3 program, the PC3 sends several MIDI Controller messages both locally and to the MIDI Out port. One of those messages is Controller number 95, with a value corresponding to the value of VibChorCtl (Off = 0, On = 127).
VibChorSel
Choose the vibrato or chorus program (there are three of each) you wish to use with this KB3 program. Note that you must set VibChorCtl (also on the MISC page) to On to hear the effect.
On keyboard models, you can select the vibrato or chorus you want using Assignable Controller
Buttons 3 and 4 (Mute buttons 3 and 4.
When you select a KB3 program, the PC3 sends several MIDI Controller messages both locally and to the MIDI Out port. One of those messages is Controller number 93, with a value corresponding to the value of VibChorSel (Vib1 = 0, Vib2 = 36, Vib3 = 58, Chor1 = 79,
Chor2
= 100, and Chor3 = 122).
VolAdjust
Provides an overall volume adjust for the KB3 model. Use this parameter to “normalize” KB3 programs with other programs.
BendRngUp, BendRngDn
Respectively control the upward and downward pitch bend ranges of the KB3 program.
Sustain
Set On or Off to enable or disable response to MIDI sustain (MIDI 64).
Sostenuto
Set On or Off to enable or disable response to MIDI sostenuto (MIDI 66).
6-62
Program Mode
The EQ Page
LesliePedal
Set the pedal source to toggle between Fast and Slow for the Leslie™ speaker rotation speed.
The EQ Page
The four column headers on this page represent two shelving bands of equalization and two parametric bands. The KB3 EQ offered here, though, is not implemented as a true EQ section; instead, it adjusts the volume of the tone wheels based on frequency. If the tone wheels are based on sine waves, then this acts similarly to a real EQ.
Parameter Group (Available for each EQ band)
Gain
Frequency
Width
Range of Values
-24.0 to 24.0 dB, in 0.2-dB increments
16 to 25088 Hz, in varying increments
-128 to 128 Semitones, in 2-semitone increments
Each EQ section has Gain (G), Frequency (F), and Width (W) controls. Frequency controls the center frequency of the band. Width controls the bandwidth. Gain controls the amount of boost or cut.
The OUTPUT Page
Use this page to route the current program’s post-FX signals. The two Pan parameters
correspond to those of the VAST Program editor OUTPUT page (See page 6-30). The Out Gain
parameter corresponds to that of the VAST Program editor COMMON page (See page 6-33).
6-63
Program Mode
The Program FX (PROGFX) Page
The Program FX (PROGFX) Page
This page is the same as the VAST Program editor PROGFX page (see page 6-46) except for one
important difference: there is no Pre/Post insert parameter for the auxiliary sends.
The LFO, ASR, and FUN Pages
The rest of the pages—LFO, ASR, and FUN— are the same for KB3 programs as they are for
VAST programs, so we won’t describe them again here. Begin on page 6-36 to find descriptions
of these pages.
Programming Tips
This section provides some starting points for creating your own KB3 programs. Remember that you’ll have to start with one of the existing KB3 programs.
As described below, the most prominent difference between organ vintages is the number of tone wheels used. Keep in mind, however, that the sound of an actual tone wheel organ will depend not only on its age, but also on how well it has been maintained.
Octave folding, where an octave (or part of an octave) is repeated at the top or bottom of the keyboard, is handled automatically by KB3 Mode, emulating the folding done on actual tone wheel organs.
Early Tone Wheel Organs.
Instruments of this period had 91 tone wheels. To get this sound, go to the TONEWL page, select 91 tone wheels, and set lowest pitch to C 1. Start with the Junky
Wheel Volume Map and Bob’s Organ Map. You may also want to increase the Key Click level, since this tends to become louder on older organs.
Middle Period Organs.
To model one of these instruments, set 82 tone wheels and a low note of
A 1. Use the Mellow Wheel Volume Map and Eric’s Organ Map. Set Key Click to a moderate level.
The Classic B-3.
For this sound, choose 79 tone wheels and set the low note to be C 2. The best settings here are the Bright Wheel Volume Map and Peck’s Organ Map. You may also want to reduce the Key Click level.
6-64
Setup Mode
Chapter 7
Setup Mode
In Setup mode, the PC3 can take on the identity of 16 distinct instruments and 16 distinct MIDI transmitters, each of which can use the setup’s physical controller assignments (or any subset of those controller assignments). For example, you can create a setup that is split into 16 different keyboard regions (called zones). Each zone can play its own program, while also transmitting on its own MIDI channel. Each zone can also have an independent arpeggiator and one riff.
Selecting setups in Setup mode is much like selecting programs in Program mode—just use one of the normal data entry methods to scroll through the list of setups. There are, however, some important differences between a program and a setup. A program plays on a single keyboard zone and on a single MIDI channel. A setup enables you to use up to 16 keyboard (or MIDI controller) zones, each of which can have its own program, MIDI channel, and control assignments. The parameters you define for each setup affect programs only while you are in
Setup mode. An exception to this is the control setup, which we discuss on page 7-2.
Press the Setup mode button to enter Setup mode. You’ll see a list of setups, which you can select with any data entry method.
The info box on the left-hand side of the main Setup mode page displays the zones and corresponding programs used in the current setup. If there are more than four zones in the current setup, you can view the other zones by holding down the Enter button and scrolling through the current setup’s zones with the Chan/Layer buttons.
You can transpose the entire setup up or down by octaves with the two Octav soft buttons.
When you transpose a setup, the split points between zones remain in place; each program is transposed within its respective zone.
The Panic soft button sends All Notes Off and Reset All Controllers messages to all zones, and stops all arpeggiators and riffs.
When you select a setup in Setup mode, the PC3 sends a number of MIDI messages, on each of the MIDI channels used by the setup. Some of these include: Program Change commands, MIDI
Bank Select messages, Pan and Volume messages, and entry values for physical controllers
(entry values are the values that take effect as soon as you select the setup; there are also controller exit values, which are the values of the controllers when you leave the setup—either by selecting another setup or by exiting Setup mode). The values of all these messages depend on the parameters you define in the Setup Editor.
7-1
Setup Mode
The Control Setup
The Control Setup
In addition to zone splitting and layering, Setup mode is a powerful way to take advantage of the PC3’s programmable sliders, ribbon controllers, and assignable buttons. In order to provide some of the same flexibility for Program mode, we created the control setup, which defines the controller assignments for programs in Program mode.
The default control setup is 126 Internal Voices, but you can choose any control setup you want.
To do this, go to the MIDI-mode TRANSMIT page and use any normal data entry method to change the ControlSetup parameter. When you reenter Program mode, all programs will now respond to many of the controller assignments defined in Zone 1 of the control setup (Zones 2–
16 are not relevant in Program mode, because a program can occupy only one MIDI channel).
Once you save changes to the control setup, those changes will affect all programs when you are in Program mode. You may want to program several different control setups, and switch among them for different applications.
Control Setup–Setup
Editor Page, Zone 1
CH/PROG
KEY/VEL
PAN/VOL
BEND
COMMON
Parameters Affecting
Program Mode
Arpeggiator, Destination,
BankMode
All
ExitVolume, ExitPan
AuxBend1Up,
AuxBend1Up,
AuxBend2Rng
Tempo, ArpSync
Parameters Not Affecting
Program Mode
LocalPrg, Channel, MIDIBank,
MIDIProg, Status, EntryProgChg
EntryVolume, EntryPan
BendRangeUp(ST),
BendRangeUp(ct),
BendRangeDown(ST),
BendRangeDown(ct),
Clock source, ArpGlobal, Aux FX channel, Mutes, KB3 channel
ARPZON
RIBCFG
Continuous Controller assignment pages
(SLIDER, SLID/2,
CPEDAL, RIBBON,
WHEEL, PRESS)
Switch Controller assignment pages (FT
SW1, FT SW2, FT SW3,
ARP SW, SWITCH,
SWPRG1, SWPRG2,
SWPRG3, SWPRG4,
SWPRG5, SWPRG6,
SWPRG7, SWPRG8)
RIFF1, RIFF2
FX, AUXFX1, AUXFX2,
MASTFX
Table 7-1
All
All
Dest, Scale, Add, Curv
Type, OnControl, OnValue,
OffControl, OffValue,
EntryState
Ent, Exit
ExitState
All
All
Control Setup Parameters Affecting Program Mode
7-2
Setup Mode
The Control Setup
In summary, physical controller destinations, their curves and states, and the Arpeggiator parameters all define controller assignments for programs in Program mode. The other parameters have no effect; this keeps Program mode relatively simple. Program mode lets you change values for transposition, MIDI channels, and programs independently of the control setup.
Once you save changes to the control setup, those changes will affect all programs when you are in Program mode. For example, programming the Large Ribbon in the control setup to have three sections will mean that in every program in Program mode, you will have a three-section
Large Ribbon.
You may want to program several different control setups, and switch among them for different applications.
Zone-status LEDs in Setup Mode
Take a minute to scroll through some of the factory setups. As you change setups, you’ll notice that the LEDs in the eight buttons above the programmable sliders go on and off and change color. These LEDs indicate the status of each of the zones in the setup. You may also see the Solo button go on. This means that the setup is configured to have only one zone playing when you select it.
While you’re in Setup mode, each of the eight zone-status LEDs will always be in one of four states:
Off Empty zone—that is, a zone that has no program or MIDI channel associated with it.
For example, if you select a setup and only four status LEDs light up (regardless of their color), the setup contains just four zones. Whenever you’re in Setup mode, the number of lines in the info box matches the number of zone-status LEDs that are lit.
Green Active zone. As long as no other zone is soloed, an active zone plays notes— and generates controller information, program changes, and entry/exit controller values.
If another zone is soloed, an active zone is “backgrounded”—it’s status LED remains green, but it doesn’t play notes or generate controller information.
Orange Muted zone. Muted zones don’t play notes or generate controller information, but they do generate program changes and entry/exit controller values.
Red Solo zone. As you might have guessed, only one zone can be soloed at a time. When a zone is soloed, only that zone plays notes and generates controller information. Other zones, if they’re not turned off, still generate program changes and entry/exit controller values. If a zone is muted and then subsequently soloed, all other zones are “backgrounded” but the soloed zone remains muted.
In performance situations, the zone-status buttons provide a convenient way to temporarily change the status of one or more zones. This can be very effective for bringing voices and/or controller configurations into and out of your performance. The best way to get familiar with this technique is to play with the buttons, as the next few paragraphs describe.
Select a setup (look for one with lots of active zones that cover the whole keyboard), and play a few bars. You’ll hear sounds corresponding to each of the active zones (green LEDs). If you see any muted zones (orange LEDS), press their zone-status buttons, and they’ll become active; conversely, if you press the zone-status button of an active zone, it will become muted. Play around a bit. Try muting all the zones, then bringing them back one by one until all the zones in the setup are active.
7-3
Setup Mode
The Setup Editor
Table 7-2 gives you a quick visual reminder of how zones behave depending on their status.
LED Color
Zone
Status
Notes
Red
Green (no others are red)
Green (another is red)
Orange
(Off)
Table 7-2
Solo,
Solo+Muted
Active
Backgrounded
Muted
Empty
Zone Status in Setup Mode
✔
✔
Data Generated by Zone
Controllers
Program
Number
✔
✔
✔
✔
✔
✔
Entry and
Exit Values
✔
✔
✔
✔
Remember that any changes you make to zone status in Setup mode are temporary; as soon as you select another setup, that setup’s programmed zone status takes over. To change a setup’s
zone status permanently, use the Setup Editor (see Status on page 7-7).
Soloing a Zone
To solo a zone, set the Status parameter on the Setup Editor CH/PROG page (see The Setup
Editor and The Channel/Program (CH/PROG) Page on the following pages) to Solo (or
Solo+Muted
). The Chan/Layer buttons—in addition to scrolling through the zones of the current setup—now select the soloed layer. If you scroll through the zones, you will see the red solo LED moving across the mute buttons. After one zone is soloed, you can choose a different zone to be soloed by pressing on its zone-status button; this action unsolos the previously soloed zone.
Additionally, you can configure a setup such that you can solo zones in real time by assigning
any of the controller destinations to SoloZn. See Controllers on page 7-19 for more information
on controller destination assignments in Setup mode.
The Setup Editor
From Setup mode, press the Edit button to enter the Setup Editor, where you can make changes to the currently selected setup. Use the soft buttons to select the various Setup Editor pages. The upper line of each page displays the usual mode reminder, as well as the current Setup Editor page, and the current zone. Use the Chan/Layer buttons to select one of up to eight different zones, each having its own set of Setup Editor pages.
The parameters on the Setup Editor pages define what each of a setup’s zones sends—both to internal programs and to the MIDI Out port. They also determine how the PC3 responds to
MIDI signals received from a MIDI controller connected to the PC3’s MIDI In port (when the
Local Keyboard Channel matches the transmit channel of your MIDI controller).
The display diagrams you see in this chapter show the default values for setup 126 Internal
Voices
.
7-4
Setup Mode
The Channel/Program (CH/PROG) Page
The Channel/Program (CH/PROG) Page
This is the first page you see when you enter the Setup Editor. Here, you can select programs,
MIDI channels, and MIDI Bank numbers for each of the setup’s 16 zones. You can also solo or mute each zone, and assign zones to be controlled by the PC3’s Arpeggiator.
Parameter
Program
Channel
MIDI Bank
MIDI Program
Status
Destination
MIDI Bank Mode
Entry Program Change
Arpeggiator
Range of Values
Program List
1 to 16
0 to 127
(Depends on MIDI Bank Mode)
Muted, Active, Solo, Solo+Muted
Destination List
MIDI Bank Mode List
On, Off
On, Off
Default
0
1
1 Standard Grand
1
Active
USB_MIDI+MIDI+Local
Ctl 0/32
On
On
Program
This selects an internal program to play on each zone. As you change the value of Program, notice that MIDI Program and MIDI Bank match the local program and bank numbers
(programs 1–127 fall into MIDI Bank 0, 128–255 fall into MIDI Bank 1, and so on—both MIDI
Banks and PC3 banks can hold 128 programs). If you want to transmit different program and bank numbers over MIDI, highlight either MIDI Program or MIDI Bank and select a new value.
Note that changing the Program parameter again will reset both the MIDI Program and MIDI
Bank parameters to match the local program and bank numbers.
NOTE:
MIDI Banks and PC3 banks are not the same, nor is there a direct one-to-one correspondence between the two. As mentioned previously, programs 1–127 fall into MIDI Bank 0, programs 128–255 fall into MIDI Bank 1, and so on; program IDs 1–128 fall into PC3 bank Base 1, programs 128–255 fall into Base2, and so on (recall that the PC3 bank names are displayed in left-to-right order above their corresponding mute buttons in Program mode). For example, program 128 Drums ‘n Bells is MIDI Bank
1
Program 0, and is in PC3 bank Base 1; and program 127 Magic Celeste is MIDI Bank 0 Program 127, but is also in PC3 bank Base 1.
7-5
Setup Mode
The Channel/Program (CH/PROG) Page
Channel
The Channel parameter defines the MIDI transmit channel for the currently selected zone. You can set it to any of the 16 MIDI channels. Normally, you will want each zone on a separate MIDI channel. This is necessary if you want to combine different programs in the setup.
If two zones have the same MIDI channel (and destination), but they have different program settings, there will be conflicts: no MIDI device, including the PC3, can respond correctly to two different simultaneous Program Change commands on one channel. The result will be that only one Program Change will be recognized, and every note played will sound double (if Note
Maps are on). This can create odd and unpredictable timing effects, and will reduce your polyphony by 50%.
Nevertheless, there will be occasions when “stacking” zones on the same MIDI channel might come in handy. Suppose you want a physical controller on the PC3 to send data for two different numbered MIDI Controllers on the same channel. In this case, you must create two zones assigned to the same channel, but with different controller assignments.
Here’s one example: if a receiving synth is using Controller 1 for modulation depth and
Controller #13 for modulation speed, you can increase both the depth and the speed with
Slider A. Start by assigning Slider A in Zone 1 to MWheel and in Zone 2 to MIDI 13; then assign both zones to the same MIDI channel. (You may want to make sure you aren’t sending doubled notes. Use the Note Map parameter on the KEY/VEL page to set one zone’s Note Map to Linear and the other zone’s Note Map to Off.)
Another example: create two or more zones that are identical except for their transposition settings. Now you can play parallel intervals (or chords) with single keystrikes.
MidiBank
Before reading this section on MIDI Banks, be sure to read the note in the section
Program on page 7-5.
The PC3’s programs are divided into 17 MIDI Banks, numbered 0–16. Program 46 in MIDI Bank
3, (which is PC3 bank Orchestra), for example, is 430 Lead Oboe. The MIDI Bank parameter displays which bank the current program is assigned to, and automatically changes to match the
Program value you set.
You can send Bank Select messages to external MIDI devices as well, by setting the Destination parameter to a destination including MIDI of USB_MIDI, then changing MidiBank. Some instruments may have more banks than the PC3. Bank switching via MIDI makes it easy for the
PC3 user to select sounds on external instruments, no matter how many banks they might have.
When you change the value of the Program parameter, the value of MidiBank automatically changes correspondingly. If you want to transmit a MIDI Bank number different from the one corresponding to the local program, select the local program first, then change the MIDI bank.
If you select an empty bank (like Bank 53), the zone will still produce sound on the PC3, provided that Destination is set to a destination including Local. The Program parameter will display whatever internal program you set, but the bank number transmitted over the MIDI Out port will be different from the internal program’s bank number.
7-6
Setup Mode
The Channel/Program (CH/PROG) Page
MidiProg
MidiProg defines which program number is transmitted out the MIDI Out port on the current zone’s MIDI channel.
When you change the value of the Program parameter, the value of MIDIProg automatically changes correspondingly. If you want to transmit a MIDI program change number different from the one corresponding to the local program, select the local program first, then change the
MIDI program.
Different programs are accessible depending on the value of the BankMode parameter:
Value of BankMode
Ctl 0 or Ctl 32
Ctl 0/32
K2600
None
Available Programs
0 to 127
0 to 127
0 to 99
None
Status
This parameter determines what the current zone does when you select the setup in Setup mode. Muted means that the zone sends and receives program changes and entry/exit controller values, but doesn’t play notes. If the value is Active, the zone sends and receives normally via MIDI. Solo causes only the current zone to play, “backgrounding” all other zones
(backgrounded zones send and receive program changes and entry/exit controller values, but don’t play notes). With a value of Solo+Muted, the current zone is both soloed and muted; when the zone isn’t soloed, it won’t produce sound).
See the section about zone-status LEDs (page 7-3) for more information about muting and
soloing zones.
Destination
This parameter determines whether the currently selected zone transmits only to the PC3
(Local), transmits only to the MIDI port (MIDI), transmits only to the USB port (USB_MIDI), transmits to a pair of destinations (MIDI+Local, USB_MIDI+Local, or USB_MIDI+MIDI), or transmits to all destinations (USB_MIDI+MIDI+Local).
7-7
Setup Mode
The Channel/Program (CH/PROG) Page
BankMode
The BankMode you choose determines how bank numbers will be sent over MIDI when the setup is selected, and in what format. It also affects how many MIDI banks and programs you can choose.
None
means no bank number is sent, just the program number. Ctl 0 means that the bank number is sent as a MIDI Controller #0 message. Ctl 32 means it is sent as MIDI Controller #32.
Ctl 0/32
means it is sent as a dual-controller (two-byte) message, with the most-significant byte
(MSB) of the bank number sent as Controller 0 and the least-significant byte (LSB) as Controller
32. Bank Select messages allow you to specify banks numbered 0-127.
The MIDI Specification is a little ambiguous when it comes to Bank Select messages, as to whether they should be only Controller 0, only Controller 32, or both Controllers sent as a pair.
Different manufacturers design their instruments to respond to different schemes, and if you send Bank Select in a form an instrument doesn’t like, it may ignore it or interpret it incorrectly.
The BankMode parameter is designed to allow the greatest flexibility in addressing other MIDI instruments. Usually you can look on the MIDI Implementation chart in the user’s manual of an instrument to determine how it’s designed to receive Bank Select messages, and then set
BankMode for each zone to suit the instrument that is receiving data from it. The default setting, which works with the largest number of other instruments, is Ctl 0/32.
A BankMode value of K2600 is intended for use with the K2000, K2500, or K2600. The Bank
Select message is sent as Controller 32, with a value between 0 and 127. The K2000, K2500, and
K2600 support only 10 banks, with 99 programs per bank, so Program Changes 100 or higher are sent as Bank Select 1, followed by the last two digits as a Program Change. For example, if
Program 124 is assigned to the zone, this will be sent out the MIDI Out port as Bank Select
(Controller 32) 1, and then Program Change 24.
EntryProgChg
This parameter enables or disables bank and program change commands sent to internal programs or to the MIDI Out jack when you select setups. If it’s set to On, the program numbers for the programs in the 16 zones will be sent via MIDI when a setup is selected. By setting this parameter to Off, you can select a setup on the PC3 without changing the internal programs or those on MIDI devices receiving from the PC3. This is useful if you want to send only controller data to the PC3 or to MIDI devices, without changing program assignments.
Arpeggiator
The Arpeggiator parameter determines whether the Arpeggiator will affect notes played in the current zone. The Arpeggiator affects only those zones that have this parameter set to a value of
On
.
For any given zone, the Arpeggiator plays notes only within that zone’s Key Range. If the
Arpeggiator, for example, tries to play a C
#
4 in a zone, but that zone’s Key Range ends at C4, the note will not sound. However, another zone whose Key Range ends at C5 will be able to play the
C
#
4 from the Arpeggiator. Therefore, setting a zone’s Key Range can be important in deciding how it will respond to the Arpeggiator. The LoKey and HiKey parameters on the ARPZON page
(see page 7-38) determine whether the notes you play get arpeggiated.
7-8
Setup Mode
The Key/Velocity (KEY/VEL) Page
The Key/Velocity (KEY/VEL) Page
The Key/Velocity page allows you to set key range, velocity range, transposition, and Note
Maps for each zone.
Parameter
Low Key
High Key
Transpose
Note Map
Low Velocity
High Velocity
Velocity Scale
Velocity Offset
Velocity Curve
Range of Values
C -1 to G9
C -1 to G9
-128 to +127 Semitones
Note Map List
1 to 127
1 to 127
± 300%
-128 to +127
Velocity Curve List
Default
C -1
G9
0-
Linear
1
127
100%
0
Linear
7-9
Setup Mode
The Key/Velocity (KEY/VEL) Page
Low Key (LoKey), High Key (HiKey)
The LoKey and HiKey parameters define the note range of the currently selected zone. The easiest way to change these values is to press the Enter button and press the key of the note you wish to enter. You can set these values with normal data entry methods as well.
You can create “negative” ranges as well. To do this, select the HiKey parameter and set its limit
lower than the LoKey limit. This results in the zone being active at the top and bottom of the
keyboard, but being silent in the range between the two limits. This lets you create a layer with a
“hole” in the middle, which you can then fill with a different sound on another zone.
The limits of MIDI are C-1 to G9. The untransposed 88-key range is A0 to C8. The untransposed
76-key range is E1 to G7.
Transpose
This changes the pitch of the zone, without changing its position on the keyboard. It changes the
MIDI note numbers generated by the keys in the zone, without physically shifting the zone. The range is -128 to 127 semitones. Since there are 12 semitones (or half steps) to an octave, you can transpose up or down over ten octaves. If you transpose out of the range of the active voice, however, no notes will sound; MIDI note numbers will transmit, but notes will not.
Note Map
Note Map lets you change the way notes are sent from the PC3. The default setting is Linear: all notes go out as played. Pressing the Minus button takes you to Off; no notes are sent, but controllers and other non-note data are.
Setting Note Map to Inverse effectively turns the keyboard upside-down, with the highest key being A 0 and the lowest C 9. If you set Note Map to Constant, all of the keys on the keyboard will play the same note. The note defaults to C4, but you can change this with the Transpose parameter. This works well when you want the sound from a particular key to play with every note of another zone—for example, playing a ride cymbal with every note in a bass line.
Next are the alternating note maps, which let you divide the keyboard in some unique ways. If you are using two or more MIDI devices (including the PC3), you can expand polyphony by assigning each zone to a different alternating note map. For example, if you have two PC3s, you can assign two zones to each play the same program on a different PC3, thereby doubling polyphony.
To split a zone into one of two alternating note maps, set Note Map to 1 of 2; now the zone plays on every second key, starting on C, but won’t play on any other keys. Set another zone to 2 of 2, and this zone will play on every second key, starting on C
#
, thus covering the remaining keys.
Three- and four-zone alternating notemaps work the same way, but cause each zone to play only on every third and every fourth key, respectively.
Note maps are also used to create drum patterns with the arpeggiator. Several of the ROM setups use this feature.
7-10
Setup Mode
The Key/Velocity (KEY/VEL) Page
Velocity Scale (VelScale)
This lets you amplify or diminish velocity response. Normal response is 100%. Higher values make the keyboard more sensitive (you don’t need to play as hard to get higher MIDI velocities) while lower values make it less sensitive (playing harder doesn’t change MIDI velocity as much). You can also set the scale to a negative number, in which case the velocity response is turned upside-down: playing harder produces a softer sound and vice versa. This is useful for creating velocity-based crossfades between zones. See the following section on Velocity Offset for ideas about negative scaling.
The following illustration shows what happens when you change Velocity Scale. Note that
Velocity Scale is the only parameter changed in this example; the other parameters are set to their defaults (offset = 0, curve = linear, min = 1, max = 127).
127
64
Velocity Scale: 100%
as you strike the keys harder (increase the velocity) MIDI velocity increases proportionally
Velocity Scale: 200%
MIDI velocity reaches maximum on medium strike velocity
Velocity Scale: 50%
MIDI velocity never reaches maximum, even on maximum strike velocity
0
64
Strike Velocity
127
7-11
Setup Mode
The Key/Velocity (KEY/VEL) Page
Velocity Offset
VelOffset
also changes the response, but in a more direct way, by adding or subtracting a constant to the key velocity. For example, if this is set to 25 (assuming a scale of 100%), then 25 is added to the velocity of every keystroke, usually making the sound that much louder. The softest possible keystroke will have a value of 25, while a keystroke with velocity of 102 will produce the same sound as a note with velocity 127 (102+25=127). Negative values diminish the response: a setting of -25 means the loudest velocity available will be 102, while any keystroke
25 or below will produce a velocity of 1 (a velocity value of zero has a special meaning in MIDI and cannot be used for Note Ons).
You can think of Scale as being a proportional change to the velocity, while Offset is a linear change. The maximum values for Offset are ±127. The following illustration shows the effects of
Velocity Offset. Note that Velocity Offset is the only parameter changed in this example; the other parameters are set to their defaults (scale = 100%, curve = linear, min = 1, max = 127).
127
64
Velocity Offset: +64
low velocity keystrikes produce medium MIDI velocity and greater
Velocity Offset: -64
low velocity keystrikes result in MIDI velocity of 1; maximum MIDI velocity reduced
0
64
Strike Velocity
127
7-12
Setup Mode
The Key/Velocity (KEY/VEL) Page
Offset and Scale work together. If scaling takes the velocity out of the ballpark — for example, you want to set it to 300% but that puts all of your notes at maximum velocity — using a negative offset, say around -60, can make it possible to still play at different volumes, although your curve will still be a lot steeper than normal. If you use a negative scaling, then you must use an offset: otherwise all of your velocities will end up as zeroes (well, ones actually, since a
MIDI note-on with velocity zero is something else). So to get true inverse scaling (that is, minus
100%), you must set an offset of 127 to get the full range of velocities. Setting the offset to 127 and the scale to -100% produces a slope like this (which is the same as the reverse linear curve):
127
64
0
64
Strike Velocity
127
Note that Offset and Scale affect only MIDI velocities; that is, these parameters don’t change
Velocity Tracking in the programs themselves. Therefore, some programs (such as organ sounds, which often have low VelTrk values) may respond only subtly to Offset and Scale, or not at all.
7-13
Setup Mode
The Key/Velocity (KEY/VEL) Page
Velocity Curve (VelCurve)
VelCurve lets you taper the velocity response. The default setting is Linear, which means that the output velocity changes directly proportionally to the played velocity.
Expand
produces a curve that is less steep than the linear curve at keystrike velocities below 64, and steeper than the linear curve at keystrike velocities above 64. In other words, when you’re playing softly, you’ll notice velocity differences less than with a linear curve, while when you’re playing hard, you’ll notice velocity differences more.
Compress
produces a velocity curve that is the opposite of the expanded curve—that is, you’ll notice velocity differences more when you’re playing softly than when you’re playing hard.
127
64
Velocity Curve: Linear
as you hit the keys harder (increase the velocity) MIDI velocity increases proportionally
Velocity Curve: Compress
MIDI velocity is greater at medium strike velocity than with Linear curve
Velocity Curve: Expand
MIDI velocity is less at medium strike velocity than with Linear curve
0
64
Strike Velocity
127
7-14
Setup Mode
The Key/Velocity (KEY/VEL) Page
Crossfade
is designed to be used in tandem with the Reverse Crossfade curve, enabling you to perform smooth crossfades between different programs.
Bump
tapers velocity response to resemble a bell curve, so that notes are loudest when your keystrike velocity is 64. Notes get softer as the keystrike velocity approaches 0 or 127.
127
64
Velocity Curve: Linear
as you hit the keys harder (increase the velocity) MIDI velocity increases proportionally
Velocity Curve: Bump
MIDI velocity is greatest at medium strike velocity
Velocity Curve: Crossfade
Below medium strike velocity, MIDI velocity is less than with Linear curve; above medium strike velocity,
MIDI velocity is greater than with Linear curve
0
64
Strike Velocity
127
The next four velocity curves are Reverse Linear (Rvrs Linear), Reverse Expand (Rvrs Expand),
Reverse Compress (Rvrs Compress), and Reverse Crossfade (Rvrs Crossfade). These taper velocity in reverse of the five curves we just covered. For example, Reverse Linear’s response is such that striking a key harder will produce a lower volume, striking it softer will produce a higher volume, and so on. This provides a convenient way to achieve negative scaling, by letting you set one parameter instead of two.
127
64
0
Velocity Curve: Reverse Linear
as you hit the keys harder (increase the velocity) MIDI velocity decreases proportionally
Velocity Curve: Reverse Compress
MIDI velocity is more at medium strike velocity than Reverse Linear curve
Velocity Curve: Reverse Expand
MIDI velocity is less at medium strike velocity than Reverse Linear curve
Velocity Curve: Reverse Crossfade
Below medium strike velocity, MIDI velocity is greater than with Reverse Linear curve; above medium strike velocity, MIDI velocity is less than with Reverse Linear curve
64
Strike Velocity
127
7-15
Setup Mode
The Key/Velocity (KEY/VEL) Page
Low Velocity (LoVel), HighVelocity (HiVel)
LoVel and HiVel set the minimum and maximum velocity limits that the current zone transmits.
A keystroke in the current zone whose velocity — after it has been scaled and offset — is below the minimum does not generate a Note On. Neither does a keystroke whose velocity after processing is above the maximum. These parameters are useful for “velocity switching”— having a key play different sounds depending on how hard you strike it.
The values can be anywhere from 1 to 127. As with other parameters, zones can overlap or be totally discrete, or be identical. Usually, LoVel will have a smaller value than HiVel, but as with
LoKey and HiKey, you may also create a gap in velocity response, by setting negative ranges for velocity.
127
Velocity Min: 1, Max: 64
No MIDI Note Ons are transmitted when you strike keys with medium velocity or greater
64
0
127
64
Strike Velocity
127
64
0
64
Strike Velocity
127
Velocity Min: 64, Max: 127
No MIDI Note Ons are transmitted unless you strike keys with velocity of medium or greater
7-16
Setup Mode
The Pan/Volume (PAN/VOL) Page
The Pan/Volume (PAN/VOL) Page
By changing the parameters on this page, you can define how each zone sends MIDI volume and pan messages.
Parameter
Entry Volume
Exit Volume
Entry Pan
Exit Pan
Range of Values
None, 0-127
None, 0-127
None, 0-127
None, 0-127
Default
None
None
None
None
Entry Volume, Exit Volume
Entry Volume enables you to control the initial MIDI volume setting for each zone of the current setup. When you select a setup in Setup mode, the PC3 sends MIDI volume control (MIDI
Controller 07) messages on each of the setup’s MIDI channels, according to the value of the
Entry Volume parameter. This sets the starting volume level for each zone, for any value other than None. Subsequent MIDI volume control signals sent to the setup’s MIDI channels affect the volume normally.
When you exit the current setup, Exit Volume sends another MIDI Controller 07 message.
The setting of the Volume Lock parameter on the MIDI mode CHANNELS page (see
Chapter 10) determines whether this parameter has any effect.
Entry Pan, Exit Pan
You can set entry and exit values for Pan as well. When you select a setup, the PC3 sends a MIDI pan control (MIDI Controller 10) message on each MIDI Channel in each zone; another MIDI pan control message is sent when you exit the setup. The Entry and Exit values for Pan are the same as those for Volume. There is also a Pan Lock parameter on the MIDI-mode CHANNELS page, which overrides the Setup Editor’s Pan settings.
If you are trying to set the Pan and the program doesn’t seem to be responding, you should check the Mode parameter on the OUTPUT page in the Program Editor. If it is set to Fixed, then the PC3 is ignoring the MIDI Pan message; setting Mode to +MIDI allows you to control the program’s panning from the Setup Editor.
7-17
Setup Mode
The BEND Page
Most programs respond to pan messages on the next keystrike. This means that if you hold a note and change the pan, the current note will stay at its current position until you strike it again. However, a PC3 program that uses the PANNER algorithm will respond to real-time pan adjustments as well.
The BEND Page
The parameters on the BEND page define the bend ranges for each of the three types of pitch bend messages the PC3 can respond to.
7-18
Parameter
Bend Range Up (semitones)
Bend Range Up (cents)
Bend Range Down (semitones)
Bend Range Down (cents)
Aux Bend 1 Up
Aux Bend 1 Down
Aux Bend 2 Range
Range of Values
Prog, 0 to 127 semitones
Prog, 100 cents
Prog, 0 to 127 semitones
Prog, 100 cents
0 to 60 semitones
0 to 60 semitones
0 to 60 semitones
Default
12
12
2
2
0
2
0
Bend Range (Semitones) and Bend Range (Cents): Up and Down
BendRangeUp(ST) and BendRangeDown(ST) sends a bend range message to an internal program or a MIDI device, telling it how to define subsequent pitch bend messages. Some programs may behave strangely when you change the Bend Range value, because they use
FUNs or DSP Functions to affect the pitch wheel. In that case, you should either set the value of
Bend Range to Prog, or edit the program itself.
NOTE:
The settings for BendRangeUp and Down are only reflected only in Setup mode. If you specify
BendRangeUp and Down values for the control setup, they will not be reflected in any other mode, and pitch bend messages in the current program will result in behavior as specified for the Pitch Bend Range parameters on the COMMON page in the Program Editor.
BendRangeUp(ct) and BendRangeDown(ct) lets you fine tune the value for Bend Range
(semitones). 100 cents equals one semitone, or one half-step; you can set this parameter anywhere between 0 and 100 cents.
BendRangeUp, in both semitones and cents, affects all controllers that are set to PitchUp (in the default control setup, the PWUp parameter on the WHEEL page is assigned to PitchUp).
BendRangeDown, in both semitones and cents, affects all controllers that are set to PitchDwn
(in the default control setup, the PWDn parameter on the WHEEL page is assigned to
Setup Mode
Controllers
PitchDwn
). Any physical controller that uses the Control Destination list can be assigned to
PitchUp
or PitchDwn. To keep things simple though, you will normally want to use BendUp as a Pitch Wheel destination and use AuxBend 1 and AuxBend 2 for other controllers, such as the
Sliders and Ribbon.
Keep in mind that not all MIDI devices respond to Bend Range messages. With many older
MIDI instruments, you must set bend ranges on the devices themselves.
Changing programs sends a Bend Range message with the current program’s values. So does pressing Panic, which is a quick way to reset your PC3 or MIDI slaves if you’ve used a controller to modulate the bend range.
Aux Bend 1 Up and Aux Bend 1 Down
Like Bend Range, Aux Bend 1 defines the range for Pitch Bend messages, but does so for those physical controllers assigned to MIDI 21. There are two parameters related to AuxBend 1: an upward value (AuxBend1Up) and a downward value (AuxBend1Dwn). This means that you can set different values for upward and downward pitch-shifting. For example, you could get the Pitch Wheel to give you both vibrato and whammy-bar effects for the guitar program in a setup. In the zone that contains the guitar program, set AuxBend1Up to 2ST and AuxBend1Dwn to 12ST, then assign the PWUp and PWDn parameters on the WHEEL page to a value of
MIDI21
. Now moving the Pitch Wheel up gives you a whole tone of upward bend, while moving it down gives you a full octave of downward bend.
In most factory setups, AuxBend 1 is the assignment for the Ribbon.
Aux Bend 2 Range
The PC3 allows you to specify a third pitch bend range; this is called AuxBend 2, and it defines the range for MIDI Controller 15 messages. For AuxBend 2, you can set only one range for both upward and downward pitch bending.
Controllers
Controller editing is one of the strongest aspects of the PC3’s usefulness as the main controller for a sophisticated MIDI studio. In this section, we’ll talk about two different types of
“controllers” as they apply to the PC3. One is the physical controllers: the wheels, buttons, pedals, etc. that you move with your fingers or feet. The other is MIDI Controllers, which are
MIDI commands sent by the PC3. For our purposes, “MIDI Controllers” includes the complete set of Controllers defined by the MIDI Specification, as well as pitchbend, aftertouch, and a few other useful MIDI commands. To fend off confusion, we’ll refer to the PC3’s physical controllers with a lower-case c, and MIDI Controllers with an upper-case C.
Any MIDI Controller can be used as the assignment for any physical controller (and for multiple physical controllers, as well). Or in other words, any physical controller like the Mod Wheel can be programmed to send any MIDI control signal. In addition, each controller in each setup zone can be tweaked just like keyboard velocity (or any other Setup-mode parameter). Although controller editing on the PC3 can be somewhat complex, it can also be very rewarding.
To get an idea of the expressive capabilities of Setup mode, explore the factory setups that come with the PC3.
7-19
Setup Mode
Controllers
The PC3’s physical controllers include the following:
• The nine sliders (A, B, C, D, E, F, G, H, I) in the Assignable Controllers section
• The two Continuous Control Pedal jacks (CC Pedal 1 and CC Pedal 2)
• The optional Ribbon Controller, which you can define as a one- or three-section controller
• The Pitch Wheel
• The Modulation Wheel (Mod Wheel)
• Keyboard aftertouch, or Mono Pressure (MPress)
• The optional Breath Controller (which is connected to Continuous Controller Pedal 2)
• The two Panel Switches above the Pitch and Mod Wheels and Program Buttons 1–8
• The three Footswitch pedal jacks (1, 2, and 3)
The following tables and illustration provide an overview of the physical controllers and their parameters.
Continuous Controllers
Physical Controller
Sliders A, B, C, D, E, F, G, H, I
CPedals 1 & 2 / Breath
Ribbon
Pitch Wheel and Mod Wheel
MPressure
Table 7-3
Setup Editor
Page
SLID, SLID2
CPEDAL
RIBBON
WHEEL
PRESS
Continuous Controllers
Parameter:Values
Destination: Control Destination List
Scale: -300% to 300%
Add: -128 to 127
Curve: Linear, Compress. Expand
Entry Value: None, 0 to 127
Exit Value: None, 0 to 127
(same as Sliders)
(same as Sliders)
(same as Sliders)
(same as Sliders)
7-20
Setup Mode
Controllers
Switch Controllers
Physical Controller
Footswitches 1, 2, and 3
Setup Editor
Page
FT SW1,
FT SW2,
FT SW3
Parameter:Values
SwType: Toggle, Momentary, Note Toggle,
Note Momentary
Destination: Control Destination List
On Value: None, 0 to 127
Off Value: None, 0 to 127
Entry Value: None, Off, On
Exit Value: None, Off, On
(same as Footswitches)
Arp and SW switches
Programmable switches 1 to 8
Table 7-4 Switch Controllers
ARP SW,
SWITCH
SWPRG1,
SWPRG2,
SWPRG3,
SWPRG4,
SWPRG5,
SWPRG6,
SWPRG7,
SWPRG8
(same as Footswitches)
The Controller Destination List
The table below contains the available values for the Destination parameter for each controller, in scrolling order. Note that the PC3 has destinations with Controller Numbers greater than
127—there are 127 MIDI Controllers, as dictated by the MIDI spec. Any data sent to destinations with a Controller number outside of the MIDI range (i.e., more than 127) are sent as a PC3specific protocol, and are thus not sent as MIDI data, and not sent through MIDI Out.
3
4
1
2
5
0
6
Controller
Number
Table 7-5
Corresponding
Destination
Name
OFF/Bank
Description
MWheel
Breath
MIDI 03
Foot
PortTim
Data
By default, when you enter 0 or Clear for the Destination parameter, the destination will be assigned to OFF. To select
Bank as the destination, use the Alpha Wheel or -/+ buttons.
