Korg Pa50 Owner's Manual

USER'S
MANUAL
ENGLISH
Ver. 1.0
E
Instructions pertaining to a risk of fire, electric shock, or injury to persons
IMPORTANT SAFETY INSTRUCTIONS
WARNING — When using electrical products, basic precautions should be followed, including the following:
Location. Using the unit in the following locations can
result in a malfunction.
•
In direct sunlight
•
Locations of extreme temperature or humidity
•
Excessively dusty or dirty locations
•
Locations of excessive vibration
Power supply. Please connect the designated AC adapter
to an AC outlet of the correct voltage. Do not connect it to
an AC outlet of voltage other than that for which your unit
is intended.
Interference with other electrical devices. This product contains a microcomputer. Radios and televisions
placed nearby may experience reception interference.
Operate this unit at a suitable distance from radios and
televisions.
Handling. To avoid breakage, do not apply excessive force
to the switches or controls.
Care. If the exterior becomes dirty, wipe it with a clean,
dry cloth. Do not use liquid cleaners such as benzene or
thinner, or cleaning compounds or flammable polishes.
Keep this manual. After reading this manual, please
keep it for later reference.
Keeping foreign matter out of your equipment.
•
•
Never set any container with liquid in it near this
equipment. if liquid gets into the equipment, it could
cause a breakdown, fire, or electrical shock.
Be careful not to let metal objects get into the equipment. If something does slip into the equipment,
unplug the AC adapter from the wall outlet. Then
contact your nearest Korg dealer or the store where
the equipment was purchased.
KEEP THESE INSTRUCTIONS
CLEAN ONLY WITH A DRY CLOTH
THE FCC REGULATION WARNING (FOR THE
U.S.A. AND CANADA ONLY)
This equipment has been tested and found to comply
with the limits for a Class B digital device, pursuant to
Part 15 of the FCC Rules. These limits are designed to
provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and,
if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If
this equipment does cause harmful interference to
radio or television reception, which can be determined
by turning the equipment off and on, the user is
encouraged to try to correct the interference by one or
more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and
receiver.
• Connect the equipment into an outlet on a circuit
different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system
can void theuser's authority to operate this equipment.
CE MARK FOR EUROPEAN HARMONIZED
STANDARDS
CE mark which is attached to our company’s products
of AC mains operated apparatus until December 31,
1996 means it conforms to EMC Directive (89/336/
EEC) and CE mark Directive (93/68/EEC).
And, CE mark which is attached after January 1, 1997
means it conforms to EMC Directive (89/336/EEC), CE
mark Directive (93/68/EEC) and Low Voltage Directive
(73/23/EEC).
Also, CE mark which is attached to our company’s
products of Battery operated apparatus means it conforms to EMC Directive (89/336/EEC) and CE mark
Directive (93/68/EEC).
DATA HANDLING
Data in memory may sometimes be lost due to incorrect user
action. Be sure to save important data to floppy disk. KORG
will not be responsible for damages caused by data loss.
LCD DISPLAY
Some pages of the manuals show LCD screens along with
an explanation of functions and operations. All sound
names, parameter names, and values are merely examples
and may not always match the actual display you are
working on.
TRADEMARKS
Macintosh is a registered trademark of Apple Computer,
Inc. MS-DOS and Windows are registered trademarks of
Microsoft Corporation. All trademarks or registered
trademarks are the property of their respective holders.
DISCLAIMER
The information contained in this manual have been carefully revised and checked through. Due to our constant
efforts to improve our products, the specifications might
differ to those in the manual. KORG is not responsible for
any eventual differences found between the specifications
and the contents of the instruction manual - the specifications being subject to change without prior notice
LIABILITY
KORG products are manufactured under strict specifications and voltages required by each country. These products are warranted by the KORG distributor only in each
country. Any KORG product not sold with a warranty
card or carrying a serial number disqualifies the product
sold from the manufacturer's/distributor's warranty and
liability. This requirement is for your own protection and
safety.
SERVICE AND USER’S ASSISTANCE
For service, please contact your nearest Authorized KORG
Service Center. For more information on KORG products,
and to find software and accessories for your keyboard,
please contact your local Authorized KORG distributor.
PA50 ON THE WEB
For up-to-date information, please, point your web
browser to http://www.korgpa.com.
Copyright © 2003 KORG Italy Spa. Printed in China.
THE BALANCE SLIDER
When turning the instrument on, please be assured the BALANCE slider is set to
the center. This sets both Sequencer 1 (SEQ1) and Sequencer 2 (SEQ2) to their
maximum level. This will avoid you start a Song without hearing anything.
3
HOW TO…
Keyboard
…select a Sound Program
…select a Performance
…play a Sound Program across the
whole keyboard, as with a piano
…split the keyboard in two
…add sounds to the right hand
…mute/unmute sounds
24
24
24
24
Style Play mode
…select a Style
…start/stop the Style
…select a Fill or a Break
…select a Style Variation
…see the Style tracks
…create a new Style
26
29
29
30
41
52
26
25
Song Play mode
…play a Song (Standard MIDI File)
…see the Lyrics
…see the Song tracks
…start both Sequencers at the same time
27
74
73
18, 79
Backing Sequence mode
…record a new Backing Sequence (Song)
82
Song mode
…record a new Song
…edit a Standard MIDI File
91
88
In general
…turn the speakers off
…change the Damper polarity
…select the Arabic Scale
125
126
34
4
TABLE OF CONTENTS
Introduction
Welcome! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Live Performing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Useful links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Making a backup copy of system files . . . . . . . . . . . . . . . . . . 8
Loading the operating system . . . . . . . . . . . . . . . . . . . . . . . . . 9
Reloading the Factory Data . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Start up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Connecting the AC power adapter . . . . . . . . . . . . . . . . . . . . 10
Turning the instrument on and off . . . . . . . . . . . . . . . . . . . 10
Controlling the Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The BALANCE slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Audio Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Audio Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
MIDI connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Damper Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
The music stand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Display and User Interface . . . . . . . . . . . . . . . . . . . 19
Display controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Interface structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Message windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Symbols and Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Grayed-out non-available parameters . . . . . . . . . . . . . . . . . 21
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Basic Guide
Basic operations . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Playing on the keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Selecting, muting/unmuting and soloing a track . . . . . . . . 24
Selecting a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Selecting a Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Selecting a Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Selecting a Single Touch Setting (STS) . . . . . . . . . . . . . . . . . 27
Changing all keyboard tracks at once . . . . . . . . . . . . . . . . . . 27
Playing a Song from Floppy disk . . . . . . . . . . . . . . . . . . . . . 27
Shortcut to see the original bank for a Style,
Performance or Program . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
1 - Playing in realtime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
2 - Playing a Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
3 - Playing a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
4 - Recording a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
5 - Editing a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
6 - The Arabic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
What is MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Midifiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
The General MIDI standard . . . . . . . . . . . . . . . . . . . . . . . . . 35
The Global channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
The Chord 1 and Chord 2 channels . . . . . . . . . . . . . . . . . . .36
The Control channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Connecting Pa50 to a Master keyboard . . . . . . . . . . . . . . . .36
Connecting the Pa50 to a MIDI accordion . . . . . . . . . . . . .37
Connecting the Pa50 to an external sequencer . . . . . . . . . .37
Playing another instrument with the Pa50 . . . . . . . . . . . . . .38
Reference Guide
Style Play operating mode . . . . . . . . . . . . . . . . . . . 40
What’s a Style? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Styles and Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Changing and resetting the Tempo . . . . . . . . . . . . . . . . . . . .40
The DIRECT FD bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Style tracks page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
How to select Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
The Write window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Page 1 - Mixer: Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Page 2 - Mixer: Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Page 3 - Mixer: FX Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Page 4 - Tuning: Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Page 5 - Tuning: Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Page 6 - Tuning: PitchBend Sensitivity . . . . . . . . . . . . . . . . .44
Page 7 - FX: A/B Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Page 8 - FX: C/D Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Page 9 - FX: A editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Page 10 - FX: B editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Page 11 - FX: C editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Page 12 - FX: D editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Page 13 - Track: Easy edit . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Page 14 - Track: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Page 15 - Track: Internal/External . . . . . . . . . . . . . . . . . . . .46
Page 16 - R.T. controls: Damper . . . . . . . . . . . . . . . . . . . . . .47
Page 17 - R.T. controls: Joystick . . . . . . . . . . . . . . . . . . . . . .47
Page 18 - R.T. controls: Dynamic range . . . . . . . . . . . . . . . .47
Page 19 - R.T. controls: Ensemble . . . . . . . . . . . . . . . . . . . . .47
Page 20 - Style controls: Drum/Fill . . . . . . . . . . . . . . . . . . . .48
Page 21 - Style controls: Wrap Around / Keyboard
Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Page 22 - Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Page 23 - Preferences: Lock . . . . . . . . . . . . . . . . . . . . . . . . . .49
Page 24 - Preferences: controls . . . . . . . . . . . . . . . . . . . . . . .50
Style Record mode . . . . . . . . . . . . . . . . . . . . . . . . . 52
The Style’s structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Style Import/Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Entering the Record mode . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Listening to the Style while in Record/Edit mode . . . . . . . .53
Exit and Save/Abort Style . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
The Write window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
List of recorded events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
Fast Delete using the control panel buttons . . . . . . . . . . . . .54
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Style Tracks page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
5
Step Record page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Style Record procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Page 1 - Edit: Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Page 2 - Edit: Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Page 3 - Edit: Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Page 4 - Event Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Page 5 - Event Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Event Edit procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Page 6 - Edit: Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Page 7 - Edit: Delete All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Page 8 - Edit: Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Page 9 - Style Element Controls: Programs . . . . . . . . . . . . . 67
Page 10 - Style Element Controls: Expression . . . . . . . . . . . 68
Page 11 - Style Element Controls: Keyboard Range . . . . . . 68
Page 12 - Style Element Controls: Chord Variation
Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Page 13 - Style Controls: Mode/Tension . . . . . . . . . . . . . . . 68
Song Play operating mode . . . . . . . . . . . . . . . . . . 70
The Songs and the Standard MIDI File format . . . . . . . . . . 70
Transport controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
MIDI Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Switching between sequencers during editing . . . . . . . . . . . 70
Selecting a Song composing its progressive number . . . . . 70
Realtime and sequencer tracks . . . . . . . . . . . . . . . . . . . . . . . 70
Master Volume, Sequencer Volume, BALANCE . . . . . . . . 71
Effects in Song Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Groove Quantize window . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
The Write window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Tracks 1-8 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Tracks 9-16 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Song Select page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
The Lyrics page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Playing a Jukebox file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Page 1 - Mixer: Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Page 2 - Mixer: Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Page 3 - Mixer: FX send A/B . . . . . . . . . . . . . . . . . . . . . . . . . 76
Page 3 - Mixer: FX send C/D . . . . . . . . . . . . . . . . . . . . . . . . . 76
Page 4 - FX: A/B Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Page 4 - FX: C/D Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Page 5 - FX: A editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Page 6 - FX: B editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Page 5 - FX: C editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Page 6 - FX: D editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Page 7 - Track: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Page 8 - Track: Internal/External . . . . . . . . . . . . . . . . . . . . . 78
Page 9 - Jukebox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Page 10 - Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Saving a list of Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Backing Sequence operating mode . . . . . . . . . . . . 82
Transport controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
The Backing Sequence, Song and Song Play modes . . . . . . 82
How to playback a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Realtime Recording mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Chord/Acc Step recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Main Page (Backing Sequence Play) . . . . . . . . . . . . . . . . . . . 83
Load Song page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Save Song page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Realtime Recording page . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Chord/Acc Step Recording page . . . . . . . . . . . . . . . . . . . . . .85
How to delete a whole Song . . . . . . . . . . . . . . . . . . . . . . . . . .87
Song operating mode . . . . . . . . . . . . . . . . . . . . . . 88
Transport controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Master Volume and Sequencer Volume . . . . . . . . . . . . . . . .88
The Songs and the Standard MIDI File format . . . . . . . . . .88
Fast track deletion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
How to delete a whole Song . . . . . . . . . . . . . . . . . . . . . . . . . .88
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Tracks 1-8 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Tracks 9-16 page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Song Select page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Save Song page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Realtime Record procedure . . . . . . . . . . . . . . . . . . . . . . . . . .91
Step Record procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
Song Record page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
Step Record page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94
Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
Page 1 - Mixer: Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
Page 2 - Mixer: Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
Page 3 - Mixer: FX Block . . . . . . . . . . . . . . . . . . . . . . . . . . . .96
Page 4 - Mixer: FX Send A/B (or C/D) . . . . . . . . . . . . . . . . .96
Page 5 - Tuning: Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . .96
Page 6 - Tuning: Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Page 7 - Tuning: PitchBend/Scale . . . . . . . . . . . . . . . . . . . . .97
Page 8 - FX: A/B Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Page 9 - FX: C/D Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Page 10 - FX: A editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
Page 11 - FX: B editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
Page 12 - FX: C editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
Page 13 - FX: D editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
Page 14 - Track: Easy edit . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
Page 15 - Track: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
Page 16 - Track: Internal/External . . . . . . . . . . . . . . . . . . . .99
Page 17 - Edit: Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Page 18 - Edit: Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Page 19 - Edit: Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Page 20 - Edit: Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Page 21 - Edit: Cut Measures . . . . . . . . . . . . . . . . . . . . . . . .101
Page 22 - Edit: Insert Measures . . . . . . . . . . . . . . . . . . . . . .101
Page 23 - Edit: Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Page 24 - Event Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Page 25 - Event Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Event Edit procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Program operating mode . . . . . . . . . . . . . . . . . . . 105
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Sound Programs and Drum Programs . . . . . . . . . . . . . . . .105
Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
The Compare function . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
How to select oscillators . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Erase Program/Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . .106
The ‘Write’ window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Page 1 - Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Page 2 - Sample (Sound Programs) . . . . . . . . . . . . . . . . . .107
Page 2 - DK Samples (Drum Programs) . . . . . . . . . . . . . . .108
6
Page 3 - Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Page 4 - Pitch LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Page 5 - Pitch LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Page 6 - Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Page 7 - Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Page 8 - Filter Modulation . . . . . . . . . . . . . . . . . . . . . . . . . 113
Page 9 - Filter LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Page 10 - Filter LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Page 11 - Filter EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Page 12 - Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Page 13 - Amp Modulation . . . . . . . . . . . . . . . . . . . . . . . . . 117
Page 14 - Amp LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Page 15 - Amp LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Page 16 - Amp EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Page 17 - LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Page 18 - LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Page 19 - Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Page 20 - FX1 editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Page 21 - FX2 editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
AMS (Alternate Modulation Source) list . . . . . . . . . . . . . . 123
Global edit environment . . . . . . . . . . . . . . . . . . . 125
The Write window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Page 1 - General controls . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Page 2 - Master Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Page 3 - Assignable Pedal/Footswitch, Assignable
Slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Page 4 - MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Page 5 - MIDI Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Page 6 - MIDI IN Channels . . . . . . . . . . . . . . . . . . . . . . . . . 127
Page 7 - MIDI IN Controls (1) . . . . . . . . . . . . . . . . . . . . . . 128
Page 8 - MIDI IN Controls (2) . . . . . . . . . . . . . . . . . . . . . . 128
Page 9 - MIDI IN Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Page 10 - MIDI OUT Channels . . . . . . . . . . . . . . . . . . . . . 129
Page 11 - MIDI OUT Filters . . . . . . . . . . . . . . . . . . . . . . . . 129
Disk edit environment . . . . . . . . . . . . . . . . . . . . . 130
The WRITE/DISK IN USE LED . . . . . . . . . . . . . . . . . . . . . 130
Floppy disk handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Loading data created with the Pa80 . . . . . . . . . . . . . . . . . . 131
Loading older i-Series data . . . . . . . . . . . . . . . . . . . . . . . . . 131
Disk structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
File types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
File and folder size display . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Navigation tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Page 1 - Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Page 2 - Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Page 3 - Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Page 4 - Erase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Page 5 - Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Page 6 - New Dir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Page 7 - Rename . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
Page 8 - Utilities 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
Page 9 - Utilities 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142
Appendix
Factory Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Style Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146
Single Touch Settings (STS) . . . . . . . . . . . . . . . . . . . . . . . . .146
Programs (bank order) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
Programs (Program Change order) . . . . . . . . . . . . . . . . . .154
Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
Drum Kit instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161
Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
Dynamic Modulation sources . . . . . . . . . . . . . . . . . . . . . . .175
Filter/Dynamic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
Pitch/Phase Mod. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
Mod./P.Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195
ER/Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202
Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
Mono – Mono Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210
Assignable parameters . . . . . . . . . . . . . . . . . . . . . 225
List of functions assignable to the Footswitch . . . . . . . . . .225
List of functions assignable to the Pedal or
Assignable Slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226
List of sounds assignable to the Pads . . . . . . . . . . . . . . . . .226
List of functions assignable to the Pads . . . . . . . . . . . . . . .227
Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227
MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . 228
MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . .229
Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Recognized chords . . . . . . . . . . . . . . . . . . . . . . . . 233
Error messages & Troubleshooting . . . . . . . . . . . 235
Error messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238
Technical specifications . . . . . . . . . . . . . . . . . . . . 239
Alphabetical Index . . . . . . . . . . . . . . . . . . . . . . . . 240
INTRODUCTION
8
Welcome!
Live Performing
1. WELCOME!
Welcome to the world of KORG Pa50 Professional Arranger!
Pa50 is one of the most powerful arranger available today,
both for professional and home entertainment use.
Here are some of the features of your new instrument:
•
Powerful HI (Hyper Integrated) KORG sound generation system, as seen in our best professional synthesizers.
•
OPOS (Objective Portable Operating System) multitasking operating system, to let you load data while
playing your instrument.
•
Operating System updates, to load new features from
disk. Don’t let your instrument get old!
•
Solid State Disk (SSD), for any system update–a smart
way to replace the usual ROM memory.
•
Direct Style access from floppy disk.
•
General MIDI Level 2 Sounds-compatible.
•
More than 660 Sound Programs.
•
4 multieffect processor, each with 89 effect types.
•
160 Performances and 1,216 Single Touch Settings
(STS), for fast setting of keyboard sounds and effects.
•
304 Styles.
•
XDS Double Sequencer with Crossfader.
•
Style Record and Edit
•
Full-featured sequencer (Song Record and Edit)
•
Integrated speakers, for the most true sound reproduction.
•
Wide Custom Display.
LIVE PERFORMING
Pa50 has been carefully designed to be used live. The “realtime” word has its full meaning in this instrument. Performances allow the instant selection of all the tracks on the
keyboard and a suitable Style; STSs allow an instant selection
of the keyboard tracks; and Styles are the realtime backing
companions for your realtime playing.
USEFUL LINKS
Your preferred KORG dealer not only carries this keyboard,
but also a whole bunch of hardware and software accessories.
You should ask him for more Programs, Styles, and other
useful music materials.
Each KORG distributor can supply you with useful information. Just give him a call for additional services. In the
English-speaking world, here are the relevant addresses:
USA
KORG USA, 316 South Service Road, Melville,
New York, 11747, USA
Tel:1-516-333-9100, Fax:1-516-333-9108
Canada
Jam Industries, 620 McCaffrey, St-Laurent,
QC, Canada, H4T 1N1
Tel. (514) 738-3000, Fax (514) 737-5069
UK
KORG UK Ltd, 9 Newmarket Court, Kingston,
Milton Keynes, Buckinghamshire, MK10, 0AU
Telephone: 01908 857100
UK Technical Support Tel: 01908 857122, Fax:
01908 857199
E-mail: [email protected]
Many KORG distributors also have their own web page on
the internet, where you can find infos and software. Useful
web pages in English are the following:
www.korg.com
www.korg.co.uk
www.jam-industries.com
A place to find operating system updates and various system
files (for example, a full backup of the factory data) is at the
following link:
www.korgpa.com
Other useful information can be found worldwide by accessing to other KORG web sites, like the following:
www.korg.co.jp
www.korgfr.net
www.korg.de
www.korg.it
ABOUT THIS MANUAL
This manual is divided in three sections:
•
A Basic Guide, containing an overview of the instrument, as well as a series of practical guides (named
“Tutorials”).
•
A Reference Guide, with each page and parameter
described in detail.
•
An Appendix, with a list of data and useful information
for the advanced user.
Within the manual, you will find the following abbreviations:
The parameter can be saved onto a Performance by pressing the WRITE button.
The parameter can be saved onto the current
Style Performance by pressing the WRITE button.
The parameter can be saved onto a Single
Touch Setting by pressing the WRITE button.
The parameter can be saved onto the Global,
by going to the Global environment (see “Global edit environment” on page 125) and pressing the WRITE button.
MAKING A BACKUP COPY OF SYSTEM FILES
Before starting playing with your new Pa50, we suggest you
make a back-up copy of all system data, including Programs, Performances and Styles, in case the internal data is
changed.
To backup the Operating System, please see “Save OS” on
page 141.
To backup the Factory Data (Styles, Programs…), see
“Backup Data” on page 141.
Welcome!
Loading the operating system
LOADING THE OPERATING SYSTEM
Your Pa50 can be constantly updated as new versions of the
operating system are released by KORG. You can download
the operating system from www.korgpa.com. Please, read the
Readme file included with the operating system itself.
You can see which version of the operating systems is
installed in your Pa50 by keeping the SHIFT button pressed,
and pressing the ENTER and EXIT buttons together. The
operating system version number will appear in the display.
Press EXIT to close the message window.
To load a new system, follow these instructions:
1. Copy the three operating system’s files in an empty, MSDOS® formatted, HD-type floppy disk. These are the
needed files:
• OSPa50.LZX
• BPa50.SYS
• NBPa50.SYS
2.
3.
4.
5.
Turn the instrument off, and insert the operating system
disk into the disk drive.
Turn the instrument on. A message appears in the display, asking if you want to load the operating system.
Press ENTER to load, or EXIT to cancel the loading procedure. If you press ENTER, wait until the loading is finished.
When the operating system is finished loading, a message appears, asking you to remove the floppy disk and
press any button.
Remove the floppy disk, and press any button.
RELOADING THE FACTORY DATA
Should the internal memory content get damaged, you can
reload the original Factory Data from the backup disks. See
“Restore Data” on page 142.
9
10
Start up
Connecting the AC power adapter
2. START UP
CONNECTING THE AC POWER ADAPTER
Connect the supplied AC
power adapter to the dedicated socket on the rear of the
instrument. Then, plug it into
a wall socket.
Warning: Use only the supplied adapter, or an adapter
suggested by Korg. Other
adapters may look similar,
but they may damage your
instrument!
•
Move it fully right to set Sequencer 1 to zero and
Sequencer 2 to the maximum level.
•
Move it to the center to set both Sequencer at the same
level.
Note: When turning the instrument on, move this slider to the
center, to avoid starting a Song at the minimum level.
HEADPHONES
Connect a pair of headphones to the PHONES output, on the
rear of the insturment. You can use headphones with an
impedance of 16-200Ω (50Ω suggested). Use a headphone
distributor to connect more than one pair of headphones.
TURNING THE INSTRUMENT ON AND OFF
AUDIO OUTPUTS
•
You can send the sound to an external amplification system,
instead of the internal speakers. This is useful when recording, or when playing live.
•
Press the POWER switch on the rear panel to turn the
instrument on. The display will light up, showing a welcome message.
Press again the POWER switch on the rear panel to turn
the instrument off.
Warning: When turning the instrument off, all data contained in RAM (a volatile memory, used for Song editing)
will be lost. On the contrary, data contained in the SSD
disk (a non-volatile memory, used for Factory and User
data) will be preserved (see “Memory Mode” on page 51).
CONTROLLING THE VOLUME
•
•
•
Use the MASTER VOLUME slider to control the
overall volume of the
instrument. This slider
controls the volume of the
sound going to the internal
speakers, the L/MONO &
RIGHT OUTPUTS, and
the HEADPHONES connector.
Note: Start at a moderate level, then raise the MASTER
VOLUME up. Don’t keep the volume at an uncomfortable
level for too long.
Use the ACC/SEQ VOLUME slider to control the Style
tracks (drums, percussion, bass…) volume. This slider
also controls both Sequencers tracks, excluding the
Realtime (Keyboard) tracks.
By default, you can use the ASSIGN.SLIDER to control
the keyboard tracks volume. This slider is user-assignable, but is set to the Keyboard Expression parameter by
default.
THE BALANCE SLIDER
The BALANCE slider sets the relative volume of the two
onboard sequencers (Sequencer1 and Sequencer 2).
•
Move it fully left to set Sequencer 1 to the maximum
level and Sequencer 2 to zero.
Stereo. Connect two mono cables to the L/MONO &
RIGHT OUTPUTS. Connect the other end of the cables to a
stereo channel of your mixer, two mono channels, two powered monitors, or the TAPE/AUX input of your audio system.
Don’t use the PHONO inputs of your audio system!
Mono. Connect a mono cable to the L/MONO OUTPUT.
Connect the other end of the cable to a mono channel of your
mixer, a powered monitor, or a channel of your TAPE/AUX
input of a hi-fi system (you will hear that channel only, unless
you can set the amplifier to Mono mode).
AUDIO INPUTS
Connect any other electronic musical instrument, a mixer’s
output (non-powered), or a CD/tape player, to the INPUTS
on the back of the instrument. These inputs expect a linelevel signal. To connect a microphone, you need a dedicated
microphone preamplifier or a mixer.
Use the connected device’s volume control to adjust the input
level. Be careful not to make it distort (or “clip”). Here is how
to set the volume of the connected device:
•
if the sound heard on Pa50’s outputs is too low, you
should increase the output level of the connected device.
•
if it sounds fine, it’s ok.
•
if it distorts, you should lower the level a little, until the
sounds is fine again.
MIDI CONNECTIONS
You can play the internal sounds of your Pa50 with an external controller, i.e. a master keyboard, a MIDI guitar, a wind
controller, a MIDI accordion, or a digital piano.
1. Connect a standard MIDI cable from the MIDI OUT of
your controller to the MIDI IN connector on the Pa50.
2. Select a transmission MIDI channel on your controller.
Some controllers, like the MIDI accordions, usually
transmit on more than one channel (see more information in the MIDI chapter).
Start up
Damper Pedal
3.
On the Pa50, select the MIDI Setup that best fit your
controllers type (see “Page 4 - MIDI Setup” on
page 126).