Default assignment for Mod Wheel
Default assignment for CC Pedal 2
Default assignment for CC Pedal 1
Monophonic PC3 programs respond to this Controller if portamento is turned on
Almost all PC3 programs have this Controller assigned to filter frequency or brightness
Controller Destination List
7-21
Setup Mode
Controllers
68
69
70–79
80
81
82
83
84–90
91
20
21
22–28
29
30, 31
32
33–63
64
65
16
17
18
19
12
13
14
15
Controller
Number
7
8
9
10
11
66
67
Table 7-5
Corresponding
Destination
Name
Volume
Balance
MIDI 09
Pan
MIDI Volume
MIDI Balance
Description
Express
MIDI Pan—programs which use the PANNER algorithm will respond to real-time pan adjustments; all other programs will respond on the next note start
MIDI Expression—an attenuator for fading in and out. It scales between minimum (0) and the current value of Volume
MIDI 12
MIDI 13
MIDI 14
MIDI 15
Ctl A
Ctl B
Ctl C
Ctl D
MIDI 20
MIDI 21
MIDI 22–28
MIDI 29
MIDI 30, 31
Bank
33–63
Sustain
PortSw
Default assignment for Slider B
AuxBend2
Default destination for Ribbon
Default destinations for Sliders C to I
Default destination for SW button
MIDI Controllers 30, 31
SostPd
SoftPd
MIDI Controllers 33–63
Default destination for Footswitch 1
Monophonic PC3 programs respond to this Controller if portamento is turned on
Default destination for Footswitch 2—holds notes that are currently down, but not notes played subsequently
Default destination for Footswitch 3— lowers the volume by a preset amount and may soften the timbre as well
Forces mono playback
Envelopes freeze at current state
MIDI Controllers 70–79
LegatoSw
FrezPd
MIDI 70–79
Ctl E
Ctl F
Ctl G
Ctl H
MIDI 84–90
FX Depth
MIDI Controllers 84–90
Controls wet/dry mix of effects
Controller Destination List (Continued)
7-22
Setup Mode
Controllers
120
121
122
123
116
117
118
119
112
113
114
115
108
109
110
111
Controller
Number
100
101
102
103
92–95
96
97
98
99
104
105
106
107
124
125
Table 7-5
Corresponding
Destination
Name
MIDI 92–95
Note St
Key St
KeyNum
BKeyNum
RandV1
RandV2
ASR1
ASR2
FUN1
FUN2
LFO1
LFO1ph
LFO2
Data+MPr
FUN3
FUN4
AMPENV
ENV2
ENV3
Loop St
Description
AttVel
InvAVel
PPress
BPPress
RelVel
Bi-AVel
VTRIG1
VTRIG2
PB Rate
Atk State
MIDI Controllers 92–95
Note State—sends 0 for off and 127 for on
Key State—sends 0 for off and 127 for on
Key Number—sends key number of the pressed key
Bipolar Key Number—sends the key number for the pressed key relative to C4 (i.e., KeyNum - 60)
Attack Velocity
Inverse Attack Velocity
Poly Pressure (Poly Aftertouch)
Bipolar Poly Pressure—sends the poly pressure relative to 64
(i.e., PPress - 64)
Release Velocity
Bipolar Attack Velocity—sends the attack velocity relative to
64 (i.e., AttVel - 64)
Velocity Trigger 1—a legacy feature that uses a predetermined velocity threshold as an on/off control source
Velocity Trigger 2—a legacy feature that uses a predetermined velocity threshold as an on/off control source
Random (large range)
Random (small range)
ASR Envelope 1
ASR Envelope 2
Function 1
Function 2
FLO 1
LFO 1 Phase
LFO 2
Data and Mono Pressure
Function 3
Function 4
Amplitude Envelope
Envelope 2
Envelope 3
Loop State—sends a value of 0 when in the first loop of the sample, and sends 127 thereafter
Play Back Rate
Attack State—sends a value of 127 at the begin of the played note’s attack, and then sends a value of 0 thereafter
Controller Destination List (Continued)
7-23
Setup Mode
Controllers
142
143
144
145
138
139
140
141
146
147
134
135
136
137
130
131
132
133
Controller
Number
126
127
128
129
148
149
150
151
152
153
154
Table 7-5
Corresponding
Destination
Name
Rel State
Description
Release State—sends a value of 127 during the release portion of the amplitude envelope, and sends a value of 0 otherwise
PitchUp
PitchDwn
Pressure
Tempo
KeyNum
KeyVel
ProgInc
ProgDec
ProgGoto
SetupInc
SetupDec
SetpGoto
Start
Stop
Continue
TransUp
TransDown
ArpOn
ON
Pitch
PitchRev
ArpOff
MuteZn
ArpOrder
ArpBeats
ArpShift
ArpLimit
ArpLmtOp
Pitch—values above and below 64 bend the pitch up and down, respectively
Pitch—values above and below 64 bend the pitch down and up, respectively
Pitch—values above 0 bend the pitch up
Pitch—values above 0 bend the pitch down
Pressure
Tempo
Key Number—e.g., C4 is 60
Key Velocity
Program Increment—increments current program number
Program Decrement—decrements current program number
Go to Program—selects program
Setup Increment—increments current setup number
Setup Decrement—increments current setup number
Go to Setup—selects setup
Sequencer function
Sequencer function
Sequencer function
Transpose Up (ST)
Transpose Down (ST)
Arpeggiator On (See
Arpeggiator Off (See
Mute Zone
Arpeggiator Order (See
Arpeggiator Beats
Arpeggiator Shift (See
Arpeggiator Shift Limit (See The Arpeggiator (ARPZON)
Arpeggiator Shift Limit Option (See The Arpeggiator
Controller Destination List (Continued)
7-24
Setup Mode
Controllers
156
157
158
159
160
165
166
167
168
169
161
162
163
164
Controller
Number
155
Corresponding
Destination
Name
ArpVel
ArpDur
Latch
Latch2
ArpGliss
SusLatch
Panic
SoloZn
RiffOn
RiffOff
Description
Arpeggiator Velocity (See
Arpeggiator Duration (See
Arpeggiator Latch (See
Arpeggiator Latch 2 (See The Arpeggiator (ARPZON)
Arpeggiator Gliss (See
Sustain and Arpeggiator Latch (See
Panic
Solo Zone
Riff On (See Riffs on page 7-46)
Riff Off (See Riffs on page 7-46)
Table 7-5
RiffVel
RiffDly
TapTempo
KB3Mutes
Riff Velocity (See Riffs on page 7-46)
Riff Delay (See
Tap Tempo
KB3 Mutes—in Setup Mode, values of 63 and below disable the mute buttons for KB3 programs in that setup, and a values above 64 enable them
Controller Destination List (Continued)
7-25
Setup Mode
Controllers
Continuous Controller Parameters
The continuous (physical) controllers are those that have a range of values: the two wheels, the optional ribbon controller, the nine sliders, the two Continuous Control pedals, the optional breath controller (the jack of which is connected to CC pedal 2), and mono pressure (aftertouch).
As the table on page 7-20 shows, all of them use the same parameters. Each parameter’s
function is described below.
Dest
Use this parameter to select a destination from the MIDI Controller Destination list (see
Scale
After you’ve selected a continuous physical controller, you can modify the controller’s response similarly to the ways you can modify velocity response. Refer to the graphs beginning on
page 7-11 for illustrations of the velocity scaling parameters.
Scale lets you amplify or diminish the action of the controller. Full scale is 100%. Higher values will make the controller more sensitive, and lower values will make it less so. Setting the scale to a negative number makes the controller action work in reverse. As with velocity, you can use a controller to crossfade between two zones by setting the scaling for one zone positive and the other negative. Maximum scale values are +300% and -300%.
Add
This adds or subtracts a constant to the controller, and at the same time sets minimum or maximum values (there’s no need for separate Max and Min parameters). If Add is 25, the minimum value of the controller will be 25. If it is -25 (and scale is 100%) the first one-fifth of the controller’s movement (25/127
≈ 1/5) will send value of 0, and the maximum value of the controller will be 102 (= 127-25). As with velocity, Scale is a proportional change to the controller, while Offset is a linear change. The values for Offset range from -128 to 127.
Curv
This lets you taper the controller response. The default setting is Linear, which means that the response follows a straight line as you move the controller.
Setting Curv to Expand produces a curve that is less steep than the linear curve at keystrike velocities below 64, and steeper than the linear curve at keystrike velocities above 64. In other words, when you’re playing softly, you’ll notice velocity differences less than with a linear curve, while when you’re playing hard, you’ll notice velocity differences more.
Setting Curv to Compress produces a velocity curve that is the opposite of the expanded curve—that is, you’ll notice velocity differences more when you’re playing softly than when you’re playing hard.
You can also create “reverse” versions of the three described curves. First, select your desired curve. Then set the Scale parameter to -100%, and set the Add parameter to 127. This makes the selected controller send a value of 127 when all the way down and a value of 0 when all the way up.
To get an idea of how these curves affect controller response, refer to the Velocity Curve charts,
7-26
Setup Mode
Controllers
Entry (Ent) and Exit Values
Entry value allows you to specify an initial value for a controller in a setup that will be sent whenever you select that setup. For example, if you want to make sure that all of the modulation in a zone is turned off when you select a setup, assign a physical controller to a destination of
MIDI 01 (MWheel) and set Entry Value to 0.
Entry values ignore the current position of the physical controller when the setup is selected. In fact, if the physical controller is above or below the entry value when the setup is selected
(which it often is), moving the controller will have no effect until it is past its entry value. In the modulation example above, moving the assigned controller won’t turn on any modulation until it’s pushed all the way down, and then up again.
An entry value of None is quite different from a value of 0. None means that there will be no initial controller command when the setup is selected, and any subsequent movement of the physical controller will be effective.
Exit Value tells the PC3 to send a value for that controller whenever you leave the setup, either by selecting another setup or by selecting a different mode altogether. It can be very useful when a controller is doing something to the sound, and you don’t want that effect to continue after you leave the setup. For example, if you want to make sure a zone’s pitch returns to normal whenever you leave a setup, you would set Exit Value to 64 for any controller whose Destination parameter is set to PitchUp. Again, None means no command is sent.
Switch Controller Parameters
Switch (physical) controllers have only two states: on and off. The PC3 switch controllers are:
• Panel Switches Arp and SW
• Footswitch Pedals 1, 2, and 3
• Programmable Switches 1–8 (Program Select buttons 1–8)
Keep in mind the following two things when working with the PC3’s switches. First, the buttons above the sliders are dedicated to zone status and muting, as well as sequencer muting, and are
not assignable controllers. Second, in Program mode, the Program Select buttons function as
program select buttons if none of them are assigned in the control setup; if at least one
Programmable Switch is assigned in the control setup, then the assigned Program Select buttons act as assigned, but none of the buttons function as program select buttons.
Switch Type (Type)
The parameters for switch controllers are slightly different from those for continuous controllers. The first parameter is Type. The choices available are Momentary in which a switch’s action lasts only as long as you are pushing it, and Toggle, in which the switch’s action lasts until you press it again.
Momentary mode is used for functions like sustain or portamento, while Toggle mode is used for functions such as arpeggiator on/off. The buttons show which mode they are in by the behavior of their lights: if a button is in Momentary mode, its light glows only as long as you are holding it, while if it is in Toggle mode, the light stays on until you press it again. Bear in mind that button assignments are independent per zone, and since there’s just a single light per button, the light shows the state of the button only for the current zone. When you press the button, however, it executes its assignments for all zones that use that button.
7-27
Setup Mode
Controllers
On Control (OnControl)
OnControl determines what MIDI Controller or other message will be sent when the switch is on—that is, either pressed and held or toggled from the off position. The list of available
controllers on page 7-21 is the same as for the continuous controllers, and can be accessed the
same way.
Off Control (OffControl)
OffControl determines what MIDI Controller or other message will be sent when the switch is off—that is, either unpressed or toggled from the on position. The list of available controllers on
page 7-21 is the same as for the continuous controllers, and can be accessed the same way.
OnValue
OnValue sets the value of the Controller when the switch is on. In the case of conventionally switched functions, such as sustain, the OnValue will be 127. (For example, the default for
Footswitch 1 is Controller 64 — Sustain — with an On Value of 127.) However, you might want to use a button or pedal as a “soft” switch, in which case you might set OnControl to 7 (Volume) and OnValue to 50, and OffControl to 7 and OffValue to 127. OnControl and OffControl can also both be set to Off, so that turning on the switch has no effect at all in this zone. This can be useful when you are using one switch for multiple functions in different zones.
OffValue
OffValue is the value of the Controller when the switch is off. The default value is 0. You might want to change this, as in the “soft switch” example above: in order to bring the zone up to full volume when you release the pedal, set OffValue to 127.
Entry (Ent) and Exit States
Entry State determines whether an initial setting for the switch will be sent when the setup is selected. There are three choices: None (no change), Off (the Off value), and On (the On value).
With a Panel Switch button, if the Entry State is On, the button will light as soon as you select the setup.
Exit State similarly determines whether a setting for the switch will be sent when you leave the setup, either for another setup or for Program mode. The same three choices (On, Off, and
None
) are available. This is very useful for turning off sustains when changing setups.
7-28
Setup Mode
The WHEEL Page
The WHEEL Page
The two wheels are typical of what is found on many keyboards. The left one is normally used for pitch bend and springs back to center, while the right wheel is normally used as a standard
Mod Wheel. On the Wheel page in the Setup editor, the pitch wheel has two parameters—one for pushing the pitch wheel up and one for pushing it down—whereas the mod wheel has one.
The WHEEL page parameters are described in Continuous Controllers on page 7-20.
Parameter
Destination (PWUp)
Destination (PWDn)
Destination (MWhl)
Scale
Add
Curve
Entry Value
Exit Value
Range of Values
Control Destination List
Control Destination List
Control Destination List
± 300%
-128 to 127
Curve List
None, 0 to 127
None, 0 to 127
Default
PitchUp
PitchDwn
MWheel
100%
0
Linear
None
None
7-29
Setup Mode
The SLIDER and SLID2 Pages
The SLIDER and SLID2 Pages
You can assign each of the PC3’s nine programmable sliders to a destination on each of the 16 zones. Or, you can assign any combination of sliders to the same zone, allowing you tremendous flexibility. For example, you can assign Sliders A and B to modulate pitch and volume on Zone 1, then assign Slider C to control panning on Zones 2, 3, and 10.
The SLIDER soft button gives you access to Sliders A–E. Press the SLID2 soft button to program
Sliders F–I. The SLIDER page parameters are described in Continuous Controllers on page 7-20.
7-30
Parameter
Destination (Slider A)
Destination (Slider B)
Destination (Slider C)
Destination (Slider D)
Destination (Slider E)
Destination (Slider F)
Destination (Slider G)
Destination (Slider H)
Destination (Slider I)
Scale
Add
Curve
Entry Value
Exit Value
Range of Values
Control Destination List
Control Destination List
Control Destination List
Control Destination List
Control Destination List
Control Destination List
Control Destination List
Control Destination List
Control Destination List
±300%
-128 to +127
Curve List (see text)
None, 0 to 127
None, 0 to 127
Default
Data
MIDI 13
MIDI 22
MIDI 23
MIDI 24
MIDI 25
MIDI 26
MIDI 27
MIDI 28
100%
0
Linear
None
None
Setup Mode
The Continuous Control Pedal (CPEDAL) Page
The Continuous Control Pedal (CPEDAL) Page
If you look at the back of the instrument, you will see that there are two jacks for plugging in two CC (Continuous Control) pedals and a jack labeled Breath Controller. Like the nine programmable sliders, you can assign these controllers on each of the 16 zones, or you can assign any combination of these controllers to the same zone.
The CPEDAL page parameters are described in Continuous Controllers on page 7-20.
Parameter
Destination (CPed1)
Destination (CPed2)
Destination (Breath)
Scale
Add
Curve
Entry Value
Exit Value
Range of Values
Control Destination List
Control Destination List
Control Destination List
± 300%
-128 to +127
Curve List (see text)
None, 0 to 127
None, 0 to 127
Default
Express
Foot
Breath
100%
0
Linear
None
None
7-31
Setup Mode
The Pressure (PRESS) Page
The Pressure (PRESS) Page
The PC3 features mono pressure, commonly called aftertouch on other keyboards.
A word about pressure: Key Range in a zone does not define which notes will generate pressure in that zone. If pressure is enabled in a zone, playing with aftertouch anywhere on the keyboard will produce data. For example, if Zone 1’s Key Range is C3–C5 and you play C2 and push down on the note, pressure messages will be sent from Zone 1. As with any other physical controller, however, you can disable pressure in any zone, or scale it or offset it differently in the various zones. It might help to think of pressure as an extra wheel—wheels operate in a zone regardless of Key Range, and so does pressure.
The PRESS page parameters are described in Continuous Controllers on page 7-20.
Parameter
Destination
Scale
Add
Curve
Entry Value
Exit Value
Range of Values
Control Destination List
± 300%
-128 to +127
Curve List (see text)
None, 0 to 127
None, 0 to 127
Default
MPress
100%
0
Linear
None
None
7-32
Setup Mode
The Footswitch Pages (FT SW1, FT SW2, FT SW3)
The Footswitch Pages (FT SW1, FT SW2, FT SW3)
On the back of the instrument, there are three jacks for Footswitch pedals.
All the foot switches in the default control setup are set to a switch type that doesn’t generate a note, and consequently the range of values for their respective Destination parameters is the
Control Destination list. There are three Footswitch pages, one for each Footswitch.
The FT SW page parameters are described in Switch Controllers on page 7-21.
Parameter
Type
On Control
On Value
Off Control
Off Value
Entry State
Exit State
Range of Values
Momentary, Toggle
Control Destination List
None, 0 to 127
Control Destination List
None, 0 to 127
None, Off, On
None, Off, On
Default
Momentary
Ft Sw1: Sustain
Ft Sw2: SostPd
Ft Sw3: SoftPd
127
Ft Sw1: Sustain
Ft Sw2: SostPd
Ft Sw3: SoftPd
0
None
None
7-33
Setup Mode
The Arpeggiator Switch (ARP SW) Page
The Arpeggiator Switch (ARP SW) Page
The PC3 keyboard offers two Panel switches, located above the pitch and mod wheels. The left switch is the Arp (short for “arpeggiator”) button. By default, the Arp switch functions as the arpeggiator switch, and toggles on and off the PC3 arpeggiator, but you can assign this switch to any Controller.
See The Arpeggiator (ARPZON) Page on page 7-38 for information on how to configure the PC3’s
arpeggiator.
The ARP SW page parameters are described in Switch Controllers on page 7-21.
Parameter
Type
On Control
On Value
Off Control
Off Value
Entry Value
Exit Value
Range of Values
Momentary, Toggled
Control Destination List
None, 0 to 127
Control Destination List
None, 0 to 127
None, Off, On
None, Off, On
Default
Toggled
ArpOn
127
ArpOff
0
None
None
7-34
Setup Mode
The SWITCH Page
The SWITCH Page
The right Panel switch is the SW button, located above the Modwheel. By default, this switch is assigned to MIDI29, but you can assign this switch to any MIDI Controller.
The SWITCH page parameters are described in Switch Controllers on page 7-21.
Parameter
Type
On Control
On Value
Off Control
Off Value
Entry Value
Exit Value
Range of Values
Momentary, Toggled
Control Destination List
None, 0 to 127
Control Destination List
None, 0 to 127
None, Off, On
None, Off, On
Default
Toggled
MIDI29
127
MIDI29
0
None
None
7-35
Setup Mode
The RIBBON Page
The RIBBON Page
The RIBBON page lets you define the controller assignment for the PC3’s ribbon controller. The optional Ribbon controller senses movement when you press on it and move your finger left or right; this creates numerous possibilities for controlling pitch, volume, panning, crossfades between zones, or any other uses you might imagine.
The optional Ribbon controller can be used as a single long controller, or it can be divided into three separate sections, each with its own controller assignments (this is done on the RIBCFG page). The two small arrows above the strip indicate the boundaries of the three sections. The large arrow above the ribbon points to the center of the ribbon, for when the ribbon is configured in one section.
Note that there are three assignable parameter groups on the RIBBON page. When the Ribbon is set to act as a single section controller, the only parameters that affect its behavior are those of
Section 1 (Sect1). When the Ribbon is set to act as a three-section controller, each parameter group affects only its respective Ribbon section.
To modify other ribbon parameters, go to the RIBCFG page, which is described on page 7-37.
The RIBBON page parameters are described in Continuous Controllers on page 7-20.
Parameter
Destination
Scale
Add
Curve
Entry Value
Exit Value
Range of Values
Control Destination List
± 300%
-128 to +127
Curve List (see text)
None, 0 to 127
None, 0 to 127
Default
MIDI21
100%
0
Lin
None
None
7-36
Setup Mode
The Ribbon Configuration (RIBCFG) Page
The Ribbon Configuration (RIBCFG) Page
Once you’ve selected a destination for the optional Ribbon controller, you can use the parameters on the RIBCFG page to define how the ribbons respond to finger position and pressure.
Parameter Range of Values
Ribbon Configuration
Position Mode
One Section, Three Sections
Relative, Absolute
Spring On, Off
Center0 to 127
Default
One Section
Relative
On
64
Ribbon Configuration
You can use the Ribbon as one controller, or divide it up into three smaller sections, each with its own controller assignments. Choose a value of One Section or Three Sections for the Ribbon
Configuration parameter. With Three Sections chosen, the page changes such that you can adjust the parameters of each section:
Position Mode (PosMode)
When you touch the ribbons, the PC3 responds in one of two ways, depending on the setting of the PosMode parameter. Relative means that wherever you touch the Ribbon becomes the “zero point” for whatever the Ribbon is controlling; you won’t notice any change in the sound until you slide your finger. Relative mode tends to be the most natural for performance—just wiggle your finger anywhere on the Ribbon to get vibrato in many factory programs and setups. You get the same effect no matter where you do the wiggling.
7-37
Setup Mode
The Arpeggiator (ARPZON) Page
Absolute
means that the zero point for the Ribbon is always at exactly the same physical location on the ribbon. By default this is the center of the Ribbon, although you can use the
Center parameter to put the zero point elsewhere. In Absolute mode, just touching the Ribbon affects the sound (unless you touch it at exactly the zero point). Every movement you make along the Ribbon sends control values based on how far you are from the zero point.
Spring
When Spring is On, the Controller to which you’ve assigned the Ribbon “springs” back to its zero point automatically when you lift your finger off the ribbon. This is generally the behavior you want.
When Spring is Off, the Controller to which you’ve assigned the Ribbon sticks at its current value when you lift your finger off the Ribbon. While this can be useful, you should be careful with it. When Spring is Off, if the Ribbon is doing something when you exit the setup, it’ll continue doing that when you return to the setup. This can be good or bad. If you want to set
Spring to Off in a setup, but want to be sure of the initial sound of the setup, go to the RIBBON page in the setup, and for each Ribbon for which you’ve set Spring to Off, set the entry value
(Ent) parameter to a value of 0 (or whatever you like).
Center
This defines the zero point for the Ribbon (or for each section on the Ribbon)—the point at which the Controller to which the Ribbon is assigned has no effect on the sound. You can choose any point between 0 and 127. A value of 64 puts the zero point in the physical center of the
Ribbon. Values of 0 and 127 place the zero point at the section’s extreme left and extreme right.
Note that setting the Spring parameter to Off disables the Center parameter for that ribbon.
The value you choose for this parameter can have considerable effect. In many factory setups, for example, the Ribbon affects pitch. In these setups, changing the value of the Center parameter would transpose the setup.
The Arpeggiator (ARPZON) Page
Each zone in a setup has its own Arpeggiator. Each Arpeggiator takes input from the PC3 keyboard (or via MIDI) and turns it into a constant rhythmic pattern. You can control the speed and nature of the pattern in real time. Arpeggiators resembles what were called “sequencers” on old analog synths—playing a finite series of notes repeatedly, with changes in the series controlled by the notes you play. Each Arpeggiator can affect both the PC3 and external MIDI instruments. The notes produced by the Arpeggiator in a given zone go to all of that zone’s destinations: local, MIDI, or both.
The concept behind the PC3’s Arpeggiators is fairly simple, although the options are extensive.
You might think of each Arpeggiator as a “note processor,” generating complex output from relatively modest input. You can select any number of notes for the input, and tell the
Arpeggiator to recognize and remember them. This is called “latching” the notes. The
Arpeggiator then processes them by playing them repeatedly, and/or transposing them up and down the keyboard. You have control over several processing parameters: velocity, order, duration, transposition, orchestration, whether the notes are played simultaneously, and whether the intervals between notes are filled chromatically. You can also tell the Arpeggiator how to deal with new information coming from the keyboard. The settings you define on the
ARPZON page apply to all zones for which arpeggiation is activated; you can program each zone individually to respond to or ignore the setup’s arpeggiation values.
7-38
Setup Mode
The Arpeggiator (ARPZON) Page
Parameter
Active
Low Key
High Key
Latch
Order
Beats
Duration
Note Shift
Shift Limit
Limit Option
Glissando
Velocity
Simultaneous
Range of Values
On/Off
C -1 to G9
C -1 to G9
Keys, Overplay, Arpeg, Add, Auto,
Pedals
Played, Upwards, Downwards, UpDown,
UpDown Repeat, Random, Shuffle,
Walking
Quarter Notes, 8th Notes, 8th Triplets,
16th Notes, 16th Triplets, 32nd Notes,
32nd Triplets
1% to 100%
± 88 Semitones
± 60
Stop, Reset, Unipolar, Bipolar, Float Res,
Float Uni, Float Bip
Off, On
Fixed, Played, Last, Bipolar, Aftertouch
Off, On
Default
Off
C -1
G9
Keys
Played
16th Notes
100%
0
24
Unipolar
Off
Played
Off
Active
The first parameter on the Arpeggiator menu is Active, which specifies whether or not the
Arpeggiator is on for the current zone. This parameter can be switched from the ARPZON page, or for real-time control, it can be switched on using Controller number 147 (ArpOn) and switched off using Controller number 148 (ArpOff); these Controllers can, of course, be assigned as the destination of a PC3 physical controller.
Turning Active on affects zones whose ZoneArpeg values are also set to On. By setting the
ZoneArpeg parameter (on the CH/PRG page) to Off or On in the individual zones of a setup, you can choose which zones will be controlled by the Arpeggiator when it is on.
Low Key (LoKey) and High Key (HiKey)
The Arpeggiator processes notes within the range of these parameters. Notes outside the specified range play normally, and do not become part of the arpeggiation sequence. Set the
LoKey and HiKey parameters using the data entry wheel or buttons.
7-39
Setup Mode
The Arpeggiator (ARPZON) Page
Latch
Latch determines how the Arpeggiator responds to notes when they are triggered.
Keys
means that the Arpeggiator plays only while you are holding one or more keys down (or note triggers on). As you play different notes, they get added to the Arpeggiator, and as you release notes, they get taken out. If you play notes faster than the Arpeggiator’s current tempo, each subsequent note will be added to the arpeggiation at the next division of a beat. This can cause a lag between the time you play the note and the time you hear it in the arpeggiation.
In the next three modes, the Arpeggiator latches notes only when MIDI Controller 157 (Latch) sends a value of On (64 or higher). An easy way to experiment with these modes is to assign the
Mod Wheel to send MIDI 157.
In Overplay mode, the Arpeggiator latches any notes that are being held when Latch turns on, and continues playing them, even after you let them go, until Latch turns off. Any notes that you play after Latch is already on do not get arpeggiated, even if they’re in the arpeggiation range.
Arpeg
is similar: any notes held when Latch goes on are latched and arpeggiated, and keep going until Latch goes off. Any notes you play outside the arpeggiation range play normally.
Notes that you play inside the arpeggiation range do not play normally; rather, if you hold them on, they become part of the arpeggiation. They drop out of the arpeggiation as soon as you release them.
Like Overplay and Arpeggiation, Add means that all notes being held when Latch goes on get latched, and keep playing until Latch goes off (even if you’ve released the notes). Any notes you play after Latch is already on also get latched.
Auto
is independent of Latch; every note you play is automatically latched, and the Arpeggiator runs as long as you hold at least one arpeggiated note. As long as you keep holding on at least one note (it doesn’t have to be the same note the whole time), every note you play in the arpeggiation range gets latched.
Pedals
is sort of a combination of Keys, Add, and Overplay modes. It relies on both Latch (MIDI
157) and Latch2 (MIDI 158). If neither latch controller is on, notes will arpeggiate only while you are holding down keys (similar to Keys mode). If you activate Controller 158, the keys currently held down will latch, and any additional keys played while Controller 158 is on will also latch
(similar to Add mode). When Controller 158 is off, any keys that are not currently held down will be removed from the arpeggiation. If you activate Controller 157, keys currently held down will latch, and any additional keys played while Controller 157 is on will play normally (similar to Overplay mode). This mode is called Pedals mode because you might want to assign
Footswitch 1 to Latch (Controller 157) and Footswitch 2 to Latch2 (Controller 158) to make the pedals function similarly to sustain and sostenuto pedals. Additionally, you could assign one
Footswitch to SusLatch (Controller 160)—doing this makes the Footswitch act as a sustain pedal when Arp is off, and as a Latch pedal when Arp is on.
You can use the Panic soft button to stop arpeggiation at any time.
Order
This parameter determines the order in which the PC3 plays arpeggiated notes. Played causes them to play back in the chronological order in which you played and latched them. Upwards means that notes play in ascending pitch order, regardless of their chronological order.
Downwards
means descending pitch order. UpDown causes notes to play from lowest pitch to highest, then from highest pitch to lowest, repeating the cycle until you stop the arpeggiation.
The notes at the very top and very bottom only play once. UpDown Repeat is similar to
UpDown
, except that the notes at the top and bottom play twice (repeat) when the Arpeggiator reverses direction.
7-40
Setup Mode
The Arpeggiator (ARPZON) Page
Random
plays the currently latched notes in completely random order. Shuffle plays them at random, but keeps track of the notes so that no note repeats until all of the others have played.
Walk
is a “random walk” order: each successive note is either the next or previous note (in chronological order). For example, suppose you’ve latched four notes—G 4, B 4, D 5, and F 5— in that order. The first note the Arpeggiator plays is the G 4. The second note will be either B 4
(the next note chronologically), or F 5 (the “previous” note chronologically—that is, the last latched note). If the second note is B 4, the third note will be either D 5 or G 4. If the second note is F 5, the third note will be either G 4 or D 5.
Beats
The Beats parameter sets the number of notes per beat. The tempo is based on quarter notes.
Therefore, if you set it to 1/4, you will get one note per beat of the clock. At 1/16, you will get
4 notes per beat, and so forth.
Duration
Duration determines how long each arpeggiated note plays. 100% means that a note sustains until the next one sounds—very legato. 50% means that the note fills half the space between itself and the next note. The lowest value is 1%—stacattissimo. This parameter has no effect on percussion sounds or other sounds whose duration is fixed.
Note Shift
You can tell the Arpeggiator to transpose all of the currently latched notes each time it plays through them. Note Shift determines how much transposition will occur for each cycle of notes.
For example, if you have latched C4 and F4, and you assign a Note Shift of 2, the Arpeggiator will play C4, F4, D4, G4, E4, A4, and so on until it reaches the Shift Limit. The values can range from -88 to 88, with 0 (the default) being no transposition.
Shift Limit
Shift Limit determines how far up or down the Arpeggiator shifts from the original note. The minimum value is -60, and the maximum is 60. When the Arpeggiator reaches the limit, the
Arpeggiator responds according to the setting for the Limit Option parameter.
Limit Option
This parameter determines what the Arpeggiator does when it has shifted the currently latched notes up (or down) to the shift limit. Stop causes the Arpeggiator to stop when it reaches the shift limit. Reset causes the Arpeggiator to return to its original pitch and repeat the latched cycle of notes, transposing each cycle according to the settings for Note Shift and Shift Limit. If the limit allows the notes to go out of MIDI range (for example, if you set Shift to 12, set the limit to 60, and play C6), then those “ghost” notes don’t sound, but they take up rhythmic space: the
Arpeggiator waits for the cycle to play itself out before starting over.
7-41
Setup Mode
The Arpeggiator (ARPZON) Page
Unipolar
means that after playing up to the shift limit, the Arpeggiator begins shifting notes in the opposite direction, until it reaches the original pitch, where it reverses again. To determine the next note when it reaches the shift limit, the Arpeggiator calculates the interval between the shift limit and what the next note would be if the shift limit weren’t there. It then plays the note that is the calculated interval lower than the last note before the shift limit. The same thing happens in reverse when the arpeggiated notes get back down to the original pitch. The following table makes this easier to visualize by showing the result of arpeggiating one note
(C4) in Unipolar mode, with Note Shift set to 3 ST and various values for Shift Limit.
Shift Limit
6 ST (F#4)
7 ST (G4)
8 ST (G
#
4)
9 ST (A4)
10 ST (A#4)
11 ST (B4)
12 ST (C5)
Resulting Arpeggiation (When LimitOption is Unipolar)
Up Down Up
C4, D
#
4, F
#
4,
C4, D
C4, D
C4, D
#
#
#
C4, D
#
4, F
4, F
4, F
#
#
#
4, F
#
4,
4,
4, A4
4, A4,
C4, D
#
4, F
#
4, A4,
C4, D
#
4, F
#
4, A4, C5,
D
#
4, C4
E4, C
#
F4, D4,
F
#
4,
4, D
#
4, C4,
G4, E4, C
#
4,
G
#
4, F4, D4,
A4, F
#
4, D
#
4, C4,
D#4, …
D
D
#
#
4, …
4, …
D#4, …
D
#
4, …
D
#
4, …
D#4, …
Comment
Same notes play in both directions when Shift Limit is a multiple of
Note Shift
Last upward note before shift limit is
F#4, next upward note would be
A4, which is 2 ST from shift limit
(G4); therefore first downward note is E4 (2 ST below last upward note)
A4 is 1 ST from shift limit, therefore first downward note is F4 (1 ST lower than last upward note)
All symmetrical again; now A4 is within shift limit
Next upward note would be C5, which is 2 ST from shift limit
C5 is 1 ST from shift limit
Symmetrical again, including C5
Bipolar
starts out the same way as Unipolar, but during downward note shifting, it continues past the original pitch until it hits the shift limit in the opposite direction, where it reverses again.
Float Res
adds a bit of apparent randomness to the process. “Float” means that when the
Arpeggiator reaches the shift limit, it resets—but not to its original pitch as with plain Reset.
Like Unipolar and Bipolar, it looks at the first note that would exceed the shift limit, and calculates the interval between that note and the shift limit. It then restarts the cycle of latched notes, transposing the entire cycle by the interval it just calculated, then shifting each subsequent cycle by the value of Note Shift, until it reaches the shift limit again.
Here’s a very simple example. Suppose that the only note in the Arpeggiator cycle is C4, Note
Shift is 4 (a third), and Shift Limit is 7 (so notes won’t get shifted above G4). The Arpeggiator plays C4, then E4. The next note should be G
#
4, but that’s above the shift limit—so the PC3 calculates the difference between that G
#
4 and the shift limit (G4): one semitone. It adds that difference to the original starting note (C4) and plays that note next—C
#
4. The next note (F4) is within the shift limit, but the next note (A4) isn’t, so it gets translated into D4—and so on.
Float Uni
uses the same concept and applies it to Unipolar mode: when the Arpeggiator reaches the shift limit, it calculates the difference between the next note and the limit, and transposes the next cycle of notes down by that interval, then shifts each subsequent cycle down until it reaches the original pitch. Float Bip is similar to Float Uni, but the downward shift limit isn’t the original pitch, it’s the negative of the Shift Limit value.
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Setup Mode
The Arpeggiator (ARPZON) Page
The Arpeggiator can be a lot of fun, even if you don’t always understand exactly what it’s doing.
Keep in mind that the stranger the algorithm you set up, the more unlikely the notes will stay close to one key, so if you want to create something that’s going to sound at all diatonic, keep it simple.
Glissando
When the Glissando parameter is On, the Arpeggiator chromatically fills between latched notes.
When Glissando is on, the Arpeggiator ignores the Note Shift, Shift Limit, and Limit Option parameters.
You must latch at least two notes to get a result. When Glissando is on, all notes played in the arpeggiation range get latched, although you won’t necessarily get meaningful results from all latched notes. In general, try to get each subsequent note you latch to be a change in direction.
For example, try latching the following sequence of notes: C4, C5, G4, G5, C5, C6, G4, G5. The
“glissando” changes direction around each change in direction of the latched notes.
Velocity
Velocity sets the attack velocity of the played notes. With Velocity set to Fixed, all notes play with the same velocity. The default Fixed velocity is 127, but you can control this velocity amount in real-time by assigning a controller to ArpVel (see the following paragraph for more information on ArpVel). With Velocity set to Played, each note repeats with the same velocity you played it at. With Velocity set to Last, all notes play at the velocity of the most recently played note. With Velocity set to Pressure, the velocities are controlled by keyboard pressure: as you push down on any key, the velocities get higher, and as you ease up they get lower.
There’s another element that affects arpeggiator velocity: ArpVel, whose Control number is 155.
Input from any physical controller assigned to send ArpVel (or any entry value for a controller assigned to send ArpVel) overrides the programmed value of the Velocity parameter, disabling it until you select a setup (or in Program mode, until you select a control setup on the MIDI-mode
TRANSMIT page).
Simultaneous
Setting the Simultaneous parameter to On makes the Arpeggiator latch each note you play and repeat it in time with the Tempo value, sort of like a digital delay with no decay. If you play a C and hold it while you play an E and a G, the Arpeggiator will play all three notes at the same time and at the same tempo. Note that Simultaneous works well with Note Shift and Shift limit.
Real-time Control of Arpeggiator Parameters
You can have real-time control over several arpeggiator parameters, by assigning physical controllers to special arpeggiator Controller Destinations. Any input (or entry value) from a physical controller assigned to an arpeggiator Controller Destination overrides the programmed values for the parameters. The override remains in effect until you select a setup (or in Program mode, until you select a control setup on the MIDI-mode TRANSMIT page).
Controller
150 ArpOrder
151 ArpBeats
152 ArpShift
153 ArpLimit
Corresponding ARPZON Parameter
Order
Beats
NoteShift
ShiftLimit
7-43
Setup Mode
The COMMON Page
Controller
154 ArpLmtOp
155 ArpVel
156 ArpDur
159 ArpGliss
Corresponding ARPZON Parameter
LimitOption
Velocity
Duration
Glissando
The COMMON Page
The COMMON page contains parameters that effect every zone in the current setup.
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Parameter
Tempo
Clock Source
Arpeggiator Global
Arpeggiator Sync
Aux FX Channel
Mutes
KB3 Channel
Range of Values
20 to 120
Internal, External
Off, Arp 1 to 16
Not in Sync, Sync Mode
1 to 16
Zone Mutes, KB3 Control
1 to 16
Default
120
Internal
Off
Not in Sync
1
Zone Mutes
1
Tempo
When Clock Source is set to Internal, the Tempo parameter sets the PC3 system’s tempo. The
Tempo parameter values are in units of bpm (beats per minute).
Clock Source
With the Clock Source parameter, you can set the PC3—within the current setup—to generate its own tempo by setting Clock Source to Internal, or you can set the PC3 to sync up with the tempo from another device—assuming the device is sending MIDI clock data to the PC3 via
MIDI or USB—by setting Clock Source to External. When Clock Source is set to External, the
Tempo parameter disappears from the display.
Setup Mode
The COMMON Page
Arpeggiator Global (ArpGlobal)
With the ArpGlobal parameter, you can set each zone’s Arpeggiator to act as if they all have the same parameters on the ARPZON page. In addition to OFF, there are as many ArpGlobal setting as there are zones in the current setup. For example, in a seven-zone setup, you can select a value of OFF, or Arp 1–7 for ArpGlobal. The number of the ArpGlobal setting indicates which zone’s Arpeggiator is being globalized. Thus, in this same seven-zone setup, with ArpGlobal set to Arp 4, all seven zones will behave as specified by the ARPZON page parameters for zone 4.
Arpeggiator Sync (ArpSync)
Setting ArpSync to Sync Mode allows you to arpeggiate across zones boundaries. There are two important points to keep in mind when using Sync Mode:
• Make sure that the ARPZON keyranges of each zone that you want to sync cover the entire keyboard, rather than covering the range of the current zone. If the ARPZON keyranges do not coincide, then playing keys in separate zones will sound no different from having
ArpSync set to Not in Sync.
• For “regular” arpeggios, make sure the Beats parameter settings on the ARPZON page of each zone that you want to sync are the same. Different Beats values result in irregular—but potentially very interesting—arpeggios.
Aux FX Channel
The Aux FX Channel determines the FX channel through which all of the zones in the current setup are sent. For example, if a zone 2 in a setup has a program with 25 Basic Delay 1/8 as an
Aux FX, and is assigned to channel 5, then setting the Aux FX Channel to 5 sends the programs of all of the zones in the setup through zone 2’s Program’s Aux FX (i.e., through 25 Basic Delay
1/8
).
Mutes
The Mutes parameter gives you manual control over the behavior of the buttons above the programmable sliders. There’s really only one case in which you’d need to worry about this parameter: when you have a setup that contains both VAST programs and a KB3 program, and you want the buttons to control KB3 features.
By default, the PC3 uses the Mute buttons (the buttons above the sliders on keyboard models) to control the muting and unmuting of zones—which means you don’t have real-time control over any KB3 features. Change the Mutes parameter to KB3 Control to use the Mute buttons as realtime KB3 controllers. The white labeling above the buttons describes their functions.
7-45
Setup Mode
Riffs
KB3 Channel
With this parameter, you can specify the KB3 channel in the current setup. Note that if you assign a KB3 program to a zone not assigned to the KB3 channel, the PC3 will notify you on the
CH/PRG page.
For setups with KB3 and VAST programs, you can program a switch to toggle back and forth between having the sliders and mute buttons function as they would with KB3 programs, and having the sliders and mute buttons function as they would with VAST programs. In the Setup editor, go to the COMMON page and set the Mutes parameter to KB3 Control. Now pick a switch—say SW, which is right next to the Arp button. Go to the SWITCH page (or corresponding editor page for whatever switch you choose), and set OnControl to KB3Mutes
(enter 169, or scroll to the end of the Controller List). Do this for all zones in the setup. Now when you can toggle back and forth between having drawbars or having sliders work on the non-KB3 sounds.
See Chapter 6 for more information on the KB3 channel.
Riffs
Riffs are full songs or individual tracks of a song created in the PC3 sequencer that you can trigger in setup mode. Standard MIDI files may also be imported to the sequencer and then used as riffs in setups. Every zone in a setup can have it's own riff—a completely independent sequence.
To use riffs, create a setup. Note the location of the song, section of song and track that you will use for your riff. You will need to choose the program you want to use for your riff in each zone of your setup on the CH/PRG page. Program changes that are recorded in song mode will be ignored when using the song as a riff in a setup. You can also set up the playback event filter in the sequence to ignore other types of events as well.
Once you have selected your program, press the more soft button until you get to the RIFF1 and
RIFF2 pages. The following sections describe the contents of these pages.
The RIFF1 Page
The first Riff page appears as shown below, and has the following parameters:
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Parameter
Riff
Song
Range of Values
Off, On
Song List
Default
Off
-1 None
Setup Mode
The RIFF1 Page
Parameter
Trigger
(HiKey)
(LoKey)
(HiKey)
(LoKey)
Release
Loop
Local
Sync Zone
Sync Type
Range of Values
C -1 to G9
C -1 to G9
C -1 to G9
C -1 to G9
Off, On
Off, On
First Avail., Zone 1 to Zone 16
None, DownBeat, AnyBeat,
DownBeatWait, AnyBeatWait
Default
C -1
G9
C -1
G9
Off
Off
First Avail.
None
Riff
Setting the Riff parameter to On will enable the riff feature for the current zone in setup mode.
Setting this parameter to Off will disable the riff for this zone.
Song
Select the song you wish to use in the Song parameter by using the Alpha Wheel, -/+ buttons, or the alpha numeric keypad. You can select tracks, and start and stop times on the RIFF2 page.
Trigger
There are a few ways to trigger riffs in setup mode. Any physical controller can be assigned to
RiffOn
from the mod source list. You can also use the keys on the keyboard to set a trigger range.
To set the key/key range to trigger your riff, select the first value of the trigger parameter. Now you can select the key number by scrolling the alpha wheel, or you can use intuitive entry by pressing and holding the enter button on the alpha numeric keypad and pressing the desired key on your keyboard. You will see this value change as you press a key.
Next, move your cursor to the right to highlight the second field of the trigger parameter. Select a key value for the end of the key range. If you want to have only one key start a riff, set the
Trigger key range from A#0 to A#0, and your riff will be triggered to start only by pressing the
A#0 key. If you want your trigger key range to be larger, set your Trigger key range to be, for instance, A#0 to A#1. Now any key that is pressed within this range will trigger your riff to start.
Note:
the LoKey and HiKey values on the KEYVEL page do affect the riff. If your riff's trigger and release notes are not within the LoKey and HiKey range on the KEYVEL page, your riff will not be able to be triggered from the keyboard.
Release
The way you release riffs is analogous to the way you trigger them. You can assign a physical controller to RiffOff, or you can select a key or key range with the Release parameter. You set this the same way that you set the trigger range. Move your cursor so that the first field of the
Release parameter is highlighted. Now select a key value by using the alpha wheel, increment/ decrement buttons or intuitive entry. Move your cursor to the second field and repeat the process. If you set both of the Release values to A0, the Riff will stop when you release A0.
7-47
Setup Mode
The RIFF1 Page
So, if you use the settings described above and in Trigger, you setup’s riff will start when you press A#0, and it will stop when you press and release A0.
Note:
the LoKey and HiKey values on the KEYVEL page do affect the riff. If your riff's trigger and release notes are not within the LoKey and HiKey range on the KEYVEL page, your riff will not be able to be triggered from the keyboard.
Loop
If you want your riff to loop indefinitely, set this parameter to On. If you want to have it play once and then stop until you retrigger it, set this parameter to Off.
Local
If you want to trigger your riff without playing the current zone’s program, set Local to Off.
With Local set to On, you will play the current zones program any time a key is pressed. This could create undesired “grace notes” if you trigger a riff that has a downbeat at the same time you are playing a note.
SyncZone
The SyncZone parameter determines which zone a riff will sync to. You can choose a specific zone by setting SyncZone to Zone 1–16, and the current riff will always sync to that zone. For example, if you have a drum riff in zone 1 and a bass riff in zone 2, you may always want the bass riff in zone 2 to sync to the drum riff in zone 1. In this case you would set the bass riff
SyncZone to Zone 1.
You may want to have a little more freedom and not be tied to the drum riff as the main
“timekeeper.” Maybe you want to start with the bass riff and have the drum riff start later. In this case you would set SyncZone to First Avail. With this setting, the riff will look for the first available riff to sync to. So if both the drum riff and the bass riff have this parameter set to First
Avail.
, the riff that is started first will be the master. If the bass riff starts first, the drum riff will see that as the first available riff to sync to and will do so. If the drum riff is started first, the bass riff will see that as the first available riff to sync to and will do so. If you have multiple riffs already
playing, triggered riffs (with SyncZone set to First Avail.) will sync to the lowest index riff—i.e., the riff
of the lowest numbered zone—that is playing. This can be very handy if you have multiple riffs and
want to do some live remixing; you could have the drums drop out, and—as long is there is a riff playing—they will sync back up when triggered again.
SyncType
The SyncType parameter allows you to choose how your riff will sync to other riffs.
With SyncType set to None, your riff will start playing as soon as it is triggered. It will not sync to any other zone. With SyncType set to DownBeat, if there is already a riff playing, the current riff will wait for the downbeat of the next measure before starting; so, you can trigger the riff to start ahead of time, and have it start in sync at the downbeat of the next measure. With SyncType set to AnyBeat, if there is already a riff playing, the riff will wait only until the next beat.
Depending on when you trigger the riff, it will sync up, but it may be on an upbeat or a downbeat.
With SyncType set to DownBeatWait, the riff will wait for the downbeat of the next measure to start. The difference from DownBeat is that if there is no riff to sync to, the riff will not start. This can be useful if you want to start multiple riffs synced to one riff. You could have a bass riff set to
DownBeatWait
, for instance, and trigger the riff while no other riffs are running. As soon as you start another riff, the bass riff will start playing as well (provided that it is set to sync to another
7-48
Setup Mode
The RIFF2 Page
zone or to the first available zone). If another riff is already running, DownBeatWait behaves just like DownBeat.
With this SyncType to AnyBeatWait, the riff will wait for the next beat to start. The difference from AnyBeat is that if there is no riff to sync to, this riff will not start. This can be useful if you want to start multiple riffs synced to one riff. You could have a bass riff set to AnyBeatWait, for instance, and trigger the riff while no other riffs are running. As soon as you start another riff, the bass riff will start playing as well (provided that it is set to sync to another zone or first available). If another riff is already running, AnyBeatWait behaves just like AnyBeat.
The RIFF2 Page
The second Riff page appears as shown below, and has the following parameters:
Parameter
Link
Re Channel
Transpose
Root Note
Duration
Tick Offset
Tempo BPM
Source Track
Start
Stop
(Bar)
(Beat)
(Tick)
(Bar)
(Beat)
(Tick)
Velocity
Range of Values
Off, On
Off, On
Off, On
C -1 to G9
1 to 1000%
Sequence, Setup,
External, 20 to 400
ALL, 1 to 128
1 to 4
0 to 959
1 to 4
0 to 959
0 to 255%
Default
Off
Off
Off
C4
100%
0
Sequence
ALL
0
0
100%
7-49
Setup Mode
The RIFF2 Page
Link
The Link parameter allows you to have a riff play only while a key is pressed. Set the Trigger and Release ranges, and any key that is pressed and held within this range will play the selected riff. Release the key and the riff will stop. Playing any other key in this zone—even if they are within the Trigger or Release ranges—will not retrigger or stop the zone’s riff.
Re Channel
Use the Re Channel parameter when the current zone’s MIDI channel and the channel that the riff was recorded on are not the same. If you want to use a riff on zone 2/MIDI channel 2 and the riff was recorded on track 4/MIDI channel 4, you will need to turn Re Channel on. Note that all of the tracks on the sequence will play through the MIDI channel of the current zone.
Transpose/Root Note
With the Transpose parameter set to On, the riff will transpose to the value set in the Root Note parameter. So, if you have a riff whose root note is C4, you can set a new root note in the setup so that the riff will play in the correct range. In this scenario, if you want to trigger your riff from
C1 but it was recorded at C4, you would set Transpose to On and Root Note to C1. Your riff will now play in the desired range when triggered from the C1 key, which now corresponds to the note C4.
Duration
Duration changes the duration of each MIDI note. The percentage is that of the original duration of the notes in the sequence.
TickOffset
You can fine tune the start time of your riff by using the TickOffset parameter. A positive value will delay the start time, while a negative value will speed up the start time.
Tempo BPM
The are four choices here that will determine what controls the tempo of your riff. With Tempo
BPM set to Sequence, the original tempo in which the riff was recorded will be used. With
Tempo BPM set to Setup, the tempo set on the COMMON page will be used. This is useful if you want to sync the riff and the arpeggiator. With Tempo BPM set to External, the riff will sync to external MIDI clock.
You can also manually choose a tempo by selecting a value from 20 to 400 for Tempo BPM.
SrcTrk
The SrcTrk parameter determines the source track of the riff. Along with the Start and Stop parameters, SrcTrk allows you to use a single sequence as a riff for many zones, and to select a different source track and Start/Stop parameter setting for each zone to avoid having to create a special sequence for each riff.
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Setup Mode
The RIFF2 Page
Start
Use the Start parameter to specify the riff start point. The time format is Bar : Beat : Tick. Beat can be set from 1 to 4. Tick can be set from 0 to 959. Since there are 960 possible start points within a beat, you can specify your riff to start on any common beat subdivision moments (and a few uncommon ones). The following Tick values correspond to the following beat subdivision moments:
Beat Subdivision
Quarter note
8th note
8th note triplet
16th note
16th note quintuplet
16th note triplet (sextuplets)
Table 7-6
Subdivision Values
Beat Subdivision
Moment
3rd
4th
5th
1st
3rd
4th
1st
2nd
2nd
3rd
4th
5th
6th
2nd
3rd
1st
2nd
1st
1st
2nd
1st
384
576
768
0
480
720
0
192
160
320
480
640
800
320
640
0
240
0
0
480
0
Tick Value
Stop
Use the Stop parameter to specify the riff stop point. Like the Start parameter, the time format for Stop is Bar : Beat : Tick. Beat can be set from 1 to 4. Tick can be set from 0 to 959. Refer to
The PC3 restricts the selectable values for the Stop parameter such that the current riff is at least one beat long.
7-51
Setup Mode
The FX Pages: FX, AUXFX1, AUXFX2, and MASTFX
Velocity
This parameter allows you scale the value of the velocities that were recorded in the sequence by values from 0% to 255%.
The FX Pages: FX, AUXFX1, AUXFX2, and MASTFX
The four Setup mode FX pages—FX, AUXFX1, AUXFX2, and MASTFX—work the same way as the Effects mode pages—CHANFX, AUXFX1, AUXFX2, and MASTER. See the Effects mode chapter for information on editing these pages.
The Programmable Switch Pages: SWPRG1 to SWPRG8
The PC3’s eight Programmable Switches are the eight Program Select buttons located above the program Category buttons. Each button has its own SWPRG page, but each page is essentially identical.
The SWPRG page parameters are described in Switch Controllers on page 7-21.
Parameter
Type
On Control
On Value
Off Control
Off Value
Entry Value
Exit Value
Range of Values
Momentary, Toggled
Control Destination List
None, 0 to 127
Control Destination List
None, 0 to 127
None, Off, On
None, Off, On
Default
Toggled
OFF
None
OFF
None
None
None
7-52
Setup Mode
The Utility Soft Buttons
The Utility Soft Buttons
In addition to the Setup Editor’s pages, there are basic library and editing soft buttons. Their functions are described below.
Name
This enables you to rename the current setup. Use any data entry method to do this, including the letters on the alphanumeric buttonpad.
Save
Pressing Save calls up the standard Save Dialog. Simultaneously pressing the Plus and Minus data entry buttons toggles between saving the setup to the first available empty location, or replacing a currently existing setup.
Delete
This erases a setup from memory, freeing up space to store setups in other locations. (You can check the free memory in the PC3 at any time, on the top line of the Master-mode page.) Press
Delete
, and use a data entry method to choose which setup you want deleted. Press Delete again, and an “Are You Sure?” message will appear (unless you have set a value of No for the
Confirm parameter on the Master mode page). Press Yes to delete the setup, or No to cancel.
As with programs, setups can be saved to and deleted from memory only. The names of all setups in RAM have an asterisk (*) next to them. If you try delete a setup from ROM, the PC3 will ignore the delete command, and the setup will remain in memory.
Dump
This sends a MIDI System Exclusive dump of the current setup’s settings. There is also a function for dumping all setups. To dump all setups, go to Master mode. Select the OBJECT page, and press the Dump soft button to select which objects to dump via SysEx.
New Zone (NewZn)
Press NewZn to create a new zone with default parameters. The PC3 imports this zone from
Zone 1 of 128 Default Setup. If there are parameters or entire pages you use often, you can create your own Default Setup and save it to location 128; pressing NewZn will then import zones from your custom Default Setup.
Duplicate Zone (DupZn)
This adds a new zone with the same parameters as the current zone.
Import Zone (ImpZn)
You can import, or “bring in,” any zone from any setup in memory. Press ImpZn, and use any data entry method to choose a setup to import from. Then use the Chan/Layer buttons to select one of that setup’s zones. Now press Import, and the zone you selected will be added to the current setup.
Note: If you are using all 16 zones in a setup and you try to add, duplicate, or import a zone, a
“No More Zones” message appears. You must delete an existing zone before you can add, duplicate, or import any new ones.
7-53
Setup Mode
The Utility Soft Buttons
Delete Zone (DelZn)
This deletes the current zone from the setup. Use DelZn to free up zones so you can add or import new ones.
7-54
Quick Access Mode
Chapter 8
Quick Access Mode
In Quick Access mode, you can select programs or setups with a single press of an alphanumeric button (or with other data entry methods). The PC3 offers a number of ways to quickly make selections while performing, but only Quick Access mode lets you store programs and setups together for instant access. On the PC3, we included several factory preset QA banks that are organized into useful groupings of sounds that we think you’ll find convenient. Below is the QA page:
The top line of the page—from left to right—displays you the current mode, the current QA bank, and the Locked status of the current QA bank. The word “LOCK” displayed in the upper right-hand corner of the screen indicates that the current QA bank is locked—more on locked
QA banks in Locking the Current QA Bank.
Using Quick Access mode involves selecting Quick Access (QA) banks from the list of factory preset or user-programmed banks. You can use the bank selection shortcut to do this: press the
+/–
or Clear button on the alphanumeric pad, and you’ll be prompted to enter a bank number.
Type the desired number on the alphanumeric pad, then press Enter. The bank is selected, and you return to the Quick Access mode page. Or use the Chan/Layer buttons to scroll through the
QA banks.
8-1
Quick Access Mode
Making Your Own QA Banks
Each bank contains ten memory slots, or entries, where you can store programs or setups in any combination. Any program or setup in the currently selected bank can be selected with the numeric buttons 0 through 9.
If the highlighted entry contains a program, the bottom right-hand field of the page displays the channel on which the program entries are transmitted (this channel is the current channel in
Program mode). If the highlighted entry contains a setup, the bottom right-hand field of the page displays the word “Setup.” You can specify the channel for the program entries without exiting
QA mode by using the Category Select buttons, which correspond thusly:
1 Piano 1
5 Pop Keys
9 Strings
13 Guitar
2 Piano 2
6 Clavier
10 Voices
14 Bass
3 E Piano 1
7 Organ
11 Synths
15 Drums
4 E Piano 2
8 Brass
12 Pads
16 Percussion
The MIDI Program Change commands that the PC3 receives when in Quick Access mode can differ from those in Program or Setup mode. This depends on the setting you have for the
PrgChgMode parameter on MIDI mode RECV page. If PrgChgMode is set to Extended or
K2600
, the PC3 responds to Program Change commands as it would in Program or Setup mode.
If PrgChgMode is set to QAccess, the PC3 responds to Program Change commands by calling up the corresponding entry in the current QA bank, not the actual program number of the entry.
Making Your Own QA Banks
On any unlocked QA bank, you can change the object of the highlighted entry by using the
Alpha Wheel or +/- buttons, and you can change the object-type of the highlighted entry by pressing the Type soft button.
To save changes made to a QA bank, press the QckSav soft button; this calls up the “Save QA
Bank” dialogue. Note that if no changes have been made to the current QA bank, pressing the
QckSav
button will not call up the “Save QA Bank” dialogue, but will inform you that no changes have been made the current QA bank.
Locking the Current QA Bank
As described above, on any unlocked QA bank, you can change the object of the highlighted entry by using the Alpha Wheel or +/- buttons, and you can change the object-type of the highlighted entry by pressing the Type soft button. This main-page editing feature is useful for quickly configuring a QA bank; however, during a live performance situation, you may want to safeguard against any accidental, potentially catastrophic QA bank entry changes by locking your QA bank. Locking the QA bank makes it such that it can only be edited via the Quick
Access editor. (more on this in the following section).
To lock the current unlocked QA bank, enter the QA editor by pressing either the Edit button or the EDIT soft button. The right-most soft button is the Lock soft button; press it, and you’ll notice that the word “LOCK” appears in the upper right-hand corner of the screen. The current
QA bank is now locked. When using a locked QA bank, the Alpha wheel, +/- buttons, and Type soft button have no effect on the QA bank’s entry object assignments. Instead, the Alpha
Wheel—along with the alphanumeric pad—selects the current entry (along with the alphanumeric pad).
To unlock the current locked QA bank, in the QA editor, press the Lock soft button; you’ll notice that the word “LOCK” disappears from the upper right-hand corner of the screen.
8-2
Quick Access Mode
Making Your Own QA Banks
The QA Editor
The only way to edit a locked QA bank without unlocking it is through the QA editor. though you can use the QA editor to edit both locked and unlocked banks. To enter the QA editor, press either the Edit button or the EDIT soft button, and you enter the editor, where you can examine each entry in the currently selected bank.
The top line gives you the usual mode reminder, the current QA bank, and the current entry. The cursor highlights the object (program or setup) that’s stored in the current entry.
Pressing the Chan/Layer buttons scrolls through the ten entries—the number of the current entry is displayed in the top-right corner. As the entry number changes, the highlighted objects at the center of the page change as well, showing you what’s stored in each entry. On the page above, for example, entry 9 is the current entry. The Type field tells you that the object stored at entry 9 is a program. The cursor highlights the program’s ID and name. Use the Alpha Wheel or
+/-
buttons to scroll through the programs.
If you want to store a setup in the current entry instead of a program, press the Type soft button—when you do this, notice that the Type field change from Program to Setup (also notice that the channel indicator disappears, since setups can transmit over several channels). The list of objects changes from the program list to the setup list. Just as with programs, the cursor highlights the setup’s ID and name. Use the Alpha Wheel or +/- buttons to scroll through the setups.
Keep in mind that you can have both setups and programs in the same QA bank.
When you’ve filled each entry with the object you want, press the Name soft button if you want to rename the bank, or press the Save soft button to begin the save procedure. Or, press the Exit button to exit the QA editor, and the “Save Changes?” dialogue comes up.
8-3
Quick Access Mode
Making Your Own QA Banks
8-4
Effects
Basic Overview
Chapter 9
Effects
The PC3 boasts a powerful effects processor that puts the power of an entire studio at your fingertips. This chapter contains everything you’ll need to know to use the PC3’s effects and
Chain Editor to their fullest potentials.
This chapter begins with a few preliminary descriptions of basic routing concepts and effects terminology. The section that follows contains a more in-depth description of the workings of the PC3 effects processor, and instructions on how to configure the Effects mode pages. After that is a brief overview of using effects in Program mode. The penultimate and last sections contain instructions on how edit and create your own Chains, and a comprehensive glossary of the effects parameters you’ll encounter in the Chain Editor.
Basic Overview
This section gives a general, “big-picture” overview of the effects routing in the PC3, as well as descriptions of the fundamental concepts of effects stages and routing, effects allocation, Aux overriding, and master effects.
Effects Stages and Routing
There are three type of effects that are applied during different stages in a program’s signal path:
Insert Effects, Auxiliary (Aux) Effects, and the global master EQ/compressor. Insert Effects are placed directly in the signal path at the output of a program—as described in the Program mode chapter, these Insert Effects can apply to either the whole program or only to selected layers within the program. Each program also has two stereo Aux Sends that go to the Aux 1 and Aux
2 Effects, both of which can be set to be applied either pre- or post-Insert Effect. The master EQ/ compressor are applied globally to the signal at the main outputs.
The object used for Insert and Aux Effects is referred to as a “Chain.” A Chain is in turn a sequence of effect-boxes cascaded in series, or is a single effect-box. Each program can have one main Insert Chain and up to two Aux Chains. Also, individual layers within a program can have their own Insert Chain that will be used instead of the program’s main Insert Chain. You can select from the same set of Chains to use for both Aux and Insert Effects. The following figure shows the signal path for a program that does not use layer-specific effects:
Program
Insert
Chain
Pre
Send Levels
Post
AUX 1 Chain
AUX 2 Chain
Comp EQ
Master FX Order
EQ Comp
Output
9-1
Effects
Basic Overview
Note that when an Aux Effect is applied post-Insert, the wet Aux signal has a series of effects applied to it—i.e., cascaded effects. When an Aux Effect is applied pre-Insert, the wet Aux signal has no Insert effect applied to it, and the final output has parallel effects—i.e., distinct effects.
For multitimbral use—i.e., multiprogram use—multiple programs can have their Insert Effects loaded simultaneously. The Aux Effects are global, and there can be only one set (Aux 1 and Aux
2) loaded at a time. In Program mode, the Aux Effects come from the program loaded on the current selected channel. In Song and Setup modes, there is an option to select the track or zone whose program specifies the Aux Effects. Alternatively, the Aux Effects can be set directly on the
AUXFX1 and AUXFX2 pages in Song or Setup mode, or by using the Effect button in Program mode. The following figure shows the signal paths for a multitimbral setup or song:
Program
ZONE/TRACK 1
Pre
Send Levels
Insert
Chain
Post
Program
ZONE/TRACK 2
Pre
Send Levels
Insert
Chain
Post
Comp EQ
Master FX Order
EQ Comp
Output
Etc.
9-2
AUX 1 Chain
AUX 2 Chain
Processor Power Allocation
Each Effect Chain is composed of an effect-box or a series of effect-boxes. Each effect-box uses a certain amount of the PC3’s effects processing power. The amount of processing power used by an effect-box or Chain reflects how complex the effect’s algorithm is—more complex effects require more processing power. Accordingly, each Chain and effect-box uses a certain number of
“DSP units”—you can have up to 16 DSP units used at a time.
In Program mode, the programs loaded on each of the 16 MIDI channels are normally considered active, so effects are loaded for as many as is possible. In addition to a pair Aux
Effects (whether they are the program’s or the overrides in Effects mode - more on this later), the
Insert Effect of each channel’s program is active. For the DSP units, the currently selected program will have priority, followed by lowest to highest MIDI channel. You can have up to 11 active Insert Effects.
Effects
Basic Overview
The CHANFX page in Effects mode—or the FX page in either Setup or Song mode—provides per-channel control over effects allocation. The channel with a box around its channel number is the current channel in Program mode, or the specified Aux Effect channel in Setup and Song mode. Each channel can be set to Y to allocate effects for that channel, or to N to not allocate effects for that channel. Some channels set to Y may be displayed as (Y). This means that effects resources are not available for that channel, and that channel’s effects are not loaded. Note that when a channel isn’t allocating effects because it’s set to N or because resources are exhausted, its Aux Effects are still active. Setting a channel to N does not disable that channel’s effects; rather. it only specifies that no effects are allocated for that channel. As the cursor is moved from left to right, the Insert and (if its the current channel or specified Aux Effects channel) Aux
Effects for that channel are displayed below the allocation line of the page. The number of DSP units required to load effects for the cursor-highlighted channel is shown at the top of the page.
A Note on Modes
Be sure to read the section on using effects in Program mode, The Program FX (PROGFX)
Page on page 6-46.
The configurations in Effect mode apply in every mode except for Setup mode and Song mode.
In both Setup and Song mode, the configurations for each mode’s own four Effects pages prevail over the configurations in Effects mode.
Aux Override
In Effects mode, Setup mode, and Song mode, the AUXFX1 and AUXFX2 pages provide overrides for Aux Chain selection and other Aux Effects parameters. Normally, the Aux Effects
Chains are specified by the program on the current channel—or, in Setup mode and Song mode, by the program on the specified Aux Effects channel. The Chain specified for the Aux override
(as well as the send levels and other parameters) is applied to the program instead of the program’s Aux Effect. Also, send levels and other parameters normally specified within individual programs can be set to fixed values on the Aux Override pages.
This is particularly useful in Setup mode and Song mode, which are multitimbral modes. If you wanted to apply an effect to all zones or tracks in the current setup or song, changing each program’s effects would not only be a long process but use up a lot of DSP units. By setting the
Aux override Effect to your desired Chain, you can apply the same effect to up to 16 zones or tracks without having to use up any more DSP units.
Notice that in Program mode, if an Aux effect is overriden in Effect mode, the top line of the
PROGFX (or LYR_FX) page indicates that corresponding Chain does not use up any DSP units.
Since the Chain is not applied, the PC3 does not allocate resources for it.
9-3
Effects
Basic Overview
Master Effects
There are two Master Effects that are applied at the final stage of the signal path: an EQ and a
Compressor. These are global effects, and apply to all signals routed to the PC3’s primary outputs. Neither the EQ nor the Compressor use up any DSP units, so you needn’t account for them when allocating effects processing power.
See Equalizers (EQ) on page 9-13 and Compressors, Expanders, and Gates on page 9-14 for
explanations of the parameters for the Master EQ and Compressor.
The Master Effects can be accessed in the MASTER page in Effects mode, or the MASTFX in
Setup mode and Song mode.
9-4
Effects
Effects Mode
Effects Mode
Press the Effect mode select button to enter Effects mode. As stated previously, the configurations in Effect mode apply in every mode except for Setup mode and Song mode— these modes have their own Effects page (almost identical to those in Effects mode) whose configurations take precedence over those of Effect mode.
The CHANFX Page
NOTE:
In Setup mode and Song mode, this page corresponds in appearance and function to the FX page, though the FX page works on a per setup/song basis.
Pressing the CHANFX soft button calls up the CHANFX page. This page is where you’ll allocate
effects processing power. See Processor Power Allocation on page 9-2 for a description of reading
and configuring the CHANFX page.
The AUXFX1 and AUXFX2 Pages
NOTE:
In Setup mode and Song mode, these pages corresponds in appearance and function to the
AUXFX pages, though they work on a per setup/song basis.
Pressing the AUXFX1 soft button or the AUXFX2 soft button calls up, respectively, the AUXFX1 page or the AUXFX2 page. As stated above, in Effects mode, Setup mode, and Song mode, the
AUXFX1 and AUXFX2 pages provide overrides for Aux Chain selection and other Aux Effects
parameters. See Aux Override on page 9-3 for a description of the Aux overrides.
Each AUXFX page appears as shown below (the page shown below is the AUXFX1 page):
Parameter
Override
Chain
Output
Mod Override
Send Level
Pre-/Post- Insert
Range of Values
No, Yes
Chain List auto, Pri., Sec.
Control Source List
[p], -96 to 24 dB
[p], pst, pre
Default
No
0 None auto
None
[p]
[p]
9-5
Effects
The AUXFX1 and AUXFX2 Pages
If Override is set to No, the top line of the page displays the Aux 1 Chain that is loaded for the current program, as well as the current channel. In the case of the screenshot below, the Aux 1
Chain of the current program is 906 Medium Hall2, and the current channel is 6.
9-6
Override
This parameter switches on or off the Aux override. Set Override to Yes to select an override
Aux Chain on this page. Set Override to No to allow the current program (or zone or track).
Chain
When Override is set to Yes, you can select an override Aux Chain for the page’s corresponding
Aux bus. This parameter is not visible when Override is set to No.
Output
This parameter specifies the physical audio output pair for the page’s corresponding Aux
Chain’s output. The settings Pri. and Sec. refer, respectively, to the primary (labeled “MAIN” on the back panel) and secondary (labeled “AUX” on the back panel) physical audio outputs of the
PC3. Setting Output to auto uses the output pair specified in the current program (or the program on the specified Aux Effects channel).
Mod Override
This parameter can be used to override the Mod Control source of the current program (or the program on the specified Aux Effects channel). A setting of None yields no override in Mod
Control source, and uses the Mod Control source specified in the current program.
Send Levels and Pre/Post Ins.
There are two parameters for each of the 16 MIDI channels: Send Level (top row) and Pre-/Post-
Insert (bottom row). The setting for the parameter Send Level determines if the current program’s
Aux Send Level is overridden, and if so, by what value. The setting for the parameter Pre-/Post-
Insert determines if the current program’s Aux routing is overridden, and if so, by what routing.
Pre
means that the Aux Send takes place before any Insert Effect is applied, whereas a setting of
Pst
means that the Aux Send takes place post-Insert Effect. (Of course, if the program on the channel has no Insert Effects loaded, then this parameter will make no difference.) For both Send
Level and Pre-/Post- Insert, a value of [p] means “no override” (i.e., use the values specified in the
program).
Effects
The MASTER Page
The MASTER Page
NOTE:
In Setup mode and Song mode, this page corresponds in appearance and function to the
MASTFX page, though the MASTFX page works on a per setup/song basis.
Pressing the MASTER soft button calls up the MASTER page. The MASTER page contains the settings for the master EQ and Compressor. The page appears as shown below:
Parameter
Mode
Order
Master FX
Range of Values
Master, Setup
Compressor => EQ,
EQ => Compressor
Master FX Enabled,
Master FX Bypassed
Default
Master
Compressor => EQ
Master FX Enabled
The two boxes in the chain on the MASTER page are the master Compressor and EQ Effects.
Press the Edit button while either of these boxes is selected to edit the parameters for the box’s
effect. See Equalizers (EQ) on page 9-13 and Compressors, Expanders, and Gates on page 9-14 for
description on the EQ and Compressor parameters.
Mode
The setting for the Master Effects can be set directly on this page, or optionally in the control setup. To set up the Master Effects from the MASTER page, set the Mode parameter to Master.
To use the settings in the current control setup, select Setup. Controlling the Master Effects from the control setup allows for convenient switching between different configurations.
Order
Use the Order parameter to determine the order of the two effects. Setting Order to Compressor
=> EQ
routes signal through the Compressor first, and then through the EQ. Setting Order to
EQ => Compressor
routes signal through the EQ first, and then through the Compressor.
Master FX
The Master FX parameter determines whether the Master Effects are enabled or bypassed.
Setting Master FX to Master FX Enabled enables the Master Effects. Setting Master FX to Master
FX Bypassed
bypasses the Master Effects, and effectively removes them from the signal path.
See Master Effects on page 9-4 for a description of the Master Effects.
9-7
Effects
The Chain Editor
The Chain Editor
Pressing the edit button while a Chain (other than 0 None) is highlighted—on any of the various effects pages—will call up the Chain editor. From the Program editor, the program’s Insert and
Aux Chains can be edited from the PROGFX and LYRFX pages. In Setup, Song, and Effect mode,
Chains selected for Aux overrides can be edited from the AUXFX1 and AUXFX2 pages.
A Chain is made up of a number of effect-boxes—of which you can have up to 16 in a Chain— that each have a single effect loaded. The settings for all of the parameters of each effect-box are also stored within the Chain. There are 15 Mod Controls that allow for real-time control over any parameter from any effect-box in the Chain. Per Chain Control sources are also provided to be used as inputs to the effect Mods (two FXLFOs, two FXASRs, and four FXFUNs.) These work similarly to the LFOs, ASRs and FUNs in Program mode, but are only available for use with the effect Mods.
The MAIN Page
Pressing the MAIN soft button calls up the MAIN page. The MAIN page is where you configure the length of a Chain and select the individual effects that make up the Chain. The Chain editor
MAIN page of the Chain 269 PnoEnhancRvb3 appears as shown below:
At the top right of the display is the number of DSP units used by the currently selected effectbox, and by the Chain as a whole. 2/5 Units indicates that the current effect-box is using two
DSP units and the Chain is using a total of five DSP units for all of its effects. There are a total of
16 units available for all of the Chains that are currently loaded by programs and any active Aux overrides from Setup/Song/Effects mode.
NOTE:
In some configurations, not all 16 units are available for use with multi-unit effects because of the way the DSP is allocated.
Like all other representations of signal paths in the PC3 display, the program signal moves from left to right through the Chain. Pressing the Insert soft button adds a new effect-box to the Chain in the currently selected block-slot, and pushes the currently selected effect-box down the Chain to the right. Pressing the Remove soft button takes the currently selected effect out of the Chain.
The effect loaded into the selected effect-box can be changed by numeric entry, with the Alpha
Wheel, or with the +/– buttons; and can be changed with either the effect-box or the Effect field at the bottom of the page highlighted. The +/- double button press will jump to the next effect
“category.”
9-8
Effects
The MOD Pages
Editing Effect-blocks
To edit the parameters of an effect, select its effect-box on the MAIN page and press the Edit button. For each effect, there are one or more pages of parameters that are specific to that effect.
Any parameter controlled by an effect Mod will display a value of FxMod and cannot be edited.
To return to the MAIN page of the chain editor, press the Exit button.
The MOD Pages
There are three pages for configuring effects mods: MOD1, MOD2, and MOD3. All three pages are essentially identical in appearance and function. The MOD pages appear as shown below
(the below MOD page screen shots is for the Chain 269 PnoEnhancRvb3):
Box
The Box parameter specifies which effect-box in the Chain to which the Mod will be applied.
Param
The Param parameter selects which parameter of the specified box’s effect will be modulated.
Adjust
The Adjust parameter sets a fixed value for the specified parameter (Param) that is applied before any modulation.
Source
The Source parameter determines the Control source that will modulate the parameter (Param) in real-time. This can be any of the normal channel Control sources (sliders, mod wheel, pedals, etc.) or one of the Chain-specific Control sources (FXLFOs, FXASRs, and FXFUNs).
Depth
The Depth parameter determines the range of modulation that the Controller will apply. When the Control source has a value of 0, the parameter’s (Param’s) value will be the Adjust value.
When the control source is all the way up, the parameter’s (Param’s) value will be the Adjust value plus the Depth value.
9-9
Effects
FXLFO, FXASR, and FXFUN pages
FXLFO, FXASR, and FXFUN pages
The FXLFO, FXASR, and FXFUN pages are the pages from which you edit the Effects-only
Control sources. These are Control sources that can be used by the effects Mods in the current
Chain. The parameters on these pages work exactly like those of the corresponding Control
sources in program mode (see The LFO Page, The ASR Page, and The Function (FUN) Page in
Program Mode).
Effects Parameters
This section contains descriptions of the PC3’s many effects parameters, and instructions on how to use them. Read through this chapter to get a good general understanding of the parameters.
The descriptions here do not include all of the parameters associated with every effect, and some effects may not have some of the parameters described here for their category. A more complete reference, with every effect and the meaning and range of every parameter, arranged in the order they appear on the screen, can be found in the KSP8 Algorithm Reference Guide on the
Kurzweil website, www.kurzweilmusicsystems.com.
General Parameters
There are a number of parameters that are common to all or almost all algorithms, and we’ll deal with those first.
Wet/Dry
balances the levels of the processed and unprocessed signals passing through the preset. The range is 0% wet (the signal is unprocessed) through 100% wet (no dry signal is present). A setting of 50% wet means the dry and processed signals are roughly equal in level. In some algorithms, separate Wet/Dry parameters are provided for the Left and Right input channels. In some cases, this parameters can have negative values, which indicate that the Wet signal is polarity-inverted.
Out Gain
sets the gain at the output of a preset.
In/Out
enables or disables the effect. You can think of it as a Wet/Dry parameter with only two positions: 100% (In) and 0% (Out).
HF Damping
is the cutoff (-3 dB) frequency of a 6dB/octave lowpass filter that’s inserted before the processor. In the case of processors where multiple iterations of the signal are heard, such as in a delay, each iteration of the signal will pass through the filter, and will therefore be duller.
XCouple
(Cross Couple). In stereo effects, this controls how much of any signal being fed back is going to the channel opposite to the one where it first appeared. At 100%, all feedback from signals at the left input goes to the right channel and vice versa, causing a “spreading” or in the case of delay lines, a “ping-pong” effect. At 0%, fed-back signals stay with the channel they came in on.
A->B cfg
(configuration). In combination algorithms that contain two (or more) components, and whose name uses “<>”, as in 719 “Reverb<>Compress”, the order in which the signal passes through the two components can be changed. For example, this algorithm can be configured so the signal passes through the reverb first and then the compressor, or through the compressor first and then the reverb. The cfg parameter determines the configuration, and its
9-10
Effects
General Parameters
value is context-sensitive—in this example, the choices would be “Rvb->Cmp” and
“Cmp->Rvb”.
A/Dry->B
is also found in many combination algorithms, and controls the amount of signal that will pass dry (unprocessed) through the first component into the second component. Different combination algorithms use different variations on this parameter, depending on the context.
The range is 0 to 100%.
Reverbs
Room Type
changes the configuration of the algorithm to simulate a wide array of room types and sizes including booths, small rooms, chambers, halls and large spaces. Because this parameter changes the structure of the reverb algorithm, you need to be careful when assigning it a MOD—changing it in real time while signal is passing through it is likely to cause audible artifacts. Room types in different algorithms with similar names do not necessarily sound the same.
Rvrb Time
is the RT
60
—the time it takes for the reverb to decay to 60 dB below its initial level— in seconds. It is accurate assuming that several other parameters (HF Damping, Diff Scale, Size
Scale, and Density) are at their nominal levels. It is adjustable up to “Inf”, which creates an infinitely-sustaining reverb.
LateRvbTim
adjusts the basic decay time of the late portion of the reverb after diffusion.
L/R Pre Dly
(Pre-Delay) is the time between the start of a sound and the output of the first reverb reflections from that sound. Longer pre-delays can help make larger spaces sound more realistic. Longer times can also help improve the clarity of a mix by separating the reverb signal from the dry signal, so the dry signal is not obscured.
EarRef Lvl
adjusts the mix level of the early-reflection portion of algorithms which offer early reflections.
Late Lvl
adjusts the mix level of the late-reverb portion of algorithms which offer early reflections.
Diff Scale
scales the “diffusion“ of the early reflections, that is, how spread out they are as a group over time. At very low settings, the early reflections start to sound quite discrete, and at higher settings the early reflections are seamless. It is adjustable from 0.00 to 2.00, with 1.00 being nominal for the given Room Type.
Density
controls how tightly the early reflections are packed in time. Low Density settings group the early reflections close together, while higher values spread the reflections for a smoother reverb. It is adjustable from 0.00 to 4.00, with 1.00 being nominal (and usually optimal) for the given Room Type.
Expanse controls the amount of late reverb energy biased toward the edges of the stereo image.
A setting of 0% will bias energy towards the center. Moving away from 0% will bias energy towards the sides. Positive and negative values will have a different character.
Build adjusts the envelope of certain portions of the reverb. Positive values speed up the envelope, and negative values slow it down.
Size Scale
changes the size of the current room. Altering this parameter will change the reverb time and also cause some coloration of the reverb. It is adjustable from 0.00 to 4.00, with 1.00 being nominal (and usually optimal) for the given Room Type.
InfinDecay, when turned “On”, causes the reverb tail to decay indefinitely. When it’s “Off”, the decay time is determined by the “Rvrb Time” or “LateRvbTim” parameters. This is a good parameter to control with a footswitch.
9-11
Effects
Delays
Wet Bal
(Wet Balance). Some reverb algorithms are actually two stereo reverbs in one, with each one receiving a different mono signal. This balances the outputs of the two reverbs—0% means they are being mixed equally.
Delays
There are two types of taps in the Multitap delays: The “Loop“ tap, which has a feedback loop back to its input, and the numbered taps. The numbered taps can be single iterations or they can repeat as part of a loop, but they do not have individual feedback paths.
Fdbk
(Feedback) Level controls the repeating function of the Loop Tap. A setting of 0% means there will only be a single delay, while a setting of 100% means the signal keeps repeating without ever stopping.
Both types of taps are individually adjustable from 0 to 2.55 seconds. The Loop Crs and Tapn
Crs
(n being the number of the tap) parameters set the coarse value of the loop in 20-ms increments, while the Loop Fine and Tapn Fine parameters set the fine value in 0.2-ms increments.
In Delay algorithms that use tempo to determine tap lengths, there is a Tempo parameter which can be set from 1 to 255 BPM or to “System”. The Loop Length and Tapn Delays are then expressed in beats relative to that overall Tempo.
Hold
is a switch that, when turned on, “locks” any signal currently in the delay and plays it until Hold is turned off. When Hold is on, no signal can enter the delay and Feedback is set to
100%. A good parameter to control with a footswitch.
Dry Bal
(Balance) is the left/right balance of the dry signal. At -100%, only the left dry signal goes to the left output, while at 100% only the right dry signal passes to the right output, and at
0%, equal amounts of the left and right dry signals pass to their respective outputs.