DAMPER PEDAL
Connect a Damper (Sustain) pedal to the DAMPER connector on the back panel. Use a KORG PS1, PS2 or DS1H footswitch pedal, or a compatible one. To switch the Damper
polarity, see “Damper Pol. (Damper Polarity)” on page 126
DEMO
Listen to the built-in Demo Songs to appreciate the power of
the Pa50. There are 16 Demo Songs to choose from.
1.
2.
3.
4.
5.
11
Press the STYLE PLAY and SONG PLAY buttons
together. Their LEDs start blinking.
At this point, if you don’t press any other button, all the
Demo Songs will be played back.
Choose a page using the PAGE buttons. There are two
different pages in the Demo mode.
Select a Demo Song by pressing the corresponding
VOLUME/VALUE button around the display. The
Demo will automatically start.
Stop the Demo by pressing START/STOP.
Exit the Demo mode by pressing one of the MODE buttons.
THE MUSIC STAND
A music stand comes standard with your Pa50. Fit it into the
two dedicated holes in the back panel.
12
Front panel
3. FRONT PANEL
Q
P
1
2
3
4
5
6
S
7
8
9
0
A
B
T
C
U
D
g
h
E
F
G
H
I
K
J
W
R
\
S
]
X
[
V
U
Y
`
Z
a
g
h
K
L
M
N
O
d
e
f
b
c
Front panel
1
MASTER VOLUME
This slider controls the overall volume of the instrument,
both of the internal speakers, the L/MONO and RIGHT outputs, and the HEADPHONES output.
Warning: At the maximum level, with rich-sounding Songs,
Styles or Programs, the internal speakers could distort during
signal peaks. Should this happen, lower the Master Volume a
little.
2
ACC/SEQ VOLUME
This slider controls the accompaniment tracks volume (Style
Play mode) or the Song tracks volume, excluding the Realtime tracks (Song and Song Play modes). This is a relative
control, whose effective maximum value is determined by the
MASTER VOLUME slider position.
3
ASSIGN.SLIDER
This is a freely programmable slider (see “Sld (Slider)” on
page 126). By default, it acts as the Keyboard Expression control, to let you balance the relative volume of the Realtime
(Keyboard) tracks.
4
MODE section
Each of these buttons recalls one of the operating modes of
the instrument. Each mode excludes the others.
STYLE PLAY
Style Play mode, where you can play Styles
(automatic accompaniments) and/or play up
to four Realtime tracks on the keyboard.
In the main page, Realtime (Keyboard) tracks
are shown on the right half of the display. You
can reach the main page by pressing EXIT
from any of the Style Play edit pages. If you are
in a different operating mode, press STYLE
PLAY to recall the Style Play mode. If the
TRACK SELECT LED is on, press TRACK
SELECT to turn it off and see the Realtime
tracks.
This operating mode is automatically selected
when turning the instrument on.
SONG PLAY
Song Play mode, where you can playback 16track Songs in Standard Midi File (SMF) format directly from disk. You can play “.MID”
and “.KAR” files directly from the floppy disk.
Since the Pa50 is equipped with two sequencers, you can even play two Songs at the same
time, and mix them with the BALANCE slider.
In addition to the Song tracks, you can play
one to four Realtime (Keyboard) tracks, along
with the Song(s). In the main page, Realtime
(Keyboard) tracks are shown on the right half
of the display. You can reach the main page by
pressing EXIT from any of the Song Play edit
pages. If you are in a different operating mode,
press SONG PLAY to recall the Song Play
mode. If the TRACK SELECT LED is on or
flashing, press TRK SELECT one or two times
to turn it off and see the Realtime tracks.
13
B.SEQ
Backing Sequence mode, where you can record
a new Song based on the Realtime and Style
tracks, and save it as a new Standard MIDI File.
SONG
Song mode, where you can play, record, or edit
a Song.
PROGRAM Program mode, to play single Sound Programs
on the keyboard, or edit them.
DEMO
Press the STYLE PLAY and SONG PLAY buttons together to select the Demo mode. This
mode lets you listen to some Demo Songs, to
let you hear the sonic power of the Pa50.
5
GLOBAL
This button recalls the Global edit environment, where you
can execute various global settings. This edit environment
overlaps any operating mode, that still remains active in the
background. Press EXIT to go back to the underlying operating mode.
6
DISK
This button recalls the Disk edit environment, where you can
execute various operations on files and disks (Load, Save,
Format, etc…). This edit environment overlaps any operating mode, that still remains active in the background. Press
EXIT to go back to the underlying operating mode.
7
MEMORY (TIE)
This button turns the Lower and Chord Memory functions
on or off. Go to the “Page 24 - Preferences: controls” edit
page (Style Play mode, see page 50) to decide if this button
should be a Chord Memory only, or a Lower/Chord Memory
button. When it works as a Lower/Chord Memory:
ON
The sound on the left of the split point, and the
chord for the automatic accompaniment, are
kept in memory even when you raise your
hand from the keyboard.
OFF
The sound and chords are released as soon as
you raise your hand from the keyboard.
This button doubles as a TIE function for the Song mode
(see chapter 13).
8
BASS INVERSION (REST)
This button turns the Bass Inversion function on or off.
ON
The lowest note of a chord played in inverted
form will always be detected as the root note of
the chord. Thus, you can specify to the
arranger composite chords such as Am7/G or
“F/C”.
OFF
The lowest note is scanned together with the
other chord notes, and is not always considered as the root note.
This button doubles as a REST function for the Song mode
(see chapter 13).
9
MANUAL BASS
This button turns the Manual Bass function on or off.
Note: When you press the MANUAL BASS button, the Bass
track volume is automatically set to the maximum value. The
volume is automatically set back to the original value when the
MANUAL BASS button is deactivated.
14
Front panel
ON
OFF
The automatic accompaniment stops playing
(apart for the Drum and Percussion tracks),
and you can manually play the Bass track on
the Lower part of the keyboard. You can start
the automatic accompaniment again by pressing one of the CHORD SCANNING buttons.
The bass track is automatically played by the
Style.
0
SPLIT POINT (<)
Keep this button pressed to open the Split Point window.
While this window is open, you can set the split point, simply
by playing the split point note on the keyboard. Then, release
the SPLIT POINT button.
To memorize the selected split point note, press the GLOBAL
button, then press WRITE to save the Global in memory (see
“The Write window” on page 125).
This button doubles as a PREVIOUS EVENT function for
the Backing Sequence and Song modes (see chapters 12 and
13).
A
G.QUANTIZE (>)
Press this button to open the Groove Quantize window,
where you can select a realtime groove quantization to be
applied to the Song (only Sequencer 1). See “Groove Quantize window” on page 71.
This button doubles as a NEXT EVENT function for the
Backing Sequence and Song modes (see chapters 12 and 13).
B
TEMPO
(= LOCK)
This button turns the Tempo Lock function on or off.
ON
When you select a different Style or Performance, the tempo doesn’t change. You can still
change it using the DIAL or the TEMPO buttons.
OFF
When you select a different Style or Performance, the memorized tempo value is automatically selected.
C
SINGLE TOUCH
This button turns the Single Touch function on or off.
ON
When a different Style (or the same again) is
selected, a Single Touch Setting (STS1) is automatically selected, meaning that the Realtime
tracks and effects will change, together with
the Style tracks and effects.
OFF
When you select a different Style (or the same
again), the Style tracks and effects are changed,
while the Realtime tracks are not changed.
D
STYLE section (NUMERIC KEYPAD)
Use these buttons to open the Style Select window and select
a Style. See “Selecting a Style” on page 26.
The leftmost button lets you select the upper or lower row of
Style banks. Press it repeatedly to select one of the rows.
(After both LEDs have turned on, press the button again to
turn them off).
UPPER LED ON
Upper-row Styles selected.
LOWER LED ON
Lower-row Styles selected.
A word about Style banks and names. Styles from “8/16
BEAT” to “WORLD 3”, and from “LATIN1” to “TRADITIONAL” are standard Styles, the user can’t normally overwrite with a Load operation (unless you remove the
protection; see “Factory Style Protect” on page 142).
“DIRECT FD” Styles are Styles directly accessed from floppy
disk (no need to load from disk). See “The DIRECT FD
bank” on page 40.
Styles from “USER1” to “USER3” are location where you can
load new Styles from disk.
Each button (Style bank) contains 2 pages, each with up to 8
Styles. Browse through the Styles using the PAGE buttons.
Shortcut to see the original bank for a Style. You can see the
original bank where a Style is contained. Just keep the SHIFT
button pressed, and press the lefmost button of the STYLE
section. A message window will appear, showing the name of
the original bank. Release the SHIFT button to exit the window.
Shortcut to see all pages of the selected bank. To cycle all
pages for a selected bank, repeatedly press the bank’s button.
These buttons double as a numeric keypad on certain
pages (see “Selecting a Song composing its progressive number” on page 70).
E
FADE IN/OUT
When the Style is in stop, press this button to start it with a
volume fade-in (the volume goes from zero to the maximum).
When the Style is in play, press this button to stop it with a
volume fade-out (the volume gradually decreases).
You don’t need to press START/STOP to start or stop the
Style.
F
VARIATION 1-4 (NOTE LENGTH) buttons
Each of these buttons select one of the four variations of the
current Style. Each variation can vary in patterns and sounds.
These buttons double as a NOTE LENGTH function for the
Song mode (see chapter 13).
G
FILL 1-2 (NOTE LENGTH) buttons
These two buttons trigger a fill-in. Press them twice (LED
blinking) to let them play in loop, and select any other Style
element (Fill, Intro, Variation…) to exit the loop.
They also double as a NOTE LENGTH function for the
Song mode (see chapter 13).
H
COUNT IN / BREAK
While the Style is not running, press this button, then press
START/STOP. This combination triggers a one-bar initial
count, then the Style starts playing.
While the Style is already in play, this button triggers a break
(an empty measure beginning with a kick + crash shot). Press
it twice to let it play in loop, and select any other Style element (Fill, Intro, Variation…) to exit the loop.
I
ENDING 1-2 (DOT, TRIPLET) buttons
While the Style is running, these two buttons trigger an Ending, and stop the Style. Press one of them, and the Style will
stop running with an Ending. If pressed while the Style is
stopped, they act as an additional couple of Intros.
Front panel
Press them twice (LED blinking) to let them play in loop, and
select any other Style element (Fill, Intro, Variation…) to exit
the loop.
ENDING1 also doubles as a DOT function, and ENDING2
doubles as a TRIPLET function, to be used in Song mode
(see chapter 13).
Note: Ending 1 plays a short sequence with different chords,
while Ending 2 plays on the last recognized chord.
J
INTRO 1-2 buttons
These two buttons set the arranger in Intro mode. After
pressing one of these buttons, start the Style, and it will begin
with the selected intro. The INTRO LED automatically goes
off at the end of the intro.
Press them twice (LED blinking) to let them play in loop, and
select any other Style element (Fill, Intro, Variation…) to exit
the loop.
Note: Intro 1 plays a short sequence with different chords, while
Intro 2 plays on the last recognized chord.
K
START/STOP
Starts or stops the Style running.
You can reset all ‘frozen’ notes and controllers on the
Pa50 and any instrument connected to its MIDI OUT, by
using the “Panic” key combination. Just press SHIFT +
START/STOP to stop all notes and reset all controllers.
L
SYNCHRO START / STOP (DELETE)
This button turns the Synchro Start and Synchro Stop functions on or off. Press it repeatedly to turn the functions on or
off. The LEDs cycle in this order: START ➛ START+STOP ➛
OFF.
START LED ON
When this LED is lit, just play a chord in the
chord recognition area (usually under the split
point, see “CHORD SCANNING section” on
page 17) to automatically start the Style running. If you like, you can turn one of the
INTROs on before starting the Style.
START+STOP LEDs ON
When both LEDs are lit, raising your hand
from the keyboard momentarily stops the Style
running. If you play a chord again, the Style
starts again.
OFF
All Synchro functions are turned off.
This button doubles as a DELETE function for the Backing
Sequence and Song modes (see chapters 12 and 13).
It is also used to delete the selected character, during text
editing.
M
TAP TEMPO/RESET (INSERT)
This is a double-function button, acting in a different way
depending on the Style status (stop/play).
15
Tap Tempo: When the Style is not playing, you can “beat” the
tempo on this button. At the end, the accompaniment starts
playing, using the “tapped in” tempo.
Reset: When you press this button while the Style is in play,
the Style pattern goes back to the previous strong beat.
This button doubles as a INSERT function for the Backing
Sequence and Song modes (see chapters 12 and 13).
It is also used to insert a character at the cursor position, during text editing.
N
WRITE/DISK IN USE
In Style Play mode, this button opens the Write window, that
lets you save all the tracks onto a Performance, the Realtime
(Keyboard) tracks in a Single Touch Setting (STS), or the
accompaniment tracks onto a Style Performance. (See “The
Write window” on page 42).
In the Global edit environment, press it to save Global
parameters in memory. (See “The Write window” on
page 125).
This button’s LED doubles as a DISK IN USE indicator,
flashing when the floppy disk drive is in use.
O
ENSEMBLE
This button turns the Ensemble function on or off. When on,
the right-hand melody is harmonized with the left-hand
chords.
Note: The Ensemble function works only when the keyboard is
in SPLIT mode, and the LOWER Chord Scanning mode
selected.
P
RECORD
This button sets the instrument in Record mode (depending
on the current operating mode).
Q
MENU
This button opens the Menu page for the current operating
mode or edit environment. After opening a menu, you can
jump to one of the edit pages by pressing the corresponding
VOLUME/VALUE buttons; or browse them using the PAGE
buttons. Otherwise, go back to the main page of the current
operating mode, or close the edit environment, by pressing
the EXIT button.
See the relevant chapter devoted to each operating mode or
edit environment, to see their “maps” in detail.
R
PAGE -/+
After pressing MENU to open a menu, use these buttons to
browse the edit pages of an operating mode or editing environment. Press EXIT to go back from an edit page to the
main page of the current operating mode, or to close the Global or Disk edit environment.
In addition, you can use these buttons to select a different
page in a Style Select or Program Select window.
16
S
Front panel
VOLUME/VALUE (MUTE) A-H buttons
SOLO
Within this user’s manual, each button pair is marked with
an alphabetic letter (A-H). See “Display and User Interface”
on page 19 for more details.
BossaNova
A
B
C
D
Piano01
Bass01
Guitar01
Acc.1-5
VALUE
|STS1
Drum/Perc
StrngEns2
VoxPad1
E
F
G
H
A corresponding track name is printed over each button pair.
These names show the corresponding track the button pair
affects in the main page of the Style Play mode.
•
The left half is for the main page, where you can see the
Realtime tracks, and the Style tracks grouped together:
•
The right half is for the Style tracks page, where you can
see each of the accompaniment tracks:
See “Symbols and Icons” on page 21.
Use these buttons to execute various operations on the commands and functions appearing in the display.
SELECTING
Use each button pair to select the corresponding item in the display (i.e. a track, a parameter
or a command). Use either the left or right
button in a pair.
VOLUME
While you are in the main pages of any operating mode, select a track and use these buttons
to change the track’s volume. Use the left button to decrease it, or the right button to
increase it.
MUTE
Press both buttons in a pair to mute the corresponding track. Press both buttons again to
unmute the track.
While in the Style Play, Song Play and
Song modes, you can solo one of the tracks.
Just keep the SHIFT button pressed, and press
both VOLUME/VALUE buttons corresponding
to the track you wish to solo.
To exit the solo mode, keep the SHIFT button
pressed again, and press both VOLUME/
VALUE buttons corresponding to the soloed
track.
Use each button pair to change the corresponding parameter’s value. The left button
decreases the value, the right button increases
it.
T TRACK SELECT
Depending on the operating mode, this button switches
between the various tracks view.
STYLE PLAY MODE
Switches between the Realtime tracks and the
Style tracks.
SONG PLAY MODE
Switches between the main page (showing the
Realtime/Keyboard tracks), Song tracks 1-8,
and Song tracks 9-16.
SONG MODE
Switches between the main page, Song tracks
1-8 and Song tracks 9-16.
The TRACK SELECT LED shows the current page view:
Off
Main page (Realtime tracks, or Song controls)
On
2nd page (Style tracks, or Song tracks 1-8)
Flashing
3rd page (Song tracks 9-16)
U
SINGLE TOUCH SETTING (F1-F4 FUNCTION KEYS)
buttons
While in the main page of the Style Play or Backing Sequence
mode, these buttons select a Single Touch Setting each. Each
of the Styles includes a maximum of four Single Touch Settings (STS), to automatically configure the Realtime tracks
and effects at the touch of a finger. When the SINGLE
TOUCH LED is lit, an STS is automatically selected when
selecting a Style.
In Edit mode, these buttons double as function keys, to
select the corresponding items in the display.
V
SHIFT
With this button held down, pressing certain other buttons
accesses to a second function.
W TEMPO/VALUE section
The DIAL and the DOWN/- and UP/+ buttons can be used
to control the Tempo, assign a different value to the selected
parameter in the display or scroll a list of files in the Song
Select and Disk pages. The VALUE LED shows the status of
this section.
DIAL
Turn the dial clockwise to increase the value or
tempo. Turn it counter-clockwise to decrease
the value or tempo.
When used while pressing the SHIFT
button, this control always acts as a Tempo
control.
Front panel
DOWN/- and UP/+
DOWN/- decreases the value or tempo; UP/+
increases the value or tempo.
Keep the SHIFT button pressed down,
and press either the DOWN/- or
UP/+ button to reset the Tempo to the value
memorized onto the selected Style.
X
VALUE LED
This LED shows the status of the DIAL and DOWN/- and
UP/+ buttons.
ON
The DIAL and DOWN/- and UP/+ buttons act
as Value controls, to change the value of the
selected parameter in the display.
OFF
The DIAL and DOWN/- and UP/+ buttons
control the Tempo.
Y
EXIT/NO
Use this button to perform various actions, leaving from the
current status:
•
exit a dialog box
•
answer “No” to any question that appears in the display
•
exit the Menu window
•
go back to the main page of the current operating mode
•
exit the Global or Disk edit environment, and go back to
the main page of the current operating mode
•
exit from a Style, Performance or Program Select window
Z
ENTER/YES
Use this button to perform various actions, agreeing the current selected status:
•
answer “Yes” to any question that appears in the display
•
confirm a command
[
DISPLAY HOLD
This button turns the Display Hold function on or off.
ON
When you open a temporary windows (like the
Program Select window), it remains in the display until you press EXIT/NO or an operating
mode button.
OFF
Any temporary window closes after a certain
time, or after selecting an item in the window.
\
CHORD SCANNING section
In Style Play and Backing Sequence mode, use these buttons
to define the way chords are recognized by the arranger.
LOWER
Chords are detected below the split point. The
number of notes you should play to form a
chord is defined by the Chord Scanning Mode
parameter (see “Chord Recognition Mode” on
page 50).
UPPER
Chords are detected above the split point. You
must always play three or more notes to let the
arranger recognize a chord.
FULL (both LEDs on)
Chords are detected on the full keyboard
range. You must always play three or more
notes to let the arranger recognize a chord.
OFF
17
No chords detected. After pressing START/
STOP, only the Drum and Percussion accompaniment tracks can play.
]
KEYBOARD MODE section
These buttons define how the four Keyboard (or Realtime)
tracks are positioned on the keyboard.
SPLIT
The Lower track plays below the split point,
while the Upper 1, Upper 2 and Upper 3 tracks
play above it. By default, selecting this keyboard mode automatically selects the Lower
chord scanning mode (see “Chord Recognition
Mode” on page 50).
FULL UPPER
The Upper 1, Upper 2 and/or Upper 3 tracks
play on the whole keyboard range. The Lower
track does not play. By default, selecting this
keyboard mode automatically selects the Full
chord scanning mode (see “Chord Recognition
Mode” on page 50).
`
STYLE CHANGE
This button turns the Style Change function on or off.
ON
When you select a Performance, the Style
could change, according to which Style number is memorized onto the Performance.
OFF
When you select a Performance, the Style and
Style track settings remain unchanged. Only
Realtime (Keyboard) tracks settings are
changed.
a
PERFORM.
Press this button to use the PROGRAM/PERFORMANCE
section to select a Performance.
b
PROGRAM
Press this button to use the PROGRAM/PERFORMANCE
section to select a Program, and assign it to the selected track.
c
PROGRAM/PERFORMANCE section
Use these buttons to open the Program Select or Performance
Select window, and select a Program or a Performance. See
“Selecting a Program” on page 26, or “Selecting a Performance” on page 25. For a list of available Programs, see “Programs (Program Change order)” on page 154.
The leftmost button selects the upper or lower row of Program or Performance banks. Press it repeatedly to select one
of the rows. (After both LEDs have consecutively turned on,
press the button again to turn them off).
UPPER LED ON
Upper row of Programs or Performances
selected.
LOWER LED ON
Lower row of Programs or Performances
selected.
On the front panel, Program banks are identified by the
instrument names, while Performance banks are identified
by numbers (1-10; 0=bank 10).
A note about Program banks and names. Programs from
“PIANO” to “SFX” are standard Programs, the user can’t
directly modify.
18
Front panel
Programs “USER1” and “USER2” are locations where you
can load new Programs from disk.
“USER DK” is where you can load new drum kits.
Each Program bank contains various pages, each with up to 8
Programs. You can browse them using the PAGE buttons.
Shortcut to see the original bank for a Performance or Program. You can see the original bank where a Performance or
Program is contained. Just keep the SHIFT button pressed,
and press the lefmost button of the PROGRAM/PERFORMANCE section. A message window will appear, showing the
name of the original bank. Release the SHIFT button to exit
the window.
Shortcut to see all pages of the selected bank. To cycle all
pages for a selected bank, repeatedly press the bank’s button.
Press both buttons together, to reset the Octave Transpose to
zero.
Note: The Octave Transpose has no effect on tracks set to Drum
mode (and, even if set in a different status, on the Drum and
Percussion tracks).
–
Lowers the selected track an octave.
+
Raises the selected track an octave.
d
h SEQUENCER TRANSPORT CONTROLS - SEQ1 and
SEQ2
The instrument is equipped with two sequencers (Sequencer
1 and Sequencer 2), each with its own set of transport controls.
<< and >> Rewind and Fast Forward commands. If you
use them while the Song is in play, they make it
scroll back or forward.
When pressed once, these buttons move the
Song to the previous or following measure.
When kept pressed, they make the Song scrolling continuously, until you release them.
PADS (1-4, STOP)
These programmable pads can be used to trigger a sound
effect. Use the STOP button to stop a cyclic sound. (See “List
of sounds assignable to the Pads” on page 226).
Each Pad corresponds to a dedicated Pad track.
e
TRANSPOSE
These buttons transpose the whole instrument in semitone
steps (Master Transpose). The transposition value is shown
(as a note name) on the top right of the display.
Press both buttons together, to reset the Master Transpose to
zero.
Note: The Master Transpose has no effect on tracks set to Drum
mode (and, even if set in a different status, on the Drum and
Percussion tracks). See “Page 14 - Track: Mode” on page 46, and
“Page 7 - Track: Mode” on page 78.
Lowers the Master Transpose a semitone.
Raises the Master Transpose a semitone.
f
OCTAVE
These buttons transpose the selected track in steps of a whole
octave (12 semitones; max ±2 octaves). The transposition
value is shown (in octaves) on the top right area of the display.
g
BALANCE slider
In Song Play mode, this slider balances the volume of the two
on-board sequencers. When fully on the left, only the
Sequencer 1 can be heard. When fully on the right, only the
Sequencer 2 can be heard. When in the middle, both
sequencers play at full volume.
In Jukebox mode (Sequencer 1), keep
the SHIFT button pressed, and press these buttons to scroll to the previous or next Song in
the Jukebox list (see “Page 9 - Jukebox” on
page 79).
PAUSE
Pauses the Song at the current position. Press
PAUSE or PLAY/STOP to start the Song playing again.
PLAY/STOP Starts or stops the current Song. When you
stop the Song, the Song Position goes back to
measure 1.
In Song Play mode, pressed while
keeping SHIFT pressed, starts both sequencers
at the same time.
Display and User Interface
Display controls
19
4. DISPLAY AND USER INTERFACE
The display shows the current status of the Pa50 and its performance and editing parameters. You can select each parameter by using the VOLUME/VALUE (A-H) buttons on the
side of the display, or each page command appearing along
the last line using the F1-F4 buttons. You can vary many of
the parameter’s values by pressing the left (-) or right (+)
button of any VOLUME/VALUE pair.
Status icons area
BossaNova
A
B
C
D
|STS1
Drum/Perc
Piano01
Bass01
Guitar01
Acc.1-5
StrngEns2
E
F
G
VoxPad1
Style (accompaniment/backing) tracks
DISPLAY CONTROLS
VOLUME/VALUE (A-H) buttons and display parameters. These buttons are used to select the corresponding
parameter or command in the display, to change the parameter’s value, or to change the volume of the corresponding
track.
While you are in the main page, these buttons can select a
track, change the track’s volume, or mute/unmute a track.
See “VOLUME/VALUE (MUTE) A-H buttons” on page 16
for more information.
H
Realtime (Keyboard) tracks
In the Disk edit environment, the F1-F4 buttons can be used
also to select one of the page commands appearing in the last
line of the display.
Disk:Load
NEWNAME.SET
|
LIVE.SET
ETHNICA.SET
FD
LOAD
OPEN
|
CLOSE
F1-F4 buttons. When in an Edit page, these buttons may be
used when there are four parameters in a row, as in the following example:
See “SINGLE TOUCH SETTING (F1-F4 FUNCTION KEYS)
buttons” on page 16 for more information.
Mixer:FX Send
- - - - - - C:100 D:050
A:127 B:020 C:100 D:050
- - - - - - C:100 D:050
C:100 D:050
First, select the line using a VOLUME/VALUE (A-H) button.
Then, select a column using the F1-F4 function key.
PAGE. The PAGE buttons select the previous or following
edit page. When selecting a Style or a Program, they select a
different page of Styles or Programs. See “PAGE -/+” on
page 15 for more information.
MENU. The MENU button opens the current operating
mode or edit environment’s Menu. When in a Menu, you can
use the VOLUME/VALUE buttons to select an edit section to
jump to.
TRACK SELECT. Each of the operating modes have a different number of tracks:
Style Play
4 Realtime tracks, 8 Style tracks, 4 Pads.
Song Play
4 Realtime tracks, 2 x 16 Song Tracks, 4 Pads.
20
Display and User Interface
Interface structure
Backing Sequence
4 Realtime tracks, 8 Style tracks, 4 Pads.
Song
16 Song tracks.
You can only see up to 8 tracks in the display. So, use the
TRACK SELECT button to switch to the other (hidden)
tracks. For example, when in Style Play, you can use this button to switch from the Realtime tracks and the Style tracks.
When opening an edit environment or a selecting page, the
current operating mode is still working in the background.
INTERFACE STRUCTURE
Thanks to its multitasking operating system, the Pa50 user
interface is structured in “overlapping”, active layers. From
the lower level:
•
operating modes (Style Play, Backing Sequence, Song
Play, Song, Program)
•
edit environments (Global, Disk)
•
selecting windows (Style Select, Song Select, Program
Select, Performance Select).
Operating modes. (See diagram at the bottom of this
page). At the lowest level, an operating mode is always active.
The current operating mode is indicated by the lit LED on
the STYLE PLAY, B.SEQ, SONG PLAY, SONG or PROGRAM
button in the MODE section. The relevant icon lights up in
the display.
An operating mode is divided into a main page (the page
where you usually play a Style, a Song or a Program), a menu,
and a series of edit pages.
Press MENU to access the Menu. Use the MENU and PAGE
buttons to browse across the various edit pages. Press EXIT to
go back to the main page.
Operating modes
BossaNova
|STS1
Style Play Menu
Drum/Perc
Piano01
Mixer
Bass01
Guitar01
Acc.1-5
StrngEns2
VoxPad1
Main page
Menu
Mixer:Volume
RT Ctrls
|||||| 127
||||| 090
Tuning
Sty Ctrls
||||| 100
||| | 092
Effects
Input/Pad
|||||| 127
|| || 086
Track Edit
Preferences
|||||| 112
Edit pages
Display and User Interface
Message windows
Edit environment. (See diagram at the bottom of this
page). When you press GLOBAL or DISK, an edit environment overlaps the current operating mode. Press EXIT to go
back to the current operating mode.
An edit environment is made up of a menu and a series of
edit pages. Use the MENU and PAGE buttons to browse
across the various edit pages.
21
Realtime/Keyboard track (Upper 1-3, Lower).
Drum track (Style track view).
Percussion track (Style track view).
Grouped Drum and Percussion tracks.
Selecting windows. When you press one of the STYLE or
PROGRAM/PERFORMANCE buttons, you open a selecting
window. This window closes after selecting one of the items
in it, or after pressing EXIT.
If the DISPLAY HOLD LED is light up, the window doesn’t
close after selecting an item. Press EXIT to close the window,
and go back to the underlying page.
Bass track (Style track view).
MESSAGE WINDOWS
Selected track or parameter. When this symbol
Sometimes, a message appears in the display, warning about
an error or a wrong operation:
appears, you can execute any available operation on the selected item.
The track is in mute, and can’t play on the keyboard.
Grouped accompaniment tracks. This symbol
indicates the five grouped accompaniment
tracks (Acc1-5).
Accompaniment tracks (Style track view).
Sequencer tracks.
(no icon)
Not a Standard
MIDI File
Press ENTER or EXIT to exit one of these windows.
Other messages ask for an answer, as in the “Are you sure”
window below:
GRAYED-OUT NON-AVAILABLE PARAMETERS
Currently non-available parameters are now shown in “gray”
in the display, i.e. with a “ghost” texture. Here is an example
of a grayed-out parameter, compared to a normal parameter:
Text in solid black
Press ENTER/YES for Yes, or EXIT/NO for No.
Text in gray
SYMBOLS AND ICONS
Many icons and symbols, on the custom display, show the
status of a parameter or the display content.
Edit environment
Disk Menu
Menu
Disk:Load
Load
Format
NEWNAME.SET
Save
New Dir
LIVE.SET
Copy
Rename
Erase
Utilities
ETHNICA.SET
FD
LOAD
Edit pages
OPEN
|
|
CLOSE
22
Rear panel
5. REAR PANEL
1 2
3
4 5
6
1
AC POWER ADAPTER CONNECTOR
Plug the supplied power adapter into this connector.
2
POWER switch
Use this switch to turn the instrument on or off.
3
MIDI INTERFACE
The MIDI interface allows your Pa50 to be connected to an
external controller (master keyboard, MIDI guitar, wind controller, MIDI accordion…), to an expander, or to a computer
running a sequencer or an editor. For more information on
how to use the MIDI interface, see the MIDI chapter.
IN
This connector receives MIDI data from a
computer or a controller. Connect it to an
external controller’s or computer’s MIDI OUT.
OUT
This connector sends MIDI data generated by
Pa50’s keyboard, controllers, and/or the internal sequencer. Connect it to an expander’s or
computer’s MIDI IN.
THRU
This connector sends an exact copy of the data
received on the IN connector. Use it to cascade
the Pa50 with other MIDI instruments.
4
ASSIGNABLE PEDAL/FOOTSWITCH
Use this to connect a continuous or footswitch pedal, like the
KORG EXP2 or XVP10. To program it, see “P/S (Pedal/
Switch)” on page 126.
7
8
5 DAMPER
Use this to connect a Damper pedal, like the KORG PS1, PS
or DS1H. To change its polarity, see “Damper Pol. (Damper
Polarity)” on page 126.
6 OUTPUTS
Use these unbalanced connectors to send the audio signal
(sound) to a mixer, a PA system, a set of powered monitors,
or your hi-fi system. Set the output level with the MASTER
VOLUME slider.
7
INPUT 1 and 2
Use these unbalanced connectors to input another keyboard/
synthesizer, a (non-powered) mixer’s output, or a CD/tape
player (line impedance). The signal is automatically routed to
the speakers, the Audio Outputs and the Phones.
8
PHONES
Use this connector to connect a pair of headphones. You can
use headphones with an impedance of 16-200Ω (50Ω suggested). Use a headphone distributor to connect more than
one pair of headphones.
BASIC GUIDE
24
Basic operations
Playing on the keyboard
6. BASIC OPERATIONS
PLAYING ON THE KEYBOARD
Just play on the keyboard. You will hear the Realtime tracks
playing. There are four Realtime tracks: Upper 1-3 and
Lower. They may play all at the same time, or just one or a
few of them, depending on their Mute status. If you cannot
hear a track, check the mute status of that part.
Tracks can be set in different ways: use the KEYBOARD
MODE section to select the way they are configured on the
keyboard.
•
Press FULL UPPER to play the Upper 1-3 tracks on the
full range of the keyboard, just as you would on a piano.
Upper 1
SELECTING,
MUTING/UNMUTING
SOLOING A TRACK
AND
Selecting. Use the VOLUME/VALUE (A-H) buttons to
select a track.
BossaNova
A
B
C
D
|STS1
Drum/Perc
Piano01
Bass01
Guitar01
Acc.1-5
E
F
G
StrngEns2
VoxPad1
H
Upper 2
Upper 3
•
Press SPLIT to let the Upper 1-3 tracks play on the right
of the Split Point, and the Lower track on the left.
The selected track is shown with a solid square surrounding
its status icons.
Selected track
Upper 1
Lower
Upper 2
Upper 3
If you can’t see the track you are looking for, use the TRACK
SELECT button to scroll up or down the tracks, and find the
hidden ones.
Split Point
•
Keep the SPLIT POINT button pressed, and play a note
to change the point where the keyboard is divided in an
Upper and a Lower part.
Lower
Mute/unmute. Press both VOLUME/VALUE (A-H) buttons to mute or unmute a track. For example, if you are in the
main page that appears after turning the instrument on, and
you want to mute the Upper 1 track, press the E (UPPER1/
ACC2) buttons together.
Upper
The mute/play status is shown by the relevant icon in the display:
To memorize the selected split point note, press the GLOBAL
button, then press WRITE to save the Global in memory (see
“The Write window” on page 125).
(no icon)
Play status; the track plays on the keyboard.
Mute status; the track doesn’t play on the keyboard.
Solo. While in the Style Play, Song Play and Song modes,
you can solo one of the tracks. Just keep the SHIFT button
pressed, and press both VOLUME/VALUE buttons corresponding to the track you wish to solo.
To exit the solo mode, keep the SHIFT button pressed again,
and press both VOLUME/VALUE buttons corresponding to
the soloed track.
Basic operations
Selecting a Performance
SELECTING A PERFORMANCE
A Performance is a set of Programs and settings for the Keyboard and Style tracks, that makes selecting complex combinations live fast and easy. When the STYLE CHANGE LED is
on, a Performance can also select a different Style.
It is always advisable to use Performances, rather than single
Programs, when playing even a solo sound, since a Performance lets you select the right effects, transposition, plus
many other parameters, together with the Programs.
Data type
Realtime
Tracks
Style
Tracks
Upper 1, Upper 2,
Upper 3, Lower
Drum, Percussion,
Bass, Acc1, Acc2, Acc3,
Acc4, Acc5,
Last selected Performance
Master Transpose, Program, Volume, Pan,
Octave, Scale, Detune,
Pitch Bend, Poly/Mono/
Drum, Int/Ext, Damper,
Dynamic Range, Joystick
C&D Effect Send level,
Type, Parameters
Program parameters
Pads
Program, Volume, Pan,
Octave, Detune, Pitch
Bend, Poly/Mono/Drum,
Int/Ext, Wrap Around,
Keyboard Range
A&B Effect Send level,
Type, Parameters
Program parameters
Drum Mapping,
Kick&Snare Assignation
Chord Recognition Mode, Memory Mode, Velocity
Trigger, Lock
1.
Press the PERFORM button. This changes the PROGRAM/PERFORMANCE section into a Performance
selector.
2.
Use the leftmost button of the PROGRAM/PERFORMANCE section to select the first row of ten banks (1-
10, upper LED turned on), or the second row of ten
banks (11-20, lower LED turned on).
Press one of the 1-0 buttons to select the PROGRAM/
PERFORMANCE bank containing the Performance you
are looking for.
The Performance Select window appears. There are 8
Performances for each bank.
Parameters
Other “performance” parameters are saved in the Global.
Global
3.
25
StereoGrand
StereoGrand Blue
ClupPiano
4.
5.
Legend
ForrestStr
MrJazz
ResonPads
OxydBrass
Select a Performance using the VOLUME/VALUE (A-H)
buttons.
If the DISPLAY HOLD LED is on, press EXIT to exit this
window.
The STYLE CHANGE button
When you select a Performance, the Style may or may not
change, depending on the status of the STYLE CHANGE
button. (When you save a Performance, the current Style
number is always memorized).
•
If the STYLE CHANGE LED is on, the Style memorized
in the Performance will be selected.
•
If the STYLE CHANGE LED is off, the Style doesn’t
change.
26
Basic operations
Selecting a Program
SELECTING A PROGRAM
5.
You can select a different Program (i.e., sound) to be played
by a track. Before selecting a Program, you must select the
track you want to assign the Program to.
Note: To assign different Programs to the Style tracks, press
TRACK SELECT to see the Style tracks. If you select a Program
while grouped tracks (Drum/Percussion or ACC) are selected,
the Program will be assigned to the last selected track.
Each Style Element (Variations, Fills…) can have different
Programs, so your selection might be automatically reset
when selecting a different Element. To avoid this reset, see
“Prog (Program)” on page 49.
1. Use the VOLUME/VALUE (E-H) buttons on the right
side of the display, to select the Realtime (Keyboard)
track you wish to assign a different Program to.
6.
7.
SELECTING A STYLE
A Style is a set of rhythm and accompaniment patterns. You
can select a Style from the internal memory, or from a floppy
disk (see “The DIRECT FD bank” on page 40).
1. Use the leftmost STYLE button to select a row of Style
banks (upper, lower).
2.
BossaNova
A
B
C
D
|STS1
Drum/Perc
Piano01
Bass01
Guitar01
Acc.1-5
Browse all the Programs in the selected bank using the
PAGE buttons. There can be various pages for each
bank, containing up to 8 Programs each.
As you find the Program you are looking for, select it
using the VOLUME/VALUE (A-H) buttons.
If the DISPLAY HOLD LED is on, press EXIT to exit this
window.
Select the STYLE bank containing the Style you are
looking for.
E
F
G
StrngEns2
VoxPad1
H
The Style Select window appears.
2.
3.
Press the PROGRAM button. This changes the PROGRAM/PERFORMANCE section into a Program selector.
Use the leftmost PROGRAM/PERFORMANCE button
to select a row of Program banks (upper, lower).
Jazz Waltz 1
Mod.Swing1
3.
4.
4.
Select the PROGRAM/PERFORMANCE bank containing the Program you are looking for (Program banks are
identified by instrument names).
5.
Slow Blues
Mod.Swing2
Cay Blues
JazzWaltz1
St.LouisB
JazzWaltz2
Big Band1
There are 2 pages for each bank, each containing 8
Styles. Select a page using the PAGE buttons.
As you find the Style you are looking for, select it using
the VOLUME/VALUE (A-H) buttons.
Note: The new Style will enter at the next strong beat.
If the DISPLAY HOLD LED is on, press EXIT to exit this
window.
The SINGLE TOUCH button
The Program Select window appears. See “Programs
(Program Change order)” on page 154 for a list of Factory Programs.
Selected track
Last selected Program
Piano
T:U1
Piano1
E.Piano2
Piano2
E.Piano3
Piano3
Harpsi
E.Piano1
Clavinet
When you select a Style, the Realtime (Keyboard) tracks can
be changed or not.
•
If the SINGLE TOUCH LED is on, the Single Touch Setting (STS) #1 is automatically selected, and the Realtime
tracks are changed. Programs, and the Keyboard Mode,
may change.
•
If the SINGLE TOUCH LED is off, Realtime tracks don’t
change.
Basic operations
Selecting a Single Touch Setting (STS)
SELECTING A SINGLE TOUCH SETTING (STS)
A Single Touch Setting (STS) contains Realtime (Keyboard)
tracks’ settings. Four STS are included in each Style, and can
be recalled by pressing the SINGLE TOUCH SETTING (F1F4) buttons under the display.
Note: You can select a STS only when you are in the main page
of the Style Play or Backing Sequence operating mode.
CHANGING ALL KEYBOARD TRACKS AT ONCE
Select a Performance or a Single Touch Setting (F1-F4 buttons, when you are in the Style Play main page) to change
keyboard Programs and effects at the touch of a button.
PLAYING A SONG FROM FLOPPY DISK
1.
2.
Insert the floppy disk containing the Song into the
floppy disk drive.
Press the SONG PLAY button to access the Song Play
mode.
No song
S1:
Piano01
S2:
Guitar01
Lyrics
StrngEns2
VoxPad1
3.
Press the A (S1:) VOLUME/VALUE button to open the
Song Select window.
Song Selection
CLUB
|
4.
5.
6.
27
Press the F1 button to select the floppy disk drive (FD).
The disk content appears.
Use the TEMPO/VALUE controls, or the VOLUME/
VALUE (E-H) buttons to scroll the list. The E-F buttons
are the Scroll Up ( ), while the G-H buttons are the
Scroll Down ( ).
Move the file you are looking for to the first line of the
display.
If the file you are
looking for is in a 0001 MYSONG.MID
folder (a file whose
name begins with “
”), move the folder to the first
line in the display, then select the F3 (OPEN) command.
Select the F4 (CLOSE) command to close a folder and
go back to the upper level.
7. When the file you are looking for is in the first line of the
display, press the F2 (SELECT) button.
8. When the Song appears in
the S1 line on the main page S1:MySong
of the Song Play mode, press
the left (SEQ 1) PLAY/STOP button to start the playback.
Note: If the BALANCE slider is all the way to the right,
Sequencer 1 is at the minimum volume and can’t be
heard.
9. If you wish to play a different Song on the Sequencer 2
at the same time, press the B (S2:) VOLUME/VALUE
button (press it twice if a Song is already selected for
Sequencer 2), and repeat the above procedure to select a
Song for Sequencer 2. Use the right (SEQ 2) PLAY/
STOP button to start/stop the second Song. Use the
BALANCE cursor to mix between Sequencer 1 and
Sequencer 2.
10. Stop the Song(s) using the PLAY/STOP button for the
corresponding Sequencer.
BALLADS
0001 MYSONG.MID
FD
SELECT
OPEN
|
CLOSE
Page commands
Note: You can access the Song Select window also by pressing the PAGE+ button from the main page. You can exit
this window either by pressing EXIT or PAGE-.
SHORTCUT TO SEE THE ORIGINAL BANK FOR A
STYLE, PERFORMANCE OR PROGRAM
You can see the original bank where your Style, Performance
or Program came from. Just keep the SHIFT button pressed,
and press the lefmost button of the STYLE or PROGRAM/
PERFORMANCE section. A message window will appear,
showing the name of the original bank.
Release the SHIFT button to exit the window.
28
Tutorial
1 - Playing in realtime
7. TUTORIAL
This chapter is fully devoted to step-by-step instructions, that
we hope may be useful to learn the basics—on-field.
the pointing arrow. You will hear the Dark Pad Program play
together with the Grand Piano.
1 - PLAYING IN REALTIME
As soon as you turn your Pa50 on, it is in Style Play mode,
and you can play it in realtime. Please follow me…
SoftBeat
1
Play on the keyboard.
When you turn the Pa50 on, Performance 1-1 (“StereoGrand”) is automatically selected. This sets the Realtime
(Keyboard) tracks for you. In this case (unless someone modified this Performance earlier) you get the Upper 1 track playing on the full keyboard range, with the Grand Piano
Program selected.
You may know there are four available Realtime tracks:
Upper 1-3 and Lower. Upper Realtime tracks may play on the
full range of the keyboard (the selected KEYBOARD MODE
shall be FULL UPPER). Otherwise, the Lower track plays on
the left of the Split Point, and the Upper tracks on the right
(KEYBOARD MODE shall be SPLIT).
If you are not satisfied with this setting at startup, just select
another Performance. Or change the track’s settings—as you
will see in this tutorial—and save them into Performance 1-1.
You’ll soon see how to do it.
2
Select a different Performance.
Is the PERFORM. LED switched on?
If so, press one of the PROGRAM/PERFORMANCE buttons,
and select a Performance with the VOLUME/VALUE buttons
(on the side of the display).
|STS1
Drum/Perc
GrandPiano
Bass01
DarkPad
Acc.1-5
StrngEns2
AnalogStr
Press the F VOLUME/VALUE buttons
5 Press SPLIT on the KEYBOARD MODE section,
and play.
Now, the keyboard is split in two parts: the Lower part on the
left, and the Upper part on the right. The AnalogStr Program
is playing on the Lower part, while the Grand Piano and the
Dark Pad are playing on the Upper part.
6
Set the split point.
Not happy with the current split point? Keep the SPLIT
POINT button held down, and play the new split point on
the keyboard. You can even save this setting in memory (see
“The Write window” on page 125).
7
Mute/unmute various tracks.
Press both H VOLUME/VALUE buttons. You will mute the
Lower track.
SoftBeat
|STS1
Drum/Perc
GrandPiano
Bass01
DarkPad
Acc.1-5
StereoGrand
StrngEns2
AnalogStr
StereoGrand Blue
ClupPiano
Legend
ForrestStr
MrJazz
ResonPads
OxydBrass
Select a Performance with the VOLUME/VALUE buttons
Go on trying with the different Performances. We provided
160 of them for you.
Press the H VOLUME/VALUE buttons
Press them again to unmute the Lower track.
Try also with the Upper tracks, using the E, F and G VOLUME/VALUE buttons. You will notice the sound becomes
more or less fuller-sounding, depending on the number of
tracks muted or unmuted.
3
Select Performance 1-1 (“Grand Piano”) again.
As above: press Performance bank 1, and use the A VOLUME/VALUE buttons to select Performance 1-1.
4
Unmute the Upper 2 track.
Press both F VOLUME/VALUE buttons.
The Upper 2 track will be selected and
unmuted. The Play icon will appear, surrounded by the “selected track” frame and accompanied by
SoftBeat
|STS1
Drum/Perc
GrandPiano
Bass01
DarkPad
Acc.1-5
StrngEns2
AnalogStr
Press the E-G VOLUME/VALUE buttons
Tutorial
2 - Playing a Style
8
Set the relative volume of the Realtime tracks.
Use each E-H VOLUME/VALUE button pair to set the volume of the Realtime tracks. Press one of the VOLUME/
VALUE button to select a track. Then press the right one to
increase the volume, the left one to lower it.
Press the left one to lower…
29
2 - PLAYING A STYLE
A Style will be your virtual band in your best solos. Select one
of the 304 Styles we fitted in this machine…
1
OK, select your favorite musical Style.
There are plenty of Styles to choose from. We will go with a
Jazz Style—the “Jazz Brush”. Let’s come on.
Select the second row of Styles. Press the leftmost STYLE button to switch the lower LED on.
…and the right one to raise.
9
Press FULL UPPER on the KEYBOARD MODE section, and play.
Again, the Upper tracks can play across the full keyboard
range.
0
Save your track configuration in a Performance.
That’s all! When you find the right sound, you can press the
WRITE button to save the track configuration into a Performance, a Single Touch Setting (STS), or a Style Performance.
The Performance is a handy idea for saving Realtime tracks.
See “The Write window” on page 42 for more information.
Now, you are free to press button number 4, called “JAZZ 1”.
The Style Select window appears.
SoftBeat
JazzBrush
JazzWaltz1
Med.Swing
JazzWaltz2
SlowSwing
5/4 Swing
SwingBallad Mood Swing
Press one of the A VOLUME/VALUE buttons to select “Jazz
Brush”.
2
Call an Intro.
You can engage an Intro, to be played before the Style. Press
INTRO1 or INTRO2. The former plays more freely, without
letting you decide of the chords. The latter lets you play a
chord progression during its playing.
3
Start the Style!
Play a chord, and press the START/STOP button. Then begin
playing. Usually (when the SPLIT LED is on) chords are recognized under the split point, i.e. on the Lower part of the
keyboard. With the UPPER or FULL Chord Scanning mode,
you must play three or more notes to have a chord recognized.
4
Play your chords and your melody.
Go on playing. As you may notice, Pa50 features a very
sophisticate chord recognition engine. Recognized chords are
shown in the display.
5
Make a break—or should we say “a fill”?
During your playing, you are free to call a one-bar break. Try
it:
PRESS BREAK
Do you see? Music stopped for one bar. Then, it is back again.
After a while, let’s go for something different…
PRESS FILL1 OR FILL2
No silence, this time. Pa50 plays a complex passage to let you
take a breath. FILL1 is the simpler one, where the FILL2 is the
more sophisticate. Usually, you will touch FILL1 when playing with Variations 1 and 2 (the most easy), FILL2 when in
business with Variations 3 and 4 (more complex ones).
30
Tutorial
3 - Playing a Song
6
Select other Variations.
There are four VARIATION buttons. These are four different
versions of the same Style. Try them all!
You can go to a Variation after a Fill. Just press a FILL button,
then, immediately after, a VARIATION button.
7
Stop it!
OK, you could say: “O, that’s easy, I know how to do it, I can
just press that big red START/STOP button again”.
Yes, you are perfectly right. But that’s only the easy way. Let
us suggest a different way:
PRESS ENDING1 OR ENDING2
An ending is instantaneously called, and will begin playing,
to led the Style to a colorful end. As usual, ENDING1 is preprogrammed, while ENDING2 asks for your chord progression.
3 - PLAYING A SONG
Nothing easier than playing a Song on the Pa50. You don’t
have even to load it from disk.
1
Move the BALANCE slider to the center.
This sets both onboard sequencers at the same level.
2 Insert the floppy disk containing the Song into
the disk drive.
Make sure your disk is DOS formatted. This is the typical
Window format, and you can make a disk of this type also on
the Mac, by selecting the “DOS” option when initializing a
disk.
3 Press the SONG PLAY button to access the Song
Play mode.
This is the display:
In Sync
A guy from the end of the classroom stands up asking:
“Huh, Sir, and what if I want to avoid all that START/STOP
thing? I mean, I prefer to have my hands free for music!”
Good point. The SYNCHRO button is there right for this.
No song
S1:
Piano01
S2:
Guitar01
Lyrics
1
While the Style is stopped, press the SYNCHRO button.
The SYNCHRO-START LED begins flashing on. The Synchro Start function is enabled.
2
Play a chord on the keyboard.
You must play a chord for the chord recognition engine. Usually, it will be on the left of the split point, but it depends on
the CHORD SCANNING section.
The Style starts.
StrngEns2
VoxPad1
4
Select a Song.
Another easy task. Press the A (S1:) VOLUME/VALUE button
to open the Song Select window.
Song Selection
3
CLUB
Stop the Style as you better prefer.
You know how to do, isn’t it?
|
BALLADS
0001 MYSONG.MID
FD
SELECT
OPEN
|
CLOSE
Need more information?
Go to “Style Play operating mode” on page 40. The Reference
Guide includes all the information you need.
Press the F1 button to select the floppy disk drive. The list of
files on disk appears. Songs are files with the “.MID” or
“.KAR” extension. Pa50 filters all other file types out for you.
Use the TEMPO/VALUE controls, or the VOLUME/VALUE
(E-H) buttons to scroll the list. The E-F buttons are the Scroll
Up ( ), while the G-H buttons are the Scroll Down ( ).
Move the Song to play to the first line of the display. Then
press the F2 (SELECT) button.
5
Press PLAY/STOP (SEQ1).
The playback begins.
6 If you like, select a Song for the Sequencer 2.
Press the B (S2:) VOLUME/VALUE button, and repeat the
above procedure to select the Song for Sequencer 2. Use the
right (SEQ 2) PLAY/STOP button to start/stop the second
Song. Use the BALANCE cursor to mix between Sequencer 1
and Sequencer 2.
7 Take a pause.
Press PAUSE to stop the playback without going back to measure 1. The PAUSE LED begins flashing.
Press PAUSE again to resume the playback.
Tutorial
4 - Recording a Song
8
Stop it.
Sure, the Song automatically stops when reaching the end.
But you can stop it before the end, just by pressing PLAY/
STOP again.
4 - RECORDING A SONG
The Backing Sequence mode is a fast and effective way of
recording a new Song, making full use of the features of the
Style Play mode. So, arm your recorder, and play live with the
Styles—a song will be ready in seconds!
1
First, enter Backing Sequence mode
Press B.SEQ to access the Backing Sequence mode. The Realtime tracks, on the keyboard, will remain the same you
selected in the Style Play mode.
BS:New Song
Load Song
Metro:Off
Save Song
Meter:4/4
Sel.Tempo
Tempo:Auto
Don’t worry about this display: it’s something you don’t need
to learn at this point. You may find more information on it,
going to the Reference Guide (see “Backing Sequence operating mode” on page 82).