Tapn Level
is the level of each numbered tap, from 0% to 100%, relative to the overall output of the effect.
Tapn Bal
is the left/right balance of each of the numbered taps. At -100%, only the left channel of tap n goes to the left output, while at 100% only the right channel of tap n goes to the right output. At 0%, equal amounts of the left and right channels of the tap pass to their respective outputs. In some delays, pairs of taps (1 and 5, 2 and 6, etc.) are controlled together as stereo pairs.
DelayScale
lets you change the lengths of all the taps together. Its range is 0 to 10x.
☛Note that it is possible for the PC3 to run out of delay memory with over-generous settings of
DelayScale or very slow Tempos. Some Delay algorithms will simply go to a maximum value and stay there, while in some, a calculation is made that automatically cuts the delay times in half, thereby maintaining a relationship with tempo.
Complex Echo
This algorithm has two feedback taps per channel as well as three independent taps, and also a feedback diffuser for “smearing” the delays. Feedback line 1 feeds the signal back to the delay input of the same channel, while feedback line 2 feeds the signal back to the opposite channel.
FB2/FB1>FB
is a balance control between feedback lines 1 and 2. 0% (minimum) turns off feedback line 2, only allowing use of feedback line 1. 50% is an even mix of both lines, and 100%
(maximum) turns off line 1.
L Diff Dly
and R Diff Dly adjusts the delay lengths of the diffusers. Range is 0 to 100 ms.
9-12
Effects
Equalizers (EQ)
Diff Amt
adjusts the diffuser intensity. Range is 0 to 100%.
C Fdbk n Dly
adjusts the delay length of the C channel’s nth feedback tap, fed back to the C channel’s delay input. Range is 0 to 2600 ms.
Spectral Multitap Delays
These 4- and 6-tap delays have their feedback and output taps modified with shapers and filters.
In the feedback path of each tap are a diffuser, hipass filter, lopass filter, and imager. Each delay tap has a shaper, comb filter, and balance and level controls.
Fdbk Image
sets the amount that the stereo image is shifted each time it passes through the feedback line. Range is -100 to 100%.
Tap n Shapr
adjusts the intensity of the shaper at each output tap. Range is 0.10 to 6.00 x.
Tap n Pitch
adjusts the frequency of the comb filter at each output tap. Range is C-1 to C8, in semitones.
Tap n PtAmt
adjusts the intensity of the comb filter at each output tap. Range is 0 to 100%.
Gated Ducking Delay
This runs the last thing you played through a looping delay, but only when you aren't playing.
Gated Ducking Delay is great for that announcer sound, sound, sound, so popular in Monster
Truck radio spots.
DegenRegen
This one’s a big looping delay with lots of gain, distortion and filtering, and with a compressor to keep it all under control. Very cool.
Equalizers (EQ)
The PC3 has both Graphic and Parametric EQ algorithms. Parametric EQ sections are also found on a number of combination algorithms.
The Graphic equalizer is available as stereo (linked parameters for left and right) or dual mono
(independent controls for left and right). It has 10 bandpass filters per channel, each of whose gain is adjustable from -12 dB to +24 dB.
Like all graphic equalizers, the filter response is not perfectly flat when all gains are set to the same level (except at 0 dB), but rather has ripple from band to band. To minimize this ripple, it is best to center the overall settings around 0 dB.
The Parametric equalizer (“5-Band EQ”) has two bands of shelving filters and three bands of true parametric EQ.
Treb Freq
and Bass Freq set the center frequencies for the shelving filters. Both of these are adjustable over the full range of 16 to 25088 Hz, in increments of a semitone.
Treb Gain
and Bass Gain control the amount of cut or boost above (Treb) or below (Bass) the center frequency. The range is -79 to +24 dB.
Midn Gain
sets the cut or boost for the parametric band n, with a range of -79 to +24 dB.
9-13
Effects
Compressors, Expanders, and Gates
Midn Freq
sets the center frequency for parametric band n, with a range of 16 to 25088 Hz, in increments of a semitone.
Midn Width
set the bandwidth of the filter on band n, with a range of 0.01 to 5 octaves.
Enhancers
Enhancers modify the spectral content of the input signal by boosting existing spectral content, or stimulating new ones. Two- and three-band versions are provided.
Drive
adjusts the input into each band. Increasing the drive will increase the effects. Range is
-79.0 to 24.0 dB.
Xfer
adjusts the intensity of the transfer curves. Range is -100 to 100%.
EQ Morpher
This algorithm uses two four-band bandpass filters, A and B, and moves between them, which among other things, can produce a very convincing simulation of a human vocal tract.
FreqScale
offsets the filter frequencies for each set of filters. After setting the filter parameters
(Freq, Gain, and Width), the FreqScale parameters will move each of the four filter frequencies together by the same relative pitch. Range is -8600 to 8600 cents.
Morph A>B
. When set to 0% the “A” parameters are controlling the filters, and when set to
100%, the “B” parameters control the filters. Between 0 and 100%, the filters are at interpolated positions. When morphing from A to B settings, the A filter #1 will change to the B filter #1, A filter #2 moves to B filter #2, and so on. Range is 0 to 100%.
Compressors, Expanders, and Gates
A wide range of Compression and Expansion effects is available in the PC3. The various algorithms include different combinations of:
• compressors with soft-knee characteristic—the compression action comes in gradually as the signal level approaches the threshold
• compressors with hard-knee characteristic—the compression action comes in abruptly when the signal reaches the threshold
• expanders
• multiband compressors that break the signal up into three frequency bands and compress them all separately
• sidechains or output EQs
• reverbs and compressors in combination
• gates
• gated reverbs
All of the Compression algorithms use these parameters:
FdbkComprs
(Feedback Compression) selects whether to use feed-forward (set this to “Out”) or feed-back (set this to “In”) compression. The feed-forward configuration uses the input signal as a side-chain source, which is useful when the compressor has to act really quickly. The feed-back configuration uses the compressor output as the side-chain source, which lends itself to more subtle, but not as quick-reacting, compression.
Atk
(Attack) Time for the compressor is adjustable from 0.0 to 228.0 ms.
Rel
(Release) Time for the compressor is adjustable from 0 to 3000 ms.
9-14
Effects
Compressors, Expanders, and Gates
SmoothTime
smooths the output of the expander’s envelope detector by putting a lowpass filter in the control signal path. Smoothing will affect the Attack or Release times only when this parameter is longer than one of the other times. The range is 0.0 to 228.0 ms.
Signal Dly
(Delay) puts a small delay in the signal relative to the sidechain processing, so that the compressor (or gate) “knows” what the input signal is going to be before it has to act on it.
This means the compression can kick in before an attack transient arrives. In the
SoftKneeCompress and HardKneeCompress algorithms, delay is really only useful in feedforward configuration (FdbkComprs is “Out”). For other compressors, the delay can be useful in feedback configuration (FdbkComprs is “In”). The range is 0 to 25 ms.
Ratio
is the amount of gain reduction imposed on the compressed signal, adjustable from 1.0:1
(no reduction) to 100:1, and Inf:1.
Threshold
is the level in dBFS (decibels relative to full scale) above which the signal begins to be compressed. Adjustable from -79.0 to 0 dB.
MakeUpGain
allows additional output gain to compensate for gain reduction in the compressor. It is essentially the same parameter as Out Gain, with which it is summed. The minimum is -79.0, and the maximum summed gain (MakeUpGain + Out Gain) is +24.0 dB.
Expansion
Algorithms containing Expanders have these controls:
Atk
or Exp Atk (Attack), how fast the expander turns off when the input signal rises above the threshold level, adjustable from 0.0 to 228.0 ms.
Rel
or Exp Rel (Release), how fast the expander turns back on after the signal drops below the threshold level, adjustable from 0 to 3000 ms.
Ratio
or Exp Ratio, how much the gain is reduced below the expansion threshold, adjustable from 1:1.0 (no expansion) to 1:17 (extreme downward expansion).
Threshold
or Exp Threshold, the level below which the signal is expanded, adjustable from
-79.0 to 0 dB.
In addition, the two-segment compressors with expander have separate Ratio and Threshold controls for each of the compression segments.
Multiband Compression
The Multiband Compression algorithm has Attack, Release, Smooth, Signal Delay, Ratio,
Threshold
, and MakeUp Gain parameters for each of the three bands (“Low”, “Mid”, and
“High”). In addition, it has:
Crossover1
and Crossover2. These set the frequencies which divide the three compression frequency bands. The two parameters are interchangeable, so either may contain the higher frequency value. The range is 16 to 25088 Hz, in increments of a semitone.
Gates
SC Input
lets you select which input channel(s) will control the sidechain, which is responsible for opening and closing the gate. It can be set to L, R, or the average of the two channels,
(L+R)/2. You can use this, if you arrange the signal paths and pan controls appropriately, to gate one mono signal with a different mono signal—the venerable “Keyfex” effect.
9-15
Effects
Chorus
Gate Time
is the time that the gate will stay open after the sidechain signal reaches the
Threshold. Its range is 0 to 3000ms.
Ducking
reverses the action of the gate. Normally this if set to “Off”, and the gate opens when the input signal rises above the threshold. But when this is “On”, the gate closes when the input signal rises above the threshold.
Atk
(Attack) Time is the time for the gate to ramp from closed to open (reverse if Ducking is on) after the signal rises above threshold, adjustable from 0.0 to 228.0 ms.
Rel
(ease) Time is the time for the gate to ramp from open to closed (reverse if Ducking is on) after the gate timer has elapsed, adjustable from 0 to 3000 ms.
Super Gate
Super Gate is a more sophisticated gate that includes these two functions:
Env Time
is the amount of time it takes for the sidechain signal envelope to drop below the threshold. If this time is too short, the gate can close and open too quickly from amplitude modulation in the sidechain signal. If it is too long, the gate may stay closed until the envelope has a chance to fall, and some signals would not get through. This parameter is only in effect when Retrigger is Off.
Retrigger
determines whether the gate timer will reset itself each time the sidechain signal goes above the threshold. If it is “On”, the timer resets itself, and therefore the gate stays open as long as the signal is above the threshold, or keeps going above the threshold, within the interval specified by Gate Time. If it is “Off”, the gate closes down after Env Time has elapsed, regardless off the sidechain level, and the sidechain level must fall below the threshold and come back up again before the gate will open again.
Chorus
Chorus is an effect which gives the illusion of multiple voices playing in unison. The effect is achieved by detuning copies of the original signal and summing the detuned copies back with the original. Low frequency oscillators (LFOs) are used to modulate the positions of output taps from a delay line. The movement of the taps causes the pitch of the signal to shift up and down, producing the required detuning.
The choruses are available as stereo or dual mono. The stereo choruses have the parameters for the left and right channels ganged, while the dual mono choruses have separate left and right controls.
Fdbk Level
is the level of the feedback signal from the LFO1 delay tap into the delay line.
Negative values polarity-invert the feedback signal.
Tap Lvl
sets the levels of the LFO-modulated delay taps. Negative values polarity-invert the signal. Setting any tap level to 0% turns it off.
Tap Pan
sets the stereo position for a given tap’s output. The range is -100% for fully left, to
100% for fully right.
LFO Rate
sets the speed of modulation of the delay lines with a range of 0.01 to 10 Hz.
LFO Dpth
sets the maximum detuning depth of the LFO-modulated delay lines, with a range from 0 to 50 cents (= 1/2 semitone).
Tap Dly
adds extra delay in front of the LFO modulated delay taps from 0 to 230 ms.
9-16
Effects
Flanger
L/R Phase
or LFOn LRPhs adjusts the relative phases of the LFOs for the left and right channels in the stereo Choruses.
Flanger
Flanging is the process of adding or subtracting a signal with a time-displaced replica of itself, which results in a series of notches in the frequency spectrum, generally referred to as a comb filter. In the PC3, the flanger is a multi-tap delay line, all (but one) of whose taps can have their lengths modulated up and down by a low frequency oscillator (LFO). The rate of the LFO is expressed in Tempo (see Chapter 4).
StatDlyLvl
(Static Delay Level) is the level of the first, non-moving tap. Negative values invert the polarity of the tap. The range is -100 to 100%; 0% turns the tap off.
DlyCrs
and DlyFin are the coarse and fine length controls for the Static delay (StatDly…) and for the minimum value of the moving delays (Dlyn…). The coarse range is 0 to 228 ms, and the fine range adjusts the coarse range in samples (= 1/48,000 sec = 20.8µsec) from -127 to 127.
Xcurs Crs
and Xcurs Fin determine how far the LFO-modulated delay taps can move from the center of their ranges. The total range of the LFO sweep is twice the excursion. If the excursion is set to 0, the LFO does not move and the tap behaves like a simple delay line set to the minimum delay. The coarse range is 0 to 228 ms; the range 0 to 5 ms is most effective for flanging. The fine range adjusts the coarse range in samples from -127 to 127.
Quantize + Flange
The Quantize portion of this algorithm produces digital distortion known as quantization noise, by limiting the number of bits available to the signal.
DynamRange
(dynamic range) controls how many bits to remove from the signal data words.
The lower the level, the greater the distortion. At 0 dB the hottest of signals will toggle between only two quantization levels, thereby producing a square wave. Every 6 dB added doubles the number of quantization levels, reducing the noise and getting closer to the original signal. If the signal has a lot of headroom (available signal level before digital clipping), then not all quantization levels will be reached. Range is 0 to 144 dB.
Headroom
sets the available signal level before digital clipping. Setting this properly prevents the signal from getting ridiculously loud at low levels of DynamRange. You want to have it match the amount of level still available above the input signal: this is done by finding the
DynamRange level at which the signal starts getting louder, and setting Headroom to match the
DynamRange value. Range is 0 to 144 dB.
DC Offset
adds a positive DC Offset to the input signal, which allows you to alter the position where digital zero is with respect to your signal. At low DynamRange settings, this can cause the output to “sputter”. Range is Off/-79.0 to 0.0 dB.
LaserVerb
LaserVerb is a new kind of reverb which produces a delayed train of closely spaced reflections, or impulses. As time passes, the spacing between the impulses gets wider, which creates a discernible buzzy pitch that gets lower as the spacing increases. The signal can be fed back into itself to extend the effect.
Dly Coarse
is the overall delay length, which controls the duration or decay time. 0.5 sec is a good starting point. Range is 0 to 1.3 seconds in the 2 U version of the algorithm, and 0 to 2 seconds in the 3 U version.
9-17
Effects
Filters
Dly Fine
adjusts the delay with a resolution down to 0.2 ms. Range is -20.0 to 20.0 ms.
Spacing
determines the starting pitch of the descending buzz and how fast it descends, by setting the initial separation of impulses and the subsequent rate of increasing impulse separation. The spacing between impulses is given in samples (20.8µs). At low values, the buzz starts at high frequencies and drops slowly, while at high values the buzz starts at a lower pitch and drops rapidly. Range is 0.0 to 40.0 samples, with a resolution of 0.2 sample.
Contour
controls the overall shape of the reverb. When set to a high value, sounds passed through the reverb start at a high level, and it slowly decays. As the control value is reduced, it takes more time for the effect to build up before decaying. At a value of around 34%, the reverb behaves like a reverse reverb, building up to a hit. When it is set to zero, the algorithm acts like a simple delay. Range is 0 to 100%.
Filters
There are four types of Resonant Filter algorithms in the PC3. All of them have these parameters in common:
Filter Type
(or FiltType) can be Lowpass, Highpass, Bandpass, or Notch (band-cut).
Resonance
is the resonance of the filter, adjustable from 0 to 50 dB.
Resonant Filter
Frequency
(or Freq) is the fixed resonant frequency of the filter. Its range is 16 to 8372 Hz.
Envelope Filter
Envelope Filter is a resonant filter whose center frequency can be made to vary according to the level of the incoming signal.
Filter Type
can be Lowpass, Highpass, Bandpass, or Notch (band-cut).
Min Freq
is the minimum resonant frequency of the filter, that is, the filter frequency when the input gain is below the triggering threshold. Its range is 16 to 8372 Hz.
Sweep
determines how far the resonant frequency moves when the input level increases. At positive levels it moves up in pitch, and at negative levels it moves down. The highest possible resonant frequency is 8372 Hz, the lowest is 0 Hz. This parameter’s range is -100% to +100%.
Resonance
is the resonance of the filter, adjustable from 0 to 50 dB.
Atk Rate adjusts the upward slew of the attack portion of the envelope detector. Range is 0 to
300.0 dB/sec.
Rel Rate
adjusts the downward slew of the release portion. Range is 0 to 300.0 dB/sec.
Smooth Rate
slows down the envelope follower. If it is set to a lower rate than Atk Rate or Rel
Rate
, it can dominate those parameters. Range is 0 to 300.0 dB/sec.
Triggered Filter
The Triggered Filter is a sweeping resonant filter that triggers when a certain input threshold is reached, and then follows its own envelope, consisting of an instantaneous attack and an exponential release, rather than the envelope of the input signal.
9-18
Effects
Distortion
Max Freq
is the resonant frequency of the filter at the peak of the internal envelope. It can be set lower than Min Freq (above), in which case the filter will sweep downwards, then back up.
Range is 16 to 8372 Hz.
Trigger
is the input-signal threshold at which the envelope detector triggers. Range is -79 to
0 dB.
Retrigger
is the input-signal threshold at which the envelope detector resets, so that it can trigger again. This parameter is only useful when it is set below the value of Trigger. Range is from -79 to 0 dB.
Env Rate
is the envelope detector decay rate. This can be used to prevent false triggering. When the signal envelope falls below the retrigger level, the filter can be triggered again when the signal rises above the trigger level. Since the input signal can fluctuate rapidly, it is necessary to adjust the rate at which the signal envelope can fall to the retrigger level. The range is 0 to 300.0 dB/sec.
Rel Rate
is the downward slew (release) rate of the triggered envelope generator. The range is 0 to 300.0 dB/sec.
Smth Rate
slows down the envelope follower. If set lower than the release rate, it will dominate it. You can also use the smoothing rate to lengthen the attack of the internal envelope. The range is 0 to 300.0 dB/sec.
LFO Filter
The LFO filter is continuously swept between two resonant frequencies over a period of time.
The LFO frequency, expressed in BPM and beats, can be fixed or set to follow System tempo.
(See Chapter 4 for information about tempo control of PC3 parameters.)
Min Freq
and Max Freq are the low and high limits of the resonant frequency as the filter is swept. You can set the Min Freq higher than the Max Freq, in which case the filter will sweep
“upside down” relative to the controlling clock. The range for both is 16 to 8372 Hz.
LFO Shape
is the waveform type for the LFO. Choices are Sine, Saw+, Saw-, Pulse, and Tri.
LFO PlsWid
(Pulse Width). When the LFO Shape is set to Pulse, this sets the pulse width as a percentage of the waveform period. When the width is set to 50%, the result is a square wave.
This parameter has no effect if other waveform types are chosen. Range is 0 to 100%.
LFO Smooth
smooths (removes the higher harmonics from) the Saw+, Saw-, and Pulse waveforms. A Sawtooth wave becomes more like a triangle wave, and a Pulse wave becomes more like a sine wave. Range is 0 to 100%.
Distortion
Distortion algorithms on the PC3 may also include a parametric equalizer or a cabinet simulator.
Dist Drive
applies a boost to the input signal to overdrive the distortion algorithm into soft clipping. This will tend to make the signal very loud, so you may have to reduce the Out Gain as this parameter is increased. Range is 0 to 96 dB.
Warmth
is a lowpass filter in the distortion control path. This filter may be used to reduce some of the harshness of some distortion settings without reducing the bandwidth of the signal.
Range is 16 to 25088 Hz.
Highpass
allows you to reduce the bass content of the distortion content in the smaller distortion algorithms that don’t have true parametric EQ. Range is 16 to 25088 Hz.
9-19
Effects
Rotating Speakers
Cab Preset
selects from eight cabinet simulations which have been created based on measurements of real guitar amplifier cabinets. The presets are: Basic, Lead 12, 2x12, Open 12,
Open 10, 4x12, Hot 2x12, and Hot 12.
Cab Bypass
switches on and off the cabinet-simulation part of the algorithm. When this is set to
“In”, the cabinet simulation is active; when it is “Out”, there is no cabinet action.
Cabinet HP
and Cabinet LP are highpass and lowpass filters to set the frequency response limits of the cabinets. Range of both filters is 16 to 25088 Hz.
Polydistort
This is a more complex distortion algorithm that provides two, four, or six stages of distortion.
Curve n
controls the curvature of the individual distortion stages. 0% is no curvature (no distortion at all). At 100%, the curve bends over smoothly and becomes perfectly flat right before it goes into clipping. Maximum value is 127%.
LP n Freq
are shelving frequencies for one-pole lowpass filters on each of the distortion stages.
LP0 Freq handles the initial low pass prior to the first distortion stage. The other low pass controls follow their respective distortion stages. Range is 16 to 25088 Hz.
Rotating Speakers
An algorithm that includes Rotating Speakers breaks the signal into two frequency bands,
“rotates” each band separately through a virtual speaker, and then combines the outputs with a pair of virtual “microphones” whose angle relative to the speakers is adjustable. A number of very sophisticated parameters have been included in the Rotating Speakers algorithm, to give the effect a great degree of realism. Because of the complexity of the algorithms, you might want to approach any parameters that seem a little obscure to you with caution.
Roto InOut
engages or bypasses the rotary speaker effect.
There are four virtual microphones, with two each on the woofer (LoMic A and LoMic B) and on the tweeter (HiMic A and HiMic B). Each microphone has:
Pos
(position), the angle of the microphone from the front of the virtual speaker, from -180 to 180 degrees;
Lvl
(level) from 0 to 100%; and
Pan
, the left/right panning of the microphone’s output, from -100% (full left) to 100% (full right).
Other parameters:
Lo Beam W
and Hi Beam W set the acoustic radiation patterns (“beam width”) of the two drivers in the rotating speaker. If you imagine looking down on the rotating speaker, this is the angle between the -6 dB levels of the beam. The range is from 45° to 360°. At 360°, the driver is omnidirectional.
Xover
(Crossover) is the frequency at which high and low frequency bands are split and sent to separate rotating drivers. The range is 16 to 25088 Hz.
Lo Gain
and Hi Gain are the gains of the signal passing through the rotating woofer or tweeter, respectively. The range is Off/-79.0 to 24.0 dB.
9-20
Effects
Rotating Speakers
Lo Size
and Hi Size are the effective sizes (radius of rotation) of the rotating speakers in millimeters. This affects the amount of Doppler shift or vibrato of the low frequency signal. The range is 0 to 250 mm.
Lo Trem
and Hi Trem control the depth of tremolo (amplitude modulation) of the signals. It is expressed as a percentage of full scale tremolo. The range is 0 to 100%.
LoResonate
and HiResonate are simulations of cabinet resonant modes expressed as a percentage. For realism, you should use very low settings. The range is 0 to 100%.
Lo Res Dly
and Hi Res Dly are the number of samples of delay in each resonator circuit in addition to the rotation excursion delay. The range is 10 to 2550 samples.
LoResXcurs
and HiResXcurs are the number of samples of delay to sweep through the resonator at the rotation rate of each rotating speaker. The range is 0 to 510 samples.
ResH/LPhs
sets the relative phases of the high and low resonators. The angle value in degrees is somewhat arbitrary and you can expect the effect of this parameter to be rather subtle. The range is 0 to 360.0 degrees.
Mic Angle
is the angle of the virtual microphones in degrees from the “front” of the rotating speaker. For the left microphone the angle increases clockwise (when viewed from the top), while for the right microphone the angle increases counter-clockwise. Assigning a MOD to this parameter should be done with caution: real-time adjustments to it will result in large sample skips, which will cause clicks in the signal passing through. The range is 0 to 360.0 degrees. (In
Distort + Rotary
only.)
The following parameters relate to rotation speed:
Speed
sets the rotating speakers to run at either the slow rate or the fast rate.
Brake
, when set to "On", slows the rotating speakers to a halt.
Lo Mode
, in the "Normal" setting, will give you full control of the low frequency speaker with the Speed parameter. The "NoAccel" setting will hold the low frequency speaker at the slow speed, and the Speed parameter will have no effect on its speed, though Brake will still work. In the "Stopped" position, the low frequency speaker will not spin at all.
Lo Slow
and Hi Slow are the rotation rates in hertz (Hz) of the speakers when Speed is set to
"Slow".
Lo Fast
and Hi Fast are the rotation rate in hertz (Hz) of the speakers when Speed is set to "Fast".
LoSlow>Fst
and HiSlow>Fst are the times for the speakers to accelerate from the slow speed to the fast speed.
LoFst>Slow
and HiFst>Slow are the times for the speaker to decelerate from the fast speed to the slow speed.
LoAccelCrv
and HiAccelCrv are the shapes of the acceleration curves for the speakers. 0% is a constant acceleration. Positive values cause the speaker to speed up slowly at first then quickly reach the fast rate. Negative values cause a quick initial speed-up then slowly settle in to the fast speed. If set to a low negative value, it will overshoot.
LoSpinDir
and HiSpinDir are the directions of rotation of the speakers. The choice is clockwise
(CW) or counter-clockwise (CCW).
9-21
Effects
Tremolo and AutoPan
Vibrato/Chorus
The Vibrato/Chorus algorithm (and also the KB3 Effects algorithm) simulates the vibrato and chorus effects on a tone wheel organ, and is used in conjunction with the Rotary Speaker. It has several unique parameters:
VibChInOut
is an in/out switch for the Vibrato/Chorus effect.
Vib/Chor
is the type of Vibrato/Chorus effect to be used. The choices are from three vibratos,
“V1”, “V2”, “V3”, or three choruses, “C1”, “C2”, “C3”.
Tremolo and AutoPan
Tremolo is amplitude modulation using an LFO. AutoPan moves the signal between the left and right channels, using an LFO. They have several parameters in common and several unique ones.
LFO Rate is the rate of the LFO. The range is 0 to 10.00 Hz, or in Tremolo BPM algorithm, 0 to
12.00 x the tempo.
Rate Scale
multiplies the speed of the LFO rate into the audio range. The range is 1 to 25088 x.
When above 16x, the values increment in semitone steps. When the LFO Rate is set to 1.00 Hz, the value of this parameter is equal to the LFO frequency in Hertz.
LFO Shape
is the waveform type for the LFO. Choices are Sine, Saw+, Saw-, Pulse, and Tri.
LFO PlsWid
or Pulse Width. When the LFO Shape is set to Pulse, this sets the pulse width as a percentage of the waveform period. When the width is set to 50%, the result is a square wave.
This parameter has no effect if other waveform types are chosen. Range is 0 to 100%.
AutoPan
Origin
determines the axis for the panning motion. At 0%, the panning is centered between the speakers. Positive values shift the axis to the right, while negative values shift it to the left. At
-100% or +100% (the range limits), there is no panning action.
ImageWidth is the width of the original input program material before it is auto-panned. At 0%
(minimum), the input image is shrunk to a single point source, allowing maximum panning excursion. At 100% (maximum), the original width is maintained so no panning can occur.
Pan Width controls the amount of pan excursion. It is the percentage of total panning motion available after Origin and ImageWidth are set. Range is 0 to 100%.
CentrAtten
(Attenuation) is the amount the signal level drops as it is panned through the center of the stereo image. For the smoothest tracking, a widely accepted subjective reference is -3dB.
Values above -3dB will cause somewhat of a bump in level as an image passes through the center, while values below -3dB will cause a dip. Range is -12 to 0 dB.
Tremolo
Depth controls the amount of attenuation applied when the LFO is at its deepest excursion point. Range is 0 to 100%.
LFO Phase
shifts the phase of the tremolo LFO relative to the beat reference. Range is 0.0 to
360.0 degrees.
9-22
Effects
Pitcher
50% Weight
is the relative amount of attenuation added when the LFO is at the -6dB point. This causes the LFO shape to bow up (positive values) or down (negative values). Range is -16 to
3 dB.
L/R Phase
sets the phase relationship of the channels. “In” flips the left channel’s LFO out of phase, with the result that the effect turns into an auto-balancer. “Out” leaves the left LFO alone.
Pitcher
Pitcher applies a filter to the input signal which has a series of peaks in the frequency response.
These peaks are normally adjusted so that their frequencies are all multiples of a specific, selectable frequency, which imposes a strong sense of pitch at the selected fundamental frequency.
Pitch
. The fundamental pitch imposed upon the input, in MIDI note numbers from C-1 to G9.
Ptch Offst
is an offset from the pitch frequency in semitones, from -12.0 to 12.0. It can be useful to assign pitch bend, a ribbon, or another continuous controller to this parameter through a
MOD.
Odd Wts
, Pair Wts, Quartr Wts, Half Wts are parameters that control the shape of the frequency response of Pitcher. An exact description of what each one does is, unfortunately, impossible, since there is a great deal of interaction between them. For more information and examples, see the KSP8 Algorithm Reference Guide.
Ring Modulation
Ring modulation multiplies two signals (the “carrier” and the “modulator”) together to produce unusual, often non-harmonic, overtones. The Ring Modulator algorithm in the PC3 has two modes: “L*R” in which two mono signals are modulated together; and “Osc”, in which the input is stereo, and it is modulated with the sum of five waveforms that are generated from oscillators within the algorithm itself. Four of these oscillators are sine waves, while one
(Oscillator 1) offers a selection of waveforms.
Wet/Dry. When the algorithm is in “L*R” mode, this controls how much of the left signal only is passed dry (the right signal isn’t passed dry at all).
Mod Mode
selects between the two modes.
Osc1 Lvl
is the level of Oscillator 1, from 0 to 100%.
Osc1 Freq
is the frequency of Oscillator 1, from 16 to 25088 Hz.
Osc1 Shape
is the waveshape of Oscillator 1, selectable from Sine, Saw+, Saw-, Pulse, and Tri.
Osc1PlsWid
(Pulse Width). When Osc1 Shape is set to Pulse, this sets the pulse width as a percentage of the waveform period. When the width is set to 50%, the result is a square wave.
This parameter has no effect if other waveform types are chosen. Range is 0 to 100%.
Osc1Smooth
smooths (removes the higher harmonics from) the Saw+, Saw-, and Pulse waveforms. A Sawtooth wave becomes more like a triangle wave, and a Pulse wave becomes more like a sine wave. Range is 0 to 100%.
The other four oscillators, Sine2 through Sine5, each have Lvl and Freq controls.
9-23
Effects
Stereo Simulation
Stereo Simulation
The Mono to Stereo algorithm converts a monaural input to simulated stereo output.
In Select
selects the input signal to be “stereo-ized”. It can be Left, Right, or both: (L+R)/2.
CenterGain
is the level of the summed left and right channels. Range is Off/-79.0 to 24.0 dB.
Diff Gain
is the level of the difference signal produced, which is the spatial component of the stereo signal. Range is Off/-79.0 to 24.0 dB.
DiffBassG
controls the gain of a bass-shelf filter on the difference signal. By boosting the low frequency components of the difference signal, you can increase the sense of acoustic envelopment. Range is -79.0 to 24.0 dB.
DiffBassF
is the transition frequency for the bass-shelf frequency. Range is 16 to 25088 Hz.
The processed signal is split into three frequency bands—Lo, Mid, and High—each of which can be delayed and panned separately.
Crossover1
and 2 are the two Crossover frequencies at which the band-split filters split the signal into three bands. The two parameters are interchangeable: either may have a higher frequency than the other. Range is 16 to 25088 Hz.
Pan [High/Mid/Low]
sets the pan position for each band. Range is -100% (fully left) to 100%
(fully right.)
Delay [High/Mid/Low]
sets the delay for each band. Range is 0 to 1000 ms.
Stereo Image
This algorithm provides enhancement for a stereo signal. It also features a stereo correlation meter. It uses some parameters from Mono to Stereo and some from Stereo Analyze
(following).
Stereo Analyze
In this algorithm you can look at the two channels of a stereo signal, and also their inversions, sums, and differences. You can adjust their gains, and apply small delays to either or both channels.
L Invert
and R Invert inverts the phase of the channels.
L Out Mode
and R Out Mode determines which signal is going to be metered and sent to the output of each of the channels. The choices for each are: “L” (left), “R” (right), “(L+R)/2”
(normalized sum), “(L-R)/2” (normalized difference), and polarity inverted versions of these.
L/R Delay
“time balances” the two signals. At negative values, the right channel is delayed, while at positive values, the left channel is delayed. The range is -500 to 500 samples.
RMS Settle
controls how fast the RMS (average-reading) meters can rise or fall with changing signal levels. Range is 0 to 300 dB/second.
9-24
Effects
FXMod Diagnostic
FXMod Diagnostic
This algorithm allows you to view the current levels of any data sliders, MIDI controls, switches, or internally generated VAST LFOs, ASRs, FUNs, etc. which are available as modulation sources. It has no effect on any signal being routed through it.
Up to eight modulation sources may be monitored simultaneously. Meters #1 through #4 can monitor bipolar sources, meaning sources that can have both positive and negative values. The range of the bipolar meters is -1 to +1. Four monopolar meters #5 through #8 provide better resolution, but the range is limited to 0 though +1. Use the monopolar meters for sources which you do not expect to go negative.
Eight parameters are provided to connect modulation sources to the meters. The parameter values are fixed at “NoDpth” and have no function except to connect sources to meters.
To use the algorithm, save a stereo preset containing the algorithm, then a chain containing that preset. Go to one of the Chain MOD pages, and choose one of the meter parameters (Bipole N or
Monopole N). You will not be able to modify the Adjust or Depth fields, but you can select any source you want. You can view the meters on PARAM page 2.
Bipole1
through Bipole4 attach bipolar modulation sources (those that can go positive or negative) to the bipolar meters. The parameters are not adjustable.
Monopole5
through Monopole8 attach monopolar modulation sources (can go positive only) to the monopolar meters. The parameters are not adjustable.
Mono Algorithms
Many stereo algorithms are also available in a mono configuration. Refer to the KSP8 Algorithm
Reference Guide for complete information on Mono algorithm parameters. You can download a
copy of this manual at the Kurzweil Music Systems web site: www.kurzweilmusicsystems.com.
9-25
Effects
Mono Algorithms
9-26
MIDI Mode
The TRANSMIT Page
Chapter 10
MIDI Mode
The PC3 sends and receives MIDI on traditional 5-pin DIN connectors and through USB. MIDI can be sent and received on all ports at once.
Press the MIDI mode button to enter MIDI mode. There are three pages in MIDI mode:
• TRANSMIT (XMIT soft button)
• RECEIVE (RECV soft button)
• CHANNELS (CHANLS soft button)
You’ll use these pages to determine what MIDI messages the PC3 transmits, and how it responds to the MIDI messages it receives—as well as how each MIDI channel behaves.
When you enter MIDI mode, you’ll see one of the three available MIDI mode pages.
The TRANSMIT Page
Press the XMIT soft button, and the TRANSMIT page appears. Use the parameters on this page to control how the PC3 sends MIDI information to its MIDI Out port. These settings to some extent affect the PC3’s response to its own keyboard and controllers, but they primarily affect the responses of other MIDI devices that are receiving MIDI from the PC3 on the channel specified with the Channel parameter on this page.
It’s important to remember that many of the settings of the TRANSMIT page are in effect only when a program is selected, either in Program mode or in Quick Access mode. If a setup is selected, in Setup mode or in Quick Access mode, the setup’s MIDI settings override the corresponding settings on the TRANSMIT page.
10-1
MIDI Mode
The TRANSMIT Page
Parameter
Control Setup
Destination
Channel
Transposition
Velocity Map
Pressure Map
Program Change
Change Setups
Range of Values
Setup List
USB_MIDI, MIDI, Local
1 to 16
± 60 semitones
Velocity Map List
Pressure Map List
Off, On
Immediate, KeyUp
Default
1
0
126 Internal Voices
USB_MIDI+MIDI+Local
1 Linear
1 Linear
On
Immediate
Control Setup
This is where you select the current control setup, Zone 1 of which sets the physical controller assignments for all programs while you’re in Program mode. Refer to Chapters 6 and 7 for more information on the control setup.
Destination
The Destination parameter tells the PC3 which ports will carry MIDI information. A value of
Local
disables the MIDI Out port. Use this setting when you want to play the PC3, but not to send any MIDI information to other MIDI instruments (local control only). USB MIDI and 5-pin
MIDI are combined internally, so you can use either one or both together.
Channel
This defines which MIDI channel the PC3 uses to transmit MIDI messages. The value for this parameter matches the current MIDI channel displayed on the top line of the Program mode page. If you change the current MIDI channel while in Program mode, the setting of this parameter changes accordingly, and vice versa.
Transpose
This parameter affects the transposition that’s applied to the MIDI data stream. Adjusting this parameter transposes the PC3’s notes, as well as notes on slaves receiving from the PC3. This transposition setting is not overridden when you use Setup mode, but is added to the transposition settings for the currently selected setup.
Velocity Map
The transmit Velocity Map affects the way the PC3 sends velocity information to its MIDI Out port. Different maps generate different velocity values for the same attack velocity—that is, they apply different curves to the attack velocities the PC3 receives and remap them to new velocities before transmitting them to the MIDI Out port.
Important: The MIDI Velocity Maps affect only those MIDI velocity values transmitted via the
PC3’s MIDI Out port, and are used exclusively to adjust the response of MIDI devices connected to the Out port. If you have a DX7 connected to your PC3, for example, and the DX is distorting, selecting a transmit Velocity Map like Hard2 should handle the problem. Changing the velocity map on this page does not affect the response of the PC3’s sound engine to its own keyboard, or to an external MIDI controller. That’s done on the RECEIVE page.
Also important: Both the transmit and receive velocity maps should be left at values of Linear unless you really need to change them. The linear maps give you the most consistent results.
Keep in mind that the setting of the Veltouch parameter in Master mode also has an effect on the transmit velocity map.
10-2
MIDI Mode
The RECEIVE Page
Pressure Map
This is like the Velocity Map, but it controls the aftertouch values sent by the PC3 to its MIDI Out port. Use this exclusively to adjust the response of MIDI devices connected to the PC3’s MIDI
Out port. Changing the pressure map on this page does not affect the response of the PC3’s sound engine to its own keyboard, or to an external MIDI controller. That’s done on the
RECEIVE page.
Program Change (ProgChang)
When On, the PC3 sends program change commands to its MIDI Out port when you select programs or setups from the front panel or from your MIDI controller. Select a value of Off when you want to change programs on the PC3 but don’t want to send program change commands to the MIDI Out port. This parameter doesn’t affect the type of program change command that’s sent; it just determines whether any command is sent at all. (The type of program change command is determined by the settings for three parameters on the CH/PRG page in the Setup Editor.)
Change Setups (ChgSetups)
This parameter determines the exact timing of setup changes when you select a different setup—either by a normal data entry method or via MIDI program change commands. Choose
KeyUp
to indicate that you want setup changes to take place only when you’ve released all currently held notes. Choose Immediate to indicate that you want such changes to happen immediately when you select the setup.
The RECEIVE Page
Press RECV to select the RECEIVE page, where you define the PC3’s response to incoming
MIDI signals (with one exception pertaining to Quick Access mode, which we’ll explain later).
Parameter
Basic Channel
MIDI Mode
All Notes Off
Program Change Mode
Velocity Map
Pressure Map
System Exclusive ID
Bank Select
Local Keyboard Channel
Range of Values
1 to 16
Omni, Poly, Multi
Normal, Ignore
Program Change Type List
Velocity Map List
Pressure Map List
0 to 127
Ctl 0, Ctl 32, Ctl 0/32
None, 1 to 16
Default
1
Multi
Normal
Extended
1 Linear
1 Linear
0
Ctl 0/32
None
10-3
MIDI Mode
The RECEIVE Page
Basic Channel
The basic channel determines which channel will always be available to receive MIDI information. Depending on the MIDI receive mode (below), the Basic channel may be the only receiving channel, or one of several.
MIDI Receive Mode (MIDI Mode)
The MIDI Mode parameter determines the MIDI receiving capabilities of the PC3. When set to
Omni
, the PC3 responds to incoming MIDI events on all MIDI channels, and plays them on the current channel. This is normally used for diagnostic purposes only.
At a setting of Poly, the PC3 responds only to events that are sent on the same channel as the
PC3’s current MIDI channel (the one displayed on the top line of the Program-mode page). In
Poly mode, the currently selected channel is always the basic channel, so if you change channels, the basic channel changes accordingly.
With a value of Multi (the default), the PC3 responds to events on all active channels. This is the mode you’ll use when you’re driving the PC3 with a sequencer, since you can play a different program on each channel. At this setting, you can turn individual channels on and off (on the
CHANNELS page, described later in this chapter).
All Notes Off
If this parameter’s value is set to Normal, the PC3 responds to All Notes Off messages received over MIDI. Ignore causes these messages to be ignored. If you’re using a Roland product as a
MIDI controller for your PC3, you’ll want to set the value of this parameter to Ignore. This is because some older Roland products occasionally send an All Notes Off message when no keys are held down—even if you’re sustaining notes with a pedal. You might find all your sustains missing from your sequence, for example, if you’re driving your PC3 from one of Roland’s hardware sequencers. Setting this parameter to Ignore takes care of this problem.
Regardless of the setting for this parameter, the PC3 always responds to its own Panic button by shutting off all active notes and controllers.
Program Change Mode (PrgChgMode)
This determines how the PC3 responds to program change commands received via MIDI. See
Program Change Formats on page 10-7 for an explanation of the various values available for this
parameter.