Suffice you to know this is the Backing Sequence Play page,
where you can load, play or save a Song.
2
Now, press RECORD.
You are prompted to select either the Realtime recording
mode, or the Chord/Acc Step recording mode.
Record
Realtime Recording
Chord/Acc Step Mode
31
Select one of the Style rows in the STYLE section, using
the leftmost button.
2. Select one of the Style Banks, by pressing one of the buttons of the STYLE section.
3. Select one of the pages, using the PAGE buttons.
4. Select a Style, using the VOLUME/VALUE (A-H) buttons.
As you may guess, the Style Bank and number appear after
the “Style” parameter in the display.
1.
5
And what about changing the Performance or
Single Touch Setting?
As above, you should know the story (see “Selecting a Performance” on page 25, or “Selecting a Single Touch Setting
(STS)” on page 27). But, here is a short recap for the Performances:
1. Press the PERFORM button to set the PROGRAM/PERFORMANCE section act as a Performance selector.
2. Select one of the Performance Banks, by pressing one of
the buttons of the PROGRAM/PERFORMANCE section.
3. Select a Performance, using the VOLUME/VALUE (AH) buttons.
…and for the Single Touch Settings (STS):
•
Press one of the SINGLE TOUCH SETTING buttons.
6
Ok, now we can go.
As you see, both the RT track and the Ch/Acc track are in
RECord mode. This means you can start recording all you
play in a realtime performance with the Styles. So,
PRESS START/STOP
WAIT FOR THE PRECOUNT TO REACH BAR 1
AND BEGIN PLAYING!
7
Play as if you were playing live.
You can do exactly what you do when playing with the Styles:
select a different Style, Performance, STS, different Variation,
a Fill, and Ending…
You can even start your recording with an Intro: just press
one of the INTRO buttons before pressing START/STOP to
start recording.
8
3
Select the Realtime recording mode.
Simply press one of the A VOLUME/VALUE buttons. The
Record page appears.
Stop the Song.
To stop the Song, press either START/STOP or one of the
ENDING buttons. The Song will stop, but the Recording will
still be on. So, you can start with another Song to be recorded
in the same session (go back to step 6, if you like).
Otherwise, finish the Recording, going to the next step.
9
Rec:NewSong
Style:NewBossa
99%
Perf:01-01 Metro:On1
Resol:HI
RT/Pad:REC
Sel.Tempo
Ch/Acc:REC
Finish the recording.
All done, boys/girls? Yes? Fine! Then you may
PRESS PLAY/STOP (SEQ1)
and the Recording status will be gone. Both Backing
Sequence tracks (RT and Ch/Acc) will be set to the PLAY status.
0
4
If you think the selected Style is not what you
like for your backing tracks, select a different one.
Well, you should already know how to do it (see “Selecting a
Style” on page 26). But here is a fast reminder:
Listen to the Song.
When back in the Backing Sequence Play page, press PLAY/
STOP (SEQ1) to listen to the new Song. How smart were
you?
32
Tutorial
5 - Editing a Song
If the Song is fine, you can switch to the Song mode and do
some editing. Or you can save it (as seen below), and play it
in Song Play mode.
0
And… if I want to delete and record again one
of the tracks, or the whole Song?
That’s easy!
1. Press RECORD again to enter Record mode.
You can edit a Song, either a Standard MIDI File bought at
the shop, or one of your Songs made in Backing Sequence
mode.
What about changing those boring General MIDI sounds
with those gorgeous original KORG sounds? You can do it—
in Song mode.
1 Press SONG to go to the Song mode.
This is the Song garage, where you may find tools to reshape
your Song.
Rec:NewSong
Style:NewBossa
5 - EDITING A SONG
99%
Perf:01-01 Metro:On1
2.
3.
4.
5.
Resol:HI
RT/Pad:REC
Sel.Tempo
Ch/Acc:REC
Set the track to delete and record again to the REC status.
Set the track you want to listen to during recording to
the PLAY status. If you don’t want to delete it, but you
don’t want to listen to it, set the track to the MUTE status.
Start recording again. Anyway, if you are recording the
RT track, you can’t use the Style controls.
Press PLAY/STOP (SEQ1) to finish the Song and exit
Recording mode.
0
Time to save your Song, isn’t it?
If you don’t save your Song, it is lost when you turn the
instrument off, or switch to the Song Play mode. So, save it
on a disk. See “Save Song page” on page 84.
New Song
Load Song
Metro:Off
Save Song
Meter:4/4
Sel.Tempo
Tempo:Auto
2 Insert in the disk drive the floppy disk containing the midifile you wish to edit.
Midifiles are files generated by a computer sequencer or a
musical instrument, usually after a conversion. For example,
if working with a computer, you should find a command
whose name could sound a little like “Convert to .MID”. A
midifile has a “.MID” or “.KAR” extension.
3
Load the Song.
Press one of the B VOLUME/VALUE buttons (corresponding
to the Load Song command). As expected, the Load page will
appear.
Need more information?
Go to “Backing Sequence operating mode” on page 82. The
Reference Guide includes all the information you need.
Load Song
BALLADS
|
MYSONGS
MYSONG.MID
FD
LOAD
|
OPEN
CLOSE
If it is not yet selected, press F1 to select the FD (Floppy Disk)
device.
Move the midifile to load to the first line of the display. Use
the DIAL or the UP and DOWN buttons to scroll the list; or
use the E-F (Scroll Up) or G-H (Scroll down) VOLUME/
VALUE buttons.
When the midifile is on the first line of the display, press F2
(Load) to load it. The “Are you sure?” message will appear.
Press ENTER to confirm.
Note: When loading a Standard MIDI File, the first MIDI
events are converted to the Song Performance events. You will
see them as the Programs, Volume, Pan, Effect settings assigned
to the tracks.
Tutorial
5 - Editing a Song
4
Listen to the Song.
After loading you are back to the main page of the Song
mode.
2.
33
Select the track you wish to assign a different Program
using the VOLUME/VALUE buttons. Press one of the
buttons corresponding to the track to select. For example, one of the A buttons to select track 1:
MySong
MySong
Load Song
Metro:Off
Piano1
Save Song
Meter:4/4
DkStrings
Guitar01
Sel.Tempo
Tempo:Auto
Legato
StrngEns2
BrassyHorn
VoxPad1
Press PLAY/STOP (SEQ1) to listen to the Song. The LED on
the button turns on.
Does it sound good? If it is a General MIDI-compatible midifile, there is a good chance it does. But we can further
improve on it.
3.
5
Stop the Song.
This one is easy: press PLAY/STOP (SEQ1). The LED on the
PLAY/STOP button turns off.
Please, always remember: make any changes to the Song
when the sequencer is not playing. Otherwise, a Stop command will reset all your changes.
(Not funny, huh?)
6
Select different Programs.
You can replace General MIDI Programs with KORG Programs. It will sound more rich, more lively.
1. Press TRACK SELECT to see tracks 1-8. The LED turns
on.
4.
Piano1
Select a Program. You should know how to do. If not,
what about going back for a little to the “Basic operations” chapter, “Selecting a Program” section, page 26?
It will be of a great help in the future…
Which Programs to choose? With >660 Programs, you
will for sure find your preferred sound. Just browse any
Program bank, and listen to them. Turn on the DISPLAY HOLD LED, to stay in the Selecting Window until
you have found the right Program. (Then, press EXIT or
DISPLAY HOLD to exit the window.)
Execute as many changes as you like to the other tracks.
7
Change the volume.
Yes, this is another obvious change. Press MENU to open the
edit menu.
Song Edit MENU
MySong
Piano1
Mixer/Tun.
Transp/Vel
Effects
Del/Cut-Ins
Track Edit
Copy
Quantize
Event Edit
Piano1
DkStrings
Guitar01
Legato
StrngEns2
BrassyHorn
VoxPad1
Press one of the A VOLUME/VALUE buttons, to select the
Mixer/Tuning item. Suddenly, a Volume edit page appears…
You are watching at tracks 1-8. You can switch to tracks
9-16 by pressing the TRACK SELECT button again.
Mixer:Volume
MySong
Strings1
|||| 090
|||| 090
|||| 090
|||| 092
|||| 090
|||| 086
|||| 090
||||| 112
VocaEns
DkStrings
Bassi
Legato
StrngEns2
BrassyHorn
Strings2
If you press TRACK SELECT again, you are back to the
main page. Press TRACK SELECT AGAIN to go to
tracks 1-8…
Select a track, and use the DIAL or the UP and DOWN buttons, or the VOLUME/VALUE buttons, to change the track’s
volume.
Modify all tracks you think need to be modified.
34
Tutorial
6 - The Arabic Scale
8
Save the Song.
Your changes will be lost when you load a new Song, switch
to the Song Play mode, or turn the instrument off. So, press
EXIT to go back to the main page of the Song mode.
MySong
Load Song
Metro:Off
Save Song
Meter:4/4
Sel.Tempo
Tempo:Auto
Press one of the C VOLUME/VALUE buttons, to select the
Save Song command. Save your Song with a new name. How
to accomplish this simple operation is described in great
details on page 90 (“Save Song page”).
Note: When saving a Song the Song Performance events (initial
Program, Volume, Pan, Effect Send settings) are saved at the
beginning of the Standard MIDI File. Effect settings are saved as
Pa50 SysEx events, ignored by other musical instruments.
Other editings
The Volume is not the only parameter you can edit. You can
edit a lot more things, like the Pan, the Effects, the Tuning…
you can even use up to 4 effects (A-D Internal FX Processors), but this will be useful only when reading the Song back
on the Pa50 only, since other General MIDI-compliant
instruments use only 2 effects.
Need more information?
Go to “Song operating mode” on page 88. The Reference
Guide includes all the information you need.
6 - THE ARABIC SCALE
You can program an Arabic scale in real time, by assigning a
footswitch or a pad the “Quarter Tone” function.
Another way of changing the scale is assigning it to a Performance or Single Touch Setting (STS), but this is the most
convenient way to change the pitch in real time.
1 Program a footswitch to be the Quarter
tone switch.
Simply go to the Global environment, and reach “Page 3 Assignable Pedal/Footswitch, Assignable Slider”. There, you
will find the “P/S (Pedal/Switch)” parameter, to which you
can assign the Quarter tone function.
Press WRITE to save the Global status in memory (see “The
Write window” on page 125).
2
Lower some note pitches.
Keep the Quarter tone pedal pressed. The keyboard will not
play at this time. Press the notes you want to lower a quarter
of tone. Release the pedal.
3
Play with your new scale.
The notes you pressed are now lowered of a quarter of tone.
4 Reset the original scale.
Press the Quarter tone pedal again. All pitches will be reset,
and the scale selected by the Performance, STS or Style Performance will be recalled.
Need more information?
As stated, you can assign an alternative scale to a Performance or STS. Go to “Page 5 - Tuning: Scale” on page 44, and
give also a look to the “Scale Mode” parameter (see page 51).
MIDI
What is MIDI?
35
8. MIDI
WHAT IS MIDI?
•
Here is a brief overview of MIDI, as related to the Pa50. If
interested, you may find more information on the general use
of MIDI in the various specialized magazines and books.
Tempo
In general
Tempo is a global MIDI message, that is not tied to a particular channel. Each Song includes Tempo data.
MIDI stands for Musical Instruments Digital Interface. This
interface lets you connect two musical instruments, or a
computer and various musical instruments.
Physically, MIDI is composed of three different connectors.
The MIDI IN receives data from another device; the MIDI
OUT sends data to another device; the MIDI THRU sends to
another device exactly what was received on the MIDI IN
(this is useful to daisy-chain more instruments).
Channels and messages
Basically, a MIDI cable transmits 16 channels of data. Think
to each MIDI channel as a TV channel: the receiver must be
set on the same channel of the transmitter. The same happens
with MIDI messages: when you send a Note On message on
channel 1, it will be received on channel 1 only. This allows
for multitimbricity: you can have more than one sound playing on the same MIDI instrument.
There are various messages, but here are the most commonly
used:
Note On – This message instructs an instrument to play a
note on a specific channel. Notes have both a name (C4
standing for the center C) and a number (60 being the equivalent for C4). A Note Off message is often used to say the note
has been released. In some case, a Note On with value “0” is
used instead.
Together with the Note On message, a Velocity value is always
sent. This value tells the instrument how loud the note must
play.
Pitch Bend (PB) – You can generate this message acting on
the joystick (X movement). The pitch is translated up or
down.
Program Change (PC)– When you select a Program, a Program Change message is generated on the channel. Use this
message, together with Control Change 00 and 32, to
remotely select Pa50 data from a sequencer or a master keyboard.
Control Change (CC) – This is a wide array of messages,
controlling most of the instrument parameters. Some examples:
•
CC00, or Bank Select MSB, and CC32, or Bank Select
LSB. This message pair is used, together with the Program Change message, to select a Program.
•
CC01, or Modulation. This is the equivalent of pressing
up the joystick. A vibrato effect is usually triggered on.
•
CC07, or Master Volume. Use this controller to set the
channel’s volume.
•
CC10, or Pan. This one sets the channel’s position on
the stereo front.
CC64, or Damper Pedal. Use this controller to simulate
the Damper pedal.
Lyrics
Lyrics are non-standard MIDI events, made to display text
together with the music. Pa50 can read many of the available
Lyrics format on the market.
MIDIFILES
Midifiles, or Standard MIDI Files (SMF), are a practical way
of exchanging songs between different instruments and computers. Pa50 has the SMF format as its default song format,
so reading a song from a computer, or saving a song that a
computer software can read, is not a problem at all.
Pa50 sequencers are compatible with the SMF in format 0 (all
data in one track; it is the most common format) and 1 (multitrack). It can read the SMF in Song Play mode and modify/
save them in Song mode. It can save a Song in SMF 0 format
in the Backing Sequence or Song mode.
When in Song Play mode, the Pa50 can also display SMF lyrics in Solton, M-Live (Midisoft), Tune1000 and compatible
(Edirol, GMX, HitBit, XF) formats, and the chord abbreviations of SMF in Solton, M-live (Midisoft), GMX, and XF format.
THE GENERAL MIDI STANDARD
Some years ago, the musical instruments world felt a need for
some further standardization. Then, the General MIDI Standard (GM) was born. This extension of the basic MIDI sets
new rules for compatibility between instruments:
•
A minimum of 16 MIDI channels was required.
•
A basic set of 128 Programs, correctly ordered, was
mandatory.
•
The Drum Kit had a standard order.
•
Channel 10 had to be devoted to the Drum Kit.
A most recent extension is the GM2, that further expands the
Programs database. The Pa50 is soundwise-compatible with
the GM2 standard.
THE GLOBAL CHANNEL
Any channels with the Global option assigned (see “Page 6 MIDI IN Channels” on page 127) can simulate the Pa50 integrated keyboard. When the Pa50 is connected to a master
keyboard, transmission should take place over the Global
channel of the Pa50.
The MIDI messages received over a Global channel and not
over a standard channel are affected by the buttons of the
KEYBOARD MODE section, as well from the split point.
Therefore, if the SPLIT button LED is lit up, the notes that
arrive to the Pa50 over this channel will be divided by the
36
MIDI
The Chord 1 and Chord 2 channels
split point into the Upper (above the split point) and Lower
(below the split point) parts.
The notes that arrive to a Global channel are used for the
chord recognition of the automatic accompaniment. If the
KEYBOARD MODE is SPLIT, only the notes below the split
point will be used. These notes will be combined with the
ones of the special Chord 1 and Chord 2 channels.
CONNECTING PA50 TO A MASTER KEYBOARD
You can control the Pa50 with a master keyboard or any other
MIDI keyboard. You only need to connect the MIDI OUT
connector of the master keyboard to the MIDI IN connector
of the Pa50. The master keyboard will become the integrated
keyboard of the Pa50 if it transmits over the same channel
programmed as Global in the Pa50.
THE CHORD 1 AND CHORD 2 CHANNELS
You can set two special Chord channels (see page 128) to
send to the Pa50 notes for the chord recognition. The notes
will be combined with the notes that go through the channel
set as Global (Global notes are recognized only under the
split point, if the SPLIT LED is lit up).
The Chord channels are not affected by the split point and
the KEYBOARD MODE section of the control panel. All the
notes – both above and below the split point – will be sent to
the chord recognition.
The buttons of the CHORD SCANNING section have a particular effect on the Chord channels:
•
if you have selected LOWER, the chord recognition
mode will be set by the “Chord Recognition Mode”
parameter in the Style Play mode (see page 50);
•
if you have selected UPPER or FULL, the chord recognition mode will always be Fingered 2 (you need to play at
least three notes in order for the chord to be detected).
These two channels are especially useful for accordion players
to assign a different Chord channel to the chords and the bass
played with the left hand. In this way, chords and bass will
participate to the creation of chords for the chord recognition of the automatic accompaniment.
THE CONTROL CHANNEL
You can set a MIDI IN channel as the Control channel (see
page 127), to select Styles and Performance from an external
device. See the Appendix for a list of messages corresponding
to Pa50 internal data.
MIDI SETUP
You can play Pa50 with an external controller, and use it simply as a gorgeous sound generator. To help you configure the
MIDI channels, we have provided a set of MIDI Setups. Go to
Global mode to select the one that fits your MIDI needs. (See
“Page 4 - MIDI Setup” on page 126 for more information).
We recommend you to consider each MIDI Setup as a starting point you can freely tweak. Once you have selected the
most appropriate MIDI Setup for the connection to be made,
you can modify the parameters as necessary and save the Global in the memory with the Write function (see “The Write
window” on page 125).
MIDI IN
MIDI OUT
If the master keyboard transmits over the Global channel of
the Pa50, the split point and the status of the KEYBOARD
MODE section in the control panel will affect the notes
received from the master keyboard.
Connections and settings
To connect the master keyboard to the Pa50 follow this procedure:
1. Connect the MIDI OUT connector of the master keyboard to the MIDI IN connector of the Pa50.
2. Program the master keyboard to transmit over the Global channel of the Pa50 (see “Page 6 - MIDI IN Channels” on page 127).
For information on the master keyboard programming,
see the user’s manual of the master keyboard.
3. Press GLOBAL to enter the Global mode, then go to
“Page 4 - MIDI Setup” (see page 126).
4. Select the Master Keyboard Setup.
Note: The settings can change when new data is loaded
from disk. To protect the settings from loading, use the
Global Protect function (see “Global Protect” on
page 142).
5. Press WRITE, select Global, and press ENTER to save
the Global. The “Are you sure?” message will appear.
Press ENTER to confirm, or EXIT to abort.
6. Press one of the buttons in the MODE section to go to
the desired operative mode.
MIDI
Connecting the Pa50 to a MIDI accordion
CONNECTING
ACCORDION
THE
PA50
TO
A
MIDI
3.
There are different types of MIDI accordion and each type
requires a different configuration of the Pa50. Select one of
the MIDI “Accordion” Setups to configure the module properly (see page 126).
4.
Connection and settings
To connect the accordion to the Pa50 follow this procedure:
1. Connect the MIDI OUT connector of the accordion to
the MIDI IN connector of the Pa50.
2. Press GLOBAL to enter the Global mode, then go to
“Page 4 - MIDI Setup” (see page 126).
3. Select one of the Accordion Setups.
Note: The settings can change when new data is loaded
from disk. To protect the settings from loading, use the
Global Protect function (see “Global Protect” on
page 142).
4. Press WRITE, select Global, and press ENTER to save
the Global. The “Are you sure?” message will appear.
Press ENTER to confirm, or EXIT to abort.
5. Press one of the buttons in the MODE section to go to
the desired operative mode.
CONNECTING THE PA50 TO AN EXTERNAL
SEQUENCER
You can program a new Song on an external sequencer, using
Pa50 as a multi-timbral expander.
Connections and settings
In order to connect the Pa50 to a computer, you need to have
a computer with the MIDI interface.
1. Connect the Pa50 and the computer as in the following
diagram.
MIDI IN
MIDI IN
2.
MIDI IN
6.
Go to “Page 4 - MIDI Setup” (see page 126). Select the
Ext.Seq Setup.
Note: The settings can change when new data is loaded
from disk. To protect the settings from loading, use the
Global Protect function (see “Global Protect” on
page 142).
Press WRITE, select Global, and press ENTER to save
the Global. The “Are you sure?” message will appear.
Press ENTER to confirm, or EXIT to abort.
Set the Upper 1 track in play, and press FULL UPPER in
the KEYBOARD MODE section. This way, you can
transmit to the external sequencer on the full keyboard
range.
At this point, the notes played on the Upper 1 track go
from the MIDI OUT of the Pa50 to the MIDI IN of the
computer/MIDI interface.
The notes generated by the computer (i.e. a Song played
by its sequencer) are sent thru the MIDI OUT of the
MIDI interface to the MIDI IN connector of the Pa50.
The Local Off
When the Pa50 is connected to an external sequencer, we recommend you to set the Pa50 in Local Off mode (see “Local”
on page 127) to avoid that the notes are simultaneously
played by the keyboard and by the MIDI events sent by the
external sequencer.
When the Pa50 is in Local Off, the Pa50 keyboard transmits
data to the external sequencer, but not to the internal sound
generation. The sequencer will receive the notes played on
the Pa50 keyboard (Upper 1) and send them to the selected
track of the song. The track will transmit the data to the
internal sound generation of the Pa50.
Note: In order to send data to the Pa50 sound generation, the
“MIDI Thru” function must be activated in the external
sequencer (normally active; the name may be different according to the type of sequencer). For more information refer to the
instructions manual of the sequencer.
The programs
MIDI OUT
MIDI THRU
5.
37
MIDI OUT
Press GLOBAL, and go to “Page 5 - MIDI Controls”. Set
the Local parameter to Off (see page 127).
The Song that is played back by the computer sequencer can
select the Pa50 Programs through the MIDI messages Bank
Select MSB and Bank Select LSB (bank selection, two messages) and Program Change (program selection). For a list of
Programs and MIDI values, see “Programs (Program Change
order)” on page 154.
A suggestion for those who program songs on computer:
Even though it is not essential, you usually set the bass on
channel 2, melody on channel 4, drum kit on channel 10,
control for an external voice harmonizer on channel 5.
38
MIDI
Playing another instrument with the Pa50
PLAYING ANOTHER INSTRUMENT WITH THE
PA50
Tracks to the External status (see “Page 15 - Track: Internal/
External” on page 46).
You can use the Pa50 as the master controller for your MIDI
setup.
1. Connect Pa50’s MIDI OUT to the other instrument’s
MIDI IN.
2. Set-up the other instrument’s tracks to the same channels you want to play from Pa50. For example, if you
wish to play the Upper 1 and Upper 2 tracks with the
other instrument’s sound, set the other instrument to
receive on the same channels of the Upper 1 and Upper
2 tracks (by default, channels 1 and 2).
3. Set the general volume of the other instrument with its
own volume controls.
4. Mute/unmute any track right from the Pa50 front panel.
Set each track’s volume using Pa50 own VOLUME/
VALUE controls.
5. Play on Pa50’s keyboard.
The Sequencer
Any Sequencer’s track can drive a channel on an external
instrument. To set each track’s MIDI output channel, see
“Page 10 - MIDI OUT Channels” on page 129.
To hear only the expander’s sounds, you can lower the MASTER VOLUME control on the Pa50, or set the Song tracks to
the External status (see “Page 8 - Track: Internal/External” on
page 78).
Select the Sequencer 1 or Sequencer 2 MIDI Setup (depending on the Sequencer you are using on the Pa50) to set the
channels as follows.
Track
Out Channel
Song 1…16
1…16
The Arranger
The Keyboard
Pa50’s physical keyboard can drive up to 4 tracks via the
MIDI OUT (Upper 1-3 and Lower). MIDI output channels
are set in Global mode (see “Page 10 - MIDI OUT Channels”
on page 129).
As a default situation (Default Setup), each of Pa50 Realtime
Tracks transmit on these channels:
Track
Out Channel
Upper1
1
Upper2
2
Upper3
3
Lower
4
When a track is in mute, it can’t transmit any MIDI data to
an external expander or sequencer connected Pa50’s MIDI
OUT.
To hear only the expander’s sounds, you can lower the MASTER VOLUME control on the Pa50, or set the Realtime
One of the most interesting aspect of MIDI, is that you can
use your Pa50 to play an external instrument with its
onboard arranger. Yes, it’s hard to beat the audio quality of
Pa50, but you could wish to use that old faithful synth you
are still accustomed to…
To assign some of Pa50 Style tracks to an external instrument, set them to the External status (see “Page 15 - Track:
Internal/External” on page 46).
Select the Default MIDI Setup to set the channels as follows
(this is the default status of Pa50).
Track
Out Channel
Bass
9
Drums
10
Percussion
11
Acc1…5
12…16
REFERENCE GUIDE
40
Style Play operating mode
What’s a Style?
9. STYLE PLAY OPERATING MODE
The Style Play mode is the boot-up operating mode. When in
this mode, you can play Styles (i.e. automatic accompaniments), or just play with one to four Realtime tracks on the
keyboard (Upper 1…3 and Lower).
WHAT’S A STYLE?
A Style is a rhythm/accompaniment structure, that simulates
a band backing your solos.
In a vertical direction, it is composed of 8 different tracks
(Drums, Percussion, Bass, and 5 different harmonic or
melodic instruments). You can play on the keyboard with 4
more Realtime tracks (Upper 1-3 and Lower).
In a horizontal direction, it is a series of Style Elements (i.e.,
the various sets of patterns for each chord and each of the
Intros, Variations, Fills, Breaks and Endings).
STYLES AND PERFORMANCES
Styles and Performances are linked in many ways.
•
When the SINGLE TOUCH LED is on, selecting a Style
also changes the Realtime (Keyboard) tracks (a Single
Touch Setting is selected). The Performance settings are
overridden.
•
When the STYLE CHANGE LED is on, selecting a Performance also selects a Style (the one whose number is
memorized with the Performance).
•
When pressing the WRITE button, you can save the
track’s settings either in a Performance, a Style Performance, or a Single Touch Setting (STS).
Folder
DIRECT FD pages
*.SET > STYLE > USER02
3, 4
*.SET > STYLE > USER03
5, 6
Note: Reading from floppy disk is a little slower than reading
from the internal memory. So, there is a chance that you will
have to wait some beats, before the selected DIRECT FD Style is
ready to play. The Style will enter at the next beginning of measure.
How to make the DIRECT FD bank
To configure the DIRECT FD bank, save your Styles into the
first folder in the floppy disk. Folders are read in alphabetical
order.
Note: The following procedures requires you overwrite the User
Style banks. Save these banks before proceeding, to avoid loosing
important data.
1. Insert the floppy disk into the disk drive.
2. Press DISK and go to the Load page.
Disk:Load
NEWNAME.SET
ETHNICA.SET
FD
3.
CHANGING AND RESETTING THE TEMPO
While in the main page of the Style Play mode, you can
change the Tempo using the DIAL or the DOWN/- and UP/+
buttons.
In any other page, keep the SHIFT button pressed, and use
the DIAL to change the Tempo.
To recall the Tempo stored in the current Style, keep the
SHIFT button pressed, and press one of the DOWN/- or UP/
+ buttons.
4.
5.
DIRECT FD pages
*.SET > STYLE > USER01
1, 2
OPEN
|
CLOSE
Use the F1 (Disk device) button to select the FD (Floppy
Disk) device.
Load three banks of Styles, to be transformed into the
DIRECT FD bank.
Go to the Save page.
ALL
FD
Folder
LOAD
Disk:Save
THE DIRECT FD BANK
In addition to the internal memory Styles, you can have
DIRECT FD Styles, directly accessed by the floppy disk.
Just insert a disk, and press the DIRECT FD Style bank. The
disk drive will read the first (in alphabetical order) “.SET”
folder in the floppy disk, and will give you direct access to the
Styles it contains (no loading required).
Note: Reading from floppy disk may take some seconds, before
the Styles are shown.
Browse through the DIRECT FD Styles using the PAGE buttons. You can have up to 6 pages, and up to 48 DIRECT FD
Styles in a disk.
|
LIVE.SET
SAVE
OPEN
CLOSE
While the “ALL” item is selected, press F3 (Open) to
open it.
7. Use the E-F (Scroll Up) and G-H (Scroll Down) VOLUME/VALUE buttons (or the TEMPO/VALUE section
controls) to move the “STYLE” item to the first line of
the display, and press F2 (Save).
8. Select the floppy disk (FD) as the target, using the F1
button.
9. The floppy disk directory appears. Use the E-F (Scroll
Up) and G-H (Scroll Down) VOLUME/VALUE buttons
(or the TEMPO/VALUE section controls), to scroll the
disk content. Move the first folder of the directory to the
first line of the display.
10. Press ENTER twice to save the banks.
6.
Style Play operating mode
Main page
MAIN PAGE
This is the page you see after you turn the instrument on.
To access this page from another operating mode, press the
STYLE PLAY button.
Note: When switching from Song Play to Style Play, a Performance is automatically selected, and various track parameters
may change.
To return to this page from one of the Style Play edit pages,
press the EXIT/NO button.
To switch between the Realtime (Keyboard) tracks and the
Style tracks, use the TRACK SELECT button.
Style Play icon
Selected Style
Selected STS or
Performance
41
VALUE buttons. To unmute, press both buttons again. To
change the volume, select the track, then keep one of the buttons pressed.
C (Acc.1-5 grouped tracks)
Use these buttons to select, mute/unmute or change the volume of the instrumental accompaniment tracks (tracks 1-5,
other than Bass, Drum and Percussion). To mute these
tracks, press both VOLUME/VALUE buttons. To unmute
them, press both buttons again. To change the volume, keep
one of the buttons pressed.
E (Upper 1 Program), F (Upper 2 Program), G (Upper 3 Program), H (Lower Program)
Name of the Programs assigned to the Realtime (Keyboard)
tracks. Use these buttons to select, mute/unmute or change
the volume of the corresponding tracks.
STYLE TRACKS PAGE
SoftBeat
|STS1
Drum/Perc
GrandPiano
Bass01
DarkPad
Acc.1-5
To see and edit the Style tracks, press TRACK SELECT from
the main page. The TRACK SELECT LED turns on.
StrngEns2
AnalogStr
SoftBeat
Brush 2
Accompaniment (backing) tracks (grouped)
Realtime (Keyboard) tracks
|STS1
Piano01
Perc Kit
Guitar01
*AcouBass
StrngEns2
AcouPiano2
VoxPad1
Style Play icon
When on, this icon indicates that the instrument is in Style
Play mode.
Press the TRACK SELECT button once again to go back to
the main page.
Selected Style
A-H (Style Track Programs)
Currently selected Style.
Name of the Programs assigned to the Style tracks. Use these
buttons to select, mute/unmute or change the volume of the
corresponding tracks.
Selected STS or Performance
The last selected Single Touch Setting (STS) or Performance.
A (Drum/Perc grouped tracks)
Use these buttons to select, mute/unmute or change the volume of both Drum and Percussion tracks (grouped together)
at the same time. To mute these tracks, press both VOLUME/
VALUE buttons. To unmute, press both buttons again. To
change the volume, select the track, then keep one of the buttons pressed.
B (Bass track Program name)
Name of the Program assigned to the Bass backing track. Use
these buttons to select, mute/unmute or change the volume
of the Bass track. To mute this track, press both VOLUME/
HOW TO SELECT PROGRAMS
You can assign a different Program to each of the Realtime
(Keyboard) and Style tracks. See “Selecting a Program” on
page 26 for more information.
After selecting a new Program, save your changes into a Performance, Style or STS (see below “The Write window” section).
Note: If you select a Program while grouped tracks (Drum/Percussion or ACC) are selected, the Program will be assigned to
the last selected track.
42
Style Play operating mode
The Write window
THE WRITE WINDOW
MENU
Open this window by pressing the WRITE button. Here, you
can save all track settings into a Performance, the Realtime
(Keyboard) track settings into a Single Touch Setting, or the
Style track settings into the current Style Performance.
From any page, press MENU to open the Style Play edit
menu. This menu gives access to the various Style Play edit
sections.
When in the menu, select an edit section using the VOLUME/
VALUE (A-H) buttons, select an edit page using PAGE +, or
press EXIT to exit the menu.
When in an edit page, press EXIT to go back to the main page
of the Style Play operating mode.
Write to
Perf.Name:
Perf.No.:
STS No.:
Current Style
Style Play Menu
Mixer
1.
Select the kind of object you want to save your tracks
into.
• Select the “Perf No.” line to save all tracks (and the current selected Style settings) into a Performance. Use the
corresponding VOLUME/VALUE buttons, or the
TEMPO/VALUE section controls, to select a Performance location in memory. The name of the Performance already at the target destination will be shown.
• Select the “STS No.” line to save the Realtime (Keyboard) tracks into a Single Touch Setting (STS). Use the
corresponding VOLUME/VALUE buttons or the
TEMPO/VALUE section controls, to select a Single
Touch Setting number.
• Select the Current Style line, to save the Style tracks
into the current Style Performance.
If you select…
…you save…
…to this location…
Performance
All track settings,
selected Style
number, Master
Transpose
Selected Performance
STS
Realtime (Keyboard) track settings
Selected Single Touch
Setting (a part of the
current Style)
Style track settings, Master
Transpose
Current Style Performance
Current Style
2.
3.
RT Ctrls
Tuning
Sty Ctrls
Effects
Input/Pad
Track Edit
Preferences
Each item in this menu corresponds to an edit section. Each
edit section groups various edit pages.
EDIT PAGE STRUCTURE
Select an edit section from the Menu, and/or use the PAGE
buttons to reach the desired page.
Press EXIT to go back to the main page of the Style Play
mode.
All edit pages share the same structure.
Style Play icon
Page header
Page number
Mixer:Volume
If you are saving a Performance, you can change its
name. Select the “Perf name” line.
Move the cursor using the DOWN/- and UP/+ buttons.
Select a character using the DIAL. Insert a character at
the cursor position by pressing the INSERT button.
Delete a character at the cursor position by pressing the
DELETE button.
Press ENTER to save the settings in memory. The “Are
you sure?” message appears. Press ENTER to confirm,
or EXIT to abort.
|||||| 127
||||| 090
||||| 100
||| | 092
|||||| 127
|| || 086
|||||| 112
Style Play icon
When on, this icon indicates that the instrument is in Style
Play mode.
Page header
The header shows the name of the current edit page. As a
general rule, the header is divided into a first word, identifying the section name (e.g., “Mixer:FX Send” is a “Mixer” section page), and a second word, referring to the page name
(e.g. “FX Send”).
Section name
Page name
Mixer:FX Send
Page number
This area shows the current page number.
A-H
Each pair of VOLUME/VALUE (A-H) buttons selects a different parameter of command, depending on the edit page.
After selecting a parameter, you can change its value by press-
Style Play operating mode
Page 1 - Mixer: Volume
ing one of the two buttons in a pair, or using the TEMPO/
VALUE controls.
R+63
Off
PAGE 1 - MIXER: VOLUME
This page lets you set the volume for each of the Realtime
(Keyboard) or Style tracks.
Use the TRACK SELECT button to switch from the Realtime
(Keyboard) tracks to the Style tracks, and vice versa.
||||| 090
||||| 100
||| | 092
|||||| 127
|| || 086
This page lets you set the level of the track’s direct (uneffected) signal going to the Internal FX processors. The effect
processors included in Pa50 are connected in parallel, so you
can decide which percentage of the direct signal should be
effected:
Track
|||||| 110
||||| 090
||||| 100
||| | 092
|||||| 110
|| || 086
|||||| 110
|||||| 112
Volume
Output
FX Processor
|||||| 112
Mixer:Volume
Hard Right.
The direct (uneffected) signal does not go to
the outputs; only the FX signal is heard for this
track.
PAGE 3 - MIXER: FX SEND
Mixer:Volume
|||||| 127
43
There are four Internal FX processors in Style Play mode. You
can assign them any kind of available effects, but we found it
convenient to arrange them in the following way, for all the
Styles included with the Pa50:
A Reverb processor for the Style tracks.
B Modulating FX processor for the Style tracks.
C Reverb processor for the Realtime (Keyboard) tracks.
D Modulating FX processor for the Realtime (Keyboard)
tracks.
Use the TRACK SELECT button to switch from the Realtime
(Keyboard) tracks to the Style tracks, and vice-versa.
Track’s volume.
0…127
MIDI value of the track’s volume.
Mixer:FX Send
PAGE 2 - MIXER: PAN
- - - - - - C:100 D:050
This page lets you set the pan (position in the stereo front)
for each track.
Use the TRACK SELECT button to switch from the Realtime
(Keyboard) tracks to the Style tracks, and vice-versa.
A:127 B:020 C:100 D:050
- - - - - - C:100 D:050
C:100 D:050
Mixer:FX Send
Mixer:Pan
- - - - R+20 ||
- - - - -
C+00
A:100 B:050 A:100 B:050
C+00
A:127 B:020 A:100 B:050
C+10 |
A:110 B:050 A:100 B:050
C+00
A:100 B:050 A:100 B:050
Mixer:Pan
|||L-64
R+10 ||
C+00
C+00
C+00
|L-10
C+00
C+00
To select a parameter and edit its value:
1. Use the VOLUME/VALUE (A-H) buttons to select a
track.
2. Use the F1-F4 buttons to select one of the effect processors.
3. Use the TEMPO/VALUE controls to change the value.
Send level
000
Pan
L-64
C+00
Hard Left.
Center.
127
No effect. Only the direct (uneffected) signal
goes to the outputs.
100% effect. The direct (uneffected) and
effected signals go to the outputs with the same
level.
44
Style Play operating mode
Page 4 - Tuning: Detune
PAGE 4 - TUNING: DETUNE
PAGE 6 - TUNING: PITCHBEND SENSITIVITY
This page is the place where you can set the fine tuning for
each track.
Use the TRACK SELECT button to switch from the Realtime
(Keyboard) tracks to the Style tracks, and vice-versa.
This page lets you program the Pitch Bend range for the Realtime (Keyboard) tracks.
Tuning:PB sens.
Tuning:Detune
- - - - +00
- - - - -
- - - - -
02
- - - - -
02
- - - - -
+00
02
02
+00
+00
+00
Parameters
Tuning:Detune
- - - - - - - - -
These parameters show the Pitch Bend range for each track,
in semitones.
01…12
Maximum up/down pitchbend range (in semitones). 12 = ±1 octave.
Off
No pitchbend allowed.
+00
+00
+00
+00
+00
+00
Detune
PAGE 7 - FX: A/B SELECT
This page enables you to select the A and B effects. Usually,
the A effect is the reverb, and the B effect is the modulating
effect for the Style tracks.
This is the fine tuning value.
-64
Lowest pitch.
00
Standard tuning.
+63
Highest pitch.
FX:A/B Select
PAGE 5 - TUNING: SCALE
This page lets you program the alternative scale for the
selected tracks (see “Scale Mode” on page 51). The remaining
tracks use the Scale set in the Global mode (see “Scale” on
page 125).
Tuning:Scale
Scale:User
Key:C
Note:C#
Detune:+63
A:02
B:89
Compressor
Rev-Gate
ModTrk:Up1
B>Asend:127
A, B
Effects assigned to the A and B effect processors. Usually, A is
the reverb, while B is the modulating effect (chorus, flanger,
delay…). For a list of the available effects, see “Effects” on
page 175.
ModTrk (Modulating Track)
Source track for modulating MIDI messages. You can modulate an effect parameter with a MIDI message generated by a
physical controller.
B>Asend (B>A Send)
Scale
Selected scale. See “Scales” on page 227 for a list of the available scales.
Key
Parameter required for some Scales, when you should select a
preferred key.
Amount of the B effect going back to the input of the A effect.
PAGE 8 - FX: C/D SELECT
This page lets you select the C and D effects. Usually, the C
effect is the reverb, and the D effect is the modulating effect
for the Realtime (Keyboard) tracks.
Note
Note in edit, to be detuned. This parameter can be accessed
when a User Scale is selected.
Detune
Note detune, relative to the standard Equal tuning. This
parameter can be accessed when a User Scale is selected.
FX:C/D Select
C:02
D:89
Compressor
Rev-Gate
ModTrk:Up1
D>Csend:127
Style Play operating mode
Page 9 - FX: A editing
C, D
Effects assigned to the C and D effect processors. Usually, C is
the reverb, while D is the modulating effect (chorus, flanger,
delay…). For a list of the available effects, see “Effects” on
page 175.
45
You can also change the volume for each class of Drums and
Percussion, if the selected track is set in Drum mode (see
below “Page 14 - Track: Mode”).
ModTrk (Modulating Track)
Track:Easy Edit
Source track for modulating MIDI messages. You can modulate an effect parameter with a MIDI message generated by a
physical controller.
- - - - -
Attack:0
Attack:0
Attack:0
- - - - -
D>Csend (D>C Send)
Attack:0
Attack:0
Amount of the D effect going back to the input of the C
effect.
PAGE 9 - FX: A EDITING
Track:Easy Edit
This page contains the editing parameters for the A effect
(usually, reverb for the Style tracks).
FX:A Edit (Sty)
Mix mod. source:JS-Y |
Mix mod. amt.: +127
Reverb Time: 3.07 sec
HF Damping: 30 %
|
Use the E and H VOLUME/VALUE buttons to scroll the
parameter list.
Parameters
See “Effects” on page 175 for a list of available parameters for
each effect type.
PAGE 10 - FX: B EDITING
This page contains the editing parameters for the B effect
(usually modulating effect for the Style tracks). For more
details, see “Page 9 - FX: A editing” above.
Parameters
PAGE 11 - FX: C EDITING
This page contains the editing parameters for the C effect
(usually reverb for the Realtime tracks). For more details, see
“Page 9 - FX: A editing” above.
Parameters
PAGE 12 - FX: D EDITING
This page contains the editing parameters for the D effect
(usually modulating effect for the Realtime tracks). For more
details, see “Page 9 - FX: A editing” above.
Parameters
PAGE 13 - TRACK: EASY EDIT
In this page you can edit the main parameters of the Programs assigned to each track.
Note: All values are relative to the value of the original Program.
Kick V:127
Attack:0
Perc1V:127
Attack:0
Attack:0
Attack:0
Attack:0
Attack:0
Here is the edit procedure:
1. Use the VOLUME/VALUE (A-H) buttons to select a
track.
2. Use the F1-F4 buttons to select a Program parameter, or
its value. (For the Drum and Percussion tracks, see
below the “Drum tracks” section).
3. Use the TEMPO/VALUE controls to change the Program parameter or its value.
Parameters
Attack
Attack time. This is the time during which the
sound goes from zero (at the moment when
you strike a key) to it’s maximum level.
Decay
Decay time. Time to go from the final Attack
level to the beginning of the Release.
Release
Release time. This is the time during which the
sound goes from the sustaining (or Decay)
phase, to zero. The Release is triggered by
releasing a key.
Cutoff
Filter cutoff. This sets the sound brightness.
Resonance Use the Filter Resonance to define the width of
the frequency range affected by the Filter.
Vibrato Rate Speed of the Vibrato.
Vibrato Depth
Intensity of the Vibrato.
Vibrato Delay
Delay time before the Vibrato begins, after the
sound starts.
Drum tracks
When a track is set in Drum Mode (like the Drum and Percussion tracks), you can adjust the volume for each of the
Drum and Percussion categories.
Kick V
Kick drums volume.
Snare V
Snare drums volume.
Tom V
Toms volume.
HiHat V
Hi-Hat volume.
CymbalV
Ride, Crash and other cymbals volume.
46
Style Play operating mode
Page 14 - Track: Mode
Percus1V
Percus2V
SFX V
“Classic” percussion set volume.
“Ethnic” percussion set volume.
Special effects volume.
Mono Right A Mono track, but with priority assigned to
the rightmost (highest) note.
PAGE 15 - TRACK: INTERNAL/EXTERNAL
Reset
You can reset the parameters’ value by keeping the SHIFT
button pressed, while pressing one of the selected track VOLUME/VALUE buttons. After you press the above button combination, the Reset window appears:
RESET
NO=Cancel
YES=Trk
SHFT+YES=All
This page lets you set the Internal or External status for each
track. It is very useful to let a Style track drive an external
expander, or play a digital piano with one of Pa50’s Realtime
tracks.
Track:Int/Ext
Press ENTER/YES to reset the currently selected track. Keep
SHIFT pressed, and press ENTER/YES, to reset all tracks.
Press EXIT/NO to abort and keep all parameters unchanged.
Both
Both
Both
Both
Both
External
Both
PAGE 14 - TRACK: MODE
This page lets you set the polyphony mode for each track.
Track:Int/Ext
External
Track:Mode
- - - - -
Mono Right
Poly
Poly
- - - - -
Track:Mode
External
Mono Right
Drum
Poly
Poly
Poly
Poly
Poly
Parameters
Poly
Mono
Both
Both
Both
Parameters
Internal
Drum
Both
Both
Poly
Poly
Drum
Both
External
This is a Drum/Percussion track. No Master or
Octave Transpose applies to this track. You can
set a different volume for each class of percussive instruments (see “Page 13 - Track: Easy
edit” on page 45).
Tracks of this kind are polyphonic, i.e. they can
play more than one note at the same time.
Tracks of this kind are monophonic, i.e. each
new note stops the previous note.
The track plays the sounds generated by the
internal sound engine. It does not play an
external instrument connected to the MIDI
OUT.
The track plays an external instrument connected to the MIDI OUT. It does not play the
internal sounds, therefore saving polyphony.
When a track is set to “External”, a strings of
transmitted Control Change and Program
Change data is shown instead of the Program
name assigned to the track. In the following
example, CC#0 is the Control Change 0 (Bank
Select MSB), CC#32 is the Control Change 32
(Bank Select LSB), PC is the Program Change.
121CC#0
Both
3- 0
CC#32
PC
The track plays both the internal sounds and
an external instrument connected to the MIDI
OUT.
Style Play operating mode
Page 16 - R.T. controls: Damper
47
PAGE 16 - R.T. CONTROLS: DAMPER
Y
This page lets you enable/disable the Damper pedal for each
of the Realtime (Keyboard) tracks.
This enables/disables the front/rear movement of the Joystick
(Y+: Modulation, and sometimes the sound parameter’s control; Y-: Various controls, or non-active).
PAGE 18 - R.T. CONTROLS: DYNAMIC RANGE
RT Ctl:Dmpr&Expr
- - - - -
D:On
E:On
- - - - -
D:On
E:On
- - - - -
D:On
E:On
D:On
E:On
D (Damper)
On
Off
When you press the Damper pedal and release
the keys, the track’s sound is kept sustained.
The Damper pedal is not active on any track
set to this status.
This page lets you program a dynamic range for each of the
Realtime (Keyboard) tracks. This is useful to create a sound
made of up to three dynamic layers, assigning each of the
Upper tracks to a different dynamic range.
As an example, you may assign the El.Piano 1 Program to the
Upper 1, and the El.Piano 2 Program to the Upper 2 track.
Then, set Upper 1 to [L=0, H=80], and Upper 2 to [L=81,
H=127]. The El.Piano 1 will play when playing softer, the
El.Piano 2 when playing louder.
E (Expression)
This parameters allows you to switch the Expression control
on/off on each individual Realtime track. The Expression
control is a relative level control, always subtracted from the
Volume value of the track.
As an example, imagine you have a Piano sound assigned to
Upper 1, and a Strings sound assigned to Upper 2. If you turn
the Expression switch on on Upper 2, and off on Upper 1,
you can use a pedal to control only the Strings’ volume, while
the Piano remains unchanged.
To program a pedal or the Assignable Slider to act as an
Expression control, see “Page 3 - Assignable Pedal/Footswitch, Assignable Slider” on page 126. You can only assign
this function to a volume-type pedal, not to a switch-type
one. Assign the “KB Expression” option to the pedal or
Assignable Slider, then press WRITE to save the setting into
the Global.
RT Ctl:DynRange
- - - - - L:0
H:127
- - - - - L:0
H:127
- - - - - L:0
H:127
L:0
H:127
Here is the edit procedure:
1. Use the VOLUME/VALUE (E-H) buttons to select a
track.
2. Use the F3-F4 buttons to select the L or H parameter for
that track.
3. Use the TEMPO/VALUE controls to change the parameter’s value.
L/H
PAGE 17 - R.T. CONTROLS: JOYSTICK
This parameter pair sets the Lower and Higher dynamic
range for the track.
0
Lowest velocity value.
127
Highest velocity value.
This page lets you enable/disable the Joystick for each of the
Realtime (Keyboard) tracks.
PAGE 19 - R.T. CONTROLS: ENSEMBLE
This page lets you program the Ensemble function. This
function harmonizes the right-hand played melody with the
left-hand recognized chords.
RT Ctl:Joystick
- - - - - X:On Y:On
- - - - - X:On Y:On
- - - - - X:On Y:On
RT Ctl:Ensemble
X:On Y:On
E:Dual
Here is the edit procedure:
1. Use the VOLUME/VALUE (E-H) buttons to select a
track.
2. Use the F3-F4 buttons to select the X or Y parameter for
that track.
3. Use the TEMPO/VALUE controls to change the status.
X
This enables/disables the left/right movement of the Joystick
(Pitch Bend, and sometimes the sound parameter’s control).
Up1:Normal
Dyn :- 2
Up2:Off
Note:+ 0
Up3:Off
Up1…Up3
Right-hand (Upper) tracks.
Off
There is no harmonization on this track.
Normal
This track is included in the harmonization.
Mute
This track only plays the Ensemble notes, but
not the original note.
48
Style Play operating mode
Page 20 - Style controls: Drum/Fill
E(nsemble)
Harmonization type.
Duet
Adds a single note to the melody.
Close
Adds a closed-position chord to the melody.
Open 1
Adds an open-position chord to the melody.
Open 2
As the above, but with a different algorhythm.
Block
Block harmonization – very typical of jazz
music.
Power Ensemble
Adds a fifth and an octave to the melody, as
heard in hard rock.
Fourths LO Typical of jazz, this option adds a perfect
fourth and a minor seventh under the melody.
Fourths UP As the above, but with notes added over the
melody.
Fifths
This adds a series of Fifths below the original
note.
Octave
Adds one or more octaves to the melody.
Dual
This option adds to the melody line a second
note, at a fixed interval set with the “Note”
parameter. When selecting this option, a transposition value appears (-24…+24 semitones to
the original note).
Brass
Typical Brass section harmonization.
Reed
Typical Reed section harmonization.
Trill
This option trills the melody note. You can set
the trill speed by using the Tempo parameter
(see below).
Note: You must play at least two notes with this
option!
Repeat
The played note is repeated in sync with the
Tempo parameter (see below). When playing a
chord, only the first note is repeated.
Echo
As the Repeat option, but with the repeated
notes fading away after the time set with the
Feedback parameter (see below).
Dyn(amics)
This parameter sets the velocity difference between the righthand melody and the added harmonization notes.
-10…0
Subtracted velocity value.
Tempo
Note: This parameter only appears when the Trill, Repeat or
Echo options are selected.
Note value for the Trill, Repeat or Echo Ensemble options.
This is in sync with the Metronome Tempo.
Feedback
Note: This parameter only appears when the Echo option is
selected.
This parameter sets how many times the original note/chord
is repeated by the Echo option.
PAGE 20 - STYLE CONTROLS: DRUM/FILL
In this page you can select various general parameters for the
Style.
StyCtl:Drums
V1 DR.map:5 KickDes:Off
V2 DR.map:5 SnarDes:Off
V3 DrMap:5
Fill1:->1
V4 DrMap:5
Fill2:->3
V1-V4 Drum Map
The Drum Mapping lets you select an alternative arrangement of percussive instruments for the selected Drum Kit,
without any additional programming. Just select a Drum
Map, and some percussive instruments will be replaced with
different instruments.
0…7
Drum Map number. Number 0 is the standard
mapping.
Kick D(esignation)
The Kick Designation replaces the original Kick (Bass Drum)
sound with a different Kick of the same Drum Kit.
Off, 1…3
Kick replacing the original one. Off corresponds to the original Kick.
Snare D(esignation)
The Snare Designation replaces the original Snare Drum
sound with a different Snare of the same Drum Kit.
Off, 1…3
Snare replacing the original one. Off corresponds to the original Snare.
Fill1/2
These parameters set a Variation to be automatically selected
at the end of the Fill.
Off
The same Variation, playing before selecting a
Fill, will be selected again.
1&2…3&4 The specified Variations will be alternatively
selected. For example, with the “1&2” option,
Variation 1 and Variation 2 will be alternatively
selected after the end of the Fill.
Up/Down
The next higher/lower numbered Variation is
selected, in cycle. After Variation 4, an Up
command will select Variation 1. After Variation 1, a Down command will select Variation
4.
Inc/Dec
The next higher/lower numbered Variation is
selected. When Variation 4 is reached, an Inc
command will select Variation 4 again. When
Variation 1 is reached, a Dec command will
select Variation 1 again.