Velocity Map
The velocity map applies a preset curve to incoming velocity messages. It maps incoming velocity levels to new levels that correspond to the eight dynamic levels used by the VTRIGs and keymaps for velocity level selection. Normally you’ll leave this set to 1 Linear. Adjust this parameter’s value only when you need to alter the PC3’s response to the velocity messages from a MIDI controller, for example, if you’re getting too much or too little volume when you play, or when a sequencer is driving the PC3.
Pressure Map
Like the velocity map, this determines how the PC3 responds to incoming pressure (aftertouch) messages.
System Exclusive ID (SysExID)
The SysExID parameter differentiates between more than one MIDI device of the same model.
You won’t need to change the default setting of 0 unless you have multiple PC3s (or K2600s,
K2500s, or K2000s) receiving SysEx messages from a single source. In that case, make sure each
10-4
MIDI Mode
The Channels Page
instrument has a different SysExID. Then you can direct SysEx messages to the appropriate PC3 with the SysExID byte that’s included with every SysEx message. A value of 127 specifies “Omni
Receive.” That is, at this value, a PC3 responds to a SysEx message regardless of the SysEx ID of the message.
Bank Select
BankSelect allows you to choose between having the PC3 respond to Controller 0 or Controller
32 or both. The reason for this is that various manufacturers have chosen one method or the other. The three possible values for this parameter are:
Ctl 0
Responds to controller 0 only.
Ctl 32
Responds to controller 32 only.
Ctl 0/32
Responds to 0 or 32.
Local Keyboard Channel (LocalKbdCh)
Changing the setting of the Local Keyboard Channel parameter is useful only when your PC3 is receiving MIDI information from an external source—maybe you have a favorite MIDI keyboard that you use to control all the gear in your studio, or you use a lot of outboard sequencing. If you’re using the PC3 as a standalone music workstation or performance keyboard, you can ignore this parameter.
The Channels Page
Press the CHANLS soft button to select the CHANNELS page, where you can define numerous parameters for each MIDI channel independently. Use the Chan/Layer buttons to select the
MIDI channel you wish to work on.
The CHANNELS page is very useful when you’re doing multi-timbral sequencing, with programs assigned to numerous MIDI channels. The CHANNELS page lets you set several control characteristics for each MIDI channel. This makes it easy to adjust the playback of the sequence without editing the sequence itself. For example, you might turn off the Enable parameter for one or more channels to mute the tracks on those channels. You could also set the
VolLock parameter to On, to ignore any MIDI volume messages the PC3 receives on a given
MIDI channel.
Parameter
Enable
Program
Pan
Range of Values
Off, On
Program list
0 to 127
Default
On
Program ID 1
64 (centered)
10-5
MIDI Mode
The Channels Page
Parameter
Volume
Program Lock
Pan Lock
Volume Lock
Range of Values
0 to 127
Off, On
Off, On
Off, On
Default
127 (maximum)
Off
Off
Off
Enable
Use this parameter to turn the currently selected channel on or off. When on, the channel will receive MIDI information, and the settings of the parameters on the MIDI CHANNELS page will be in effect. When off, the channel will ignore all MIDI information.
Program
Use this parameter to assign a program to the currently selected channel. The channel will still respond to program change commands received via MIDI, unless the PrgLock parameter
(described below) is set to On.
Pan
This offsets the pan position of the current program as set on the OUTPUT page in the Program
Editor. A value of 0 is maximum offset to the left, 64 is no offset, and 127 is maximum offset to the right. Changing the value of this parameter is like inserting a MIDI pan message. MIDI Pan
(MIDI 10) messages will change the value of this parameter, unless the PanLock parameter
(described below) is set to On.
If the Mode parameter on the OUTPUT page in the Program Editor is set to Fixed, changing the value of Pan on the CHANNELS page in MIDI mode has no effect.
Volume
This sets the volume for any program assigned to the currently selected channel. A value of 0 is silence, and a value of 127 is full volume. The value of this parameter will change in response to
MIDI Volume (MIDI 07) messages, unless the VolLock parameter (described below) is set to On.
Program Lock, Pan Lock, Volume Lock
When the parameter locks are set to On, the three parameters they control do not respond to their respective MIDI controller messages. In that case, you could change the Program, Pan, and
Volume settings from the front panel, but not via MIDI.
10-6
MIDI Mode
Program Change Formats
Program Change Formats
The PC3 can store more programs than the MIDI program change specification can handle
(MIDI lets you send program change numbers from 0 to 127 or 1 to 128 only). So we’ve designed a system that makes program selection more flexible. This is true whether you’re selecting programs from the PC3’s front panel, or via MIDI.
Program Change Type
Extended
K2600
QAccess
For Use With:
Bank changes and Program changes. A bank has 128 ids. Note that our system will recognize 16 banks, from 0 to 15. (2048 ids).
This is for connecting a PC2 or a generic MIDI device as a controller device.
Bank changes and Program changes. A bank has 100 ids. Our system will recognize in this case 21 banks, from 0 to 20. For example, with MIDI out from a K2600 into the MIDI in of a PC3, if you scroll or enter a number in the K2600 you will see the same numbers in the K2600 and in the PC3 if the programs exist.
Other PC3s (or K2600s, K2500s or K2000s) similarly set, when in
Quick Access mode
The PC3 gives you thousands of program change numbers to work with. These are organized into 16 banks of 128 each (the memory banks). A program’s object ID is its program change number, as discussed in Chapter 5. This makes it easy to keep track of your programs. The PC3 can use several different formats for interpreting program change commands. The value for the
ProgChgMode parameter on the RECEIVE page determines which format is used, and the one you should select depends on your MIDI system.
If you expect you’ll always change programs from your PC3’s front panel, selecting programs is as simple as entering the program change number (the program’s object ID) on the alphanumeric pad, and pressing Enter. Even program numbers above the usual MIDI limit of
127 can be selected this way.
Extended Program Changes
If you’re controlling your PC3 from a MIDI device that can handle the MIDI Controller 0 or 32 program-change format, you’ll have the greatest flexibility if you set the ProgChgType parameter to a value of Extended.
When you’re using the extended program change format, then depending on the value of the
BankSelect parameter on the RECEIVE page in MIDI mode, the PC3 will respond to either MIDI
Controller 0 or 32 program change commands for bank selection, and standard program change commands for program changes within the current bank. Different values have different results, as shown in the following table:
Program Change Command
Type
MIDI controller 0 or 32
(MC 0 or MC 32)
Standard (PCH)
Value of
Message
0 to 16
0 to 127
Result
Selects memory bank zeros–900s
Selects correspondingly numbered program in current memory bank
10-7
MIDI Mode
Program Change Formats
If your PC3 is already in the memory bank you want to use, you can send it single PCHs from 0 to 127, to select programs within that memory bank. The PC3’s response depends on the setting for the Bank/Select parameter on the MIDI Mode RECV page. If you want to change the memory bank, the PC3 must receive either an MC 0 or 32 message with value 0–127. The next
PCH in the range 0–127 will select the correspondingly numbered program in the newly selected bank. The following table of examples should help make it clear.
Bank Change
Command Received
MC 0 or 32: value 0
MC 0 or 32: value 1
MC 0 or 32: value 1
MC 0 or 32: value 7
Program Change
Command Received
PCH: value 99
PCH: value 41
PCH: value 129
None
Result
Program 99 (Base1 bank, 99th program)
Program 169 (Base2 bank, 41st program)
Program 258 (Classic Keys bank, 2nd program)
KB3 bank selected, no change in current program (bank selection is pending for next PCH)
QAccess
Using this setting is similar to using the Extended program change format, but it goes one step further. Incoming program change commands are interpreted just as they are in the normal
Extended format. But the resulting program change number, instead of selecting a program, selects a Quick Access bank entry (you must be in Quick Access mode for this to work). There are two advantages to using this format. First, it allows you to select both programs and setups using program change commands, without having to switch between Program and Setup modes. Second, you can remap incoming program change commands to select programs or setups with different IDs. This is handy if the sending unit can’t send program change commands higher than 127.
First, a brief review of Quick Access bank structure. Each Quick Access bank can store ten entries, each of which can be a program or a setup. Each of the PC3’s 10 memory banks can store
20 Quick Access banks (except the Zeros bank, which can store 75). Therefore when you’re in
Quick Access mode, you have access to 200 (or 750 in the Zeros bank) programs or setups without leaving the currently selected memory bank. The QA Ext program change format lets you select any one of those programs or setups via MIDI. If you select another memory bank, you have a different set of 200 programs and setups at your disposal. When you’re using this format, the PC3 will respond to MC 0 or 32 messages for selecting QA banks, and to PCHs for selecting entries within the current bank. PCHs select entries according to their “chronological” listing within the QA bank (not according to their IDs).
Command Type
MIDI controller 0 or
32 (MC 0 or MC 32)
Standard (PCH)
Value Range
0 to 127
0–127
Result
Selects QA bank 0n, 1n, 2n, 3n, 4n, 5n, 6n, 7n in current memory bank
Selects last digit (n above) of QA bank, and entry within that bank
Depending on the QA bank entry you want to select, you’ll send the PC3 either a PCH (value 0 to 127), or a MIDI Controller 0 or 32 message (value 0 to 127) followed by a PCH. Sending a single command will let you select from a range of 10 QA banks and select an entry within that bank (see the table below). To select a different range of QA banks, send an MC 0 or 32 message followed by a PCH.
The MC 0 or 32 messages selects the range of QA banks (0s through 70s), while the PCH selects the bank within that range, as well as the entry within that bank. Neither the MC 0 or 32 nor the
PCH selects a different memory bank. In fact, you can’t change the memory bank via MIDI when using this format. All program and setup selections are made within the currently selected
10-8
MIDI Mode
Program Change Formats
memory bank. You’ll know which memory bank is selected by looking at the ID of the currently selected Quick Access bank in the top line of the Quick Access mode page.
QAccess and MIDI Transmission
If you’re in Quick Access mode and you’re using the QAccess format for the program change type, selecting QA banks or bank entries from the PC3 (with the alphanumeric buttonpad, the cursor buttons, the Alpha Wheel, the Plus/Minus buttons, or the Chan/Layer buttons) also sends corresponding program change commands to the PC3’s MIDI Out port. The PC3 sends either an MC 0 or 32 message followed by a PCH. The following tables give specific examples.
Current
QA Bank
29
75
100
105
110
117
119
9
12
19
20
2
2
1
1
Entry From
Alphanumeric Pad
9
7
9
0
9
9
9
9
0
9
8
0
9
0
9
Commands Sent
PCH MC 0 or 32
1
1
1
0
0
2
7
1
2
0
1
0
0
0
0
99
77
99
99
59
0
59
99
0
99
0
10
19
20
29
Table 10-1 QAccess Program Change Examples
10-9
MIDI Mode
The Soft Buttons in MIDI Mode
The Soft Buttons in MIDI Mode
The first three soft buttons select the three MIDI mode pages. The PrgChg soft button lets you send a program change command on any MIDI channel. The RsetCh soft button lets you return all channel parameters to their default values. The Panic soft button sends an All Notes Off and an All Controllers Off messages to the PC3 and on all 16 MIDI channels.
Program Change (PrgChg)
When you press this soft button, a dialog appears that lets you send program changes out the
MIDI Out port, but does not change internal programs. The Chan/Layer buttons, the Up/Down cursor buttons, and the Chan– and Chan+ soft buttons can all be used to change the channel on which the program change command will be sent. The Left/Right cursor buttons, the Plus/
Minus
buttons, the Alpha Wheel and the Prog– and Prog+ soft buttons can all be used to change the program change number that will be sent. When you’ve set the channel and the program change number, press the Send soft button to send the program change command. Or press the
Cancel
soft button if you don’t want to send it. You can change the channel and the program number as many times as you want before you press Send. You also can use the alphanumeric pad to select a program number directly.
Reset Channels (RsetCh)
When you press this soft button, the PC3 asks if you want to reset all channels. If you press Yes, all settings on the CHANNELS page will return to their default values. When the project’s over, you can reset the Channels to restore the audio routing to each individual program (a value of
Prog
), rather than selecting each channel’s page and setting the Pair parameter back to a value of
Prog
. Press No if you decide not to reset the channels.
Panic
Panic
sends All Notes Off and All Controllers Off messages to the PC3 and all MIDI channels.
10-10
Master Mode
Master Mode Page 1
Chapter 11
Master Mode
Press the Master mode button to enter Master mode, which contains parameters affecting the
PC3’s overall performance.
When you exit Master Mode it saves a Master Table (unless MasterTableLock is On — more on this later) which is basically the state of the PC3, so it will remember what programs are assigned to what Channels and such. Explicit saving of the Master Table is also possible.
You can also enter the Boot Loader via Master Mode.
The Clock in the system will time- stamp your files if you set it correctly. Reset will delete all of your User objects. The Digital Out Mode goes up to 192K and Syncs to External Clock.
Also on the Master mode page is General MIDI Mode. Check www.kurzweilmusicsystems.com for more info.
Master Mode Page 1
On the Master mode page you’ll find parameters for setting the overall tuning and transposition of the PC3, sampling rate for digital output, and for several keyboard and programming adjustments.
Parameter
Tune
Transpose
Buttons Mode
Drum Remap
Digital Output
Aux Out Pair Mode
Tempo
Clock Source
Output Clock
Digital Output Volume
Range of Values
± 100 cents
-128 to 127 semitones
Off, On
None, GM
Digital Output List
Normal, Mirror Primary Outputs
20.00 to 300.00 BPM
Internal, External
Off, On
Variable, Fixed
Default
0
0
Off
None
48 KHz
Normal
120.00
Internal
Off
Variable
11-1
Master Mode
Master Mode Page 1
Tune
Adjusting the value of this parameter tunes every program in the PC3 by the amount you specify. Tuning can be adjusted up or down 100 cents (one semitone) in one-cent increments.
This parameter is useful for getting in tune with recordings and acoustic instruments. Adjusting the tuning in Master mode does not change the settings on the PITCH page of individual programs, but will be added to any adjustments you make there. Master mode tuning adjustments affect only the PC3’s notes, and not notes sent via MIDI.
Transpose
Like the Tune parameter above, Transpose affects every PC3 program, but not those notes sent to the MIDI Out port. You can adjust the MIDI transposition on the TRANSMIT page in MIDI mode.
Buttons Mode
If you set the value of the Buttons Mode parameter to On, the System Exclusive (SysEx) messages generated by your button presses are sent to the MIDI Out port. This enables you to do two things: control a remote PC3, and record sequences of programming button presses to a sequencer or SysEx software package.
If you have the MIDI In port of another PC3 connected to the first one’s MIDI Out port, the second instrument will respond to every button press on the first instrument, just as if you were pressing the buttons of the second one. Keep in mind that both devices must be in exactly the same state (the same page in the same mode, with identical lists of RAM objects) when you start.
Otherwise the button presses you make on the
√first instrument may execute other functions on the second instrument.
Again, it’s important to keep in mind that the state of your PC3 must be identical to its state when you recorded the sequence of button presses. If you’ve added or deleted any objects stored in RAM, for example, the sequence of button presses will select different objects when you play back the button press sequence.
NOTE:
Make sure this parameter is set to Off before you initiate a SysEx dump of any kind. If this parameter is on when you start a dump, the buttons you press to begin the dump will also generate SysEx messages.
Drum Remap
As stated in the Program Mode chapter, in most keyboard and synthesizers, drum programs are mapped as dictated by the General MIDI (GM) industry standard. The GM drum map isn’t optimally intuitive in terms of playability, so we developed our own unique keymap that is more intuitive and lends better to performance. However, the GM drum map is so commonplace that many players feel most comfortable playing drum programs with the GM drum map. So, we designed the PC3 such that you can remap drum programs to the GM drum map and—if you’re more comfortable playing drum programs with older Kurzweil drum maps—previous PC series drum maps.
On the OUTPUT page in the Program editor, you can set Drum Remap to be Kurz1, Kurz2, or
Off
. The value of the Drum Remap parameter on this page—Master Page 1—determines whether the PC3 remaps to GM when Drum Remap in the Program editor is enabled. When the
Master Page Drum Remap is set to None, no remapping takes place in Program mode; set to
GM
, the PC3 remaps to GM in Program mode.
11-2
Master Mode
Master Mode Page 1
Digital Output
This Digital Output parameter specifies the PC3's digital output sample rate. Internally clocked sample rates go from 44.1K up to 192K.
Externally synced sample rates cover 20-220KHz in 3 ranges. Be sure the external clock frequency is within the range you select.
Aux Out Pair Mode
The Aux Out Pair Mode parameter specifies the behavior of the Secondary Audio Outputs
(located on the back panel underneath the “Balanced Analog Outputs - AUX” label. Setting this parameter to Normal makes the Aux Outputs behave as such. Setting this parameter to Mirror
Primary Outputs
makes the Aux Outputs output the same audio signal as the Primary output.
Tempo
When Clock Source is set to Internal, the Tempo parameter sets the PC3 system’s tempo. The
Tempo parameter values are in units of bpm (beats per minute).
Clock Source
With the Clock Source parameter, you can set the PC3 to generate its own tempo by setting
Clock Source to Internal, or you can set the PC3 to sync up with the tempo from another device—assuming the device is sending MIDI clock data to the PC3 via MIDI or USB—by setting Clock Source to External.
Output Clock
To send a MIDI clock pulse through of the MIDI Out port, set this parameter to On. Otherwise, set it to Off.
Digital Output Volume
The Digital Output Volume parameter specifies the behavior of the PC3’s Digital Output. Setting this parameter to Variable makes the Digital Output respond to changes made on the volume slider. Setting this parameter to Fixed makes the Digital Output output a signal with a fixed volume.
11-3
Master Mode
Master Mode Page 2
Master Mode Page 2
11-4
Parameter
Velocity Map
Pressure Map
Intonation
Key Action Map
Default Sequence
Demo Button
Numeric Entry
Master Table Lock
Intonation Key
General MIDI
Range of Values
Velocity Map List
Pressure Map List
Intonation Table List
Key Action Map List
Song List
On, Off
Global, Bank
On, Off
C, C#, D, D#, E, F, F#, G, G#, A, A#, B
On, Off
Default
Linear
Linear
Equal
0 Internal TP/40H
1 New Song
On
Global
Off
C
Off
Velocity Map
The Velocity Map determines the way the PC3 generates MIDI velocity information. Different maps generate different velocity values for the same attack velocity.
If you change the setting of the Velocity Map parameter, remember that it also has an effect on the transmit velocity map (which is on the MIDI mode TRANSMIT page).
Pressure Map
The Pressure Map determines the way the PC3 generates MIDI pressure information. Different maps generate different pressure values for the same physical pressure applied to a key.
If you change the setting of the Pressure Map parameter, remember that it also has an effect on the transmit pressure map (which is on the MIDI mode TRANSMIT page).
Intonation
Most modern western music uses what is known as equal temperament. This means that the interval between each semitone of the 12-tone octave is precisely the same as every other semitone. Many different intonation intervals have evolved over the centuries, however, and the
PC3 supplies you with 17 different intonation “tables” to choose from. By changing the value for this parameter, you select from among the intonation tables stored in the PC3’s memory. Each of these tables defines different intervals between each of the semitones in a single octave.
Master Mode
Master Mode Page 2
Scroll through the list of Intonation tables, and listen for the differences between semitones.
Some of the intervals between semitones may be quite different from equal intonation, but you’ll notice that all notes are precisely tuned with notes that are an octave apart. This is because the intonation tables set the intervals within a single octave, and apply those intervals to each octave.
List and Description of Intonation Tables
1 Equal
2 Classic Just
3 Just Flat 7th
4 Harmonic
5 Just Harmonic
6 Werkmeister
No detuning of any intervals. The standard for modern western music.
Tunings are defined based on the ratios of the frequencies between intervals.
The original tuning of Classical European music.
Similar to classic Just, but with the Dominant 7th flatted an additional 15 cents.
The perfect 4th, Tritone, and Dominant 7th are heavily flatted.
Named for its inventor, Andreas Werkmeister. It’s fairly close to equal temperament, and was developed to enable transposition with less dissonance.
7 1/5th Comma
8 1/4th Comma
9 Indian Raga
10 Arabic
11 BaliJava1
12 BaliJava2
13 BaliJava3
14 Tibetan
15 CarlosAlpha
16 Pyth/aug4
17 Pyth/dim5
Based on the tunings for traditional Indian music.
Oriented toward the tunings of Mid-Eastern music.
Based on the pentatonic scale of Balinese and Javanese music.
A variation on 1Bali/Java, slightly more subtle overall.
A more extreme variation.
Based on the Chinese pentatonic scale.
Developed by Wendy Carlos, an innovator in microtonal tunings, this intonation table flats each interval increasingly, resulting in an octave with quarter-tone intervals.
This is a Pythagorean tuning, based on the Greek pentatonic scale. The tritone is 12 cents sharp.
This is a Pythagorean tuning, based on the Greek pentatonic scale. The tritone is 12 cents flat.
In general, you should select a nonstandard intonation table when you’re playing simple melodies (as opposed to chords) in a particular musical style. When you use intonation tables based on pentatonic scales, you’ll normally play pentatonic scales to most accurately reproduce those styles.
Key Action Map
The Key Action Map determines the way the PC3 respond to key action. Different maps result in different responses from the PC3 for the same physical key action.
Generally speaking, you will not want to alter the Key Action Map. If you do, however, and want to change it back to the default map, simply enter a values of 0 in the Key Action Map parameter field.
Default Sequence
The Default Sequence parameter specifies the song that is used as a template for new and clear songs in Song mode.
11-5
Master Mode
Master Mode Page 2
Demo Button
The Demo Button parameter determines whether or not pressing the Play/Pause button plays a demo song for the current program.
Numeric Entry
Global
means that any entry you make from the alphanumeric keypad will select the object indicated, regardless of the bank it is in. For example, in program mode type “36” of the alphanumeric keypad to select program 36.
If Numeric Entry is set to Bank, your selection will be limited to the currently selected bank. For instance, in Program mode, if you are in Orchestra bank and you enter “65”, then the current program becomes program 65 of the Orchestra bank, viz. 449 HornSect Layer.
Master Table Lock
With Master Table Lock set to Off, the PC3 will save the current Master mode configuration when you leave Master mode (and MIDI mode). Of course, you can save the configuration of the
Master mode pages at any time by pressing the Save soft button, but with Master Table Lock off, any changes that you make after saving will be automatically saved when you leave Master mode.
If you have a particular Master configuration that you would like to safeguard against the autosaving feature, set Master Table Lock to On. With the Master Table Lock on, the PC3 does not save any changes unless you press the Save soft button.
Intonation Key (IntonaKey)
This sets the tonic, or base note from which the currently selected intonation table calculates its intervals. If you select G as the intonation key, for example, and the intonation table you select tunes the minor 2nd down by 50 cents, then G
#
will be a quartertone flat relative to equal intonation. If you change the intonation key to D, then D
#
will be a quartertone flat. If you use nonstandard intonations, you’ll want to change the intonation key as you change the key you’re playing in. If the Intonation parameter is set to Equal, changing IntonaKey has no effect.
You can also set the intonation key from an external MIDI device. Note On events at C -1 through B -1 (MIDI note numbers 0 through 11) will set the intonation key at C through B, respectively.
To trigger notes in the range required to set the Intonation key, you can transpose the PC3 temporarily from its front panel, or from your MIDI controller if it has the ability. Alternatively, you could create a setup with just the lowest octave transposed down two octaves, then select it when you want to change the Intonation key. If you’re driving your PC3 from a sequencer, you could simply insert the appropriate note events anywhere in the sequence to change the intonation key.
General MIDI
This General MIDI parameter enables or disables GM mode.
Check the Kurzweil website www.kurzweilmusicsystems.com for instructions on configuring the PC3 for GM mode.
11-6
Master Mode
The Soft Buttons in Master Mode (Page 1 and Page 2)
The Soft Buttons in Master Mode (Page 1 and Page 2)
Save
Pressing the Save soft button saves the current configuration of the Master Pages (both 1 and 2).
About
Pressing the About soft button calls up the general info page for the PC3. On this page is the version of the installed OS and factory object. Press any key to leave this page.
OBJECT
Pressing the OBJECT soft button calls up the OBJECT page. This page contains a list of all of the objects stored in memory. This is an easy way to check the object ID of any object you’ve created.
Object Utilities
Object Utility functions are useful for moving or copying objects into various banks, naming or renaming objects and deleting objects. To access these functions, press the OBJECT soft button while in Master mode.
Rename
The Rename utility allows you to rename an object without entering an editor. When you press
Rename
after highlighting the desired object, you will see a dialog prompting you for an object name, with a suggested default.
The default name that you see comes from the highlighted object in the object list, regardless of whether the highlighted object is actually selected. This makes it easy to copy the name of one object on to another.
As in all naming dialogs on the PC3, you can do a double-press of the Left/Right cursor buttons to put the naming cursor on the last character of the string. This is helpful when putting unique characters at the ends of names.
Left/Right
cursor button double-press -> Move cursor to the end of the name
11-7
Master Mode
The Soft Buttons in Master Mode (Page 1 and Page 2)
Delete
The Delete Objects utility is very useful for reclaiming unused RAM in your PC3. This utility allows you to select any arbitrary group of objects for deleting. This can be a convenient way to delete individual or selected groups of objects. However, if you want to delete an entire bank or everything in RAM, the Delete soft button on the Master page is quicker.
If any of the selected objects have dependents that were not selected, you will see the question:
Delete dependent objects?
If you answer Yes to this question, all dependent objects of the selected objects are deleted, unless they are being used as dependents of other objects that are to remain in memory.
Answering No will delete only those objects that were selected.
CLOCK
Pressing the CLOCK soft button calls up the PC3 System Clock page.
TapTmp
Pressing the TapTmp soft button calls up the Tap Tempo page, where you can “tap” the system tempo with the Tap soft button. You can also assign a Tap Controller to be used as a tap tempo button when not in the Tap Tempo page.
Along the bottom four Program Category Select buttons, a lit LED moves from left to right at the tempo displayed on the Tap Tempo page.
You can also call up the Tap Tempo page from any other page by pressing the < and > buttons simultaneously.
11-8
Master Mode
The Soft Buttons in Master Mode (Page 1 and Page 2)
Utils
Pressing the Utils soft button calls up the Utility page, which gives you access to two analytic and diagnostic tool. Additionally, pressing the two right-most soft buttons will call up the Utility page from any mode or editor. The Utilities page appears as shown below:
Pressing the MIDI soft button launches MIDIScope™, a useful subprogram that lets you monitor the MIDI messages from the PC3 and those received via MIDI. THis is a good way to make sure you’re receiving MIDI from MIDI masters. It’s also good for making sure your controls are assigned as you want them, checking your attack velocities, checking your controller values, etc.
Pressing the Voices soft button calls up the Voice Status page, which shows the PC3’s active voice channels as you play. The Voice Status pages displays each active voice as a solid rectangular block—for mono voices—or displays stereo pairs of voices as a > for the left channel voice and a < for the right channel voice. Whatever symbol the page displays, when the key of a voice is released, that voice’s symbol on the Voices Status page turns into a dot during the release portion of that voice’s envelope. When the voice decays to silence, it is no longer active, and the dot disappears. The Voice Status symbols appears as shown below:
The Voice Status page gives you an indication of the envelope level of each voice, though not necessarily the volume level. Nonetheless, this can give you a valuable indication of how your voices are being used. For example, if all or most of the voices are active, then there’s a good chance that when voice stealing takes place an audible voice will be reallocated.
The Voices utility works a bit differently for KB3 programs. The PC3 uses one voice of polyphony for every two tone wheels in a KB3 program. In the Voices utility, the voices used by the tone wheels appear as solid rectangular block, meaning that the voices are used for the KB3 program. They don’t get reallocated at any time, since they’re always on, even if you’re not playing any notes. Any voices not dedicated to a KB3 program behave normally. So if you have a setup that contains a KB3 program in one zone, and VAST programs in one or more other zones, you can monitor the voice allocation of the non-KB3 voices in the section of the display that isn’t constantly filled with solid rectangular blocks.
11-9
Master Mode
The Soft Buttons in Master Mode (Page 1 and Page 2)
Loader
Pressing the Loader soft button calls up the Boot Loader. See Appendix B.
Reset
Press the Reset soft button if you want to return your PC3’s memory to the state it was in when you bought it.
CAUTION:
Resetting the PC3 system causes ALL parameters to be restored to default values and ALL user objects to be erased. The PC3 will ask you if you want to delete everything (meaning all RAM objects), and a pair of Yes/No soft buttons will appear. Press No if you want to keep any objects you have saved. Press Yes, and everything stored in RAM will be erased. After a few seconds, the PC3 will return to the Program mode page.
11-10
Chapter 12
Song Mode and the Song Editor
Song Mode and the Song Editor
Getting Started with the Sequencer
Getting Started with the Sequencer
The PC3’s sequencer is a powerful and versatile tool for songwriters, composers, and anyone else who wants to record and play back songs. As with any tool, however, it’s best to start with the basics. If you are familiar with other sequencers, you will have no problem using Song mode in the PC3. Read through this section, however, to learn about the features that make the PC3’s sequencer unique.
What is a Sequencer?
A sequencer is similar in some ways to a multi-track tape recorder: you can record and play back all sorts of music and sounds, layer sounds on top of other sounds, and change or manipulate things that you’ve previously recorded. Unlike a tape recorder, however, you do not actually record sounds with a sequencer. Rather, you are recording commands that cause sounds to be played. Nonetheless, we will sometimes explain sequencer features by drawing analogies to familiar tape recording techniques such as splicing and overdubbing.
There are several advantages to recording a song by sequencing. For one thing, sequencer commands take up much less disk space than digitally recorded music would, so you can get a lot of information (that is, music) per megabyte. Furthermore, you can easily make changes to your sequences. For example, you can change individual notes, transpose parts, or change instrumentation. Lastly, you can share the sequences you create with other musicians.
Song Mode: The MAIN Page
The Song mode MAIN Page allows real time recording and playback, song and track selection.
From this page you can view and edit the tracks’ channel, program, volume and pan settings, as well as other useful items.
Parameter
Current Song
Recording Track
Program
Range of Values
Song List
1 to 16, None, Mult
Program List
Default
0*New Song*
1
Current Program
12-1
Song Mode and the Song Editor
Song Mode: The MAIN Page
Parameter
Track Status
Channel
Volume
Pan
Tempo
Mode
Location
Range of Values
–, R, M, P
1 to 16
0 to 127
0 to 127
20 to 400 BPM
Merge, Erase
-9999:9 to 9999:9
Default
–
1 to 16 left to right
127
64
120 BPM
Merge
1:1
The Events field on the top line displays the free RAM available for events in the selected song.
The Song Status, also on the top line of the display, is always one of the following:
STOPPED
PLAYING
The default sequencer status; also appears when you press the Stop or Pause button.
Appears when the Play button is pressed, but only if the following conditions are true: the Record was not pressed prior to pressing Play.
REC. READY
Appears when the Record button is pressed while Song Status is STOPPED.
REC. READY flashes, indicating that the sequencer is waiting to start recording.
Current Song (CurSong)
This shows the ID and 16-character name of the song currently selected for recording, playback, or editing. When a song is selected, Program Change, Volume, and Pan information is sent to all
MIDI channels assigned to tracks that have data on them, and the internal clock is set to match the setting of the Tempo parameter.
Tempo
The Tempo parameter determines the initial tempo for the selected song. Whatever the tempo is set to when you record your first track will be the song’s initial tempo.
To change a song’s initial tempo, press Record (the Song Status will change to REC READY), set the tempo desired, then press Stop. The initial tempo can also be changed with the Tempo parameter on the COMMON page in the Song Editor. The song will always start playback at the initial tempo, even though this tempo marker does not get recorded as a tempo event on any track.
Fractional Tempos
You can set the selected song to fractional tempos (e.g., 120.5) by two ways. First, you can go into the Song Editor and change the Tempo parameter on the COMMON page. Second, you can use the Tempo feature in Master mode.
12-2
Song Mode and the Song Editor
Song Mode: The MAIN Page
Recording Track (RecTrk)
The RecTrk parameter determines which track is record enabled. Set the record enabled track to
Mult
to record more than one channel simultaneously.
When RecTrk is set to a single track (1–16), Record (R) is displayed for that track in the Track
Status Indicator region (above the Track and Channels region). Conversely, with one exception, when any track’s Status Indicator is changed to Record (R), that track is shown as the value for the RecTrk parameter.
The exception is when RecTrk is already set to Mult, you can select the record enabled tracks by toggling the Track Status Indicator to Record (R), and the RecTrk will remain set to Mult.
When Mult is initially selected, all of the empty tracks will be record enabled. Tracks containing data will remain set to play (P), but you can manually set them to record (R).
The parameter(s) below RecTrk change according to the value of RecTrk and in one case, the mode from which you enter Song mode. If RecTrk is set to a single track (1–16), Program is displayed and you can select the program to be assigned to that track.
If you change RecTrk to None, the display changes to show the Channel parameter followed by the Program parameter (although the Program parameter’s name doesn’t appear, just its value).
If you switch through the channels, the program also changes, showing the program currently assigned to that channel.
Program
Scroll through the programs in memory to select the program before initially recording each track of your song. Any MIDI program changes on the current RecTrk or Chan cause the ID and name of the track’s program to change during playback.
This parameter’s name is not visible when RecTrk is set to None or Mult (to make room for the
Chan parameter); just its value appears.
Programs selected in Program mode or from a Quick Access bank are selected as the program on the current RecTrk when you return to Song mode.
To change a track’s program quickly, press Record, select the program, then press Stop. Or you could press MIXER to go to the MIX page, change the program as desired. This preserves all changes you have made to any other tracks: volume, pan, tempo, etc.
Channel (Chan)
This parameter determines the control channel and is available only when RecTrk is set to None or Mult. In this case, the Channel parameter gets squeezed onto the same line as the Program parameter, which is why you don’t see the Program parameter’s name, just its value.
Volume (Vol)
You can set an initial volume level for the playback and recording of each track as a value between 0 and 127. If the channel of the RecTrk (or the control channel, if RecTrk is set to Multi or None) contains any recorded volume change (controller code 7), the change will be reflected as the Vol parameter’s value in real time.
To change a track’s initial volume quickly, press Record, change the value of Vol, then press
Stop
. Or, you can go to the MIXER page and change the initial volume.
12-3
Song Mode and the Song Editor
Song Mode: The MAIN Page
Pan
You can set an initial pan position (the balance between the Left and Right audio channels) for the playback and recording of each track as a value between 0 and 127. A value of 64 is center. If the channel of the RecTrk or the control channel contains any panning data (controller code 10), the Pan parameter’s initial value for the current track is modified in real time.
To change a track’s initial pan position quickly, press Record, change the value of Pan, then press Stop.
Mode
If Mode is set to Merge you will be able to overdub when recording on a track containing previously recorded data. You’ll usually want to set Mode to Merge when RecMode (on the BIG page) is set to Loop. Otherwise, each time through the loop, the previously recorded information will be erased.
If you set Mode to Erase, the previously recorded data on the record enabled track will be replaced with the new data only during the Bars and Beats you are actually recording, and the previously recorded data before and after the newly recorded Bars and Beats will be preserved.
Location (Locat)
The Bar and Beat displayed as the Locate value changes relative to current location of the song during playback and recording. You can set this to a negative Bar and Beat location to start playback a set length of time before the beginning of the song.
Whenever you set the Locate point, that location will be used as the return point when Stop is pressed. Simply press Stop again to reset the song to the top (1 : 1).
Mode Indicators (+ and x):
Mode Indicators appear only for tracks that already contain data.
A plus sign (+) appears above the Track Status Indicator of a track set to record (R) when the
Mode parameter is set to Merge.
An (x) appears above the Track Status Indicator of a track set to Record (R) when the Mode parameter is set to Erase.
Activity Indicators
A small square above the Track Status Indicator of a track set to Play (P) or Mute (M) means the track contains data.
During playback and recording, the indicators above tracks containing any MIDI data will flash a small, filled-in square when any MIDI activity is detected.
Track Status Indicators
Using the Up, Down, Left, and Right cursor buttons to position the cursor onto a Track Status
Indicator, you can toggle an empty track (–) into Record (R) with the Alpha Wheel or Plus/
Minus
buttons.
Once a track contains data, it will have a (P) as a Track Status Indicator, and it will be played during playback. You now will be able to toggle between Play (P), Mute (M), and Record (R).
12-4
Song Mode and the Song Editor
Song Mode: The MAIN Page
The track selected as the RecTrk will display an (R), designating it as the recording track. If the
RecTrk is set to Mult, initially all empty tracks will have Record (R) as a Track Status Indicator, any of which can be switched back to empty (–) if at any time recording on specific tracks is not desired.
If there isn’t a track with an (R), the RecTrk parameter’s value will be None. (The exception is when the RecTrk is set to Mult and you have switched all of the tracks out of record enable.)
Track Channels
Each track has a MIDI Channel that it uses to receive and transmit data. By default, tracks 1–16 of a new song are assigned to Channels 1–16 respectively, although a track can play or record on any channel and the same channel can be used for more than one track. Keep in mind, however, that only one program can be assigned to a channel at a time, so if you have more than one track assigned to the same channel, they’ll play the same program—the one on the higher-numbered track, since that’s the most recent Program Change command received on that channel.
Soft Buttons on the MAIN Page
This section contains descriptions of the functions of the function soft buttons, that is, the buttons with labels not in all-caps. As with all other modes, the soft buttons in Song Mode that have labels in all-caps call up different pages. See the following sections for descriptions on how these pages work.
The Rec, Play, and Stop Soft Buttons
NOTE:
These buttons are similar to the transport controls on a tape deck. Some of those decks require you to press Play and Record simultaneously to begin recording. The PC3’s transport buttons aren’t like that, however. It’s important that you press only one of these soft buttons at a time to insure proper recording start points, and to always be sure of the current sequencer status.
The Rec soft button changes the Song Status to REC. READY if the current Song Status is
STOPPED. If the current Song Status is PLAYING, it will be switched to RECORDING when you press Rec.
The Play soft button plays back any recorded data when pressed while the song status is
STOPPED. Playback will begin from the bar and beat specified in the Locate parameter. When the
Song Status is REC READY, pressing the Play soft button will begin recording.
The Play soft button functions as a Pause button, but only when the Song Status is PLAYING or
RECORDING. Pressing Play while the song is playing will stop the playback, and the location remains at the current bar and beat, allowing you to continue from that location by pressing
Play
again.
Pressing Pause while recording will stop the recording process as if you had pressed Stop.
The Stop soft button halts the playback or recording, and resets the song’s location to either the default Bar 1, Beat 1 value, or to whatever location you defined with the Locate parameter. If the location is defined as something other than Bar 1, Beat 1, press Stop twice to reset to 1:1.
Pressing Stop when the Song Status is RECORDING will always prompt the “Save changes to this song?” dialog (described below), and provides you with the opportunity to listen to the new song and compare it with the old, previously saved, song before answering Yes or No.
Additionally, the PC3 has dedicated front panel buttons for Record, Play/Pause, and Stop.
You’ll find them just below the eight mode buttons.
12-5
Song Mode and the Song Editor
Song Mode: The MAIN Page
The
Load, Save, and Export Soft Buttons
The Load soft button calls up a scrolling list from which you can quickly locate and load a sequence. You can select a sequence using either the Alpha Wheel or -/+ buttons, or you can enter a sequence’s ID number.
The Save button calls up the “Save As” dialog.
The Export button exports the current song to a memory card as a Standard MIDI File.
The
NewSng and ClrSng Soft Buttons
The NewSng soft button creates a new song using the Default Sequence (specified on Page 2 of
Master Mode) as a parameter template. Pressing this button is the same as selecting 0*New
Song*
.
The ClrSng soft button creates a new song whose parameters are set to the default values listed
in the table beneath this section’s header (Song Mode: The MAIN Page). Keep in mind that the
selected program for the new song will be the currently selected program.
The Save Changes Dialog
The following dialog appears after you have recorded a track and pressed Stop, or if you have entered the Song Editor and made changes, then pressed Exit, or if you press Save in the Song
Editor.
12-6
PlayOld
appears along with the PlayNew soft button in the Save Changes dialog after the recording process has been stopped. Pressing PlayOld will play the current song, minus the last, but not yet saved, recorded data. You can toggle between Play Old and Play New without restarting the song by pressing either button while the song is playing.
PlayNew
/Play soft buttons allow you to play all of the recorded data, including data on the track(s) you have just recorded.
Stop
halts the playback of either the Old or the New version of the song you are currently auditioning. Press the Stop soft button to stop the playback or recording, and reset the song’s location to either the default Bar 1, Beat 1 value, or to whatever location you defined in the Locat parameter.
Yes
saves the data on the track(s) you just recorded. Whatever was played back when you pressed PlayNew will be the version of the song to be saved when you press Yes. The “Save
New Song?” Dialog (shown below) will be displayed.
No
returns you to the Song-mode page in which you were last recording, without saving any unsaved changes to the current song.
Song Mode and the Song Editor
Song Mode: The BIG Page
Song Mode: The BIG Page
On the BIG page, the PC3 displays—in a large font, thus the page’s name—the current time/ location of the “playhead” of the sequencer in a Bar : Beat : Tick format (like the Riff time/ location display). Also displayed is the current status of the sequencer, and the BIG page’s six parameters.
Parameter
(Current Position)
Time In
Time Out
Song End
Loop
Punch
Metronome
(Bar)
(Beat)
(Tick)
(Bar)
(Beat)
(Tick)
(Bar)
(Beat)
(Tick)
(Bar)
(Beat)
(Tick)
Range of Values
Depends on Time Signature
0 to 959
1 to 4
0 to 959
1 to 4
0 to 959
1 to 4
0 to 959
(----), Loop
(-----), Punch
Rec, Always, Off
Default
0
0
0
0
(----)
(-----)
Rec
Time In
The Time In parameter determines the start time for Loop or Punch In recording (more on this below).