->1…->4
“Fill to Variation” (->1, ->2, ->3, ->4) automatically selects one of the four available Style
Variations at the end of the fill.
Style Play operating mode
Page 21 - Style controls: Wrap Around / Keyboard Range
PAGE 21 - STYLE CONTROLS: WRAP AROUND /
KEYBOARD RANGE
In this page you can program the Wrap Around function and
the Keyboard Range for the Style tracks.
49
PAGE 22 - PADS
This page lets you select a different sound or function for
each of the four PAD buttons.
Pads
StyCtl:Wrap/Rng
Prog:Orig
1:Crash
Volume:127
2:Ride
Pan:+00
C Send:100
W:7
KR:Or
3:China
W:12
KR:Or
4:*StyleUp D Send:100
W:12
KR:Or W:12
KR:Or
W:12
KR:Or W:12
KR:Or
1-4
Here is the edit procedure:
1. Use the VOLUME/VALUE (A-H) buttons to select a
parameter.
2. Use the F1-F4 buttons to move the cursor between the
parameter and its status or value.
3. Use the TEMPO/VALUE controls to change the parameter’s status or value.
Each of the four PAD buttons. See “List of sounds assignable
to the Pads” on page 226 and “List of functions assignable to
the Pads” on page 227.
Note: Function names are preceded by an asterisk (*)
Prog (Program)
Pan for each of the four Pad tracks.
-64
Fully Left.
00
Centered.
+63
Fully Right.
This parameter lets you select a different Program, other than
the one recorded into the Style Element (Variations, Fills,
Intros, Endings).
Note: This parameter is automatically set to On each time you
assign a Program to any of the Style tracks, either from the front
panel or via MIDI.
Original
Style tracks always use the original Programs.
If you assign a different Program to a Style
track, it may be reset to the original one when
selecting a different Style Element.
On
You can assign different Programs to each Style
track, and save them in a Performance or Style
Performance. This becomes the only track’s
Program for all Style Elements.
W (Wrap Around)
The wrap-around point is the highest register limit for the
backing track. The accompaniment patterns will be transposed according to the detected chord. If the chord is too
high, the Style tracks might play in a register that is too high,
and therefore unnatural. If, however, it reaches the wraparound point, it will be automatically transposed an octave
lower.
The wrap-around point can be set for each track in semitone
steps up to a maximum of 12 semitones, relative to the chord
root. This value will be the interval between the key specified
by the Style Element and the wrap-around point.
1…12
Maximum transposition (in semitones) of the
track, referred to the original key of the pattern.
KR (Keyboard Range)
This parameter is an on/off switch for the Key Range parameter memorized into the Style.
Or(iginal)
The Keyboard Range is used. When a track
goes over the lower or higher limit set by this
(hidden) parameter, it is transposed, to play
into the programmed range.
Off
No Keyboard Range used.
Volume
Volume for each of the four Pad tracks.
Pan
C Send
Send level to the C Internal FX processor (usually reverb) for
each of the four Pad tracks.
D Send
Send level to the D Internal FX processor (usually modulating effect) for each of the four Pad tracks.
PAGE 23 - PREFERENCES: LOCK
You can “lock” various functions, to avoid they can be
changed when selecting a different Performance, Style or Single Touch Setting.
Pref:Lock (Gbl)
M.Trnsp:On
Pads
:Off
Scale
:On
AutoOct:On
Hint: When turning the instrument on, Performance 1 is automatically selected. Therefore, if you wish your parameters to
stay unchanged, save your preferred default settings into Performance 1 (see “The Write window” on page 42), and turn these
locks on.
Note: These settings are stored in the Global file. After changing
these settings, press WRITE to save them into the Global. The
Write Global window will appear (see “The Write window” on
page 125).
Pads
Sounds or functions assigned to the Pads.
50
Style Play operating mode
Page 24 - Preferences: controls
When this lock function is On, the Scale parameter does not
change when selecting a different Performance, Style or Single Touch Setting.
Note: These settings are stored in the Global file. After changing
these settings, press WRITE to save them into the Global. The
Write Global window will appear (see “The Write window” on
page 125).
Auto Octave
Chord Recognition Mode
This lock lets the instrument automatically transpose the
Upper tracks when switching between the FULL UPPER and
the SPLIT Keyboard modes.
On
When switching to the FULL UPPER or SPLIT
Keyboard Mode, the Upper tracks transposition is left unchanged.
Off
When switching to the FULL UPPER Keyboard Mode, the Upper tracks Octave Transpose is automatically set to “0”.
When switching to the SPLIT Keyboard Mode,
the Upper tracks Octave Transpose is automatically set to “-1”.
This parameter sets how chords are recognized by the autoaccompaniment engine. Please note that when in Full or
Upper Chord Scanning mode, the Fingered 3 mode is always
selected, and you must always play at least three notes, to let a
chord be recognized.
Fingered 1 Play one or more notes, according to the
selected Chord Scanning Mode. A full Major
chord will be recognized even if only a single
note is played.
Fingered 2 You must always play three or more notes for a
full chord to be recognized. If you play just one
note, a unison will be played. If you play a suspended 5th, a suspended chord will be played.
The full chord will be recognized when you
play three or more notes.
Fingered 3 You must always play three or more notes for a
chord to be recognized.
One Finger You can also compose a chord using a simplified chord playing technique:
• If you play only one note, a Major chord is
recognized.
• Play the root note, plus a white key on the
left, for a 7th. Ex.: C3 + B2.
• Play the root note, plus a black key on the left,
for a Minor chord. Ex.: C3 + Bb2.
• Play the root note, plus a white and a black
key on the left, for a Minor 7th. Ex.: C3 + B2 +
Bb2.
Scale
M.Trnsp (Master Transpose)
The Master Transpose value is memorized into the Performance or Style Performance. To prevent the Master Transpose to be automatically changed when selecting a Style or
Performance, this lock should be set to On.
On
(Default) The lock is engaged. When selecting
a Style or Performance, the Master Transpose
will not change.
Off
The lock is turned off. When selecting a Style
or Performance, the Master Transpose value
may change, according to the data memorized
into the Performance or Style Performance.
PAGE 24 - PREFERENCES: CONTROLS
In this page you can set various general parameters for the
Style.
Pref:Ctl (Gbl)
ChrdRecMode:One Finger
Scale Mode:RT Tracks
Memory Mode:Chord
Velocity Ctl:Start/Stop
Style Play operating mode
Page 24 - Preferences: controls
Scale Mode
This parameter determines which tracks will use the selected
alternative scale (see “Scale” on page 44).
Realtime tracks
The scale will only affect the Realtime (Keyboard) tracks.
Upper tracks
The scale will only affect the Upper 1-3 Realtime (Keyboard) tracks.
All Tracks
The scale will affect all tracks (Realtime, Style,
Pads).
Memory Mode
This parameter sets the way the MEMORY button works.
Chord
When its LED is on, the MEMORY button
keeps the recognized chord in memory. When
its LED is off, the chord is reset when raising
the hand from the keyboard.
Chord + Lower
When its LED is on, the MEMORY button
keeps the recognized chord in memory, and
keeps the Lower track held until the next note
or chord is played. When its LED is off, the
Lower
51
chord is reset when raising the hand from the
keyboard, and the Lower track is not sustained.
When its LED is on, the MEMORY button
keeps the Lower track held until the next note
or chord is played. When off, the Lower track is
not sustained when raising the hand from the
keyboard. The chord is always kept in memory.
Velocity Control
Set this parameter to trigger a Fill or a Break simply by playing louder with your left hand. When playing on the Lower
track with a velocity higher than 95, the selected Style Element will start. For this function to work, the SPLIT Keyboard Mode and LOWER Chord Scanning Mode must be
selected.
Off
The function is turned off.
Break, Fill 1, Fill 2
When playing with a velocity higher than 95
on the Lower track, the selected element is
automatically triggered.
Start/Stop
You can start or stop the Style by playing
harder on the keyboard.
52
Style Record mode
The Style’s structure
10. STYLE RECORD MODE
By entering the Style Record mode, you can create your own
Styles, or edit an existing Style.
THE STYLE’S STRUCTURE
The term “Style” relates with music sequences automatically
played by the arranger of the Pa50. A Style consists of a predefined number of Style Elements (E) (Pa50 features ten different Style Elements: Variation 1-4, Intro 1-2, Fill 1-2,
Ending 1-2). When playing, these Style Elements can be
selected directly from the control panel, using the corresponding buttons.
To explain the Style structure, we can use a tree-structure, as
shown in the following diagram:
Each Style Element is made up of smaller units, called Chord
Variations (CV), but not all of them have the same number
of CVs. Variations 1-4 have up to 6 CVs each, while the other
Style Elements have only up to 2 CVs.
When you play on the chord recognition area (Lower, Upper
or Full, depending on the Chord Scanning section on the
control panel), the arranger scans the keyboard and determines which chord you are playing. Then, depending on the
selected Style Element, it determines which Chord Variation
(CV) should be played for the scanned chord. Which Chord
Variation corresponds to each scanned chord is a setting of
the Style: the Chord Variation Table. Each Style Element
contains a Chord Variation Table, whose prototype is the following:
Pop Ballad
Chord
Variation 1
Chord Variations (CVs)
Variation 1-4
Intro 1-2, Fill 1-2, Ending 1-2
CV1 – CV6
CV1 – CV2
Maj
CV1
Drum
Perc
Bass
Acc1
Acc2
Acc3
Acc4
Acc5
CV2
6
M7
M7b5
Sus4
Sus2
M7sus4
min
m6
m7
CV3
m7b5
CV4
mM7
CV5
CV6
Variation 2
Variation 3
Variation 4
7
7b5
7sus4
dim
dimM7
aug
aug7
augM7
Intro1
no 3rd
no 3rd, no 5th
CV1
CV2
Intro 2
Fill 1
Fill 2
Ending 1
Ending 2
After deciding what CV to play, the arranger triggers the right
sequence for each track. Since each sequence is written in a
particular key (for example, CMajor, GMajor or Emin), the
arranger transposes it according to the scanned chord. Notes
in the sequence are carefully transposed according to the
Note Transposition Tables (NTT), to make them work fine
with all recognized chords. The NTT allows you to record
just some Chord Variations, and have all the notes play in the
right place, avoiding dissonances and transposing the pattern
notes to the notes of the recognized chord.
Going deeper into the Style structure, we can see that each
Chord Variation is made up of Track Sequences, and the
Pa50 supports 8 different tracks. DRUM and PERC are used
for drum and percussion sequences, BASS for bass and
Style Record mode
Style Import/Export
ACC1-5 are for accompaniment sequences (string, guitar,
piano or other accompaniment instruments).
Just to summarize, when you play a chord on the chord recognition area, the arranger determines which Style Element
is used, then determines which Chord Variation should be
used for the played chord, then Style sequences for every
track of that Chord Variation are transposed from the original chord to the recognized chord using the NTT, and so on
every time you play a chord.
Note: The Break and the Count In are not Style Elements, and
cannot be programmed by the user. While in record/edit, the
BREAK/COUNT IN button does not work.
What to record
Recording a Style is a matter of recording tracks, inside a
series of Chord Variations, inside a series of Style Elements,
inside the Style itself.
You don’t need to record all Chord Variations for all Style
Elements. It is often only necessary to record just a Chord
Variation for each Style Element. Exceptions are the Intro 1
and Ending 1, where we suggest to record both a Major and
minor Chord Variations.
STYLE IMPORT/EXPORT
You can use Korg’s Style To Midi application to exchange
Styles between your computer and the Pa50, through the
Standard MIDI File (SMF) format. The application is freely
downloadable from www.korgpa.com. Please read the
included instructions.
ENTERING THE RECORD MODE
While in the Style Play operating mode, press RECORD. The
following page will appear in the display:
Record
Current Style
New Style
•
Select Current Style to edit the current Style. If it is a
Factory Style, you will not be able to save it on the original location; you will select a User Style instead.
When editing an existing Style, the original Style Performance is recalled, but the following parameters are reset
to their default values: Drum Mapping (0), Snare & Kick
Designation (Off), Program (Original), Keyboard
Range (Original). This means that you can hear some
differences between the Style in play and the same Style
being edited; for example, resetting the Drum Mapping
may lead to some instrument’s replacement.
53
After editing the Style, please save it (see “Exit and Save/
Abort Style” below). Then, edit the Style Performance to
adjust the track’s settings (Tempo, Volume, Pan, FX
Send… see page 43 and following in the “Style Play
operating mode” chapter) and save it by pressing the
WRITE button.
•
Select New Style to start from a new, empty Style. A
default Style Performance will be recalled. When finished recording, you will save the new Style onto a User
Style location.
After recording the Style, please save it (see “Exit and
Save/Abort Style” below). Then, edit the Style Performance to adjust the track’s settings (Tempo, Volume,
Pan, FX Send… see page 43 and following in the “Style
Play operating mode” chapter) and save it by pressing
the WRITE button.
Note: After a record or edit operation, the Style is rewritten
in memory. When you press START/STOP there is a delay
before you can actually listen to the Style. This delay is
higher with a Style containing more MIDI events.
Note: While in Record mode, all footswitches are disabled.
LISTENING TO THE STYLE WHILE IN RECORD/
EDIT MODE
While you are in Record/Edit mode, you can listen to the
selected Chord Variation or to the whole Style, depending
on the page you are in.
To select a Chord Variation, go to the Main page of the
Record/Edit mode (see “E (Style Element)” and “CV
(Chord Variation)” on page 55).
•
When you are in the Quantize, Transpose, Velocity, or
Delete pages, you can listen to the selected Chord Variation. Press START/STOP to check how it works. Press
START/STOP again to stop the playback.
•
When you are in the Delete All, Copy, Style Element
Controls or Style Control pages, you can listen to the
whole Style. Press START/STOP and play some chords
to do your tests. Select any Style Element using the
control panel buttons (VARIATION 1-4, INTRO 1-2,
FILL 1-2, ENDING 1-2). Press START/STOP again to
stop the playback.
Note: When doing the above tests, the Fingered 3 Chord
Scanning mode is automatically selected.
EXIT AND SAVE/ABORT STYLE
When finished editing, you can save your Style in memory, or
abort any change. Press WRITE or RECORD to go to the
Write page (see “The Write window” on page 54).
Note: When saving the Style in memory, Pa50 automatically
compresses it to reduce its size and save memory.
Hint: Save often while recording, to avoid accidentally losing
your Style.
54
Style Record mode
The Write window
THE WRITE WINDOW
Control function
This page appears when you press the WRITE or RECORD
button while in Record mode. Here you can save the recorded
or edited Style in memory.
•
•
Modulation 1
1
Modulation 2
2
10
11
Style name: NewBossa
CC#12
12
To: U1-01 Bossa
CC#13
13
Abort
Damper
64
Filter Resonance
71
Low Pass Filter Cutoff
74
CC#80
80
CC#81
81
CC#82
82
Style name
Use this parameter to change the Style’s name. Press the right
A VOLUME/VALUE button to enter editing, and modify the
name using the UP/DOWN buttons to move the cursor, and
the DIAL to select a character. Press INSERT to insert a character at the cursor position, or DELETE to delete it
To (Style number)
Use the B VOLUME/VALUE buttons, or the TEMPO/VALUE
controls, to select a different User Style location in memory.
Note: Only User locations are available.
Abort
Select this command to delete any change to the Style.
LIST OF RECORDED EVENTS
The Style Record mode filters out some events that may damage the right operation of the Style. Here are the recorded
events, and the most important filtered-out events.
CC# (Control Change Number)
Allowed
Note On
Pitch Bend
Expression
To save the Style to the internal memory, press the A or
B VOLUME/VALUE buttons, then press ENTER. The
“Are you sure?” message will appear. Press ENTER to
confirm, or EXIT to abort.
To return to the previous Style Record page, leaving all
untouched and the Style unsaved, press EXIT.
To delete all changes to the Style, press one of the D
VOLUME/VALUE buttons to select the Abort command. The “Are you sure message?” will appear. Press
ENTER to confirm deletion, or EXIT to return to the
Write page.
Control function
Note Off*
Pan
Write to
•
CC# (Control Change Number)
Not allowed
After Touch
Volume
7
All other Control Change messages
(*) A Note Off will always be inserted at the end of the
Chord Variation.
Note: Some Control Change messages cannot be recorded
directly using Pa50 integrated controls.
FAST DELETE USING THE CONTROL PANEL
BUTTONS
While in the Main page or the Style Tracks page, you can use
the control panel buttons to delete various elements of the
Style:
DELETE + note
When a track is selected, you can use this key sequence to
delete a single note or a single percussive instrument.
If the Style is playing, this shortcut deletes the instrument
only while the key is kept pressed, leaving all other notes
untouched within the track.
DELETE + Track
While in the Style Tracks page, you can delete a whole track
with a single shortcut. Keep the DELETE button pressed,
then press one of the VOLUME/VALUE buttons corresponding to the track to be deleted. The “Are you sure?” message
appear. Press ENTER to confirm, EXIT to abort.
Style Record mode
Main page
MAIN PAGE
After pressing the RECORD button, and selected the Style to
record/edit, the Main page of the Style Record mode appears.
Chord
Style Play icon
Measure counter
55
Note: When this parameter and the assigned value is in small
letters (cv:cv1), the Chord Variation is empty; when it is in capitals (CV:CV1), it is already recorded
SE:V1…V4 You can select one of 6 Chord Variations to
edit.
SE:I1…E4
You can select one of 2 Chord Variations to
edit.
R (Recording Mode)
NewBossa
|T:DR
e:v1 cv:cv1 R:RT
CV Len:16
RL:2
Metro:On1
Resol:
Meter:4/4
C
NTT:5th
Style name
maj7
Track in record/edit
Style Play icon
When this icon appears in the display, you are in Style Play or
Style Record mode.
Chord
While in the Main and Style Tracks page, this area shows the
Original Key/Chord (see “Original Key/Chord” on page 56)
for the selected track.
Style name
This is the name of the Style in record/edit.
Measure counter
This counter shows the measure in record. The measure
range is specified by the “RecLen” parameter (see “RL
(Recording Length)” on page 55).
Track in record/edit
Most editing in this edit mode are executed on a single track.
While in the main page, the currently selected track is shown
on the upper right area of the display. The abbreviations are:
DR (Drums), PC (Percussion), BS (Bass), A1…A5 (Accompaniment 1…5).
To select the track to edit, press TRACK SELECT to jump to
the Style Tacks page (see “Style Tracks page” on page 56) and
use the VOLUME/VALUE buttons to select it.
E (Style Element)
Use the A VOLUME/VALUE buttons to select the line, and
the F1 button to select this parameter.
This parameter lets you select the Style Element to put in
edit. Each Style Element corresponds to one of the buttons
on the control panel carrying the same name.
Note: When this parameter and the assigned value is in small
letters (e:v1), the Style Element is empty; when it is in capitals
(E:V1), it is already recorded
V1…V4
Variation 1 to Variation 4
I1…I2
Intro 1 to Intro 2
F1…F2
Fill 1 to Fill 2
E1…E2
Ending 1 to Ending 2
CV (Chord Variation)
Use the A VOLUME/VALUE buttons to select the line, and
the F2 button to select this parameter. This parameter lets
you select the Chord Variation to edit, after selecting the Style
Element this Chord Variation pertains to.
This parameters lets you select between the Realtime and the
Step recording modes. Use one of the E VOLUME/VALUE
buttons and the F3 function key to select this parameter.
Change its status using the E VOLUME/VALUE buttons, or
the TEMPO/VALUE controls.
RT
Realtime. This methods allows you to record in
realtime each pattern of the Style.
Stp
Step Record. This method allows you to enter
the events one at a time. See “Style Record procedure” below for more information.
RL (Recording Length)
This parameter sets the recording length (in measures) of the
selected track. Its value is always equal to, or a divider of, the
Chord Variation Length (see next parameter).
This is not the total length of the Chord Variation, but just of
the current track. For example, you may have a Chord Variation eight measures long, with a drum pattern repeating each
two measures. If so, set the CV Len parameter to “8”, and the
RecLen parameter to “2” before starting recording the Drum
track. When saving the Style, or executing any edit operation
on the Style, the 2-measures pattern will be extended to the
full 8-measures length of the Chord Variation.
Warning: If you assign CVLen a value lower than RecLen,
the value of RecLen is not immediately updated in the display. Therefore, you are still free of changing the value of
CVLen, before the measures exceeding its value are deleted
(see warning in “CVLen (Chord Variation Length)” below).
However, if you press START/STOP to begin recording, the
real RecLen value is changed to the new one, even if the display still shows the old value.
For example, you may have CVLen = 4 and RecLen = 4. If
you set CVLen to 2, and press START/STOP to begin recording, RecLen is still shown as 4, but it is in reality set to 2, and
recording will cycle for just 2 measures. After you press
START/STOP to stop recording, RecLen is updated to 2, and
all measures after the second measure are deleted.
CVLen (Chord Variation Length)
This parameter sets the total length (in measures) for the
selected Chord Variation. When playing a Style, this will be
the length of the accompaniment pattern to be cycled, when
the chord corresponding to the Chord Variation is recognized
on the keyboard.
Warning: If you reduce the Chord Variation Length after
recording, any measure after the selected length will be
deleted. Be very careful when setting the CVLen to a lower
value after recording!
Metro (Metronome)
This is the metronome heard during recording.
Off
No metronome click will be heard during
recording. A one-bar precount will be played
before starting recording.
56
Style Record mode
Style Tracks page
On1
Metronome on, with a one-bar precount
before starting recording.
Metronome on, with a two-bar precount
before starting recording.
On2
Resol (Resolution)
This parameter sets the quantization during recording.
(1/32)… (1/8)
Grid resolution, in musical values. For example, when you select 1/16, all notes are moved
to the nearest 1/16 division. When you select 1/
8, all notes are moved to the nearest 1/8 division.
No quantization
1/16
1/8
Meter
This is the meter (time signature) of the Style. You can edit
this parameter only when the Style is empty, i.e. before you
begin recording anything.
NTT
The Note Transposition Table (NTT) determines how the
arranger will transpose pattern notes, when playing a chord
that does not exactly match to the original chord of a Chord
Variation. For example, if you only recorded a Chord Variation for the CMaj chord, when a CMaj7 is recognized on the
keyboard the arranger must transpose some notes to create
the missing 7th.
Note: To conform to Korg specifications, it is advisable to set the
NTT to “No Transpose” on the Intro 1 and Ending 1.
Root
The root note (in CMaj = C) is transposed to
the missing notes.
5th
The 5th note (in CMaj = G) is transposed to
the missing notes.
i-Series
All original patterns must be programmed on
the “Maj7” or “min7” chords. When loading
old Korg i-Series instruments, this option is
automatically selected.
No Transp No transposition applied. The pattern will
always play as recorded. This is the standard
setting of Intro 1 and Ending 1 in Korg’s original Styles.
As recorded with
NTT = Root or 5th
(Key/Chord = CMaj)
When you play a CM7
with NTT = Root
When you play a CM7
with NTT = 5th
As recorded with
NTT = i-Series
(Key/Chord = CM7)
When you play a CMaj
with NTT = i-Series
When you play a CM7
with NTT = i-Series
Original Key/Chord
This is the track’s original key and chord. Use the D VOLUME/VALUE buttons to select the line, and the F1 and F2
buttons to switch from the key/chord name and the key/
chord type (Maj, min…).
When in Style Play mode, this chord will be played back
exactly as it was recorded, without any NTT processing (see
below). To record just one Chord Variation for a Style Element, the suggested original key/chord is “maj7”. Be very
careful to play the 7th+ note (i.e., with a “Cmaj7th” key/
chord, the B), to avoid the lack of notes, or a bad NTT conversion when playing different chords.
Note: To conform to Korg specifications, it is advisable to record
both the “Major” and “minor” Chord Variations for the Intro 1
and Ending 1 Style Elements.
When you select a track, the original key/chord assigned to
the selected track will be activated. All recorded tracks will
play back on that key/chord. For example, if the original key/
chord for the Acc1 track is A7th, when selecting the Acc1
tracks all the remaining tracks will play according to the A7th
key/chord.
In the above example, you will record the Acc1 track in the
AMajor key, with notes that will comply with the A7th chord.
This is the pattern that will be recalled exactly as it was
recorded, when playing an A7th chord.
Copying the Key/Chord value to all other tracks of the same
Chord Variation. While in this page, you can keep the SHIFT
button pressed, while pressing one of the [D] VOLUME/
VALUE buttons, to copy the Key of the currently selected
track to all other tracks of the same Chord Variation. This
function is useful to speed-up pattern programming, and to
avoid having different tracks in different keys within the same
Chord Variation.
STYLE TRACKS PAGE
While in the main Style Record page, press TRACK SELECT
to jump to this page. Here you can see and select any Style
track.
Style Element-Chord Variation
in record/edit
Style in record/edit
NewBossa |V1-CV1
Brush 2
Piano01
Perc Kit
Guitar01
*AcouBass
StrngEns2
AcouPiano2
VoxPad1
Style tracks
Program name
Select a track using the VOLUME/VALUE buttons. Select a
Program using the PROGRAM/PERFORMANCE section.
While in this page, you can set the track’s volume using the
VOLUME/VALUE buttons. Since the track’s volume is memorized in the Style Performance and not in the pattern, this
setting will not be recorded and saved. However, this will
Style Record mode
Step Record page
57
allow you to play back louder any reference track, or the track
you are recording.
mode, before actually starting recording (see step 6 on
page 58 for more information).
Track status
key?
When in the Style Tracks page, each track can be in one of
three status.
Play
(Visible status icon). This status is available
only for non-selected tracks. When in play, a
track can play back the recorded pattern.
Mute
(Hidden status icon). When in this status, you
can play the track on the keyboard, but you
can’t record on it. This is useful to do some
preliminary test, before actually start recording.
To set a track in mute, first select it, then press
both corresponding VOLUME/VALUE buttons
to hide the status icon. To set the track in
record again, press again the corresponding
VOLUME/VALUE buttons.
Record
(Flashing status icon). When in this status, the
track is ready to record. Just select a track to set
it in record status.
This is a prompt, asking for a note or chord to be played on
the keyboard, to enter an event on the current step.
STEP RECORD PAGE
Access this page from the Main page of the Style Record
mode, by selecting the “Stp” recording mode (“R” parameter), and pressing START/STOP.
Previous event
Event to be inserted
Step value
Length of the event to be inserted. Use the NOTE VALUE
buttons, on the lower left area of the control panel, to change
this value.
…
Dot (.)
Triplet (3)
Note value.
Augments the selected note by one half of its
value.
Makes the selected note a triplet note.
V (Velocity)
Set this parameter before entering a note or chord. This will
be the playing strength (i.e., velocity value) of the event to be
inserted.
KBD
Keyboard. You can select this parameter, by
turning all counter-clockwise the dial. When
this option is selected, the playing strength of
the played note is recognized and recorded.
1…127
Velocity value. The event will be inserted with
this velocity value, and the actual playing
strength of the note played on the keyboard
will be ignored.
D (Duration)
Step V1-CV1 T:DR
(a)
M001.01.000
C4
(b)
V:64
D:85%
M001.01.192 Meter: 4/4
key?
Current position
V:64
D:85%
Step value
Waiting for a keystroke…
Relative duration of the inserted note. The percentage is
always referred to the step value.
50%
Staccato.
85%
Ordinary articulation.
100%
Legato.
Buttons used in Step Record mode
TIE button
Ties the note to be inserted to the previous note.
(a) section
REST button
Previously inserted event. You may delete this event, and set it
in edit again, by pressing the < button.
Inserts a rest.
(b) section
Select the step value.
Event to be inserted. See the following parameters for information on each element of this section.
START/STOP button
M (Measure)
< (Previous step)
This is the position of the event (note, rest or chord) to be
inserted.
Meter
Meter of the current measure. This parameter can’t be edited.
You can set the Meter in the Main page of the Style Record
NOTE VALUE buttons
Exits the Step Record mode.
Goes to the previous step, deleting the inserted step.
>> (Fast Forward)
Goes to the next measure, and fill the remaining space with
rests.
58
Style Record mode
Style Record procedure
STYLE RECORD PROCEDURE
There are two different methods for recording a Style: Realtime and Step.
•
Realtime Recording allows you to record Style patterns
in realtime.
•
Step Recording allows you to create a new Style by entering the single notes or chords in each track. This is very
useful when transcribing an existing score, or needing a
higher grade of detail, and is particularly suitable to create drum and percussion tracks.
Preparing to record
1.
2.
wise, if you prefer to do a Step Record, jump to “Step
Record procedure” on page 59.
Realtime Record procedure
1.
When still in the Main page of the Style Record mode,
press one of the E VOLUME/VALUE buttons, to select
the “R” parameter. Use these buttons, or the TEMPO/
VALUE controls, to select the “RT” (Realtime) recording
mode.
2.
Press TRK SELECT to switch to the Style Tracks page.
Here you can assign the right Program to each Style
track. (For more details, see “Style Tracks page” on
page 56).
R:RT
If you like to edit an existing Style, select that Style.
Press RECORD to enter the Style Record mode. You are
prompted to select either the Current Style, or a New
Style.
NewBossa |V1-CV1
Record
Current Style
New Style
3.
3.
Select “Current Style” if you want to edit the current
Style, or make a new Style starting from an existing one.
Select “New Style” if you want to start from scratch with
an empty Style.
After you select your preferred option, the Main page of
the Style Record mode will appear.
NewBossa
4.
5.
6.
7.
8.
6.
RL:2
Metro:On1
Resol:
Meter:4/4
C
NTT:5th
maj7
5.
|T:DR
e:v1 cv:cv1 R:RT
CV Len:16
4.
Use the A VOLUME/VALUE buttons, and the F1 and F2
function keys to select the E (Style Element) and CV
(Chord Variation) parameter.
Note: For more information on the Style Elements and
Chord Variations, and the Style structure in general, see
“The Style’s structure” on page 52.
Use the RL (Recording Length) parameter to set the
length (in measures) of the pattern to step-record. Select
this parameter using the E VOLUME/VALUE buttons
and the F4 function key. Use the TEMPO/VALUE controls to set the value.
Use the Meter parameter to set the Style’s meter. You can
edit this parameter only if you selected the New Style
option when entering the Record mode.
Set the tempo. Keep the SHIFT button pressed, and use
the TEMPO/VALUE controls to change the tempo.
At this point, if you want to do a Realtime Recording go
on reading “Realtime Record procedure” below. Other-
7.
Brush 2
Piano01
Perc Kit
Guitar01
*AcouBass
StrngEns2
AcouPiano2
VoxPad1
If you like, you can set the tempo again from this page:
just use the TEMPO/VALUE controls.
Assign a Program to each track, by using the PROGRAM/PERFORMANCE section.
If needed, set the Octave Transpose for each track. Note:
The Octave Transpose will affect only the notes coming
from the keyboard, and not from the arranger.
Select the track to put in record. Its status icon will
begin flashing.
Note: When entering the Record mode, the last selected
track is already in record. When you press START/
STOP after entering the Record mode, you can immediately start recording.
If you like, you can try your part before recording:
• Set the track in mute, by pressing both corresponding
VOLUME/VALUE buttons; the status icon disappears.
• Press START/STOP to play back the other tracks, if
already recorded, and practice on the keyboard.
• When you have finished practicing, press START/
STOP to stop the arranger, and unmute the track by
pressing both VOLUME/VALUE buttons; the track will
be in record again.
While the status icon is flashing, press START/STOP to
begin recording. Depending on the “Metro” (metronome) option you selected, a 1- or 2-bars precount may
play before the recording actually begins. When it
begins, play freely. The pattern will last for some measures, according to the RecLen value, then restart.
Since the recording will happen in overdub, you can add
notes on any following passage. This is very useful to
record different percussive instruments at any cycle on a
Drum or Percussion track.
Note: While recording, the track’s Keyboard Range (see
page 68) is ignored, and the track can play over the whole
keyboard range. The Local parameter (see “Local” on
Style Record mode
Style Record procedure
page 127) is also automatically set to On, to allow playing
on the keyboard.
8. When finished recording, press START/STOP to stop
the arranger. Select a different track, and go on recording the whole Chord Variation.
Note: You can select a different track only when the
arranger is not running.
9. When finished recording the Chord Variation, select a
different Chord Variation or Style Element to go on
recording the whole Style.
10. When finished recording the new Style, press WRITE or
RECORD to save it in memory. The Write page will
appear:
3.
4.
59
Assign a Program to each track, by using the PROGRAM/PERFORMANCE section.
Press START/STOP to turn on its LED and enter the
Step Record page. (See “Step Record page” on page 57
for more information on each parameter of this page).
Previous event
Event to be inserted
Step V1-CV1 T:DR
(a)
M---.--.--- Empty
(b)
M001.01.000 Meter: 4/4
-key?
Current position
Write to
V:64
D:85%
Step value
Waiting for a keystroke…
Style name: NewBossa
To: U1-01 Bossa
Abort
• To change the Style’s name: press the right A VOLUME/VALUE button to enter editing, and modify the
name using the UP/DOWN buttons to move the cursor,
and the DIAL to select a character. Press INSERT to
insert a character at the cursor position, or DELETE to
delete it.
• To select a different location in memory, press one of
the B VOLUME/VALUE buttons, then select a location
with these buttons or the TEMPO/VALUE controls.
Press ENTER to confirm, or one of the D (Abort) VOLUME/VALUE buttons to abort the save. The “Are you
sure?” message will appear in the display. Press ENTER
to confirm, EXIT to abort. After pressing ENTER, you
will exit from the Record mode.
If you press EXIT while in the Write page, you will go
back to the previous Style Record page, without any
change.
5.
6.
7.
Step Record procedure
1.
When still in the Main page of the Style Record mode,
press one of the E VOLUME/VALUE buttons, to select
the “R” parameter. Use these buttons, or the TEMPO/
VALUE controls, to select the “Stp” recording mode.
2.
Press TRK SELECT to switch to the Style Tracks page.
Here you can assign the right Program to each Style
track. (For more details, see “Style Tracks page” on
page 56).
R:Stp
8.
NewBossa |V1-CV1
Brush 2
Piano01
Perc Kit
Guitar01
*AcouBass
StrngEns2
AcouPiano2
VoxPad1
9.
The first two lines (a) are the latest inserted event. The
last two lines (b) are the event currently in edit, ready to
be inserted.
The “Empty” event marks the beginning of the pattern,
when there are no events inserted. It is automatically
inserted when entering the Record mode. It will be
removed when an event is inserted.
The “Maaa.bb.ccc” parameter in (b) is the current position. This is the place where the note in edit will be
inserted.
• If you don’t want to insert a note at this position,
insert a rest instead, as shown in step 7.
• To jump to the next measure, filling the remaining
beats with rests, press the >> button.
To change the step value, use the NOTE VALUE buttons,
on the lower left area of the control panel.
Insert a note, rest or chord at the current position.
• To insert a single note, just play it on the keyboard. The
inserted note length will match the step length. You may
change the velocity and relative duration of the note, by
editing the V (Velocity) and D (Duration) parameters.
See “V (Velocity)” and “D (Duration)” on page 57.
• To insert a rest, just press the REST button. Its length
will match the step value.
• To tie the note to be inserted to the previous one, press
the TIE button. A note will be inserted, tied to the previous one, with exactly the same name. You don’t need to
play it on the keyboard again.
• To insert a chord or a second voice, see “Chords and
second voices in Step Record mode” below.
After inserting a new event, you may go back by pressing
the < button. This will delete the previously inserted
event, and set the step in edit again.
When the end of the pattern is reached, the “End Loop”
(End of Loop) event is shown in the first two lines of the
display (a), and the recording restarts from the
“M001.01.000” position. Any note exceeding the pattern
length, inserted at its end, will be reduced to fit the total
length of the pattern.
Style Record mode
Style Record procedure
4. Press the third note, then release all notes.
Inserting a second voice. You can insert passages where one
note is kept pressed, and another voice moves freely.
Ex. 1:
At this point, you may go on, inserting new events in
overdub mode (the previously inserted events will not
be deleted). This is very useful when recording a drum
or percussion track, where you may want to record the
bass drum on a first cycle, the snare drum on the second
cycle, and the hi-hat and cymbals during the following
cycles.
10. When finished recording, press START/STOP to turn off
its LED. The Main page of the Style Record mode
appears.
Step Time =
On
Press E and C
NewBossa
Resol:
Meter:4/4
C
NTT:5th
maj7
Step Time =
RL:2
Metro:On1
On
Press G
When exiting, the “RT” recording mode is automatically selected. You may press START/STOP to listen to
the Style. Press START/STOP again to stop the playback.
To enter the Step Record mode again, select the “Stp”
recording mode, and press START/STOP.
11. From the Main page of the Style Record mode, press
RECORD to exit the Record mode. You will be
prompted to assign a new name to the Style, and select a
memory location where to save it. See “The Write window” on page 54 for information on how to save a Style.
Off
Release G and C
Ex.2:
Step Time =
CV Len:16
Off
Release E (continue holding C)
|T:DR
E:V1 CV:CV1 R:RT
60
Step Time =
Tie
On
Press C
On
Press G (continue holding C)
Off
Release G and C
Ex.3:
Chords and second voices in Step Record
mode
With Pa50, you are not obliged to insert single notes in a
track. There are several ways to insert chords and double
voices. Lets look at some.
Inserting a chord. When the “key?” prompt appears in the
display, play a chord instead of a single note. The event’s
name will be the first note of the chord you pressed, followed
by the “…” marking.
C4 ,
V:64
D:85%
Inserting a chord with notes with different velocity values.
You can make the upper or lower note of a chord, for example, louder than the remaining ones, to make the most
important note emerge from the chord. Here is how to insert
a three-note chord:
1. Edit the Velocity value of the first note.
2. Press the first note and keep it pressed.
3. Edit the Velocity value of the second note.
4. Press the second note and keep it pressed.
5. Edit the Velocity value of the third note.
Step Time =
On
Press F and C
Step Time =
Off
Release F
(continue holding C)
Step Time =
Off
Release G
(continue holding C)
Step Time =
On
Press E
(continue holding C)
Step Time =
On
Press G
(continue holding C)
Step Time =
On
Press D
(continue holding C)
Step Time =
Off
Release E and C
Step Time =
Off
Release D
(continue holding C)
Style Record mode
Menu
MENU
61
All edit pages share the same structure.
From any page of the Style Record mode, press MENU to
open the Style Record edit menu. This menu gives access
to the various Style Record edit sections.
Note: While the Style is in play, you cannot access the Edit section pages from the Main page and the Style Tracks page (see
page 55 and page 56). Stop the playback before pressing MENU.
When in the menu, select an edit section using the VOLUME/VALUE (A-H) buttons, select an edit page using
PAGE +, or press EXIT to exit the menu.
When in an edit page, press EXIT to go back to the main
page (or the Style Tracks page) of the Style Record mode.
Style Play icon
Page header
Page number
Edit:Quantize
E:V1 CV:CV1 Trk:All
Resol:
S001-01-000 E001-01-192
Bottom:G-1
Top:C8
Style Play icon
When on, this icon indicates that the instrument is in Style
Play mode.
Page header
Record MENU
Quantize
Copy
Transp/Vel. S.Elem.Ctl.
Event Edit
Style Ctl.
Delete
Each item in this menu corresponds to an edit section.
Each edit section groups various edit pages.
Note: When switching from the Edit section pages (Quantize,
Transpose, Velocity, Delete) to the other pages, or vice-versa, the
Style (if in play) is automatically stopped.
EDIT PAGE STRUCTURE
Select an edit section from the Menu, and/or use the PAGE
buttons to reach the desired page.
Press EXIT to go back to the main page of the Style Record
mode.
The header shows the name of the current edit page. As a
general rule, the header is divided in a first word, identifying
the section name (e.g., “Edit:Quantize” is an “Edit” section
page), and a second word, referring to the page name (e.g.
“Quantize”).
Section name
Page name
Edit:Quantize
Page number
This area shows the current page number.
A-H
Each pair of VOLUME/VALUE (A-H) buttons selects a different parameter of command, depending on the edit page.
After selecting a parameter, you can change its value by pressing one of the two buttons in a pair, or using the TEMPO/
VALUE controls.
62
Style Record mode
Page 1 - Edit: Quantize
PAGE 1 - EDIT: QUANTIZE
The quantize function may be used to correct any rhythm
error after recording, or to give the pattern a “groovy” feeling.
Bottom and Top parameters, you can select a single percussive instrument in a Drum or Percussion track.
Note: These parameters are available only when a Drum or
Percussion track is selected.
PAGE 2 - EDIT: TRANSPOSE
Edit:Quantize
E:V1 CV:CV1 Trk:All
Resol:
S001-01-000 E001-01-192
Bottom:G-1
Top:C8
In this page you can transpose the selected track(s).
Note: After transposing, please don’t forget to readjust the
“Original Key/Chord” parameter in the Style Record page (see
page 56).
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
Edit:Transpose
E:V1 CV:CV1 Trk:DRUM
E/CV (Style Element/Chord Variation)
(Non editable) These read-only parameters show which Style
Element and Chord Variation are currently selected for editing. See the Main page “E (Style Element)” and “CV (Chord
Variation)” parameters on page 55 for information on selecting a different Style Element and Chord Variation.
Trk (Track)
Use this parameter to select a track.
All
All tracks selected.
Drum…Acc5 Selected track.
Resol (Resolution)
This parameter sets the quantization after recording. For
example, when you select 1/8a, all notes are moved to the
nearest 1/8 division. When you select 1/4, all notes are moved
to the nearest 1/4 division.
No quantization
1/8
Value:+000
S001-01-000 E001-01-192
Bottom:G-1
Top:C8
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
E/CV (Style Element/Chord Variation)
(Non editable) These read-only parameters show which Style
Element and Chord Variation are currently selected for editing. See the Main page “E (Style Element)” and “CV (Chord
Variation)” parameters on page 55 for information on selecting a different Style Element and Chord Variation.
Trk (Track)
Use this parameter to select a track.
All
All tracks selected, apart for tracks set in Drum
mode (like the Drum and Percussion tracks).
The whole selected Chord Variation will be
transposed.
Drum…Acc5 Single selected track.
Value
1/4
Transpose value (±127 semitones).
S / E (Start/End)
(1/32)… (1/4)
Grid resolution, in musical values. An “a” after
the value means no swing. A “b…f ” after the
value means swing-quantization.
S / E (Start/End)
Use these parameters to set the starting (S) and ending (E)
points of the range to quantize.
If a Chord Variation is four measures long, and you want to
select it all, the Start will be positioned at 1.01.000, and the
End at 5.01.000.
Bottom / Top
Use these parameters to set the bottom and top of the keyboard range to quantize. If you select the same note as the
Use these parameters to set the starting (S) and ending (E)
points of the range to be transposed.
If a Chord Variation is four measures long, and you want to
select it all, the Start will be positioned at 1.01.000, and the
End at 5.01.000.
Bottom / Top
Use these parameters to set the bottom and top of the keyboard range to be transposed. If you select the same note as
the Bottom and Top parameters, you can select a single percussive instrument in a Drum or Percussion track. Since in a
Drum Kit each instrument is assigned to a different note of
the scale, transposing a percussive instrument means assigning the part to a different instrument.
Note: These parameters are available only when a Drum or
Style Record mode
Page 3 - Edit: Velocity
PAGE 3 - EDIT: VELOCITY
63
Trk (Track)
In this page you can change the velocity (dynamics) value of
notes in the selected track.
Track in edit. To select a different track, press one of the A
VOLUME/VALUE buttons to open the Go To Track window.
Go to Track: DRUM
Enter=Ok
Edit:Velocity
EV1 CV:CV1
Use the TEMPO/VALUE controls to select a track, and press
ENTER to confirm, or EXIT to abort.
Trk:DRUM
Value:+000
E/CV (Style Element/Chord Variation)
S001-01-000 E001-01-192
Bottom:G-1
Exit=Cancel
Top:C8
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
E/CV (Style Element/Chord Variation)
(Non editable) These read-only parameters show which Style
Element and Chord Variation are currently selected for editing. See the Main page “E (Style Element)” and “CV (Chord
Variation)” parameters on page 55 for information on selecting a different Style Element and Chord Variation.
Trk (Track)
Use this parameter to select a track.
All
All tracks selected. The velocity for all notes of
the whole selected Chord Variation will be
changed.
Drum…Acc5 Selected track.
Selected Style Element and Chord Variation. This parameter
can’t be edited. To select a different Style Element and Chord
Variation, press EXIT to go back to the Main page of the Style
Record mode (see “Main page” on page 55).
Position
Position of the event shown in the display, expressed in the
form ‘aaa.bb.ccc’:
•
‘aaa’ is the measure
•
‘bb’ is the beat
•
‘ccc’ is the tick (each quarter beat = 384 ticks)
You can edit this parameter to move the event to a different
position.
Ev (Event)
Type and values of the event shown in the display. Depending
on the selected event, the value may change. This parameter
also shows the (non-editable) “End Loop” marking, when the
end of a track is reached.
Value
Velocity change value (±127).
S / E (Start/End)
Use these parameters to set the starting (S) and ending (E)
points of the range to be modified.
If a Chord Variation is four measures long, and you want to
select it all, the Start will be positioned at 1.01.000, and the
End at 5.01.000.
Bottom / Top
Use these parameters to set the bottom and top of the keyboard range to be modified. If you select the same note as the
Bottom and Top parameters, you can select a single percussive instrument in a Drum or Percussion track.
Note: These parameters are available only when a Drum or
Percussion track is selected.
PAGE 4 - EVENT EDIT
The Event Edit page allows you to edit each event in a single
track. See “Event Edit procedure” on page 64 for more information on the event editing procedure.
Event
First value
Second value
Note
Note name
Velocity
Ctrl
Control Change number
Control Change value
Bend
Bending value
–
To change the event type, use the C VOLUME/VALUE buttons to select the Event line, then use the same buttons or the
TEMPO/VALUE controls to select a different event type.
To select and edit the event’s value, use the F3 and F4 function keys, and use the G/VOLUME/VALUE buttons or the
TEMPO/VALUE controls.
Length
Length of the selected Note event. The value format is the
same as the Position value.
Note: If you change a length of “000.00.000” to a different
value, you can’t go back to the original value. This rather
uncommon zero-length value may be found in some drum or
percussion tracks.
Transport, navigation and editing controls
E/F and H VOLUME/VALUE buttons
Event Edit
Trk: DRUM
E:V1 CV:CV1
Position: 001.01.000
Ev: Note
F#2
Lenght:000.00.000
Event Type
First value
These buttons are the “Scroll to previous event” (E/F) and
“Scroll to next event” (H) controls. They corresponds to the
scrolling arrows shown on the screen.
|
G VOLUME/VALUE buttons
|
Use these buttons to select the corresponding parameter
value area.
72
Second value
64
Style Record mode
Page 5 - Event Filter
F3 and F4 buttons
After selecting the parameter value area with the G VOLUME/VALUE buttons, use these buttons to select, respectively, the first and second value of the event in edit.
Control function
CC# (Control Change Number)
Damper
64
Filter Resonance
71
START/STOP button
Low Pass Filter Cutoff
74
Press START/STOP and play some chords on the keyboard to
test the pattern in edit. Press START/STOP again to stop the
pattern running.
CC#80
80
CC#81
81
CC#82
82
SHIFT + << or >>
Keep the SHIFT button pressed and press the << or >> button to open the Go to Measure window.
Go to Measure: 1
Enter=Ok
(a) Expression events cannot be inserted at the starting Position
(001.01.000). An Expression value is already among the default
“header” parameters of the Style Element.
Bend
Pitch Bend events.
Exit=Cancel
Use the TEMPO/VALUE controls to select a measure, then
press ENTER to confirm, or EXIT to abort.
INSERT
Press the INSERT button to insert a new event at the current
shown Position. The default values are Type = Note, Pitch =
C4, Velocity = 100, Length = 192.
After inserting an event, use the C VOLUME/VALUE buttons
to select the Event line, and the same buttons or the TEMPO/
VALUE controls to select a different event type.
DELETE
EVENT EDIT PROCEDURE
The Event Edit is the page where you can edit each single
MIDI event of the selected Style Element. You can, for example, replace a note with a different one, or change its playing
strength (i.e., velocity value). Here is the general event editing
procedure.
1. Select the Style to edit, and press RECORD. Select the
“Current Style” option to enter recording. The LED on
the RECORD button will turn on, and the Main page of
the Style Record mode will appear.
Style Element
Press the DELETE button to delete the event shown in the
display.
PAGE 5 - EVENT FILTER
NewBossa
This page is where you can select the event types to be shown
in the Event Edit page. You can access this page by pressing
the PAGE+ button, while you are in the Event Edit page.
CV Len:16
2.
Aftt: Off
Prog: Off
PAft: Off
Ctrl: Off
Bend: Off
T/Meter: Off SysEx: Off
Turn Off the filter for all event types you wish to see in the
Event Edit page.
Note: Some of the events are “ghosted”, and non editable, since
the corresponding events are not editable in a Style.
Note
Notes.
Ctrl
Control Change events. Only the following
Control Change numbers are allowed.
3.
Meter:4/4
C
NTT:5th
maj7
Use the A VOLUME/VALUE buttons, and the F1 and F2
function keys to select the E (Style Element) and CV
(Chord Variation) parameters.
Note: For more information on the Style Elements and
Chord Variations, and the Style structure in general, see
“The Style’s structure” on page 52.
Press MENU, and use the VOLUME/VALUE (A-H) buttons to select the Event Edit section. The Event Edit page
appears (see “Page 4 - Event Edit” on page 63 for more
information).
Event Edit
Ev: Ctrl
1
Modulation 2
2
Pan
10
Expression(a)
11
CC#12
12
CC#13
13
E:V1 CV:CV1
Position: 001.01.000
CC# (Control Change Number)
Modulation 1
RL:2
Metro:On1
Resol:
Trk: DRUM
Control function
|T:DR
e:v1 cv:cv1 R:RT
Edit: Ev. Filter
Note: Off
Chord Variation
11
|
110
|
4.
5.
Press START/STOP to listen to the selected Chord Variation. If you like, play some chords on the keyboard, to
test the pattern. Press START/STOP to stop it.
Press PAGE+ to go to the Event Filter page, and turn
“Off ” the filters for the event types you wish to see in the
Style Record mode
Event Edit procedure
display (see “Page 5 - Event Filter” on page 64 for more
information).
buttons or the TEMPO/VALUE controls to modify the
selected value.
Ev: Note
Event Type
Edit: Ev. Filter
Note: Off
Aftt: Off
Prog: Off
PAft: Off
Ctrl: Off
Bend: Off
Go to Track: DRUM
8.
Exit=Cancel
Use the TEMPO/VALUE controls to select a track, and
press ENTER to confirm (or EXIT to abort).
The list of events contained in the selected track (in the
Style Element and Chord Variation selected on step 2)
will appear in the display. The first step, or Measure
Start, is currently shown. Since it contains an initialization event, it is not editable and appears “in grey” (i.e.,
written with a “ghost” character).
Position: 001.01.000
Ev: Ctrl
9.
11
First value
72
Second value
buttons to select the Length line, and use the same buttons, or the TEMPO/VALUE controls, to change the
event’s length.
Press PAGE- to go back to the Event Edit page.
Press the A VOLUME/VALUE button (Trk), to select the
track to edit. The Go To Track window appears.
Enter=Ok
F#2
12. If a Note event is selected, use the D VOLUME/VALUE
T/Meter: Off SysEx: Off
6.
7.
65
|
110
|
Press one of the H VOLUME VALUE buttons
(Scroll
Down arrow), to go to the next step. This is usually a
note, that you can edit.
Lenght:000.00.000
Measure
Beat
Tick
• After having modified the shown event, you may scroll
to the next event with the H VOLUME/VALUE buttons
(Scroll to next), or to the previous event with the E/F
VOLUME/VALUE buttons (Scroll to previous).
• You may use the SHIFT + << or >> shortcut to go to a
different measure (see “SHIFT + << or >>” on page 64)
• As described in step 4, you may press START/STOP
and play some chords to listen how the pattern sounds
after your changes. Press START/STOP again to stop the
pattern running.
13. Use the INSERT button to insert an event at the Position
shown in the display (a Note event with default values
will be inserted). Use the DELETE button to delete the
event shown in the display.
14. When the editing is complete, you may select a different
track (go to step 7), or a different Style Element and
Chord Variation (press EXIT to go back to the Main
page of the Style Record mode, then go to step 2).
15. When finished editing the whole Style, press WRITE to
open the Write Style page.
Event Edit
Trk: DRUM
E:V1 CV:CV1
Position: 001.01.000
Ev: Note
F#2
|
72
Lenght:000.00.000
WRITE to:
|
Style name: Groove Bld
To: U01-01
For more information on the event types and their values, see “Page 4 - Event Edit” on page 63.