Time Out
The Time Out parameter determines the stop time for Loop or Punch In recording.
Song End
The Song End parameter determines the end point for the song. Note that when Time Out and
Song End are set to the same location, changes made to Song End are reflected in Time Out.
12-7
Song Mode and the Song Editor
Song Mode: The FX Pages
When recording beyond your initially specified Song End point, you’ll notice that the Song End location automatically moves and rounds to the next bar, so as to always be ahead of the playhead. It is possible to move the Song End point to a location before other MIDI events (i.e., in the middle of the current song)—the sequencer will ignore (but not delete) events after this point.
Loop
With the Loop parameter set to Loop, the sequencer will loop the segment of the song between
Time In and Time Out.
Punch
With the Punch parameter set to Punch, the sequencer (in RECORDING mode) will record events only between Time In and Time Out.
Metro
The Metro parameter determines the recording modes in which the metronome will play. With
Metro set to Rec, the metronome only plays while recording is in progress. With Metro set to
Always
, the metronome plays during playback and recording. With Metro set to Off, the metronome doesn't play at all.
Song Mode: The FX Pages
The four Song mode FX pages—FX, AUXFX1, AUXFX2, and MASTFX—work the same way as the Effects mode pages—CHANFX, AUXFX1, AUXFX2, and MASTER. See the Effects mode chapter for information on editing these pages.
12-8
Song Mode and the Song Editor
Song Mode: The MIXER Page
Song Mode: The MIXER Page
The MIXER page shows the initial settings for the program number, panning, and volume of each track (in groups of 8). The bottom part of the screen displays information about the currently selected track. To change the currently selected track, use the Chan/Layer buttons, or use the Trk parameter in the lower left-hand corner of the screen. The current track number, as well as the range of tracks displayed on the page, are displayed in the upper right-hand corner of the screen.
Remember, all but the bottom line of the MIXER page show the initial settings for the displayed and current tracks. The bottom line shows the current settings—which may change throughout the course of the sequence—for the current track. Below is an example MIXER page:
Parameter
Initial Pan
Initial Volume
Initial Program
Selected Track (Trk)
For Selected Track
(Initial Program)
Initial Volume
Initial Pan
Current Program**
Current Volume**
Current Pan**
Range of Values
0 to 127
0 to 127
Program List
1 to 16
Program List
0 to 127
0 to 127
Program List
0 to 127
0 to 127
Default
None
None
None
1
None
None
None
(Current Program)
127
64
**Uneditable
The Rec, Play, and Stop Soft Buttons
These soft buttons function as described in The Rec, Play, and Stop Soft Buttons on page 12-5.
The Keep Soft Button
Pressing the Keep soft button captures the current settings for each track’s program, panning, and volume as the initial settings. Remember to save if you want these change to be permanent!
12-9
Song Mode and the Song Editor
Song Mode: The METRO Page
The Done Soft Button
If no changes were made in the MIXER page, pressing the Done soft button calls up the MAIN page. If changes were made, pressing the Done soft button calls up the “Save Changes” dialogue.
Song Mode: The METRO Page
All of the parameters affecting the sequencer metronome are on the METRO page. Like the other pages in the Song Editor, you can save changes made in this page.
12-10
Parameter
Metronome
Count Off
Program
Channel
Strong Note
Strong Velocity
Soft Note
Soft Velocity
Range of Values
Off, Rec, Always
Off, 1, 2, 3, 4
Program List
1 to 16
0 to 127
0 to 127
0 to 127
0 to 127
Default
102
127
104
100
Rec
1
998 Click Track
16
Metronome
This parameter determines the recording modes in which the metronome plays. With
Metronome set to Off, the metronome never plays. With Metronome set to Rec, the metronome only plays during recording. With Metronome set to Always, the metronome plays during playback and recording.
CountOff
This parameter determines the number of measures the PC3 will count off before recording. The
PC3 will only count off if you start recording at 1 : 1 : 0.
Program
This parameter determines the program with which the metronome is played. If you wanted a piano for a metronome, for instance, you could set Program to a piano program. The default program is 998 Click Track.
Song Mode and the Song Editor
Song Mode: The METRO Page
Channel
This parameter determines the MIDI channel to which the metronome program and events are sent.
Strong Note
This parameter determines the MIDI number of the note played by the metronome for the downbeats (the “1” of each measure).
Strong Vel
This parameter determines the velocity of the note played by the metronome for the downbeats
(the “1” of each measure).
Soft Note
This parameter determines the MIDI number of the note played by the metronome for the upbeats (the “2,” “3,” and “4” of each measure).
Soft Vel
This parameter determines the velocity of the note played by the metronome for the upbeats
(the “2,” “3,” and “4” of each measure).
The Rec, Play, and Stop Soft Buttons
These soft buttons function as described in The Rec, Play, and Stop Soft Buttons on page 12-5.
The Done Soft Button
If no changes were made in the METRO page, pressing the Done soft button calls up the MAIN page. If changes were made, pressing the Done soft button calls up the “Save Changes” dialogue.
12-11
Song Mode and the Song Editor
Song Mode: The Filter Pages (RECFLT and PLYFLT)
Song Mode: The Filter Pages (RECFLT and PLYFLT)
On the RECFLT and PLYFLT pages you can specify what event are ignored during, respectively, recording and playback. Both pages have the same parameters with the same ranges of values, but you would use the RECFLT page to configure recording event-filtering, and the PLYFLT page to configure playback event-filtering.
Below is the RECFLT page.
12-12
Parameter
Note Filter
Controller Filter
Notes
Low Key
Hi Key
Low Velocity
Hi Velocity
Controllers
Controller
Low Value
Hi Value
Range of Values
On, Off
C -1 to G 9
C -1 to G 9
0 to 127
0 to 127
On, Off
ALL, MIDI Control Source List
0 to 127
0 to 127
On, Off
On, Off
On, Off
On, Off
Default
127
On
ALL
0
On
C -1
G 9
0
127
On
On
On
On
Pitch Bend
Program Change
Mono Pressure
Poly Pressure
Notes
With Notes set to Off, all notes are ignored during recording/playback. With Notes set to On, only the notes within the specified note range with velocities within specified velocity range are recorded/played.
LoKey
LoKey determines the lowest key that is recorded/played back when Notes is set to On.
Hi
The Hi to the right of LoKey determines the highest key that is recorded/played back when
Notes is set to On.
Song Mode and the Song Editor
Song Mode: The Filter Pages (RECFLT and PLYFLT)
LoVel
LoVel determines the lowest note on/off velocity that is recorded/played back when Notes is set to On.
Hi
The Hi to the right of LoVel determines the highest note on/off velocity that is recorded/played back when Notes is set to On.
Controllers
With Controllers set to Off, all controllers are ignored during recording/playback. With
Controllers set to On, controller data only of the specified controller and only within the specified value range are recorded/played.
Controller
The Controller parameter determines which controller(s) is/are recorded/played back when
Controllers is set to On.
LoVal
LoVal determines the lowest value for the specified controller that is recorded/played back when Controllers is set to On.
Hi
The Hi to the right of LoVal determines the highest value for that specified controller that is recorded/played back when Controllers is set to On.
PitchBend
This parameter enables/disables pitch bend events to be recorded/played back.
ProgChange
This parameter enables/disables program changes to be recorded/played back—this includes
Controllers 0 and 32 (bank change).
MonoPress
This parameter enables/disables monophonic key pressure events to be recorded/played back.
PolyPress
This parameter enables/disables polyphonic key pressure events to be recorded/played back.
The Rec, Play, and Stop Soft Buttons
These soft buttons function as described in The Rec, Play, and Stop Soft Buttons on page 12-5.
12-13
Song Mode and the Song Editor
Song Mode: The MISC Page
The Done Soft Button
If no changes were made in the RECFLT/PLYFLT page, pressing the Done soft button calls up the MAIN page. If changes were made, pressing the Done soft button calls up the “Save
Changes” dialogue.
Song Mode: The MISC Page
The MISC page contains five miscellaneous (but very important and useful) sequencer parameters. The MISC page appears below:
12-14
Parameter
Control Chase
Quantize
Grid Resolution
Swing
Release Quantization
Range of Values
On, Off
Off, 1 to 100%
1/1 to 1/480
-100% to 125%
Yes, No
Default
On
Off
1/8
0
No
Control Chase
A common shortcoming of many older sequencers is that when you start a sequence at some point in the middle of sequence, the controllers remain at their current levels until the sequencer comes across a controller event. Control Chase remedies this (generally) undesired behavior.
When Control Chase is On, all non-note MIDI events from the beginning of the song up to the current time are computed, and the most recent non-note MIDI event is sent out before starting playback. This ensures that the volume, panning, program changes, and other controllers for the song are correct, regardless of where you start the song. With Control Chase set to Off, the sequencer behaves as previously described.
Quant
The Quantize parameter determines the amount of real-time quantization (if any) applied to the sequence during recording. The percentage specified for this parameter is the amount of quantization the sequencer applies to the grid for each Note event recorded.
Note that using real-time quantization has the same effect as recording normally, and then using the Quantize Track Editing operation.
Song Mode and the Song Editor
Song Mode: The STATS Page
Grid
The grid parameter determines the resolution of quantization and the position of the grid points.
Swing
The Swing parameter determines the amount (in units of percent) of “swing” applied during quantization.
Release
The Release parameter determines whether or not note-off events are quantized.
Song Mode: The STATS Page
The STATS page is a display-only page that shows the status of the PC3 event pool. The event pool is used by all the sequences loaded at a given time in the system. These include: the current song, the compare song buffer, and up to 16 riffs.
The STATS page shown below is the state of the PC3 event pool with 0*New Song* selected, and no other user objects loaded in any other modes:
The events in the PC3 are similar to events of other sequencers with a single major difference: the Note events are stored as a single big event, i.e., one PC3 Note event is comprised of the note-on and note-off events. All other events are stored as single events on the PC3.
The fields on the STATS page are:
•
Max
– the maximum number of notes/events in memory.
•
Used
– the total number of notes/events being used.
•
Free
– the number of notes/events that are free.
•
Part.
– the number of partitioned events, which are events for which space in memory is allocated. This is technical information of importance only to engineers (and maybe a few power users).
•
Song
– the total number of events (including notes) in the current song.
•
Temp
– the total number of events in the temp buffer (the temp buffer is used when grabbing events from a different song).
•
Riffs 1–16
– the total number of events in each riff.
12-15
Song Mode and the Song Editor
The Song Editor
The Song Editor
In general, you’ll get to the Song editor pages by pressing the Edit button any time you’re in
Song mode. There’s one exception: if the Program parameter is currently highlighted on the display, you’ll enter the Program editor when you press Edit.
There are a few conventions shared by all of the Song editor pages. Displayed at the top of each
Song editor page is the name of the page and the currently selected track (1–16, or all tracks). All of the values for the parameters found in any of the Song-editor pages are saved in the song object.
Song Editor: The COMMON Page
Press the Edit button on the front panel of the PC3 to display the COMMON page and begin editing a song. This is where you will find parameters common to all tracks, such as tempo and time signature, control parameters for effects, and soft buttons for switching to other Song editor pages.
12-16
Parameter
Tempo
Time Signature
FX Track
Drum Track
MIDI Destination
(Numerator)
(Denominator)
Range of Values
0 (external), 20.00 to 400.00 BPM
1 to 99
1, 2, 4, 8, 16, 32, and 64
1 to 16
–, D
–, L, M, U
Default
–
L
4
1
120
4
The top line of this page displays the selected track or tracks. Select the available current track for editing by using the Chan/Layer buttons.
Although the current track information is displayed on the top line, the COMMON page’s parameters are global settings for the song and do not directly affect individual tracks.
Tempo
This is another place where the song’s initial tempo can be set or modified.
Song Mode and the Song Editor
Song Editor: The COMMON Page
TimeSig
Affects the click, playback looping, and locate function as well as some editing operations. Does not change the recorded data, though it does change the way data is displayed on the screen.
FX Track
The PC3 uses the channel of the track specified for FX Track as the Aux FX channel.
DrumTrack
Any of the song’s tracks can be defined as Drum Tracks so that their Note events do not get transposed when a transposition is applied in riffs and setups.
This feature is particularly useful when a drum kit program (or any other non-pitched program) is used in a song, and you want the sounds produced by each note number in that program to be preserved in each transposition. If in the song being used as a step in an riff or setup (NOT the riff or setup song itself), there is a (D) designating the track playing the drum program as a
Drum Track, the originally recorded Note events on that track will remain unchanged.
The Drum Tracks’ settings do not have any effect on edits made on the TRACK page in the Song
Editor. Any tracks defined as Drum Tracks are transposed when a transposition is applied to these tracks from the TRACK page.
MidiDst
The MIDI data on each track has a destination assignment selectable with the TrackDest parameter. There are four possible indicators:
L =
Local. The track’s MIDI data will be transmitted locally only, to the PC3’s internal sound generator. None of the track’s MIDI data will be sent to the MIDI Out port.
M
= MIDI. The track’s MIDI data will be transmitted only to the MIDI Out.
U
= USB MIDI. The track’s MIDI data will be transmitted only to the USB port.
––– = None.
Pairs and groups of the above letters indicate that MIDI is being sent to each letter’s corresponding destination.
12-17
Song Mode and the Song Editor
Song Editor: The TRACK Page
Soft Buttons on the COMMON Page
TRACK
– calls up the TRACK page. This page accesses useful track based edit functions. There is a selectable edit function that can be applied to the selected track or all tracks in your song.
The TRACK page is described on page 12-18.
EVENT
– calls up the EVENT page, an event-list style editor. On the EVENT page in the Song
Editor, you can scroll through, modify, add, or delete any or all of the tracks’ MIDI events. The
EVENT page is described on page 12-28.
Rec, Play,
and Stop – function as described in The Rec, Play, and Stop Soft Buttons on page 12-5.
Save
– calls up the “Save as” dialogue.
Song Editor: The TRACK Page
This page allows you access to useful track-based edit functions. These functions are:
Erase
Copy
Bounce
Insert
Delete
Quantize
Shift
Transpose
Grab
Change
Remap
For each function, there is a set of parameters to control how the function operates, and on what region of the selected track(s). As usual, the top line of this page displays the selected track or tracks. Select the available current track(s) for editing by using the Chan/Layer buttons. Press both of the Chan/Layer buttons together to select All tracks.
Below is an example of the TRACK page for the Bounce function.
12-18
You will notice that the page is divided into two halves, with the right half being a separate box
This is called the Region/Criteria box. The parameters in this box are used to select the range of events (from a start Bar and Beat to and end Bar and Beat) for modification, as well as which types of events function will affect.
The parameters in this box will generally be the same for most functions. For some functions, however, some parameters may not apply. For example, Quantize and Transpose apply only to notes, while Remap applies only to Controllers. In addition to the Region/Criteria box parameters, the Locate parameter is also found on each function.
Song Mode and the Song Editor
Song Editor: The TRACK Page
Since these parameters are common to most Track functions, we will define them first. Then we’ll describe the individual functions along with the parameters specific to each, which are normally found on the left side of the page. The function Quantize has unique parameter in its
Region/Criteria boxes. We’ll describe those parameters along with the functions.
Once you’ve chosen a function and set the parameters to your liking, press Go. This executes the editing function. You can then play the sequence to hear the results of your edit. If you don’t like your edit, simply exit the editor and press No when you are asked if you want to save. If you do like your edit, you can press Done and then Save, or just exit the editor and save the changes.
Or, you can go to another edit function. Keep in mind though, that if you choose to perform more than one edit without saving, and you are not satisfied with one of the changes you make, you will have to exit the editor without saving and then redo each of the changes you made.
That’s why it’s usually best to save after each successful edit.
Common Parameters for Edit Song: Track Functions
Locate
This parameter is available for every function on the TRACK page. It appears at the lower left hand corner of the page.
The Locate bar, beat, and tick will change in real time during playback and recording to reflect the song’s current position. It can be set to any bar, beat, and tick, including negative values.
Playback begins at, and Stop resets the song to the Locate bar, beat, and tick.
Region/Criteria Box Parameters
From and To
From and To are available in most TRACK edit functions to define a range of time on the selected track(s).
The From value defines the first bar, beat, and tick in a range of time selected for editing. The To value defines the final bar, beat, and tick in a range of time selected for editing.
Events
Any and all types of MIDI events are available for editing, selectable in this parameter. Some events will provide you with settings for a range of values, or other MIDI event specific criteria.
Available Values are: All, Notes, Controllers, MonoPress, PitchBend, ProgChange, PolyPress.
When Events is set to ALL, all MIDI events on the track(s) you are editing, that occur in the region of time between the From and To settings, will be affected by the edit function.
When Events is set to Notes, note number and velocity ranges can be set for Note events.
LoKey
Determines the lowest note in a range of notes to be affected. This can be set to any
MIDI note value; the default is C-1.
High Key (Hi)
Determines the highest note in a range of notes to be affected. This can be set to any
MIDI note value; the default is G9.
12-19
Song Mode and the Song Editor
Song Editor: The TRACK Page
LoVel
An attack velocity range can be specified as criteria for selecting Note events for editing.
The LoVel parameter sets the lowest velocity a Note needs to have in order to be edited.
Notes on the selected track(s) with a attack velocities lower than the LoVel will not be affected by the edit. The available values are 1–127; the default is 1.
High Velocity (Hi)
The Hi parameter sets the highest attack velocity a Note needs to have in order to be edited. Notes on the selected track(s) with attack velocities higher than the value of Hi are not affected by the edit. The available values are 1–127; the default is 127.
When Events is set to Controller, the Controller(s) and a Controller value range can be set for
Controller events.
Controller
The Controller parameter selects the Controller (if any) or all Controllers to be affected.
LoVal
You may further specify a particular range of values to edit by setting a high and low value. LoVal will define the lowest modifiable value in the selected controller’s recorded data. Value ranges are not definable when Ctl is set to All. Available Values are 0–127.
High Value (Hi)
Hi defines the highest modifiable value in the selected controller’s recorded data. Value ranges are not definable when Ctl is set to All. Available Values are 0–127.
Soft Buttons on the TRACK Page
FromTo
is a quick way to define the region of time you intend to edit. There are a couple of ways to use this feature when the sequence is playing back in real time, and both ways will set the temporal boundaries of the region.
One way is to first position the cursor over the From parameter in the Region/Criteria box and then press the Play soft button. During playback, every time you press FromTo, the PC3 updates the value of From to match the current playback location. Position the cursor over the To parameter to change the value of To in a similar fashion.
If you haven’t selected either the From or To parameter, pressing FromTo during playback updates From or To—or both—depending on the current playback location (the value of the
Locate parameter) at the time you press FromTo. If you press it while the Locate value is earlier in the song than the current To value, the PC3 updates the From value. If you press FromTo again (without stopping playback) while the Locate value is later than the current From value, the PC3 updates the To value.
Play
will start the playback of the song from the Bar and Beat set in the Locate parameter. When the song is playing, this soft button functions as a Pause button.
Stop
stops the playback of the song and return to the Bar and Beat set as the Locate value.
Go
performs any of the Track-based edit functions described above.
Done
will return you to the EditSong : COMMON page.
12-20
Song Mode and the Song Editor
Song Editor: Track Functions
Song Editor: Track Functions
Erase
This function erases specified events from a region of time, but it doesn’t delete the region of time. The result is like erasing a section of recording tape. If you want to completely remove a segment and shorten the length of the track, you can do it with the Delete function.
Copy
Use the Copy function to duplicate the selected events from the current track and place them in the same track or on another track, either merging with or overwriting existing data.
If you do not want to copy all of the MIDI events in the defined range of time on the current track, use the Events parameter in the Region/Criteria box to select a specific MIDI event type you would like the edit function to affect. Some event types provide you more criteria selection parameters. It is often a good idea to set Events to Notes when copying, and then add any necessary controller or other data to the track at a later time.
DstTrack
: 1 to 16 / All
Select a destination track for the copied events with the DstTrack parameter. All selected events described in the Region/Criteria box will be placed in the destination track(s) at any Bar and
Beat you specify.
If the currently selected track is All tracks then the destination track will be All tracks as well.
No matter what channel the current track (source track) is set to when you use the copy function, the events will be played on the destination track’s channel.
Location
: Bars : Beats : Ticks
12-21
Song Mode and the Song Editor
Song Editor: Track Functions
Specify a bar, beat, and tick location in the destination track where the copied data will be placed with the Location parameter. If the length of the copied region extends from the Location point beyond the song’s existing End point, a new End point is defined.
Mode
: Merge/Erase/Slide
The Mode setting determines whether the copied events merge with, or erase existing events on the destination track from the location point to the end of the copied region. With Mode set to
Slide
, the sequencer creates space for the new events, and slides the existing events to uniformly later times in the song.
Times
: 1 to 127
The value selected for the Times parameter determines how many copies of the selected region are placed, one after another, in the destination track.
Bounce
Use the Bounce function to move the selected events from the current track to another track, either merging with or overwriting existing data on the destination track. The Bounce function differs from the Copy function in that the original data is not preserved in the original track. As on a multi-track tape recorder, Bounce will always put the data in the same timeline on the new track that it was on the old track.
DstTrack
: 1 to 16
Select a destination track for the events to be moved to with the DstTrack parameter. All selected events described in the Region/Criteria box will be placed in the destination track at the data’s original location.
No matter what channel the current track (source track) is set to when you use the bounce function, the events will be played on the destination track’s channel.
Mode
: Merge/Erase
The Mode setting determines whether the bounced events merge with, or erase existing events on the destination track from the location point to the end of the copied region.
12-22
Song Mode and the Song Editor
Song Editor: Track Functions
Insert
The Insert function is used to add blank time to the current song, modifying the song’s End point appropriately. The Insert function will affect all tracks. This is similar to splicing a piece of blank tape to an existing segment of recording tape.
Location
: Bars : Beats : Ticks
The insertion point for the blank time being added is selected as a Bar and Beat Location value.
Events that occurred at or after this Bar and Beat, before you insert time, are not erased when you perform this function, rather they are offset by the length of the blank time being added to a
Bar and Beat later in the song.
Amount
: Bars : Beats : Ticks
The length of the blank time being added is defined as a number of Bars and Beats in the
Amount parameter.
There are no Region/Criteria parameters available for the Insert function.
Delete
The Delete function is used to remove a region of time from the current song. This function is different from the erase function because not only does it remove the events from the selected time, it will delete the entire selected range of time from the song, modifying the song’s End point appropriately (on all tracks). This is similar to cutting a section out of a tape and splicing the ends.
12-23
Song Mode and the Song Editor
Song Editor: Track Functions
Quantize
Use the Quantize function to adjust the timing of Note events. Keep in mind that only Note events are quantized; other types of events, such as controllers, are not quantized.
Quant
: Off/1 to 100%
The Quantize parameter determines how much the selected Note events are moved towards grid locations. If set to Off, no aligning of previously recorded notes to grid locations will occur.
If set to 100%, every recorded Note event will be aligned to the closest grid location, defined by the Grid setting. Notes will be moved to a position half way between the grid location and the original Note-event location if Quant is set to 50%.
Grid
: 1/1 to 1/480
This setting determines the size of the Quantize grid, expressed as a fraction of a Bar with a 4/4 meter. Set Grid to 1/1 for whole note grid, 1/16 for sixteenth notes. All of the standard note durations and every fractional Bar divisions in between are available as the size of the Input
Quantize grid.
Swing
: -100 to 125%
The Swing percentage is applied to the quantize grid. 0% swing is straight time, 100% produces a swing feel (triplet feel). A positive Swing value determines how close every other grid location is moved to a point 1/3 of the way towards the next grid point. Negative Swing moves every other grid location closer to a point 1/3 of the way towards the previous grid point.
Release
: Yes/No
Set the Release parameter to Yes if you would like each quantized Note event’s Note Off message to be aligned to the grid location nearest to the time the key was originally released.
12-24
Song Mode and the Song Editor
Song Editor: Track Functions
Shift
The Shift function allows you to offset the existing MIDI events forward or backward in time any number of ticks (1/480th of a Beat) and beats. This function only affects the End point if any of the shifted events are after the End point of the song.
Events can not be shifted beyond the End point or before Bar 1 : Beat 1 : Tick 0. The events can be shifted only as far as these temporal boundaries. All events that can’t be shifted the full Ticks amount will be placed at the boundary location.
Amount
: Bars : Beats : Ticks
The Ticks parameter specifies the number of bars, beats, and ticks that the MIDI events, from within the selected region, are moved forward (for positive values) or backward (for negative values) in time relative to their original locations.
Mode: Merge/Erase
The Mode setting determines whether the shifted events merge with, or erase existing events on the destination track from the location point to the end of the shifted region.
Transpose
Use the Transpose function to change the MIDI Note numbers of the selected Note events.
Semitone
: -128 to 127 semitones
An increment of one semitone represents a change of one MIDI Note number. You can transpose
Note events only within the range of MIDI Note numbers 0 to 127.
12-25
Song Mode and the Song Editor
Song Editor: Track Functions
Grab
Grab is similar to the Copy function, except that the Grab function allows you to copy selected data from tracks that exist in other songs in memory.
SrcSong
: Song List
The Source Song parameter is set to the ID and name of the song in memory that contains the desired track data you wish to grab in order to use it in the current song. The source track is determined by the Track parameter displayed on upper right hand side of the page, selectable with the Chan/Layer buttons.
DstTrack
: 1 to 16/All
Select a destination track for the grabbed events with the DstTrack parameter. All selected events from the source song and track described in the Region/Criteria box will be placed in the destination track(s) at any bar, beat, and tick you specify.
If the currently selected track is All tracks then the destination track will be All tracks as well.
No matter what channel the current track (source track in the source song) is set to when you use the grab function, the events will be played on the destination track’s channel.
Location
: Bars : Beats : Ticks
Specify a bar, beat, and tick location in the destination track where the grabbed data will be placed with the Location parameter. If the length of the grabbed region extends from the
Location point beyond the song’s existing End point, a new End point is defined.
Mode
: Merge/Erase/Slide
The Mode setting determines whether the grabbed events merge with, or erase existing events on the destination track from the location point to the end of the grabbed region. With Mode set to Slide, the sequencer creates space for the new events, and slides the existing events to uniformly later times in the song.
Times: 1 to 127
The value selected for the Times parameter determines how many copies of the selected region are placed, one after another, in the destination track.
12-26
Song Mode and the Song Editor
Song Editor: Track Functions
Change
The Change function is used to modify attack velocities, release velocities, or the values of any existing controller data on the current track. A static change of values can be made as well as having the change take place over a region of time.
Change can not modify or add data that doesn’t exist on the current track. If you hear Note events played back on a track, then you know there is an attack and release velocity value for each one, and the effect of the Change function can usually be easily detected. Controller values are sometimes more difficult to change since there can be inconsistent gaps of time between each controller event.
Scale
: 0% to 20000%
The selected velocity or controller events’ values can be changed to a percentage of the original values determined by the Scale parameter. A setting of 100% has no affect. Values are scaled lower with a Scale percentage set from 0% to 99%. Low values can be set higher using a Scale percentage above 100% on up to 20,000%, although the maximum value of 127 can not be exceeded for any velocity or controller type.
Offset
: -128 to 127
Offset can be used alone or in conjunction with Scale to add or subtract a set amount to or from the original (or scaled) values. Values for velocities can not be less than 1 or greater than 127.
Values for controllers can not be less than 0 or greater than 127.
As an example, to set all Velocities to a value of 55, you would set Scale to 0% (multiplies all original values by zero) and set Offset to 55 (adds 55 to the product of the Scale parameter).
Mode
: Constant/PosRamp/NegRamp
Set Mode to Constant to have values modified in a uniform fashion, as determined by the Scale and Offset settings, for the entire selected region of time and range of values.
When the Change function is applied with Mode set to PosRamp, the selected velocity or controller values will gradually change over the region of time, defined by the locations set for the From and To parameters, from the original value to the new value determined by the Scale and Offset settings. The first events being modified within the region will have little or no change from their original values. The amount of Scale and Offset applied will increase as the song approaches the Bar and Beat defined in the To parameter, where the full amount of described change will occur.
You can set Mode to NegRamp to achieve the opposite dynamic effect of PosRamp. NegRamp works in the same way, but the amount of Scale and Offset applied will decrease from the full amount of change described by Scale and Offset to little or no change as the song approaches the bar, beat, and tick defined in the To parameter.
12-27
Song Mode and the Song Editor
Song Editor: The EVENT Page
Remap
Use the Remap function to apply the values of any one type of controller data, already recorded on a track, to another controller type. The effect the real time changes of the “Old” controller had will be replaced by the effect the “New” controller has by using the exact same controller values.
Old
: Control Source List (0 to 120)
The “Old” Controller is set to the Controller type that you wish to remap. This Controller data must already exist on the current track in order to apply it to the “New” Controller type.
New
: Control Source List (0 to 120)
The “New” parameter is set to the Controller code you wish to have use the existing values, once used by the “Old” Controller, to produce a different effect.
Song Editor: The EVENT Page
Every type of recorded MIDI event is visible from this page. You can view and change these events if necessary.
Location Bar:Beat:Tick
Event Type and Value
12-28
Song Mode and the Song Editor
Song Editor: The EVENT Page
To scroll through the events, make sure the location (Bar and Beat, in the first column) is highlighted. Use the Alpha Wheel, the Up and Down cursor buttons, or the Plus/Minus buttons. As you scroll through the events, each event is executed by the sequencer. In the case of
Note events, you will hear the note played, although the duration will be short. If you have scrolled through a Sustain (MIDI Controller 64) message with an On value then you will hear the note sustain as if the sustain pedal was depressed. The note will continue to sustain until you scroll through a Sustain message with a value of Off.
You can also jump directly to a specific bar and beat by typing the bar number and beat number, then pressing Enter. Keep in mind if you have controller or program data previous to the point that you jump to, those events may not have been executed and you may hear unexpected results. For example, if you have program changes at bar 1 and bar 8, then if you jump from bar
1 to bar 9 any notes you scroll through will be played with the program change from bar 1.
The channel of the selected event is displayed on the top line of the page. Use the Chan/Layer buttons to select an active track to view and edit the MIDI events recorded on it. As you scroll through each event, the track and channel for the selected event appear in the top line of the display.
Location
The first column represents the Bar and Beat Locations of the different events in a song. Scroll through the events on the selected track(s) with the Alpha Wheel or enter in a specific Bar and
Beat on the alphanumeric button pad to jump to events occurring on that Beat. A quick way to jump to the End point in a track is to press 9999 and then Enter on the alphanumeric button pad.
Bar, Beat, and Tick
Bar, Beat, and Tick are editable parameters for each event. They determine when an event happens relative to the other events within the song.
12-29
Song Mode and the Song Editor
Song Editor: The EVENT Page
Event Type and Value
The Event Type and Value region displays the MIDI event type (and related information) at each
Event-list location in the song. Different event types display different kinds of information, and have different editable values.
The Event type is left-most field. You can highlight this field and change the Event type. Note events are denoted by a “>” followed by the note name. The “>” is effectively the Controller type, and to change the Controller, highlight the “>.” To change the note, highlight the note name.
Table 12-1 lists the ranges of the editable event values.
Event Type
Program Change (PCHG)
Pitch Bend (BEND)
Mono Pressure (MPRS)
MIDI Note Events (>)
MIDI Controller Events (CTRL)
Values
0 to 127
-8192 to 8191
0 to 127
Note events have four editable values: Note Name, Attack
Velocity (indicated by a “v”), Release Velocity (indicated by a “^”), and Note Duration.
Note NumberC -1 to G 9
Attack Velocity
Release Velocity v1 to v127
^1 to ^127
Note Duration Bar : Beats : Ticks
Controller events have two editable values: Controller Type and Controller Value. Defined controllers are referred to by their names.
Controller Type
Controller Value
Control Source List (0 to 127)
0 to 127
Table 12-1 MIDI-event Value Ranges
Soft Buttons on the EVENT Page
Cut
: Removes the currently selected event from the Event list and temporarily stores it in a memory buffer so that you can immediately paste it into a new location.
Copy
: Makes a duplicate of the currently selected event and temporarily stores it in a memory buffer so that you can immediately paste it into a new location.
Paste
: Inserts the most recent cut or copied event into the Event list at the currently selected
Bar : Beat : Tick location. The pasted event will share the same location with the event that
already existed at that location in the Event list, but it will appear before the pre-existing event.
New:
Inserts a new event by duplicating the current event.
Done
: On the View page, returns to the EVENT page. On the EVENT page, returns to the
COMMON page.
12-30
Storage Mode
Storage Mode Page
Chapter 13
Storage Mode
Storage mode lets you use xD memory cards to load, save, back up, and copy files between the
PC3 and the outside world.
Storage mode in the PC3 allows flexibility to organize files and their contents. Its features can save you time by allowing you to select and organize files and directories.
Here’s a summary of Storage mode functionality:
• One xD slot
• MS-DOS file system compatibility
• Support for song files (sequences) in MIDI Type 0 and Type 1 format
Storage Mode Page
To enter Storage mode, press the Storage button, and the Storage mode page will appear:
In the center of the page is a line indicating the currently selected storage device. There two selectable storage destinations: Card and USB. Next to each destination is the name of the attached card or device (if any). In the top right-hand corner of the page is displayed the currently selected storage destination.
The currently selected device will be read from or written to when you load, save, rename, or delete files. Use the soft buttons to start any of these operations. Here is a brief description of each of Storage mode’s soft button:
Store
Load
Save objects or banks of objects as a PC3 file on the current device.
Load selected file(s) or object(s) from the current device into PC3 memory.
Utils
Check the free space, find files, and view directory organization and sizes.
Format
Format the currently loaded xD card.
USBDrv
Select the USB drive.
13-1
Storage Mode
Directories
Using xD Cards
You can use xD cards for all your backup and storage requirements. xD cards are sold in a variety of sizes; the PC3 will work with any size, so long as it’s 32MB – 256MB, Type S or no type stated, and formatted as FAT16.
The xD card slot is on the back panel of the PC3, but it is easily accessible from the front of the instrument – just run your hand along the back panel at the right end (as viewed from the front); the blue light of the card slot will reflect off your hand. The gold contacts on the card must be facing up when you insert it into the PC3. You can remove an xD card anytime the blue “Storage
Active” LED on the front panel is unlit.
Caution
: Do not remove an xD card while the blue LED is lit; this can cause data corruption.
Directories
A directory lets you group files together as you might separate documents using folders in a file cabinet. You can create directories on xD cards. You can even create subdirectories within directories. Directories appear in the normal file list with the indicator <dir> to the right of the directory name.
Directories are handy for organizing your song, and program files. The PC3 provides many operations for setting up and managing directories and the files within them.
Path
Formatting an xD Card
xD cards come formatted and ready to use with the PC3. If you ever need to format a card, however, insert the xD card (with gold contacts up) into the PC3’s xD slot, or in the xD slot of any computer with xD formatting capability. Make sure the card does not have a writeprotection sticker attached.
Press the Storage button to enter Storage mode. Press the soft button labeled Format. The PC3 will ask you if you want to format, and a pair of Yes/No soft buttons will appear. Press the Yes soft button when you are ready to begin.
The PC3 will remind you that formatting will erase the xD card, and will give you two more chances to cancel the formatting procedure—we want to make sure you don’t accidentally erase any cards. Press the Yes soft button to continue formatting. When formatting begins, the display will tell you that the card is being formatted. The blue xD LED will light.
The Path field shows the current directory on the current device. This field is displayed upon returning to the Storage mode page after you have pressed one of the Storage mode soft buttons and viewed the file contents. It stays visible on the Storage mode page until you power down or do a soft reset.
The PC3 always starts at the root (top-level) directory when you power it up, or when you change the value of the CurrentDisk parameter. When you use the disk functions to view other directories, the Path field updates the current directory value to track your movements.
13-2
Storage Mode
Common Dialogues
The root directory is displayed as a backslash:
Path:\
If you press the Load button and load a file from a subdirectory called SOUNDS, the Path field will appear as
Path:\SOUNDS\
The backslash character is a directory separator, as in the following Path:
Path: \NEWTUNE\SAMPLES\DOGS\
This represents the directory DOGS, which is a subdirectory of the SAMPLES directory, which is a subdirectory of the NEWTUNE directory in the root directory. If the path is too long to fit on the top line of the display, it gets abbreviated. The maximum length of a path in the PC3 is
64 characters (including the backslash characters).
Disk Drive Information
For xD cards, the manufacturer and card size are displayed.
Common Dialogues
These are dialogues that the PC3 calls up when about to perform certain storage functions.
The Select Directory Dialogue
When storing an object—or group of objects—the PC3 prompt’s you to select a directory in which to save that object or group.
There are three navigating soft buttons on the left side of the bottom of the page:
NewDir
Create new directory. Calls up the New Directory dialogue (see the following section)
Open
Parent
Opens the highlighted directory.
Moves you up one level in the directory hierarchy. If the display is already at the root directory, this button has no effect.
When you have chosen your directory, press the OK soft button to call up the File Name dialogue (see the following section) and completes the storing process.
13-3
Storage Mode
The STORE Page
The File Name/New Directory/Rename Dialogue
When you create a new file in Storage mode, create a new directory, or rename a file or directory, the PC3 prompts you to enter the object’s name. This File Name dialogue appears as shown below, although both the New Directory and Rename appear and function similarly to the File
Name dialogue:
New file names will default to either FILENAME (after a powerup), or the name will be that of the most recent file saved or loaded. New directory names will default to either DIRNAME
(after a powerup), or the name will be that of the most recent file saved or loaded. Once you choose a name to start with (or the default), you can edit the name using the Left and Right cursor buttons, the Delete and Insert soft buttons, and the << and >> soft buttons.
Pressed OK soft button saves the object in the current directory.
The display shows that the PC3 has created or renamed the object, then the Storage mode page reappears.
The STORE Page
Pressing the STORE soft button calls up the Store page, where you can select objects from RAM to store in the current storage device. The page appears as shown below:
13-4
Storage Mode
The STORE Page
At the top right of the page, the display shows how much memory is available in the current storage device. Along the bottom of the page are the Store page’s six soft buttons. Below is a description of the function of each soft button:
Select
Select the highlighted Object/Type or Range/Bank. An asterix (*) appears to the left of selected entries.
Clear
SetRng
Clear all selections in the current field. Note that if you press the Clear soft button while in the Range/Bank field, only selected Range/Bank entries are cleared; however, if press the Clear soft button while in the Object Type field, all selected entries in both fields are cleared.
Set range. Note in the Range/Bank field that the second-to-last entry is Range with a range of numbers next to it. You can set this range in the Set Range dialogue by pressing the SetRng button. If you try to set an invalid range—such as 102–23— then the PC3 will inform you that the range is invalid.
Advnce
Call up Store Advanced page (see below).
Store
Store the selected objects to the current storage device. Pressing this soft button calls up the Select Directory dialogue.
Cancel
Exits the Store page and returns you to the Storage mode page.
In the main body of the page are two fields: Object Type and Range/Bank. To select objects for storage, firstly, select an Object Type. If there are any user-defined objects of the selected type, the symbol (u) will appear to the right of the Range/Bank entry in which they fall. These are the ranges whose objects you can store.
You can store an entire bank of objects, or by pressing the Advnce soft button, select individual
objects to be saved (see The Store Advanced Page). If you choose to store using the bank method,
all RAM objects within that bank will be saved. (You cannot store ROM objects. If you wish to store a ROM object, such as a program, you must first save it internally as a RAM program.) If any objects within the selected bank have dependent RAM objects that exist in a different bank, you will be asked if you want to save dependent objects.
Use one of the data-entry methods to select a bank to be store. If you press the Cancel soft button, you’ll return to the Storage mode page. After you’ve selected the bank, press Store, and the File Name dialogue will appear. Name the file, and press OK. When the file is saved, the PC3 adds an extension (.PC3) to the filename. This enables the PC3 to recognize it as a Kurzweil file when it examines the directory. Note that although .PC3 files are “collections” of objects, you
can load individual objects if you want to. See Loading Individual Objects on page 13-6.
Saving Master Files
Among your choices in the Bank dialog are Master files. Master files consist primarily of the items on the two Master mode pages and the three MIDI mode pages. Saving Master files (or dumping them via SysEx) is a good way to configure your PC3 (or another PC3) to your performance or sequencing needs. For example, you might save different Master files with every sequence you create using an external sequencer. Then, when you load the Master file, you would have all the correct programs assigned to the appropriate MIDI channels.
The Store Advanced Page
Pressing the Advnce soft button calls up the Store Advanced page, on which every user-defined object—as well as its object type—on the PC3 is displayed and selectable for storage. On this page, you can select and store objects individually, rather than by range. The objects are organized by numerical ID and object type.
13-5
Storage Mode
The LOAD Page
There are five soft buttons on the Store Advanced page:
Select
Select the highlighted object. An asterix (*) appears between the ID and object type of selected objects.
Next
Scroll to next entry. Same function as pressing the Down or + buttons, or turning the
Alpha Wheel one click clockwise.
Type
Store
Cancel
Jump to next object type.
Store the selected objects to the current storage device. Pressing this soft button calls up the Select Directory dialogue.
Exits the Store Advanced page and returns you to the Store page.
Shortcuts when Storing Individual Objects
Selecting or deselecting all of the objects at once can be done with the following double-presses
(two front-panel buttons simultaneously pressed):
•
Left/Righ
t cursor double-press: Select All Objects
•
Up/Down
cursor double-press: Clear All Selections
If you want to store most but not all of the items from a file (for example, if there are some songs in RAM that you don’t want to be stored in the file), it may be fastest to first select all objects using the Left/Right double-press, and then manually deselect any unwanted items.
The LOAD Page
Pressing the LOAD soft button calls up the LOAD page, where you can load .PC3 files or individual objects from the current storage device. Along the bottom of the Load page, there are four soft buttons. Below are descriptions of their functions:
Parent
Open
OK
Cancel
Moves you up one level in the directory hierarchy. If the display is already at the root directory, this button has no effect.
Open selected file or directory. See below for instructions on opening files to view objects.
Load selected file. See below for instructions on using the Load dialogue.
Exits the Load page and returns you to the Storage mode page.
Loading Individual Objects
Since files can contain over 3000 objects, it is often useful to load only a subset of the information contained in a .PC3 file. Sometimes, this capability is necessary even to be able to load certain files, if the size of the file’s data is greater than the PC3’s internal RAM size.
You can select individual objects or groups of objects (programs, effects, songs) for loading from within a single .PC3 file. The Load Object feature is accessible from the LOAD page. To activate it, scroll the file list until you have highlighted the file that you wish to load objects from.
Press Open to begin the Load Object dialog. (Note: The file must be in .PC3 format in order to load individual objects from it.) The PC3 then scans the file contents in order to present a list of all of the objects in the file. Sometimes this procedure can take a few moments, depending on how many objects are in the file.
13-6
Storage Mode
The LOAD Page
The objects in the list are usually grouped by type (program, setup, etc.). The list can be scrolled using the Alpha wheel or the Up or Down cursors. Each line in the scrollable list represents one object, and displays the object’s type, ID, and name. The ID numbers are the same numbers that were used to reference the objects when the file was last saved by the PC3. These numbers will usually be different after the objects are loaded, depending upon the bank (for example,
128...255) and mode that is specified for loading.
As with the file list, entering in a number from the alphanumeric buttonpad will jump to the indexed entry, and typing in a large number like 9999 will go to the end of the list.
The soft buttons on this page are used for multiple selection of the objects in the list as well as for moving around the list when there are many items selected or listed. This same dialog is also used for many other functions in the PC3, namely for saving selected objects and for several object utility functions that are described later.
Here is a brief description of each button’s function:
Select
Select or deselect an object.
Next
Type
Jump to the next selected object.
Jump to the next object of a different type.
OK
Tell PC3 to proceed to load the selected objects.
Cancel
Exit back to the File List Dialog.
Press the Select button to choose the highlighted object for loading. An asterisk (*) is placed to the left of the object index for any items that are selected. Deselect a selected object by pressing
Select
again. The asterisk will disappear. The easiest way to choose objects for loading is to scroll the list and individually press Select on each object you want to load.
The Next button will cause the index into the list to jump to the next selected object, forward in the list. When the end of the list is reached, the search will wrap around from the beginning. If you have more than one object selected, then if you repeatedly press Next you can easily cycle through all selected items. If there are no items selected, then this button doesn’t do anything.
The Type button jumps to the next object of a different type from the one that is currently highlighted. This is a convenient way to find a particular type of object in the list.
When you are all done selecting objects to load, press OK. As stated above, if only one object is to be loaded, it is implicitly selected if it is the currently highlighted object and there are no other selected objects in the list.
Cancel
returns to the file list dialog, highlighting the file you just opened. You can load the entire file after pressing Cancel by pressing OK when you return to the file list.
Select All/Deselect All
Selecting or deselecting all of the objects at once can be done with the same double-presses as described for the file list dialog, namely:
•
Left/Righ
t cursor double-press: Select All Objects
•
Up/Down
cursor double-press: Clear All Selections
If you want to load most but not all of the items from a file (for example, if there happens to be a
Master table in the file that you don’t want to load), it may be fastest to first select all objects using the Left/Right double-press, and then manually deselect any unwanted items.
13-7
Storage Mode
The LOAD Page
Loading Methods
Once you have pressed OK to decide on what bank to use, you will see this dialog:
13-8
The soft buttons control the mode for loading and renumbering of objects from the file. Here’s how they work:
OvFill
First deletes all RAM objects in the selected bank, and then loads objects using consecutive numbering.
Overwrt
First deletes all RAM objects in the selected bank, and then loads objects using the object ID numbers stored in the file.
Merge
Preserve the object ID numbers stored in the file for the objects to be loaded, overwrite objects already in memory if necessary.
Append
Try to use the object ID numbers stored in the file for the objects to be loaded. If an
ID number is already in use, increment the ID number until a free slot is found.
Fill
Ignore the object ID numbers stored in the file. Try to use consecutive numbering from the beginning of the selected bank. If an ID number is already in use, increment the ID number until a free slot is found.
Cancel
Cancel the mode selection, and go back to choosing a bank. Scrolling to a different bank value will have the same effect as Cancel.
Typically, you will just want to use the Fill method. Append, Merge, and Overwrt try to preserve the numbers stored with the objects in the file, but this should only really be necessary if you depend on program numbers or effect numbers to be at a certain MIDI program change number. OvFill is like Fill except the selected bank (or Everything) is cleared out before loading.
Overwrt
and OvFill operate in different ways after a selected bank has been filled up for a given object type (for example, after you have loaded more than 128 programs into a bank). Overwrt will continue to preserve the objectIDs stored in the file, and will individually overwrite objects in the bank following the just filled bank. OvFill does not overwrite past the end of the selected bank; it instead skips over object IDs that are in use, loading only into unused IDs. Because of this difference, it can sometimes be faster to load a file using OvFill rather than Overwrt.
However, this applies only if the objects to be loaded would extend past the end of a selected bank.
Note that when loading into a specific bank (as opposed to loading as “Everything”), the object
IDs in the file are used as follows: The “bank” digit is ignored, and the remainder of the number is used when the PC3 rebanks the object ID into the bank that you specify. For example, if you save Program 453 into a file, and load it back into the 129...256 bank, the PC3 will use the
Storage Mode
The LOAD Page
number 69 (its bank-specific ID in the 385...512 bank) when deciding upon a new object ID. If the
129...256 bank was previously empty, and the load mode is Append, then the program will end up with ID 197 (128 + 69).
For loading as “Everything,” the ID number for an object stored in a file is taken literally, and not rebanked (except if Fill or OvFill mode is chosen).
The following example shows how each different loading methods affect how four programs load into a bank that already contains programs.
Example: Starting with the following objects already stored in the PC3 internal RAM:
Program ID
129
133
134
139
140
Program Name
Piano Stack
Ole Upright 1
WestCoastPno&Pad
The Ancient
DancePnoEchplex
Suppose you were to load a file containing the following objects into the Base2 (129...256) bank:
Program ID
260
261
264
265
Program Name
Brighter CP
TouchRezSynthCP
Inside Out CP
Pianet Classic
The following table shows the IDs that each program end up with when you load the programs from the Classic Keys bank (255...384) into the Base2 bank:
Original
Program
ID
129
133
134
139
140
260
261
264
265
Program Name
Piano Stack
Ole Upright 1
WestCoastPno&Pad
The Ancient
DancePnoEchplex
Brighter CP
TouchRezSynthCP
Inside Out CP
Pianet Classic
Program IDs After Loading
OvFill
Deleted
Deleted
Deleted
Deleted
Deleted
129
130
131
132
Overwrt
Deleted
Deleted
Deleted
Deleted
Deleted
260
261
264
265
Merge
140
133
134
137
138
129
Deleted
Deleted
139
Append
140
135
136
137
138
129
133
134
139
Fill
140
130
131
132
135
129
133
134
139
13-9
Storage Mode
The Utilities (UTILS) Page
The Utilities (UTILS) Page
Pressing the UTILS soft button calls up the Utilities page, where the PC3 displays the contents of the current directory, in an alphabetized scrolling list. If the current directory cannot be located (for example, if you’ve changed cards), the PC3 displays the current device’s root directory.
The display shows the 3-character extension of all files in the directory (except directories themselves). Extensions are created when the file is saved by the PC3. You cannot modify the extensions on the PC3. This is because the PC3 uses the extensions to tell it what kind of data the files contain.
Directories created by the PC3 have up to 8-character names, with no extension. A directory can have an extension if it is created on an external computer (more on this later).
The .MID extension is used by the PC3 for MIDI Type 0 or Type 1 sequence files.
When loading files, the PC3 will try to find out the type of file if it doesn’t recognize the extension.
Soft Buttons on the Utilities Page
NewDir
Create a new directory.
Delete
Delete files from the current device.
Rename
Change the filename of a file.
Copy
Open
Single or multiple file copy between devices.
Opens the highlighted directory.
Parent
Moves you up one level in the directory hierarchy. If the display is already at the root directory, this button has no effect.
When you first open a directory for viewing, the index is 1 (the first file in the list). The PC3 remembers the index of the previous directory you were in before you pressed Open, so if you return to that directory by pressing Parent, the index changes accordingly. This index is remembered for one level down, and therefore is useful when stepping through a list of subdirectories from a single directory level.
In the Load function, pressing Open for a standard file will start the Load Object feature. This allows selected individual objects from the file to be loaded into the PC3. For example, pressing
Open while in the Delete function will display the objects within the file in a scrollable list, however no delete action will be possible on the individual objects.
Pressing the OK soft button will cause the PC3 to proceed with the selected function. After pressing OK, there may be further dialogs such as bank specification (for the Load function), confirmation (for Delete), or name entry (for Rename). One exception to this is in the Load function; when a directory is highlighted, pressing OK is the same as pressing Open (it displays the contents of the highlighted directory).
13-10
MIDI Implementation Chart
Appendix A
MIDI Implementation Chart
Model: PC3
Manufacturer:
Young Chang
Digital Synthesizers
Date: 12/01/07
Version 1.0
Basic Channel
Mode
Function
Default
Changed
Default
Messages
Altered
Transmitted
1
1 - 16
Mode 3
Note Number
True Voice
Note ON
0 - 127
O
Velocity
Note OFF
Keys
After Touch
Channels O
Pitch BenderO
O
X
Control Change
O 0 - 31
32 - 63 (LSB)
64 - 127
O
Program Change
System Exclusive
True #
1 - 999
0 - 127
O
O
System Common
Song Pos.
Song Sel.
Tune
Clock
System Real Time
O
O
O
X
Aux Messages
Messages
Local Control
All Notes Off
Active Sense
Reset
Notes
X
X
O
O
*Manufacturer’s ID = 07
Device ID: default = 0; programmable 0–127
O
O
Recognized
1
1 - 16
Mode 3
0 - 127
0 - 127
O
O
O
0 - 31
32 - 63 (LSB)
64 - 127
O
O
1 - 999
0 - 127
O*
O
O
O
O
X
X
X
O
O
Remarks
Memorized
Use Multi mode for multitimbral applications
0–11 sets intonation key
Controller assignments are programmable
Standard and custom formats
Mode 1: Omni On, Poly
Mode 3: Omni Off, Poly
Mode 2: Omni On, Mono
Mode 4: Omni Off, Mono
O = yes
X =no
A-1
MIDI Implementation Chart
A-2
Appendix B
PC3 Bootloader
The Bootloader is the program that runs when the PC3 is first turned on. Its job is to check that hardware is functional, initialize the digital systems, and load the main synthesizer program.
Under normal circumstances you might not even notice that the Bootloader is there at all, since the PC3 will start up on its own without any problem. However, if you want to update your unit, or perform maintenance on it, you may need to interact with the Bootloader program itself.
This appendix describes what the Bootloader can do and how you can use its functions.
The first thing to understand is that PC3 executable programs and all object data reside on a file system contained inside the instrument. This file system is based on flash memory technology and will persist across power cycles. When the PC3 starts up, the Bootloader copies the synthesizer program into memory and executes it - just like a PC “boots up” when you turn it on. The PC3 also stores its factory-defined objects, and all of your own customized user objects on the file system. The Bootloader program itself is not found on the file system. Instead, it resides in a ROM chip that cannot be erased, and therefore is permanently installed in your PC3.
Using the Bootloader Menu
Normally the Bootloader program will do its tasks and hand over control to the synthesizer program automatically. If you want to interact with the Bootloader itself, hold down the Exit button (to the right of the display) while turning the power on (while the message “Initializing
Scanner” is displayed on the front panel). Instead of completing the boot process, the Bootloader will display its main menu page on the screen:
PC3 Boot Loader Version 1.0
RUN UPDATE RUN SYSTEM FILE
PC3 IMAGE DIAGS RESET UTILITIES
Use the soft buttons underneath the display to choose an action.
RUN PC3
This will boot the system in its usual way. This is useful if you’ve updated the synthesizer program and want to try it out.
UPDATE IMAGE
RUN DIAGS
SYSTEM RESET
This offers a menu of choices to you for system update.
This will run the PC3 diagnostics which can help determine if there’s a hardware error on your unit, and if so what it is.
This will clear out all user-defined objects and return the PC3 to its default “Factory” state.
FILE UTILITIES
This offers a menu of file system functions that can be useful in maintaining your system or diagnosing software problems.
You can also enter the Bootloader menu from the Master Mode menu during normal operation.
B--1
B--2
Updating PC3 Software and Objects
The most common use of the Bootloader menu is to update your PC3 using new versions of software and objects supplied by Kurzweil. New versions will be made periodically as we add new features or improve performance; download these free upgrades from our website at www.kurzweilmusicsystems.com.
There are two ways to send files to the PC3: using an xD memory card, or via the USB cable connected to a computer. The Bootloader recognizes both methods, and will choose the one that is active when requested, i.e. a card plugged into the socket on the rear panel or the USB cable plugged in to an active computer supporting USB communications.
To use a card you’ll need a valid xD card (16MB to 256MB cards are currently supported) and a card writer that will allow you to copy files to the card from a computer. Most modern Windows and MacOS computers support card writing in a very straightforward way. You should be able to drag and drop the PC3 files right onto the card directory. After the files are copied, remove the card from the card writer and place it in the xD slot on the rear panel of the PC3. The card contacts face upward.
To use a USB transfer, you should plug the USB cable into the PC3 and the computer. After you enter the bootloader menu, the computer should recognize that a new device is available having the name “KurzweilPC3”. Files can be dragged and dropped directly to this device icon and will be immediately available on the PC3.
The UPDATE IMAGE menu looks like this:
What module do you want to update?
MAIN DIAG MAIN ALT RESTORE
IMAGE IMAGE OBJECT OBJECT OLDER <back>
Use the soft buttons below the display to choose the appropriate module to update. Most of the time you’ll want to choose “MAIN IMAGE” or “MAIN OBJECT”. The executable image file will be a file with a name like: PC3SY150.BIN. The object library file will have a name like:
OBJ120.PC3. After choosing a module type to load, the PC3 will present a list of files available on the active transfer media (card or USB). If both a card and a USB cable are plugged in and have files on them, you will be offered a choice.
Use the UP and DOWN arrow buttons or the alpha wheel to choose a file from the file list displayed on the screen. The asterisk on the left side points to the file selected. If there are subdirectories on the card, you can use the soft buttons labeled DOWN and UP to navigate through them. When you’ve selected the file you want to install, press the soft button labeled
CHOOSE to perform the installation.
If you have updated an image but wish to return to the earlier version, you can use the
RESTORE OLDER feature in the UPDATE IMAGE menu. You will again be asked to choose the image to restore. Note that only one version of the previous image is available to be restored. If you’ve restored once, another restore will bring back the most recently updated version.
PC3 Diagnostics
This program runs specific hardware checks on PC3 systems. Most of the time you won’t need to run the diagnostics, but if you’re having some problems with the instrument it may be helpful to perform these interactive tests when contacting Kurzweil support.
To exit the diagnostic program, press the EXIT button. You will return to the main Bootloader menu.
System Reset
If you’ve made many, complex updates to your objects, and have saved a number of files off to external storage, you might want to restore the instrument to its default state. This is especially helpful if you’re having problems getting sound programs or setups to work properly, or think there may be some kind of underlying hardware problem. To clear all user objects and restore the factory default state, press the soft button labeled SYSTEM RESET on the Bootloader menu.
The PC3 will ask you to confirm this action. Press RESET to complete the clear function, and
CANCEL to stop without altering anything.
Remember to save your work in the Storage menu. Once deleted, the files are completely removed from the PC3 and there is no way to retrieve them.
File Utilities
These functions allow you to move files from the external storage onto the PC3 internal file system or vice versa. It is also possible to execute PC3 images directly from a card or USB file, which can be useful in diagnosing and fixing system errors.
The most commonly used function in this menu is FORMAT card. This cleans up an xD card and restores its file structure. Cards are occasionally corrupted during usage, through electronic glitches or other errors. If your card becomes unreadable, you can restore it using the FORMAT function. Note that all files on the card are completely and permanently deleted with this function - so use with caution!
It is possible to execute a PC3 program image directly from the external device. Press the soft button labeled “EXEC from file” to do this. The Bootloader will present a list of available files on the external storage (card or USB) of which you can select one using the UP/DOWN arrow buttons as described above under Updating PC3 Software.
B--3
B--4
Restoring the PC3 File System
It is possible (though not likely) that the PC3 file system can become corrupted due to hardware failure or power outage during certain operations. This will result in the Bootloader being unable to bring up the synthesizer system correctly. In such a circumstance, the Bootloader will take over control and present its usual menu. If the file system is completely corrupted, it will not be possible to reconfigure without first formatting the internal flash memory.
To rebuild the system from a corrupted state, you must run the PC3FILES utility which is shipped with your PC3 on the CD-ROM, or which can be downloaded from the Kurzweil website. Copy this program (called PC3FILES.BIN) onto an xD card and insert the card into the
PC3 card slot, or start the PC3 Bootloader with the USB cable connected to a computer and copy the program to the USB window. You should also copy the current PC3 executable image and diagnostics images, and the PC3 object library, to the same external medium used for the
PC3FILES program.
Choose “FILE UTILITIES” and “EXEC from file” soft buttons, and select PC3FILES.BIN from the list of files shown. Press the soft button labeled “CHOOSE” to execute the PC3FILES program.
The program will display the menu:
PC3 File System Utility 0.02
File system status
<status given here>
FORMAT SETUP COPY FILE
FLASH SYSTEM FILES UTILS QUIT
Press the soft button labeled FORMAT FLASH to reinitialize the internal file system. This will delete everything that was stored internally on the PC3, and leave a clean, empty file system ready for use.
After the format is complete, press the soft button labeled “SETUP SYSTEM”. You will be asked to provide the name of PC3 software modules (main executable and diagnostics) and a PC3 object library. Use the UP/DOWN arrow buttons or alpha wheel to select the requested file, and the CHOOSE soft button to install each one. If you don’t have a particular file ready to load, simply press CANCEL to move on to the next module.
Appendix C
Changing PC3 Voltage
In most cases, you will not need to change the voltage on your PC3. However, since different countries use different standard voltage settings, there may be times when you need to make the change.
The PC3’s fuse holder (where the power cable plugs in) is where you change the voltage. The marks on the fuse holder are 115 and 230. 115 should be used for voltages from 100 to 125. 230 should be used for 200 to 240. Generally, North America uses 115, and Europe and Asia/
Australia use 230, but there are exceptions to this general rule.
The PC3 uses two 250 mA fast blow fuses for 230V or two 500 mA fast blow fuses for 115V.
These can be either 1.25" X 0.25" size or 5 mm X 20 mm size fuses. Extra fuses are not provided, so you will need to acquire the correct fuse before you change the voltage.
Removing the fuse holder
Remove the power cord.
Pry open the fuse holder cover. Use a thin tool inserted into the hole where the red voltage indicator shows through.
C--1
C--2
Pull up gently to open the fuse holder cover. The cover is hinged next to the power cord connection.
Pry out the fuse holder.
If there is only one fuse in the fuse holder, you must remove the metal clip on the empty side.
The clip just pulls off:
C--3
The clip removed from the fuse holder:
Remove the fuse. Install two 250 mA fast blow fuses for 230V or two 500 mA fast blow fuses for
115V, one on each side of the fuse holder.
The fuse holder will accept either 1.25" X 0.25" size or 5 mm X 20 mm size fuses. If using 5 mm X
20 mm size fuses, install them towards the inside end of the fuse holder near the metal pins, as shown here:
C--4
Replace the fuse holder in the power entry module with the indicator for the desired voltage towards the edge of the module, away from the power switch. Close the fuse holder cover, and check that the desired voltage indication shows through the hole. Replace the power cord.
PC3 Objects (V 1.20)
Programs
Appendix D
PC3 Objects (V 1.20)
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
21
22
23
24
17
18
19
20
25
26
ID
Programs
Press the Info soft button for controller information.
Program
Standard Grand
Studio Grand
RubensteinSWComp
Horowitz Grand
NYC Jazz Grand
Pop Power Piano
ColdPliano
"Grand ""Evans"""
Blues Piano 1974
Rock Piano 1974
Lola Piano
TakeMeToThePilot
Deb's Ghost Pno
Ken Brns Uprigt
SMiLE/RkyRaccoon
Piano & String
Beaten in Rhds
Stevie's Rhds
Gilpin'sSuitcase
Duke's Dyno Rhds
MotorBootyMutron
Sweet Loretta EP
Rhds/WahSW
Hotrod Dyno Rhds
WoodstockClunker
Stage Mix Wurly
39
40
41
42
35
36
37
38
31
32
33
34
27
28
29
30
47
48
49
50
43
44
45
46
51
52
ID Program
Supertramp Wurly
FlydDarkside/Wah
What'd I SayWrly
DeepFuzz Wurly
No Quarter Pnt
MistyMountain EP
UK Pop CP70
AcidJazzVelFlute
TimbaSynth
Blue PVC Tubes
SimpleHipHopLead
Stereo TouchKoto
Modwheel DJ
Retro Sparkle
RealSupasticious
Joe's Clav
Rufus/Marley WAH
Black Cow Clav
Hiya Ground sw
TrampledUnder D6
Harpsichord
BriteHarpsichord
Gregg’s B
Real All Out B
Clean Perc
The Ninth Bar
65
66
67
68
61
62
63
64
57
58
59
60
53
54
55
56
73
74
75
76
69
70
71
72
77
78
ID Program
Lord’s B3 Mwheel
Ole Time Gospel
FooledAgnVox
Boston Screamer
Power Pop Horns
Sax/Trumpet Sctn
BigBand/AMradio
MeanSalsaSection
R&B/Funk Section
Bassie Orchestra
P*Funk Horns
70s Stones Horns
Big LA Strings
DarkNYCStudio
Pop Tripper Str
LoFi Studio Str
Vienna Octaves
London Spiccato
Pizzicato
Tremolando
Choir Complete
Haah Singers
Manhattan Voices
Aaahlicious
NYC in LA
Crystal Voices
D-1
PC3 Objects (V 1.20)
Programs
Program
Airy Pad
Cathedral Vox
Classic Comp
Fitty-Fitty Lead
Big Old Jupiter
9Yards Bass
BowhSaw Bass
ARPesque Bass
DaywalkerBassMW
Harpolicious
Slo QuadraPad
Phase Shimmer
Le Pesque
Wispy One
Bladerunner ARP
Fairlight Pad
Tronesque
So Lush Pad
Boutique Six Str
Boutique 12 Str
Emo Verser
Voxxed Elec 12
Real Nylon
Dual Strat
BurningTubes MW
Rockin' Lead MW
P-Bass
E-Bass
Beasties Bass
Flea/Bootsy
Big Dummy
Jaco Fretless
Upright Growler
ID
106
107
108
109
102
103
104
105
110
111
98
99
100
101
94
95
96
97
87
88
89
90
91
92
93
83
84
85
86
79
80
81
82
D-2
Program
Levin/GabrlFrtls
NYC Kits
LA Kits
Rock Kits
Roots/Indie Kit
Kikz/Snarz MW
EarthKikz n Snrz
Anazlog Machine
Produced Kit '08
Natural Perc
Rhythm 4 Reel
New Marimba
2-HandSteelDrums
Real Vibes
SteamPunkMallets
Magic Celeste
Drums 'n Bells
Piano Stack
Dark Grand
Grand Piano 440
Piano Recital
Ole Upright 1
WestCoastPno&Pad
Perfect PnoPad
Dreamy Piano
Piano w DvStrgs
PnoAgtStrngs
The Ancient
DancePnoEchplex
Ivory Harp
Piano Lushness
Piano & Wash
Piano & Vox Pad
ID
139
140
141
142
135
136
137
138
143
144
131
132
133
134
127
128
129
130
120
121
122
123
124
125
126
116
117
118
119
112
113
114
115
Program
XfadBelltoneRhds
Extreme Hardstrk
Fagen Phaser
RoyalScam Rhds
AustnCtyLmtsWrly
BrightDynamicWly
70sWahLeslieEP
3 Dog Pianet
Classic DX Rhds
Rich EP+Pad
90's FM Shimmer
Bright HardstrEP
Crisp and Soft
Soft Warm Ballad
TX Stack 1
Tight Bright FM
PolyTechnobreath
PianoSynth Stack
Elec Grand Stack
BigSyn/HornStack
70s Arena Synth
80s Arena Synth
90s Funk Stack
Nexx Prog Stack
Crisp Clav
Stevie Fuzz
HeartbreakerWAH
ChoclateSaltyClv
SailinShoes Clav
StopMakingSense
Harpsi Rotovibe
PhsyclGrafitiClv
ParisCmboAccordn
ID
172
173
174
175
168
169
170
171
176
177
164
165
166
167
160
161
162
163
153
154
155
156
157
158
159
149
150
151
152
145
146
147
148
Program
Whiter Shade B3
Doors Vox
Indagardenoveden
Animals Vox
Magic Wolf
Farfisa 1
VASTBars1-3,8&9
1-Note PowerRiff
Miami Pop Horns
80sPopOctaveSax
BuenaVista Brass
Tenor Express
Sgt.Pepper Brass
Goldfinger Brass
Bari/TenorSect
Studio A Strings
Studio B Octaves
NashvilleStrings
Processed Strgs
Owen's Strings
Studio C Strings
Tender Strings
Toxic Strings
Mixed Choir
Concert Choir
Aaah Vocals
Jazzy Ballad Vox
AntiqueAhhChorus
Bright Syn Vox
Vox Orgel
Vox & Strings
Press Lead
ClassSquare
205
206
207
208
201
202
203
204
209
210
197
198
199
200
193
194
195
196
186
187
188
189
190
191
192
182
183
184
185
178
179
180
181
ID Program
ARP2500 Brass
SynBell Morph
Perc>Morph>Bass
EvilOctaveWheel
TranceRiff
SickoSynco
Buzzy Strings
VA1Saw/Sqr/Pulse
Airy Impact
Spider's Web
ARP Big Synth
Class Pad
HarmonicEnvelops
Heaven & Earth
Bling 6 String
MediumCrunchLead
DoubleCleanChrs
Comp'd Phaser
TremBucker
Cascade Sitar
Heavy Buckers
Nasty'70s Guitar
Finger Bass
KneeDeepMinimoog
AC Buzzer Bass
Motown Bass
Squire'sHeavyPik
Lowdown Bass
Eberhardt Frtls
Sly Bass
Maroon Drums
BourneRemixDrum
BeastieRetroDrum
ID
238
239
240
241
234
235
236
237
242
243
230
231
232
233
226
227
228
229
219
220
221
222
223
224
225
215
216
217
218
211
212
213
214
PC3 Objects (V 1.20)
Programs
Program
DryPumpin'Drums
60s Rock&Soul
Headhunters Kit
FranticHouseDrms
Dance/Marilyn
Mellow Marimba
Skullophonic
Percussionist
Shiny Sparkles
HybridTuned Perc
Dynamic Perc
Cage's Ensemble
Magic Mbira
CP80 Enhanced
Gabriel's Melt
VideoKilledRadio
Brighter CP
TouchRezSynthCP
Power CP
Dark Chorus CP
Inside Out CP
Pianet Classic
She's Not There
Walrus Pianet
Flaming Hohner
PowerChordPianet
Sly Ballad
Black Friday
These Eyes
VA1 Saw Lead
VA1 Sqr Lead
MaroonSynBass
VA1DistBassSolo!
ID
271
272
273
274
267
268
269
270
275
276
263
264
265
266
259
260
261
262
252
253
254
255
256
257
258
248
249
250
251
244
245
246
247
D-3
PC3 Objects (V 1.20)
Programs
Program
DownwardSpiralMW
VA1DstPulseWheel
NewOrderPulses
VA1 DetunedPulse
VA1 Detuned Saws
VA1 Detuned Sqrs
VA1 Emerson Lead
MwhlClubsweeper
Innervate
ChemBrosBassLead
UFO Pad
VA1SliderMorphSQ
Shoobie Model C
Stereo Pickups
70sBubblegumClav
TreblClavWhlmute
Mutron+Synth sw
Bi*Phaz Clav
80s Flange Clav
VAST Env SynClav
Charlemagne Clav
Switch Pickups
EvilWomanDeepFuz
Headhunters WAH
MorleyWAH Clav
Dbl WAH Insanity
Psychedeliclav
Preston SpaceWah
Analog/DigHybrid
Jump! Obx
80s End Credits
VA1Distlead CC
Divider
ID
304
305
306
307
300
301
302
303
308
309
296
297
298
299
292
293
294
295
285
286
287
288
289
290
291
281
282
283
284
277
278
279
280
Program
Mono Trekkies
Disco Divebomb
MutronTweetyPerc
Disgusting Bass
VA1ShaperSweeper
ElectroPercSynth
MWhlMayhemBass
ElectronicaSplit
HiPassMWhlBlips
Plasma Cannon
32 Layer Bass!
Yesesis Tron Str
Moby TurntblTron
Space Oditty
RocknRollSuicide
Octave Tron Str
Siberian Khatru
Modwhl Remix Str
Pdl PitchbendStr
Silent Sorrow
Bandpass Choir
Swept Tron Voice
Mellotron Flutes
SldrEQ Mltrn Vox
StrawberryFlutes
White Satin Splt
3Way Split Mltrn
RMI Harpsi
Lamb Lies Down
RMI Piano&Harpsi
BrightRMI Pn/Hrp
Dual Mode Harpsi
RoyalKingWakeman
ID
337
338
339
340
333
334
335
336
341
342
329
330
331
332
325
326
327
328
318
319
320
321
322
323
324
314
315
316
317
310
311
312
313
D-4
Program
OrganMode Pn/Hrp
Dr.John's RMI
Phase sw Organ
Spaced Out Bach
Tobacco Road RMI
Traffic EP
Tekno Tempo Echo
Trick of th'Tail
RMI Clav WAH
Dream On Session
LightYearStrings
Funkensteinz ARP
Murky Rez Pad
St PanPhase ARP
ARP Str+Oberheim
FX Sweep ARP
HotFilter ARP
St.P PWM BASS
SquareChirpLead
My Old PPG*2.3
Kashmir Str+Brs
Genesis Broadway
GarthsLastWaltz
Synbrass Pillow
Warszawa Layers
ELOStringSection
Outkast Drums
PopRock'08 Kit
Hello Brooklyn
Snoop Kit
EpicRemixDrums
ZooYorkRemixDrms
Roc-A-Fella Kit
ID
370
371
372
373
366
367
368
369
374
375
362
363
364
365
358
359
360
361
351
352
353
354
355
356
357
347
348
349
350
343
344
345
346
Program
Breakestra Kit
Cosmic Sus Pedal
DigitalMoonscape
Falgor'sLament
BPM BionicStrngs
Swell & Hold
Bowie/Heroes Pad
MeanStereoSweep
PulseVowel
Winds & Strings
"Winds, Horn & Str "
More Brass & Str
LH Timp Roll Orch
Gothic Climax
Denouement
Poltergeist Trem
Many Characters
Pizz w/PercUpTop
Fast Str & Perc
Fast Winds &Pizz
Imperial Army
BattleSceneOrch
Final Victory
SloLineInterlude
Winds&EspressStr
Fast Winds & Str
SugarPlumFairies
AdagioPizz Split
Pastoral Orch
Pastoral Clr Flt
Pastoral DblRds
Pastoral w/ Pizz
Strings & Silver
403
404
405
406
399
400
401
402
407
408
395
396
397
398
391
392
393
394
384
385
386
387
388
389
390
380
381
382
383
376
377
378
379
ID Program
Reeds & Bells
Perc Atk Strings
William Tell A
William Tell B
Orch w/ Bells On
Winds & Esp Str
"Horns,Winds&Str"
TripleStrikeOrch
Tutti Orchestra
StBaroque Harpsi
String Continuo
VivaldiOrchestra
Trumpet Voluntary
Fifes & Drums
Solo Flute
Tremolo Flute
Fast Orch Flute
Piccolo
Solo Oboe
Slow Oboe
Fast Orch Oboe
Lead Oboe
Solo Eng Hrn prs
Fast Orch EngHrn
Slow EngHorn prs
Lead English Horn
Solo Clarinet
Slo OrchClarinet
Fast Orch Clar
Lead Clarinet
Solo Bassoon
Solo Bassoon vib
Solo Dbl Reeds
ID
436
437
438
439
432
433
434
435
440
441
428
429
430
431
424
425
426
427
417
418
419
420
421
422
423
413
414
415
416
409
410
411
412
PC3 Objects (V 1.20)
Programs
Program
Woodwind Section
Ensemble WWinds
BassClar/Clar/Fl
Solo Fr Horn
Ensemble Fr Horn
Lead French Horn
Dyn Orch Fr Horns
HornSect Layer
Solo BrtTrumpet
Hard Trumpet
Lead Trumpet
Soft Trumpet
Slow Soft Trp
Two Lead Trumpets
Lead MuteTrumpet
Solo Tenor Sax
"Sax,Horns,MuteTrp"
Solo Trombone
Ens Trombone
Trombone Section
Dyn Orch Bones
Bari Horn Section
Dyn Bari Horns
Solo Tuba
Dyn Orch Tuba
Low Orch Brass
Low Brass Chorale
Fast Orch Brass
Brass Fanfare
Dyn Orch Trumpets
Solo Violin fast
Folk Violin slow
Solo Viola fast
ID
469
470
471
472
465
466
467
468
473
474
461
462
463
464
457
458
459
460
450
451
452
453
454
455
456
446
447
448
449
442
443
444
445
D-5
PC3 Objects (V 1.20)
Programs
Program
Solo Viola slow
Solo Cello fast
Solo Cello slow
Solo Basso 1
Solo Basso 2 slo
String Quartet
Solo Harp
Orch Harp 1
Delicate Harp
HarpArps & Gliss
Slo Orch Chorus
Pipe Stops
Soft Stops
All Stops
Chapel Organ
AllStops AllVox
Pipes & Voices
Orch Timpani
Solo Timpani
Tam/Cym/BD/Timp
Basic Orch Perc
Timp & Aux Perc
Temple Blocks
Modern Blockery
Perc & Blocks
Stereo Tam-tam
Cymbal Roll Tr
Xylophone
Solo Marimba
Orch Marimba
Vibraphone
Celeste
Glockenspiel
ID
502
503
504
505
498
499
500
501
506
507
494
495
496
497
490
491
492
493
483
484
485
486
487
488
489
479
480
481
482
475
476
477
478
Program
Chimes/Glock
Bells Across
CelesteGlockHarp
Chime Bell
Carillon
Adagio Strings
Adagio Divisi Str
Lead Strings
Lead Divisi Str
Fast Strings
Fast Divisi Str
Aggresso Strings
AggressDivisiStr
Adagio Tutti Mix
AdagioDivisi Mix
Lead Divisi Mix
Lead Tutti Mix
Fast Tutti Mix
Fast Divisi Mix
AggressTutti Mix
AggressDivisiMix
Agrs lo/Trem hi
AgresTrem 8ves
AgressoHalfTrem
Fast Tremolandi
SloStr Prs Trem
Marcato PrsTrem
Sfz Prs Trem
Poltergeist Pad
AdagioTremSplit
Full Pizzicato
Touch Full Pizz
Variable Pizz
ID
535
536
537
538
531
532
533
534
539
540
527
528
529
530
523
524
525
526
516
517
518
519
520
521
522
512
513
514
515
508
509
510
511
D-6
Program
PizzBass/ArcoLead
Lead & Adagio
Adagio Split
Adagio Bs/Vln I
TripleStrike Str
AdagioTutti 8ves
AdagioDiv 8ves
Adagio Octaves
Lead & 8vaAdagio
Dual Slow Split
LeadTuttiMix B
Lead Strings Split
Lead MixOctvs
Divisi Mix +solo
Lead Upper Range
Lead Div 8ves
Dual UpperDivisi
Dual Upper tutti
Dual Half Trem
Fast Mix Octaves
Fast Divisi 8ves
Marcato divisi
Marcato Mix 1
Marcato Mix 2
Marcato Mix 3
Slo Muted Strings
Largo Mix
Largo Mix 2
Largo conSordino
Largo 8ves
Espressivo Lead
EspressivoViolas
Slow Thick Mix
ID
568
569
570
571
564
565
566
567
572
573
560
561
562
563
556
557
558
559
549
550
551
552
553
554
555
545
546
547
548
541
542
543
544
Program
Lead Violins I
Lead Violins II
Lead Violins div
Lead Violas
Lead Violas div
Lead Celli
Lead Celli div
Lead Bassi
Lead Bassi div
Lead Tremolo
Fast Violin I
Fast Violin II
Fast Violin div
Fast Viola
Fast Viola div
Fast Cello
Fast Cello div
Fast Bassi
VerySloVeryThick
Touch Thick Mix
More Viola
SloStr Prs Swell
Rite of Strings
Adagio Violins I
Adagio ViolinsII
AdagioViolin div
Adagio Violas
AdagioViolas div
Adagio Celli
Adagio Celli div
Adagio Bassi
Adagio Bassi div
Adagio Tremolo
601
602
603
604
597
598
599
600
605
606
593
594
595
596
589
590
591
592
582
583
584
585
586
587
588
578
579
580
581
574
575
576
577
ID Program
Aggresso Viola
Aggresso Viola d
Aggresso Cello
Aggresso Cello d
Agresso Bassi
Agresso Bassi d
Agresso Tremolo
Rigby's Strings
Keyboard Strings
StringMachine
Lush Pad
Add A Pad 1
Add a Pad 2
Hi Res StringPad
LoFi Strings
Blue Resonance
AutoRes StrPad
Ethereal Joe
Fast Bassi div
Fast Tremolo
Legato Violins I
Legato Violins II
Legato Violin div
Legato Violas
Legato Viola div
Legato Celli
Legato Celli div
Legato Bassi
Legato Bassi div
Legato Tremolo
Aggresso Violin
Aggresso Vln II
Aggresso Violin d
ID
634
635
636
637
630
631
632
633
638
639
626
627
628
629
622
623
624
625
615
616
617
618
619
620
621
611
612
613
614
607
608
609
610
PC3 Objects (V 1.20)
Programs
Program
Adagio Magic
Ezra’s Burner
HotTubeGospel
B3 Midrange
Blues & Gospel
Prog B3 Perc 2
Prog B3 Perc 3
Tube B3 Perc
Prog B3 Perc 4
BrightTubeScream
Zepelin Solo
Argent B3
MusselShoals B3
XtremeTubeB3Perc
ClassicTrafficB3
Warm B3
Warmer B3
ChorusEcho Organ
SlowPhase Organ
EchoRoom B
Lord’s DirtBomb
Mellow Mitch
Sly's Revenge
LateNighter
Firebreathing C3
Mr Smith
Errol G.
Testify
Wah B3+Echoplx
Sweet n Nice
Soft Chords
Sputteringing B3
Melvin C.
ID
923
924
925
926
919
920
921
922
927
928
915
916
917
918
911
912
913
914
904
905
906
907
908
909
910
900
901
902
903
640
897
898
899
D-7
PC3 Objects (V 1.20)
Programs
Program
Dew Dropper
Two Out
J’s All Out
My Sunday
Good Starter
Sacrificer
Lee Michaels B3
GM Standard Kit
GM Room Kit
GM Power Kit
GM Elec Kit
GM Synth Kit
GM Jazz Kit
GM Brush Kit
GM Orch Kit
VAST1-3Ch/Perc
All Out
J’s Comper
Brother Jack
Model One
Thick Gospel
Growler B
Ready 2 Rock
Thimmer
The Real ABC
Gospel Special
In The Corner
NightBaby
Gimme Some
The Grinder
Mean Bean
ID
956
957
958
959
952
953
954
955
948
949
950
951
944
945
946
947
937
938
939
940
941
942
943
933
934
935
936
929
930
931
932
Program
VAST1-3Ch/Perc2
Fisher’s VAST B3
HotMalletMWheel
ScreaminWhlBass
SyncWheelLead
ModwheelKotoSyn
VASprSaw
VASprSaw+Allpass
Silent Program
Click Track
Default Program
Diagnostic Sine
Propht V Sync Ld
Tempo SyncPulse
Slo Syn Orch
Anabrass
Fat Syn Orch
WheelGrowlMoogue
The Way It Is
AlphaCentauri
SynOrcWhaleCall
Downes Lead
Minipulse 4Pole
BPM Lead
GatedSqrSweepBPM
BPMEchplexPad
GatedNoisweepBPM
Cars Square Lead
Data Shape Saw
Saw+Mogue 4Pole
VA1NakedPWMPoly
ID
1012
1013
1014
1015
1016
1017
1018
1019
1004
1005
1006
1007
1008
1009
1010
1011
997
998
999
1000
1001
1002
1003
993
994
995
996
960
961
991
992
ID
1020
1021
1022
1023
1024
Program
VA1NakedPWMMono
VA1NakedSawPoly
VA1NakedSqrPoly
VA1NakedSqrMono
VA1NakedSawMono
D-8
PC3 Objects (V 1.20)
Setups
Setups
29
30
31
25
26
27
28
21
22
23
24
17
18
19
20
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
ID SETUP
TeknoRiff Sw 1-8
BluesJam in G
Techno Substance
Acoustic Split
Slap/EP Split
Black Cow Split
Some Loving Splt
Piano & Pad
PedalsModeW/Beat
AnaBanana
Sanctuary
World Beneath
DeepBurn
Sync Scene
MeanClav/Rhds
Bigband P Bttn1
MeanPianet/Piano
Oldtimey Blues
OldR&B
Old School Jam
Brooklyn Smoov
Country
Rockroll in A
Hip Hop
Jazz
Reggae
World
Dance
Slow Rock
Oldies
Funk
SETUP
Latin Danzhall
Metal
Growth Pad
Morricone's Fall
Strings Old&New
MonoBass & ArpSt
Jazz Bass/Piano
Bass + KB3 Split
Zep KB3/Pianet
ElectricBass/EP
ARP & Bass
Fretless Split
Big Lead
SynBass/Lead
Play
MovieBuildup
GuitarEnsemble
Big n Warm Pn/Gt
Joni Split
StrangeLands
Perc Attack Orch
Disco Fanfare
Pad w/Benefits
AnaSoup
Blue Lights On
Plucked Hammers
Forbidden Planet
Childhood Magic
Autobeller
Square Arp'er
PizzicatoBenefit
60
61
62
56
57
58
59
52
53
54
55
48
49
50
51
44
45
46
47
40
41
42
43
36
37
38
39
32
33
34
35
ID ID
75
126
127
128
71
72
73
74
67
68
69
70
63
64
65
66
SETUP
GrandPad & Magic
TinklySweepySpcy
Pulsing Anthem
PedHold PnoSolo
Rhythm Pad SW
The Wonders
Drops of Jupiter
No Complaints
Brighton Lush
Nylon and Ivory
Drawbr/Slidr SW
Mini/E3/Clav
Plucked Hammers
Internal Voices
Clear Setup
Default Setup
D-9
PC3 Objects (V 1.20)
Effect Presets with Algorithms
Effect Presets with Algorithms
How to Use These Tables
Each effect preset in the PC3 is based on an effect algorithm from the Kurzweil KSP8 effects processor. To make the fullest use of the PC3’s effects, you will need to download a copy of the
KSP8 Algorithm Reference from the Kurzweil Music Systems website. This book provides
extensive detail on all effects parameters. For ease of use, the algorithms are indexed and linked by name and number.
For example, to find information on the available parameters for PC3 effects preset “1 Small
Wood Booth,” first refer to the chart below for the name and number of the preset’s underlying algorithm. In this case, the KSP8 algorithm is “4 Classic Place.” The description of the Classic
Place algorithm begins on page 19 of the KSP8 Algorithm Reference, and its 3 pages of parameters are described starting on page 21 of the KSP8 Algorithm Reference.
Reverbs
Booth/
Ambience
Room
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
21
22
23
17
18
19
20
Small Wood Booth
Natural Room
PrettySmallPlace
NiceLittleBooth
Sun Room
Soundboard
Add More Air
Standard Booth
A Distance Away
Live Place
Viewing Booth
Small Closet
Add Ambience
With A Mic
BrightSmallRoom
Bassy Room
Percussive Room
SmallStudioRoom
ClassRoom
Utility Room
Thick Room
The Real Room
Small Drum Room alg 4 Classic Place alg 5 Classic Verb alg 4 Classic Place alg 1 MiniVerb alg 5 Classic Verb alg 7 TQ Verb alg 10 OmniPlace alg 8 Diffuse Place alg 6 TQ Place alg 8 Diffuse Place alg 1 MiniVerb alg 10 OmniPlace alg 1 MiniVerb alg 4 Classic Place alg 1 MiniVerb alg 1 MiniVerb alg 1 MiniVerb alg 4 Classic Place alg 5 Classic Verb alg 5 Classic Verb alg 5 Classic Verb alg 5 Classic Verb alg 1 MiniVerb
1U
2U
1U
1U
3U
3U
1U
3U
2U
3U
3U
3U
2U
2U
2U
1U
2U
2U
1U
1U
2U
2U
2U
D-10
Chamber
Hall
Real Big Room
The Comfy Club
Spitty Drum Room
Stall One
Green Room
Tabla Room
Large Room
Platey Room
Bathroom
Drum Room
Small Dark Room
Real Room
Brt Empty Room
Med Large Room
Bigger Perc Room
Sizzly Drum Room
Live Chamber
Brass Chamber
Sax Chamber
Plebe Chamber
JudgeJudyChamber
Bloom Chamber
ClassicalChamber
In The Studio
My Garage
Cool Dark Place
Small Hall
Medium Hall
Real Niceverb
Opera House
Mosque Room
Grandiose Hall
Elegant Hall
Bright Hall
Ballroom
52
53
54
55
36
37
38
39
32
33
34
35
28
29
30
31
24
25
26
27
44
45
46
47
40
41
42
43
48
49
50
51
56
57
58
alg 5 Classic Verb alg 9 Diffuse Verb alg 7 TQ Verb alg 7 TQ Verb alg 7 TQ Verb alg 12 Panaural Room alg 7 TQ Verb alg 14 Grand Plate alg 5 Classic Verb alg 12 Panaural Room alg 12 Panaural Room alg 5 Classic Verb alg 7 TQ Verb alg 12 Panaural Room alg 7 TQ Verb alg 5 Classic Verb alg 11 OmniVerb alg 1 MiniVerb alg 1 MiniVerb alg 1 MiniVerb alg 7 TQ Verb alg 7 TQ Verb alg 7 TQ Verb alg 4 Classic Place alg 4 Classic Place alg 11 OmniVerb
alg 5 Classic Verb alg 1 MiniVerb alg 5 Classic Verb alg 5 Classic Verb alg 7 TQ Verb alg 1 MiniVerb alg 1 MiniVerb alg 1 MiniVerb alg 1 MiniVerb
PC3 Objects (V 1.20)
Effect Presets with Algorithms
2U
2U
3U
1U
3U
3U
3U
2U
2U
3U
3U
2U
3U
3U
3U
3U
2U
3U
3U
3U
3U
3U
3U
2U
3U
1U
1U
1U
2U
3U
2U
1U
1U
1U
1U
D-11
PC3 Objects (V 1.20)
Effect Presets with Algorithms
Plate
Recital Hall
Generic Hall
Burst Space
Real Dense Hall
Concert Hall
Standing Ovation
Flinty Hall
HighSchool Gym
My Dreamy 481!!
Deep Hall
Sweet Hall
Soundbrd/rvb
Long & Narrow
Long PreDly Hall
School Stairwell
Real Plate
Bright Plate
Spacious Hall
Classic Chapel
Semisweet Hall
Pipes Hall
Reflective Hall
Smoooth Hall
Empty Stage
Pad Space
Bob'sDiffuseHall
Abbey Piano Hall
Short Hall
The Long Haul
Predelay Hall
Sweeter Hall
The Piano Hall
Bloom Hall
87
88
89
90
91
83
84
85
86
79
80
81
82
75
76
77
78
71
72
73
74
67
68
69
70
63
64
65
66
59
60
61
62
D-12
alg 5 Classic Verb alg 5 Classic Verb alg 5 Classic Verb alg 404 Chorus<>Reverb alg 5 Classic Verb alg 5 Classic Verb alg 7 TQ Verb alg 11 OmniVerb alg 9 Diffuse Verb alg 7 TQ Verb alg 13 Stereo Hall alg 7 TQ Verb alg 9 Diffuse Verb alg 7 TQ Verb alg 7 TQ Verb alg 9 Diffuse Verb alg 12 Panaural Room alg 12 Panaural Room alg 9 Diffuse Verb alg 7 TQ Verb alg 9 Diffuse Verb alg 11 OmniVerb alg 7 TQ Verb alg 7 TQ Verb alg 9 Diffuse Verb alg 9 Diffuse Verb alg 5 Classic Verb alg 11 OmniVerb alg 7 TQ Verb alg 11 OmniVerb alg 4 Classic Place alg 14 Grand Plate alg 14 Grand Plate
3U
3U
2U
3U
3U
3U
3U
2U
3U
3U
3U
3U
3U
3U
3U
3U
3U
3U
3U
3U
3U
3U
3U
3U
3U
2U
2U
3U
3U
2U
2U
2U
2U
XL
Reverse
96
97
98
99
92
93
94
95
Medm Warm Plate
Bloom Plate
Clean Plate
Plate Mail
RealSmoothPlate
Classic Plate
Weighty Platey
Huge Tight Plate
100 Immense Mosque
101 Dreamverb
102 Splendid Palace
103 Big Gym
104 Huge Batcave
105 Reverse Reverb 1
106 Reverse Reverb 2
107 Reverse Reverb 3
Gated 108 Gated Reverb
109 Gate Plate w/Comprs 110 Vocal Room
111 Vocal Stage
112 Reverb>Compress
113 Reverb>Compress2
114 Drum Comprs>Rvb
115 Rvrb Compression
Unusual
116 Snappy Drum Room
117 Roomitizer
118 Live To Tape
119 L:SmlRm R:Hall
120 Non-Linear 1
121 Non-Linear 2
122 Non-Linear 3
123 Exponent Booth
124 Drum Latch 1
PC3 Objects (V 1.20)
Effect Presets with Algorithms
alg 7 TQ Verb alg 9 Diffuse Verb alg 9 Diffuse Verb alg 11 OmniVerb alg 9 Diffuse Verb alg 5 Classic Verb alg 5 Classic Verb alg 9 Diffuse Verb alg 7 TQ Verb alg 10 OmniPlace alg 5 Classic Verb alg 11 OmniVerb alg 12 Panaural Room alg 15 Finite Verb alg 15 Finite Verb alg 15 Finite Verb alg 3 Gated MiniVerb alg 3 Gated MiniVerb alg 53 Gate+Cmp[EQ]+Rvb alg 53 Gate+Cmp[EQ]+Rvb alg 51 Reverb<>Compress alg 51 Reverb<>Compress alg 51 Reverb<>Compress alg 50 Reverb+Compress alg 50 Reverb+Compress alg 50 Reverb+Compress alg 50 Reverb+Compress alg 2 Dual MiniVerb alg 10 OmniPlace alg 15 Finite Verb alg 6 TQ Place alg 10 OmniPlace alg 10 OmniPlace
3U
3U
3U
3U
3U
2U
2U
2U
2U
3U
3U
3U
2U
2U
2U
4U
4U
3U
3U
3U
3U
3U
3U
2U
3U
3U
2U
2U
3U
3U
3U
3U
3U
D-13
PC3 Objects (V 1.20)
Effect Presets with Algorithms
Laserverb
125 Drum Latch 2
126 Diffuse Gate
127 Acid Trip Room
128 Ringy Drum Plate
129 Oil Tank
130 Wobbly Plate
131 Pitcher Hall
132 DistantTVRoom
133 Drum Neurezonate
134 Growler
135 LaserVerb
136 Laserwaves
137 Cheap LaserVerb
138 Gated LaserVerb
139 Rvrs LaserVerb
140 LazerfazerEchoes
141 Simple LaserVerb
142 Crystallizer
143 Spry Young Boy
Rvb w/Dly 144 Gunshot Verb
145 Slapverb
146 Far Bloom
147 Room + Delay
148 New Hall w/Delay
149 Delay Big Hall alg 10 OmniPlace alg 9 Diffuse Verb alg 10 OmniPlace alg 104 Gated LaserVerb alg 104 Gated LaserVerb alg 104 Gated LaserVerb alg 383 Pitcher+Miniverb alg 383 Pitcher+Miniverb alg 102 Mono LaserVerb alg 104 Gated LaserVerb alg 100 LaserVerb alg 100 LaserVerb alg 101 LaserVerb Lite alg 104 Gated LaserVerb alg 103 Revrse LaserVerb alg 102 Mono LaserVerb alg 102 Mono LaserVerb alg 100 LaserVerb alg 101 LaserVerb Lite alg 105 LasrDly<>Reverb alg 11 OmniVerb alg 9 Diffuse Verb alg 105 LasrDly<>Reverb alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb
2U
3U
4U
1U
1U
3U
3U
3U
3U
3U
2U
2U
3U
3U
3U
3U
3U
3U
2U
2U
2U
1U
3U
2U
2U
Delays
DELAY 150
151
152
153
Basic Delay 1/8
Basic Dly 250ms
Simple Slap 60ms
TightSlapbk 30ms alg 150 4-Tap Delay BPM alg 190 Moving Delay alg 190 Moving Delay alg 190 Moving Delay
1U
1U
1U
1U
D-14
MedSlapback 76ms
LongishSlap 95ms
Wide Slapbk 76ms
TiteSlapAmb 50ms
33ms Ambience
17ms Ambience
Stereo Delay ms
StereoFlamDelay
Cheap Tape Echo
Better Tape Echo
Stereo Tape Slap
Dub Delay ms
4-Tap Delay BPM
4-Tap Dly Pan ms
SemiCircle 4-Tap
8-Tap Delay BPM
Multitaps ms
Diffuse Slaps
OffbeatFlamDelay
Sloppy Echoes
Pad Psychosis
500ms BehindSrce
Dub Skanque Dly
Electronica Slap
Spectral 4-Tap
Astral Taps
SpectraShapeTaps
Fanfare In Gmaj
Ecko Plecks BPM
Ecko Plecks ms
Degenerator
Nanobot Feedback
Takes a while...
Wait for UFO
News Update
Timbre Taps
LaserDelay->Rvb
182
183
184
185
178
179
180
181
186
187
188
189
190
174
175
176
177
170
171
172
173
166
167
168
169
162
163
164
165
158
159
160
161
154
155
156
157 alg 190 Moving Delay alg 151 4-Tap Delay alg 191 Dual MovDelay alg 191 Dual MovDelay alg 191 Dual MovDelay alg 191 Dual MovDelay alg 151 4-Tap Delay alg 191 Dual MovDelay alg 154 Spectral 4-Tap alg 171 Degen Regen alg 171 Degen Regen alg 190 Moving Delay alg 150 4-Tap Delay BPM alg 151 4-Tap Delay alg 151 4-Tap Delay alg 152 8-Tap Delay BPM alg 156 Complex Echo alg 156 Complex Echo alg 150 4-Tap Delay BPM alg 156 Complex Echo alg 191 Dual MovDelay alg 156 Complex Echo alg 154 Spectral 4-Tap alg 156 Complex Echo alg 154 Spectral 4-Tap alg 154 Spectral 4-Tap alg 155 Spectral 6-Tap alg 155 Spectral 6-Tap alg 170 Degen Regen BPM alg 171 Degen Regen alg 170 Degen Regen BPM alg 170 Degen Regen BPM alg 170 Degen Regen BPM alg 170 Degen Regen BPM alg 172 Switch Loops alg 105 LasrDly<>Reverb alg 105 LasrDly<>Reverb
PC3 Objects (V 1.20)
Effect Presets with Algorithms
4U
4U
4U
4U
2U
2U
3U
3U
4U
4U
2U
2U
2U
1U
1U
2U
1U
1U
1U
1U
1U
1U
1U
1U
2U
2U
4U
4U
1U
1U
1U
1U
1U
1U
1U
1U
1U
D-15
PC3 Objects (V 1.20)
Effect Presets with Algorithms
195
196
197
198
199
191
192
193
194
Furbelows
Festoons
Ducked Delay
Drum+Bass Zapper
3BandDly Drums=!
Warped Echoes
Ween-vox
L:Flange R:Delay
2Dlys 1Chr 1Flng
Chorus
CHORUS Basic Chorus
Smooth Chorus
Chorusier
Ordinary Chorus
SlowSpinChorus
Chorus Morris
Everyday Chorus
Thick Chorus
Soft Chorus
Rock Chorus
Sm Stereo Chorus
Lg Stereo Chorus
Full Chorus
Dense Gtr Chorus
Standrd Gtr Chor
Bass Chorus
Stereo Chorus
Chorus Fastback
Wide Chorus
Nickel Chorus
Rich Noodle
PinchChorusDelay
StChorus+Delay
StChor+3vs2Delay
CDR for Lead Gtr
211
212
213
214
207
208
209
210
200
201
202
203
204
205
206
219
220
221
222
215
216
217
218
223
224
D-16
alg 9 Diffuse Verb alg 9 Diffuse Verb alg 174 Gated Delay alg 174 Gated Delay alg 173 3 Band Delay alg 191 Dual MovDelay alg 190 Moving Delay alg 191 Dual MovDelay alg 192 Dual MvDly+MvDly
2U
1U
1U
1U
2U
3U
3U
2U
2U alg 202 Dual Chorus 1 alg 202 Dual Chorus 1 alg 202 Dual Chorus 1 alg 202 Dual Chorus 1 alg 202 Dual Chorus 1 alg 202 Dual Chorus 1 alg 202 Dual Chorus 1 alg 202 Dual Chorus 2 alg 202 Dual Chorus 2 alg 202 Dual Chorus 2 alg 200 Chorus 1 alg 201 Chorus 2 alg 402 Chorus<>4Tap alg 201 Chorus 2 alg 406 St Chorus+Delay alg 202 Dual Chorus 1 alg 202 Dual Chorus 2 alg 400 Chorus+Delay alg 202 Dual Chorus 2 alg 387 WackedPitchLFO alg 190 Moving Delay alg 406 St Chorus+Delay alg 406 St Chorus+Delay alg 406 St Chorus+Delay alg 403 Chor+Dly+Reverb
2U
2U
2U
1U
2U
2U
2U
1U
1U
1U
1U
1U
1U
1U
1U
3U
1U
1U
1U
1U
2U
1U
2U
1U
2U
Flange
FLANGE
237
238
239
240
233
234
235
236
229
230
231
232
225
226
227
228
245
246
247
248
249
241
242
243
244
Big Slow Flange
Squeeze Flange
Sweet Flange
Throaty Flange
PseudoAnaGtrFlng
Flanger Double
Wetlip Flange
Simply Flange
Analog Flanger
Soft Edge Flange
Ned Flangers
Wispy Flange
Crystal Flange
NarrowResFlange
TightSlapFlange
Flanged Taps
StFlange+Delay
StFlng+3vs2Delay
Singing Flanger
DampedEchoFlange
Stereo Flanger
Gulp Flange
Splat Flange
Spread Flange
CacophonousFlng
Phaser
PHASER 250
251
252
253
254
255
Slow Deep Phaser
Circles
Saucepan Phaser
ThunderPhaser
Fast Phaser
Vibrato Phaser alg 225 Flanger 1 alg 225 Flanger 1 alg 225 Flanger 1 alg 225 Flanger 1 alg 225 Flanger 1 alg 225 Flanger 1 alg 225 Flanger 1 alg 225 Flanger 2 alg 225 Flanger 2 alg 225 Flanger 2 alg 225 Flanger 1 alg 225 Flanger 1 alg 456 St Flange+Delay alg 452 Flange<>4Tap alg 450 Flange+Delay alg 455 Flange<>LasrDly alg 456 St Flange+Delay alg 456 St Flange+Delay alg 456 St Flange+Delay alg 456 St Flange+Delay alg 225 Flanger 2 alg 225 Flanger 1 alg 225 Flanger 1 alg 225 Flanger 1 alg 225 Flanger 1 alg 251 LFO Phaser Twin alg 250 LFO Phaser alg 253 SingleLFO Phaser alg 254 VibratoPhaser alg 251 LFO Phaser Twin alg 254 VibratoPhaser
PC3 Objects (V 1.20)
Effect Presets with Algorithms
1U
1U
1U
1U
1U
1U
1U
2U
1U
2U
2U
2U
1U
1U
1U
1U
1U
2U
1U
1U
1U
1U
2U
1U
1U
1U
1U
1U
1U
1U
1U
D-17
PC3 Objects (V 1.20)
Effect Presets with Algorithms
264
265
266
267
268
269
260
261
262
263
256
257
258
259
Trem / Panner / Spatial
Fast&Slow Phaser alg 250 LFO Phaser
Wawawawawawawawa alg 253 SingleLFO Phaser
Slow Swish Phase
Slippery Slope alg 253 SingleLFO Phaser alg 385 Frequency Offset
Static Phaser 1
Static Phaser 2
Static Phaser 3
Static Phaser 4 alg 255 Manual Phaser alg 255 Manual Phaser alg 255 Manual Phaser alg 255 Manual Phaser
Static Phaser 5
Slow Riser
BarberPole Notch
BarberPole Peak
All The Way Down
Westward Waves alg 257 Allpass Phaser 4 alg 258 Barberpole Comb alg 258 Barberpole Comb alg 258 Barberpole Comb alg 258 Barberpole Comb alg 385 Frequency Offset
TREM/
PANNER/
270
271
SPATIAL272
273
274
275
276
277
278
Rotary
Tremolo BPM
Fast Tremolo BPM
Tremolo in Hz
FastPulseTremolo
Simple Panner
Dual Panner
Widespread
Widener Mn->St
Dynam Stereoizer alg 270 Tremolo BPM alg 270 Tremolo BPM alg 271 Tremolo alg 270 Tremolo BPM alg 275 AutoPanner alg 276 Dual AutoPanner alg 280 Stereo Image alg 281 Mono -> Stereo alg 282 DynamicStereoize
ROTARY
284
285
286
287
280
281
282
283
CleanRotors fast
CleanRotors slow
CleanRotors f C1
CleanRotors f V1
CleanRotors f Hi
CleanRotors s Hi
SlightDstRotor f
SlightDstRotor s alg 290 VibChor+Rotor 2 alg 290 VibChor+Rotor 2 alg 290 VibChor+Rotor 2 alg 290 VibChor+Rotor 2 alg 290 VibChor+Rotor 2 alg 290 VibChor+Rotor 2 alg 291 Distort + Rotary alg 291 Distort + Rotary
D-18
1U
2U
1U
1U
2U
1U
1U
1U
1U
2U
2U
2U
2U
2U
2U
2U
2U
4U
4U
4U
4U
4U
2U
1U
1U
1U
1U
1U
1U
1U
2U
Distortion
292
293
294
295
288
289
290
291
296
297
298
299
DirtyRotors fast
DirtyRotors slow
MoreDistRotor f
MoreDistRotor s
HeavyDistRotor f
HeavyDistRotor s
Res Rotor1 fast
Res Rotor1 slow
FullRotors4 fast
FullRotors4 slow
MegaVCRotors8 f
MegaVCRotors8 s
DIST
312
313
314
315
308
309
310
311
304
305
306
307
300
301
302
303
316
317
318
319
320
321
Classic Gtr Dist
Crunch Guitar
SaturatedGtrDist
Mean 70'sFunkGtr
Blown Speaker
Synth Distortion
Superphasulate
Dist Cab EPiano
Distortion+EQ
Burnt Transistor
SubtleDistortion
A little dirty
Slight Overload
ODriveGtrLd DlCh
Krazy Gtr Comper
MildGtrOD+Dly+Fl
LeadGtr Dly Flng
Drum Shaper
SubtleDrumShape
SuperShaper
3 Band Shaper
New3BandShaper
PC3 Objects (V 1.20)
Effect Presets with Algorithms
alg 292 VC+Dist+HiLoRotr alg 292 VC+Dist+HiLoRotr alg 293 VC+Dist+1Rotor 2 alg 293 VC+Dist+1Rotor 2 alg 294 VC+Dist+HiLoRot2 alg 294 VC+Dist+HiLoRot2 alg 295 Rotor 1 alg 295 Rotor 1 alg 296 VC+Dist+Rotor 4 alg 296 VC+Dist+Rotor 4 alg 298 Big KB3 Effect alg 298 Big KB3 Effect
2U
2U
1U
1U
2U
2U
2U
2U
4U
4U
8U
8U alg 310 Gate+TubeAmp alg 310 Gate+TubeAmp alg 310 Gate+TubeAmp alg 310 Gate+TubeAmp alg 390 Chaos!
alg 303 PolyDistort + EQ alg 170 Degen Regen BPM alg 301 MonoDistort+Cab alg 302 MonoDistort + EQ alg 304 StereoDistort+EQ alg 300 Mono Distortion alg 305 Subtle Distort alg 305 Subtle Distort alg 317 TubeAmp<>MD>Chor alg 317 TubeAmp<>MD>Chor alg 320 PolyAmp<>MD>Flan alg 318 TubeAmp<>MD>Flan alg 306 Super Shaper alg 307 3 Band Shaper alg 306 Super Shaper alg 307 3 Band Shaper alg 307 3 Band Shaper
1U
3U
3U
3U
2U
3U
1U
1U
2U
2U
4U
2U
3U
3U
3U
3U
3U
1U
2U
1U
2U
2U
D-19
PC3 Objects (V 1.20)
Effect Presets with Algorithms
322
323
329
Shaper->Flange
Shaper->Reverb
Aliaser
Dynamics
DYNAMICS 330
331
332
333
334
HKCompressor 3:1
HKCompressor 5:1
SK FB Comprs 6:1
SKCompressor 9:1
SKCompressr 12:1
EQ / Filters
343
344
345
346
347
348
349
336
337
338
339
340
341
342
Compress w/SC EQ
Compress/Expand
Comprs/Expnd +EQ
Expander
Simple Gate
Gate w/ SC EQ
3Band Compressor
3Band Compress2
Mid Compressor
OddHarmSuppress
60Hz Buzz Kill
Dual SK Compress
Dual Comprs SCEQ
Dual 3BandComprs
EQ/
FILTERS
350
351
352
353
354
355
356
AM Radio
U-Shaped EQ
5 Band EQ Flat
Graphic EQ Flat
Dual Graphic EQ
Dual 5 Band EQ
Basic Env Filter alg 321 Flange<>Shaper alg 322 Shaper<>Reverb alg 308 Quantize+Alias alg 330 HardKneeCompress alg 330 HardKneeCompress alg 331 SoftKneeCompress alg 331 SoftKneeCompress alg 331 SoftKneeCompress alg 332 Compress w/SC EQ alg 341 Compress/Expand alg 342 Comp/Exp + EQ alg 340 Expander alg 343 Gate alg 344 Gate w/SC EQ alg 336 3 Band Compress alg 336 3 Band Compress alg 335 Band Compress alg 374 HarmonicSuppress alg 374 HarmonicSuppress alg 347 Dual SKCompress alg 348 Dual Comprs SCEQ alg 349 Dual 3 Band Comp alg 350 3 Band EQ alg 350 3 Band EQ alg 351 5 Band EQ alg 352 Graphic EQ alg 353 Dual Graphic EQ alg 354 Dual 5 Band EQ alg 360 Env Follow Filt
D-20
2U
2U
1U
3U
3U
3U
2U
1U
1U
3U
2U
3U
8U
4U
3U
2U
2U
1U
1U
2U
4U
2U
2U
3U
1U
1U
1U
1U
1U
357
358
359
360
Phunk Env Filter
Synth Env Filter
Bass Env Filter
EPno Env Filter
LFO Sweep Filter
DoubleRiseFilter
Circle Bandsweep
TripFilter
Resonant Filter
Dual Res Filter
2 Band Enhancer
3 Band Enhancer
Extreem Enhancer
HF Stimulator
Ring Modulator
PitcherA
Pitcher B
PolyPtVoxChanger
HollowPolyPitchr
Pitcher+Chorus
Pitcher+Flange
Pitcher+Chor+Dly
Pitcher+Flng+Dly
Ring Linger
Waterford
Hip Hop Aura
Woodenize
Marimbafication
Frequency Offset
Drum Loosener
Drum Tightener
Vox Honker
EQ Morpher ah-oo
EQ Morpher ee-aa
EQ Morpher aw-er
389
390
391
392
385
386
387
388
381
382
383
384
377
378
379
380
373
374
375
376
369
370
371
372
362
363
364
365
366
367
368
PC3 Objects (V 1.20)
Effect Presets with Algorithms
alg 360 Env Follow Filt alg 360 Env Follow Filt alg 360 Env Follow Filt alg 360 Env Follow Filt alg 362 LFO Sweep Filter alg 362 LFO Sweep Filter alg 362 LFO Sweep Filter alg 362 LFO Sweep Filter alg 363 Resonant Filter alg 364 Dual Res Filter alg 370 2 Band Enhancer alg 371 3 Band Enhancer alg 371 3 Band Enhancer alg 372 HF Stimulate 1 alg 380 Ring Modulator alg 381 Pitcher alg 381 Pitcher alg 382 Poly Pitcher alg 382 Poly Pitcher alg 411 MonoPitcher+Chor alg 461 MonoPitcher+Flan alg 409 Pitcher+Chor+Dly alg 459 Pitcher+Flan+Dly alg 390 Chaos!
alg 103 Revrse LaserVerb alg 256 Allpass Phaser 3 alg 256 Allpass Phaser 3 alg 256 Allpass Phaser 3 alg 385 Frequency Offset alg 385 Frequency Offset alg 385 Frequency Offset alg 386 MutualFreqOffset alg 365 EQ Morpher alg 365 EQ Morpher alg 365 EQ Morpher
2U
4U
4U
4U
3U
2U
2U
2U
2U
4U
3U
3U
2U
2U
2U
2U
1U
1U
2U
2U
2U
2U
1U
1U
2U
1U
1U
1U
2U
2U
2U
2U
2U
2U
2U
D-21
PC3 Objects (V 1.20)
Effect Presets with Algorithms
D-22
395
396
397
398
399
Chorus / Combi
Contact
Drum Frightener
Mad Hatter
Fallout
Ascension
CHORUS
COMBI
BasicChorusDelay
Chorus PanDelay
Chorus & Echo
CDR Lead
CDR Lead 2
Chorus Delay 2
Doubler & Echo
Chorus Booth
ChorusSmallRoom
ChorusMedChamber
Chorus MiniHall
Chorus HiCeiling
ChorBigBrtPlate
CathedralChorus
Flam Dly Bckgrnd
CDHall Halo
CrackedPorcelain
Rich Delay
FastChorusDouble
MultiTap Chorus
Chorused Taps
MultiEchoChorus
DeepChorDlyHall
ClassicEP ChorRm
Chorus Slow Hall
SoftChorus Hall
Chorus Air
PsiloChorusHall
419
420
421
422
415
416
417
418
423
424
425
426
427
411
412
413
414
407
408
409
410
400
401
402
403
404
405
406 alg 387 WackedPitchLFO alg 387 WackedPitchLFO alg 387 WackedPitchLFO alg 387 WackedPitchLFO alg 387 WackedPitchLFO alg 400 Chorus+Delay alg 400 Chorus+Delay alg 400 Chorus+Delay alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 400 Chorus+Delay alg 400 Chorus+Delay alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 401 Chorus+4Tap alg 403 Chor+Dly+Reverb alg 400 Chorus+Delay alg 401 Chorus+4Tap alg 402 Chorus<>4Tap alg 405 Chorus<>LasrDly alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb
3U
3U
3U
3U
3U
1U
2U
2U
2U
2U
1U
2U
1U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
1U
1U
1U
1U
1U
440
441
442
443
436
437
438
439
432
433
434
435
428
429
430
431
444
445
446
447
448
449
Flange / Combi
SpeeChorusDeep
Chorus Room
Chorus Smallhall
Chorus Med Hall
Chorus Big Hall
Chorus Echoverb
Chorus Bass Room
New Chorus Hall
Floyd Hall
Into The Abyss
BroadRevSlapback
Carlsbad Cavern
Chr->GtrDst->Chr
That's No Moon!!
Laser Amalgam
Cut it out!! CDR
Chor-Delay Booth
Chor Tin Room
Boiler Plate
O.T.T. Pad
TheChorusCloset
C-D
FLANGE
COMBI
450
451
452
453
454
455
456
457
458
459
460
461
Flange + Delay
ThroatyFlangeDly
Slapback Flange
Flange Booth
FlangeVerb Clav
Flange Amb Smack
Flange Dly 3-D
Fl Dl Large Hall
Flanged Edge
Flange + 4Tap
FlangeDelayHall
SloFlangeDlyRoom
PC3 Objects (V 1.20)
Effect Presets with Algorithms
alg 400 Chorus+Delay alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 402 Chorus<>4Tap alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 404 Chorus<>Reverb alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 317 TubeAmp<>MD>Chor alg 403 Chor+Dly+Reverb alg 405 Chorus<>LasrDly alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 403 Chor+Dly+Reverb alg 402 Chorus<>4Tap
3U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
1U
2U
2U
2U
2U
2U
2U
2U
2U
2U alg 450 Flange+Delay alg 450 Flange+Delay alg 450 Flange+Delay alg 454 alg 454 alg 454 alg 453 Flan+Dly+Reverb alg 453 Flan+Dly+Reverb alg 321 Flange<>Shaper alg 451 Flange+4Tap alg 453 Flan+Dly+Reverb alg 453 Flan+Dly+Reverb
2U
2U
2U
2U
1U
1U
1U
2U
2U
1U
2U
2U
D-23
PC3 Objects (V 1.20)
Effect Presets with Algorithms
Flange Hall
FlangeDlyBigHall
Flange Theatre
FlangeTap Synth
Flange Room
Flange Echo
Flange 4 Tap
Flange Hall 2
Flange-Dly Hall
Flange Delay
Mecha-Godzilla
Industro-Flange
Panning FDRoom
Drum&Bass FlgDly
Laserflange
Pewter FlangeVrb
WeirdFlangePlate
F-D Hall
SyntheticRmFlg
Space Flanger
Lazertag Flange
Flange->Pitcher
Flange->Shaper
Pitch Spinner
FD Lead Madness
Brite Rippleverb
Rotary Club
Flangey Hall
Flg->GtrDst->Chr
MyGtrAteYo'Momma
Glacial Canyon
486
487
488
489
490
491
492
482
483
484
485
478
479
480
481
474
475
476
477
470
471
472
473
466
467
468
469
462
463
464
465
494
495
Ultima Thule Pad
Dr. Who alg 454 alg 453 Flan+Dly+Reverb alg 454 alg 452 Flange<>4Tap alg 453 Flan+Dly+Reverb alg 452 Flange<>4Tap alg 452 Flange<>4Tap alg 454 alg 453 Flan+Dly+Reverb alg 450 Flange+Delay alg 451 Flange+4Tap alg 453 Flan+Dly+Reverb alg 453 Flan+Dly+Reverb alg 451 Flange+4Tap alg 455 Flange<>LasrDly alg 454 alg 454 alg 453 Flan+Dly+Reverb alg 453 Flan+Dly+Reverb alg 452 Flange<>4Tap alg 455 Flange<>LasrDly alg 384 Flange<>Pitcher alg 321 Flange<>Shaper alg 384 Flange<>Pitcher alg 450 Flange+Delay alg 453 Flan+Dly+Reverb alg 453 Flan+Dly+Reverb alg 453 Flan+Dly+Reverb alg 319 PolyAmp<>MD>Chor alg 318 TubeAmp<>MD>Flan alg 456 St Flange+Delay alg 403 Chor+Dly+Reverb alg 225 Flanger 1
3U
3U
1U
1U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
1U
2U
2U
2U
1U
1U
2U
2U
2U
2U
2U
2U
2U
2U
2U
2U
1U
799 Pass-Through
D-24
Index
Numerics
A
Adjust parameter (EnvCtl) 6-45
Alternative Attack parameter (Keymap)Parameters
AMPENV page (Program Editor) 6-41
Amplitude envelope
Amplitude envelope parameters 6-42–6-43
Low Key (LoKey) and High Key (HiKey) 7-39
Shift Limit 7-41 shifting notes 7-41
ASR page (Program Editor) 6-38
Attack Portamento parameter (Common) 6-35
Attack Time and Level parameters (AmpEnv) 6-42
Audio output parameters ??–6-32
B
Bank Select
Bounce
Buttons
C
Carrier
Change
Channel/Program (CH/PROG) Page 7-5
Clicking during portamento 6-34
Clock
COMMON Page
Common parameters 6-34–6-35, ??–6-54
Configuring control sources 6-9
Index-i
Control sources
Controllers
entry values in Program Mode 6-10
conventions for editing objects 5-1
Copy
Crossfade parameter (Output) 6-32
Crossfade Sense parameter (Output)Parameters
D
Decay Time and Level parameters (AmpEnv) 6-43
Delete
Destination
Dialogs
Index-ii
DRAWBR page (Program Editor) 6-55
Drum Tracks
Duplicate Layer soft button 6-51
E
Edit Song
Effect-box
Effects
Enable Sense parameter (Layer) 6-24
ENV2 and ENV3 pages (Program Editor) 6-43
ENVCTL page (Program Editor) 6-44
Envelope control parameters 6-45
Erase
EVENT Page
Everything
Extensions
used by or accepted by the K2600 13-10
F
favorite programs
Files
Formatting a SmartMedia Card 13-2
Freeze Pedal parameter (Layer) 6-26
FUN page (Program Editor) 6-40
G
Globals parameter (Common) 6-35, 6-54
Grab
H
High Key parameter (Layer) 6-23
High Velocity parameter (Layer) 6-23
Hold Through Attack parameter (Layer) 6-26
Hold Until Decay parameter (Layer) 6-26
I
Impact parameter (EnvCtl) 6-46
Insert
K
K2600
Index-iii
Key tracking parameter (EnvCtl) 6-45
Key Tracking parameter (Keymap) 6-20
Key/Velocity (KEY/VEL) Page 7-9
KEYCLK page (Program Editor) 6-59
KEYMAP page (Program Editor) 6-19
Keymap parameter (Keymap) 6-19
L
LAYER page (Program Editor) 6-22
Layers
moving between in multi-layer programs 3-11
Legato play parameter (Common) 6-34
LFO page (Program Editor) 6-36
Index-iv
Loading Individual Objects 13-6
Loop Type parameter (AmpEnv) 6-43
Low Key parameter (Layer) 6-23
Low Velocity parameter (Layer) 6-23
M
Maximum delay parameter (Layer) 6-24
Maximum Rate parameter (LFO) 6-37
MIDI
Minimum delay parameter (Layer) 6-24
Minimum Rate parameter (LFO) 6-37
MISC page (Program Editor) 6-61
Modulator
Momentary
Monophonic parameter (Common) 6-34
Monster Truck radio spots 9-13
N
Name
Naming objects using the keyboard 5-4
Natural amplitude envelope 6-41
Non-harmonic overtones
creating with ring modulator 9-23
Number of loops parameter (AmpEnv) 6-43
Numeric Entry
O
OK
OUTPUT page (Program Editor: KB3) 6-63
P
AMPENV (Amplitude envelope) 6-41
ASR (Attack, Sustain, Release) 6-38
ENV2 and ENV3 (Envelopes) 6-43
ENVCTL (Envelope control) 6-44
FUN (Attack, Sustain, Release) 6-40
Pan Mode parameter (Output) 6-31
Parameters
PERC page (Program Editor) 6-57
PERC page (Program Editor: KB3) 6-56
PERC2 page (Program Editor) 6-59
Index-v
Pitch Bend Mode parameter (Layer) 6-23
Pitch Bend Range parameter (Common) 6-34
PITCH page (Program Editor: KB3) 6-56
Play/Pause button
Playback Mode parameter (Keymap) 6-21
Portamento parameter (Common) 6-34
Portamento Rate parameter (Common) 6-35
Pressure (Press) Page
Program changes
Program Editor
Program mode 2-7, 4-2, 6-1, 6-9
Index-vi
Q
Quantize
Quick Access bank program changes 10-8
R
Rate Control parameter (LFO) 6-38
Region/Criteria window
Release Time and Level parameters (AmpEnv) 6-43
Remap
Reset
Ribbon Configuration (RIBCFG) Page
RIBBON Page
Ribbons
Large Ribbon Configuration 7-37
Ribbon Configuration (RIBCFG) Page 7-37
Riffs
S
Samples
Saving and namingObjects
Saving Master and Everything Files 13-5
Saving objects
Selecting programs and setups 2-7
Sequencer
Delete Zone (DelZn) Soft Button 7-54
Duplicate Zone (DupZn) Soft Button 7-53
Import Zone (ImpZn) Soft Button 7-53
New Zone (NewZn) Soft Button 7-53
Setup Mode
Channel/Program (CH/PROG) Page 7-2
Ribbon Configuration (RIBCFG) Page 7-37
Continuous Control Pedal (CPEDAL) Page 7-31
Continuous Controller Parameters 7-26
Entry (Ent) and Exit States 7-28
Entry Volume, Exit Volume 7-17
Low Velocity (LoVel), HighVelocity (HiVel) 7-16
Pan/Volume (PAN/VOL) Page 7-17
Velocity Scale (VelScale) 7-11
Zone Arpeggiation (ZoneArpeg) 7-8
Shape parameter parameter (LFO) 6-38
Shift
Shifting notes
SmartMedia 13-2 formatting 13-2
Index-vii
Songs
Sostenuto Pedal parameter (Layer) 6-25
Source and Depth parameters (EnvCtl) 6-46
Special-function soft buttons 6-51
Stereo parameter (Keymap) 6-20
Sustain Pedal parameter (Layer) 6-25
T
Tap types in Multitap delays 9-12
Timbre Shift parameter (Keymap) 6-21
Toggle
TONEWL page (Program Editor) 6-53
Index-viii
TRACK Page
Transpose
Transpose parameter (Keymap) 6-19
Triggering notes on startup 6-24
Tuning to other instruments 11-2
U
USB MIDI
MIDI Transmit Destination parameter 10-2
V
Variable Architecture Synthesis 1-3
Velocity tracking parameter (EnvCtl) 6-46
Velocity tracking parameter (Keymap) 6-20
virtual drive
Voltage
Volume
W
WHEEL Page
X
Z
Zones
Index-ix
Index-x
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