10. Use the B VOLUME/VALUE buttons to select the Position line. Use these buttons or the TEMPO/VALUE controls to change the event’s position.
Position: 001.01.001
Measure
Beat
Tick
11. Use the C VOLUME/VALUE buttons to select the Event
line. You may use the C VOLUME/VALUE buttons or
the TEMPO/VALUE controls to change the event type.
Use the G VOLUME/VALUE buttons, and the F3 and F4
function keys to respectively select the first and second
value of the parameter. Use the G VOLUME/VALUE
Foxtrot 3
Abort
• Use the A or E VOLUME/VALUE buttons to enter the
Text Editing mode. Use the UP and DOWN buttons to
move the cursor, and the dial to select a character.
• Use the B VOLUME/VALUE buttons to select a target
location. The name of the Style already existing at the
selected location is shown after the Style Bank-Location
number.
Warning: If you select an existing Style and confirm writing, the older Style is deleted and replaced by the new one.
Save the Styles you don’t want to loose on disk, before overwriting them.
16. Press ENTER to save the Style to the internal memory,
or one of the D VOLUME/VALUE buttons (Abort) to
delete any changes made in Style Record mode. When
the “Are you sure?” message appears, press ENTER to
confirm, or EXIT to go back to the Write Style page.
66
Style Record mode
Page 6 - Edit: Delete
PAGE 6 - EDIT: DELETE
This page is where you can delete single elements or MIDI
events out of the Style.
Edit:Delete
E:V1 CV:CV1 Trk:All
Ev:Note
Note: Some CC data are automatically removed
during recording. See the table on page 54 for
more information on the allowed data.
S / E (Start/End)
Use these parameters to set the starting (S) and ending (E)
points of the range to delete.
If a Chord Variation is four measures long, and you want to
select it all, the Start will be positioned at 1.01.000, and the
End at 5.01.000.
S001-01-000 E001-01-192
Bottom / Top
Bottom:G-1
Use these parameters to set the bottom and top of the keyboard range to delete. If you select the same note as the Bottom and Top parameters, you can select a single percussive
instrument in a Drum or Percussion track.
Note: These parameters are available only when the All or Note
option is selected.
Top:C8
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
E/CV (Style Element/Chord Variation)
(Non editable) These read-only parameters show which Style
Element and Chord Variation are currently selected for editing. See the Main page “E (Style Element)” and “CV (Chord
Variation)” parameters on page 55 for information on selecting a different Style Element and Chord Variation.
PAGE 7 - EDIT: DELETE ALL
This function lets you quickly delete a selected Style Element
or Chord Variation, or the whole Style, resetting it to the
default parameter’s values.
Trk (Track)
Use this parameter to select a track.
All
All tracks selected. After deletion, the selected
Chord Variation will remain empty.
Drum…Acc5 Selected track.
Edit:Delete All
Del:V1-CV1
Trk:All
Ev (Event)
Type of MIDI event to delete.
All
All events. The measures are not removed from
the Chord Variation.
Note
All notes in the selected range.
Dup.Note
All duplicate notes. When two notes with the
same pitch are encountered on the same tick,
the one with the lowest velocity is deleted.
A.Touch
After Touch events.
Note: This kind of data is automatically removed
during recording.
P.Bend
Pitch Bend events.
PrChange
Program Change events, excluding the bundled Control Change #00 (Bank Select MSB)
and #32 (Bank Select LSB).
Note: This kind of data is automatically removed
during recording.
C.Change
All Control Change events, for example Bank
Select, Modulation, Damper, Soft Pedal…
CC00/32…CC127
Single Control Change events. Double Control
Change numbers (like 00/32) are MSB/LSB
bundles.
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
When in this page, press the corresponding button on the
control panel to select a Style Element (VARIATION1 …
ENDING2).
Del (Delete)
Use this parameter to select the whole Style, a single Style
Element, or a single Chord Variation.
All
All Style Elements, i.e. the whole Style. When
Del=All and Trk=All, the whole Style is
deleted, and all parameters set to the default
status.
Var1…End2 Single Style Element.
V1-CV1…E2-CV2
Single Chord Variation.
Trk (Track)
All
All tracks of the selected Style, Style Element or
Chord Variation.
Drum-Acc5 Single track of the selected Style, Style Element
or Chord Variation.
Style Record mode
Page 8 - Edit: Copy
PAGE 8 - EDIT: COPY
Here you can copy a track, Chord Variation or Style Element
inside the same Style, or from a different one. Furthermore,
you can copy a whole Style.
Warning: The Copy operation deletes all data at the target
location (overwrite).
67
Copying on a Chord Variation with a different
length
You can copy a Chord Element on a different Chord Element
with a different length. Just keep in mind the following:
•
If the source length is a divider of the target length, the
source Chord Variation will be multiplied to fit the target Chord Variation. For example, if the source is 4measures long, and the target 8-measures, the source
will be copied two times.
Edit:Copy
1 2 3 4
From:S01-01 8BeatMax
From:V1-CV1 To:V1-CV2
FromTrk:DR
ToTrk:DR
1 2 3 4 1 2 3 4
•
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
Note: If you copy too many events on the same “tick”, the “Too
many events!” message appears, and the copy operation is
aborted.
Note: When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Programs
unchanged for that Chord Variation.
When in this page, press the corresponding button on the
control panel to select a Style Element (VARIATION1 …
ENDING2).
From Style
Use the first parameter to select the source Style to copy the
track, Chord Variation or Style Element from.
From… to Style Element/Chord Variation
Use these parameters to select the source and target Style Elements or Chord Variations.
Note: You can’t copy from a Variation to a different Style Element (or vice-versa), because of their different structure.
All
All Style Elements, i.e. the whole Style. You
can’t change the target, that is automatically set
to All.
Var1…End2 Single Style Element.
V1-CV1…E2-CV2
Single Chord Variation.
If the source length is not a divider of the target length,
the source Chord Variation will be copied for as many
measures as can fit the target Chord Variation. For
example, if the source is 6-measures long, and the target
8-measures, the source will be copied once, then the fist
2 measures will be copied to fit the remaining 2 measures.
1 2 3 4 5 6
1 2 3 4 5 6 1 2
Note: Avoid copying on a Chord Variation with a different
meter, for example a 4/4 Chord Variation onto a 3/4 one.
PAGE 9 - STYLE ELEMENT CONTROLS:
PROGRAMS
In this page you can assign a different Program to each track
of the selected Style Element. Each Style Element can have
different Programs; after saving the new Style, please don’t
forget to set the “Prog” parameter to “Original” (see “Prog
(Program)” on page 49), to let the Style select the Program
bypassing the Style Performance settings.
SECtl:Program V1
From… to Track
Use these parameters to select the source and target track to
copy.
All
All tracks of the selected Style, Style Element or
Chord Variation.
Drum-Acc5 Single track of the selected Style, Style Element
or Chord Variation.
StandardDK
Jazz GT
PercKit 1
Brass
FingerBass
Vibes
Ac.Piano
VoxPad
When in this page, press the corresponding button on the
control panel to select a Style Element (VARIATION1 …
ENDING2).
To copy the settings of this page to another Style Element,
keep the SHIFT button pressed, and press the button of the
target Style Element.
Program
Use the PROGRAM/PERFORMANCE section to assign a
Program to the selected track.
68
Style Record mode
Page 10 - Style Element Controls: Expression
PAGE 10 - STYLE ELEMENT CONTROLS:
EXPRESSION
In this page you can modify the Expression (CC#11) value
for each of the Style tracks. This lets you reduce the relative
level of a track in a single Style Element, without reducing the
overall Volume of the Style.
This is a very useful control, when you have different Programs assigned to the same track in different Style Elements,
and the internal level of these Programs is different.
Bottom/Top
Use these parameters to set the bottom and top of the keyboard range for the corresponding track.
PAGE 12 - STYLE ELEMENT CONTROLS: CHORD
VARIATION TABLE
This is the page where you can assign a Chord Variation to
each recognized chord. When a chord is recognized, the
assigned Chord Variation will be automatically selected by
the arranger to play the accompaniment.
SECtl:Express.V1
Value: 100
Value: 100
Value: 100
Value: 100
Value: 100
Value: 100
Value: 100
Value: 100
SECtl:ChTable V1
When in this page, press the corresponding button on the
control panel to select a Style Element (VARIATION1 …
ENDING2).
To copy the settings of this page to another Style Element,
keep the SHIFT button pressed, and press the button of the
target Style Element.
Value
Use this parameter to set the Expression value for the corresponding track.
PAGE 11 - STYLE ELEMENT CONTROLS:
KEYBOARD RANGE
The Keyboard Range automatically transposes any pattern
note that would otherwise play too high or too low in pitch,
compared to the original acoustic instrument, when transposed by the arranger. This will result in a more natural
sound for each accompaniment instrument.
For example, the lower limit for a guitar is E2. If you play a
chord under the E2, the transposed pattern could exceed this
limit, and sound unnatural. A Bottom limit set to E2 for the
guitar track will solve the problem.
Major:
CV1
Minor:
CV2
Seventh:
CV1
Maj7th:
CV2
When in this page, press the corresponding button on the
control panel to select a Style Element (VARIATION1 …
ENDING2).
E-F (Scroll Up), G-H (Scroll Down)
Use these buttons to scroll the available parameters in the display.
Chords / Chord Variation
Use these parameters to assign a Chord Variation to each of
the enlisted chords.
PAGE 13 - STYLE CONTROLS: MODE/TENSION
In this page you can set the Retrigger mode for the Style
tracks, and activate/deactivate the Tension for the Accompaniment tracks.
StCtl:Mode/Tens
- - - - - - M:Off T:On
- - - - - - M:Rt
T:On
M:Rp
M:Rp
T:On
M:Rp
T:Off
M:Rt
SECtl:KbdRng
- - - - - - C-1
G#9
- - - - - - C-1
G#9
C-1
G#9
C-1
G#9
C-1
G#9
C-1
G#9
Bottom
V1
Top
Note: The Keyboard Range is ignored while recording. The
selected track can play on the full range of the keyboard.
When in this page, press the corresponding button on the
control panel to select a Style Element (VARIATION1 …
ENDING2).
To copy the settings of this page to another Style Element,
keep the SHIFT button pressed, and press the button of the
target Style Element.
T:On
When in this page, press the corresponding button on the
control panel to select a Style Element (VARIATION1 …
ENDING2).
M (Mode)
This setting harmonizes the notes of the Bass track or the
Acc1-5 tracks to the new chord when the chord is changed.
Off
Each time you play a new chord, the current
notes will be stopped. The track will remain
silent until a new note will be encountered in
the pattern.
Rt
(Retrigger) The sound will be stopped, and
new notes matching the recognized chord will
be played back.
Rp
(Repitch) New notes matching the recognized
chord will be played back, by repitching notes
already playing. There will be no break in the
Style Record mode
Page 13 - Style Controls: Mode/Tension
sound. This is very useful on Guitar and Bass
tracks.
T (Tension)
Tension adds notes (a 9th, 11th and/or 13th) that have actually been played to the accompaniment, even if they haven't
been written in the Style pattern. This parameter specifies
69
whether or not the Tension included in the recognized chord
will be added to the Acc1-5 tracks.
On
The Tension will be added.
Off
No Tension will be added.
70
Song Play operating mode
The Songs and the Standard MIDI File format
11. SONG PLAY OPERATING MODE
The Song Play operating mode is where you can listen to
Songs (played directly from disk), and play along with the
Song on the four Realtime (Keyboard) tracks (Upper 1-3,
Lower). Since the Pa50 is equipped with two onboard
sequencers, you can play two Songs at the same time. This is
very useful to mix between two Songs during a live performance.
SELECTING A SONG
PROGRESSIVE NUMBER
THE SONGS AND THE STANDARD MIDI FILE
FORMAT
While in the Main, Song Select, or Lyrics page, the STYLE
section doubles as a numeric keypad. You can use it for composing the 4-digit number corresponding to the Song you
wish to select; the folder selected in the Song Select page will
become the current folder. This way, you can speed up the
Song retrieval.
The native Song file format of the Pa50 is the Standard MIDI
File (SMF), an universal standard set by all manufacturers.
You can read these files with any musical instrument or computer.
A difference could be in the sound played by each track. If
you recorded a Song with the Pa50 (Song mode), using only
General MIDI programs, you can play the same Song on virtually any other musical instrument or computer. If you used
KORG native programs, you cannot reproduce the same
sounds on instruments from other brands.
When you read SMFs in Song Play mode, there is no problem
reading files made using only General MIDI sounds. Sounds
could be different when playing a Song made on a different
instrument: despite the wide compatibility of Pa50 with
other, non-standard formats, differences may arise.
If so, go to the Song operating mode and load the SMF. Then,
manually reassign the non-matching Programs, replacing
them with similar Programs on the Pa50. Then, save the SMF
again, and you will be able to play it in Song Play mode with
the correct Programs.
TRANSPORT CONTROLS
You can use the separate transport controls for each of the
two onboard sequencers. Use the SEQ1 controls for
Sequencer 1, and SEQ2 controls for Sequencer 2. See
“SEQUENCER TRANSPORT CONTROLS - SEQ1 and
SEQ2” on page 18 for more information).
MIDI CLOCK
In Song Play mode the MIDI Clock is always generated by the
internal sequencer, even if the Clock parameter is set to
External (see “Clock” on page 127). Pa50 transmits only the
MIDI Clock message generated by Sequencer 1.
SWITCHING BETWEEN SEQUENCERS DURING
EDITING
When you enter Edit mode, you can edit the selected
sequencer’s parameters. Go to the main page of Song Play
mode, and select the S1 (A buttons) or S2 (B buttons) to
select the sequencer you wish to edit (see “Main page” on
page 72).
COMPOSING
ITS
Each Song on disk (up to 9,999) has a progressive number
assigned. You can see this number before the Song’s name in
the Song Select page.
0001 MYSONG.MID
Selecting a Song in the Song Select page
1.
2.
3.
Open the Song Select page.
Select the disk and open the folder containing the Song
to be selected. This folder will be used also in the Main
and Lyrics page.
Compose the 4-digit number corresponding to the Song
you wish to select (for example: if the Song is number
“1043”, dial 1, 0, 4, 3).
Song number:
000-
•
After the fourth digit has been inserted, the window
automatically disappears, and the Song is selected.
If the Song number is just 1, 2 or 3-digit long, dial the
number, then press ENTER to confirm (for example: if
the Song is number “52”, dial 5, 2, ENTER).
Note: If no Song corresponds to the dialed number, the
“Song not available” message appears. Press any button to
make it disappear.
Selecting a Song in the Main page
While the S1 or S2 field is selected, compose the number
corresponding to the Song you wish to select. The current
folder is the one selected in the Song Select page.
Selecting a Song in the Lyrics page
Compose the number corresponding to the Song you wish
to select. The current folder is the one selected in the Song
Select page.
REALTIME AND SEQUENCER TRACKS
The Pa50 is equipped with a double sequencer. Each Song
can play a maximum of 16 tracks, for a total of 32 sequencer
tracks.
In addition, you can play on the keyboard with four additional Realtime tracks (Upper 1-3 and Lower). You can edit
the Volume, Mute status, and Program selection for these
tracks on the main page of the Song Play mode.
When you enter Song Play mode from the Style Play mode,
the Realtime tracks are the same as the Style Play mode. A
Song Play operating mode
Master Volume, Sequencer Volume, BALANCE
quick way to select Programs and Effects for the Realtime
tracks is choosing a different Performance.
MASTER VOLUME, SEQUENCER VOLUME,
BALANCE
While the MASTER VOLUME slider controls the general volume of the instrument, you can use the ACC/SEQ VOLUME
slider to control only the Sequencer’s tracks volume. This lets
you adjust the Sequencer’s volume alone, while the Realtime
(Keyboard) tracks are not affected by this slider.
Use the BALANCE slider to mix between Sequencer 1 and
Sequencer 2. Move it to the center for the maximum volume
of both sequencers.
EFFECTS IN SONG PLAY MODE
The Pa50 is equipped with four effect processors, or DSPs
(Digital Signal Processors). In Song Play mode you can have
two or four effects at the same time, depending on the midifile you are reading.
Note: When playing back a Song that makes use of all four
effects (A-D), you can’t edit any parameter devoted to the
effects. These parameters appear greyed out in the display.
•
A Song created on the Pa50 (in Song or Backing
Sequence mode) can use up to 4 effects (usually 2
reverbs + 2 modulating effects); each track may use the
A/B or C/D pair.
•
A Standard MIDI File will only use 2 effects (usually 1
reverb + 1 modulating effect). This lets you use the
remaining 2 effects for the Realtime tracks.
•
When using both sequencers at the same time, and the
“S2 FX Mode” is set to “A/B Mode” (see page 80), they
only use the A/B pair, while the C/D pair is reserved to
the Realtime (keyboard tracks).
•
When using both sequencers at the same time, and the
“S2 FX Mode” is set to “C/D Mode” (see page 80),
Sequencer 1 uses the A/B pair, while Sequencer 2 uses
the C/D pair, sharing it with the Realtime (keyboard
tracks).
GROOVE QUANTIZE WINDOW
You can apply a realtime “groove-quantization” to Sequencer
1. Groove-quantization is a way of changing the music
groove during the playback, moving notes to the nearest axis
of a rhythmic “grid”. Please feel free to experiment: this function is a great source of musical invention.
While in Song Play, press G.QUANTIZE. The following window will appear.
Groove Quantize
71
Enable
Enables/disable the quantize. It is automatically set to Off
each time the instrument is turned on, or when selecting a
different Song.
NStart (Note Start)
Enables/disables the quantization of the Note On event (i.e.
beginning of the note).
NDurat (Note Duration)
Enables/disables the quantization of the Note Off event (i.e.
the length of the note).
Res (Resolution)
Coarse quantize grill resolution. This parameter is the main
quantization value, to be varied with the Acc, Swing and
Window values.
(1/32)… (1/4)
Grid resolution, in musical values (a “3” after
the value means “triplet”). For example, when
you select 1/8, all notes are moved to the nearest 1/8 division. When you select 1/4, all notes
are moved to the nearest 1/4 division.
No quantization
1/8
1/4
Acc (Accuracy)
Accuracy percentage of quantize. For example, if Acc=50, and
the note is 20 tics away from the coarse grid, it is moved to
the grid of only 10 tics.
0
No accuracy. The quantize is not executed.
100
Maximum accuracy. The note is moved exactly
at the grid position.
Swing
Asymmetry of quantization. Grid axis are moved to the nearest grid axis.
0
Even-numbered axis are totally moved over the
previous odd-numbered axis.
50
Axis are perfectly equidistant.
100
Even-numbered axis are totally moved over the
following odd-numbered axis.
Swng=50
Swng=25
Swng=75
Enable:On
NStart:On
Acc(%):100
NDurat:On
Swng(%):100
Res:
Wndw(%):100
Press EXIT to exit this window.
Window
Area of quantize intervention, bordering the grid axis.
0
The quantize window corresponds to the axis.
No quantization happens.
72
Song Play operating mode
The Write window
100
The quantize window extends to the nearest
window; all events are quantized.
Win=0
Win=50
Win=100
THE WRITE WINDOW
You can save onto the internal memory a Seq1+Seq2 Setup.
There is a separate Setup for each of the two onboard
sequencers.
This Setup memorizes the Internal FX settings, the Internal/
External status of each track, and the Play/Mute status of
each track. When a new Song is selected, the saved Setup is
automatically recalled, and all parameters are reset.
•
Globally setting the Internal FX parameters allows you,
for example, to assign to all Songs a Reverb suitable for
the venue where you are performing, without having to
modify any of the Songs. (This is true only for nonPa50/80 Songs).
•
Globally setting the Internal/External status allows you,
for example, to send the Piano track of all Songs to a
dedicated expander (just set globally the Piano track to
the External mode).
•
The Play/Mute status allows you to globally mute tracks
that you don’t want to play during a show, for example
the melody track. (This is ture only for non-Pa50/80
Songs).
For more information on the Internal FX settings for the
Song Play mode, see “Page 3 - Mixer: FX send A/B” or “Page
3 - Mixer: FX send C/D”, and following, on page 76.
Here is the procedure to save the Seq1+Seq2 Setup in memory.
1. Press WRITE. The Write page appears.
WRITE:
Press 'Enter/Yes'
to memorize
the Seq 1/2 Setup
2.
Press ENTER to confirm, or EXIT to abort.
If you confirm, the Setup is saved into the Global. You
may then save this Setup on disk together with the Global data.
MAIN PAGE
Press SONG PLAY to access this page from another operating
mode.
Note: When switching from Style Play to Song Play, the Song
Setup is automatically selected, and various track parameters
may change.
Press EXIT/NO to access this page from the Menu or any of
the Song Play edit pages.
To see the Song’s tracks, use the TRACK SELECT button to
switch from the main page (showing the Realtime tracks), to
the other tracks. Pressed a first time, you will see tracks 1-8
(enlightened TRACK SELECT LED); a second press will
show tracks 9-16 (flashing TRACK SELECT LED); pressed
again, you will go back to the Realtime tracks (TRACK
SELECT LED switched off).
Selected Sequencer
Song Play icon
Page header
Measure number
No song
S1:
Piano01
S2:
Guitar01
Lyrics
StrngEns2
VoxPad1
Song select commands
Realtime (Keyboard) tracks
Song Play icon
When on, this icon shows that the instrument is in Song Play
mode.
Page header
This line shows the currently selected sequencer, and the
assigned Song (“S1:Song Name” or “S2:Song Name”).
When no Song is assigned to the current sequencer, this line
shows only the selected sequencer number (“S1:” or “S2:”,
depending on the selected sequencer).
When no sequencer or Song is selected, only the “No Song”
text appears.
Press either A (S1:) or B (S1:) to switch between Sequencer 1
and Sequencer 2. When one of the sequencers is selected, the
sequencer number is also shown at the right of the metronome Tempo.
When a Jukebox file is in play, its name appears on the page
header.
Selected Sequencer
These indicators show if the currently selected sequencer is
Seq1 or Seq2. Use the A and B VOLUME/VALUE buttons to
select a sequencer.
Song Play operating mode
Tracks 1-8 page
Bar number
This counter shows the current bar number position of the
selected Song.
73
Press the TRACK SELECT button again, to go back to the
main page.
A (S1:SongName)
Pressed a first time (with a Song already selected) this button
pair selects Sequencer 1. Pressed a second time (or with no
Song selected), it opens the Song Selection page (see “Song
Select page” on page 73), allowing for selection of a single
Song or a Jukebox file for Sequencer 1.
If you select another Song, while a Song is in play within the
same Sequencer, the new Song will start playing.
While this parameter is selected, you can select a Song by
composing its progressive number (see “Selecting a Song
composing its progressive number” on page 70).
B (S2:SongName)
Pressed a first time (with a Song already selected) this button
pair selects Sequencer 2. Pressed a second time (or with no
Song selected), it opens the Song Selection page (see “Song
Select page” on page 73), allowing for selection of a single
Song for Sequencer 2.
If you select another Song, while a Song is in play within the
same Sequencer, the new Song will start playing.
While this parameter is selected, you can select a Song by
composing its progressive number (see “Selecting a Song
composing its progressive number” on page 70).
S1:MySong
Strings1
VocaEns
DkStrings
Bassi
Legato
StrngEns2
BrassyHorn
Strings2
A-H (Tracks 9-16 Programs)
Name of the Programs assigned to tracks 9-16. Use these buttons to select, mute/unmute or change the volume of the corresponding tracks.
SONG SELECT PAGE
This page appears when you press either the A (S1:) or B (S2:)
button while you are in the main page. You can also access the
Song Select page by pressing PAGE +.
Press EXIT (or PAGE-) to go back to the main page of the
Song Play operating mode, without selecting a Song.
C (Lyrics)
Song Selection
Open the Lyrics page (see “The Lyrics page” on page 74). Lyrics will be shown only if included into the selected Song, and
compatible with a standard format that Pa50 can recognize.
CLUB
|
BALLADS
0001 MYSONG.MID
FD
E (Upper 1 Program), F (Upper 2 Program), G (Upper 3 Program), H (Lower)
SELECT
OPEN
|
CLOSE
Name of the Programs assigned to the Realtime (Keyboard)
tracks. Use these buttons to select, mute/unmute or change
the volume of the corresponding tracks.
While in this page, select a Song for the selected Sequencer, or
a Jukebox file for Sequencer 1.
Note: There is a separate working directory for each onboard
sequencer.
TRACKS 1-8 PAGE
A-C (File, folder)
To see and edit tracks 1-8, press TRACK SELECT from the
main page. The TRACK SELECT LED turns on.
Press the TRACK SELECT button twice, to go back to the
main page.
Move the “.MID”, “.KAR” or “.JBX” file, or folder, to be
selected to the first line of the display. To select a file, press the
F2 (Select) button. To open a folder, press the F3 (Open) button.
The “
” symbol identifies a folder.
E-F (Scroll Up)
S1:MySong
Piano1
Piano1
DkStrings
Guitar01
Legato
StrngEns2
BrassyHorn
VoxPad1
Scroll the list up. Keep SHIFT pressed and press one of these
buttons to jump to the previous alphabetical section.
G-H (Scroll Down)
Scroll the list down. Keep SHIFT pressed and press one of
these buttons to jump to the next alphabetical section.
F1 (FD)
A-H (Tracks 1-8 Programs)
Name of the Programs assigned to tracks 1-8. Use these buttons to select, mute/unmute or change the volume of the corresponding tracks.
TRACKS 9-16 PAGE
To see and edit tracks 9-16, press TRACK SELECT once from
the Tracks 1-8 page, or twice from the main page. The
TRACK SELECT LED begins flashing.
Press this button after replacing a floppy disk in the floppy
disk drive. The new floppy disk will be read, and the file list
shown on the display will be updated.
F2 (Select)
Selects the item on the first line in the display (Song or Jukebox file). If a Song is already playing, it stops, and the new
Song starts playing. You are returned to the Main page.
74
Song Play operating mode
The Lyrics page
F3 (Open)
Lyrics display on an external monitor
Opens the selected folder (item whose name begins with
“
”).
F4 (Close)
Closes the current folder, returning to the parent (“upper”)
folder.
As soon as you enter the Song Play mode, lyrics included in
the Song assigned to the Sequencer 1 are shown in the display. To select a different sequencer, go to the Lyrics page, and
press one of the A VOLUME/VALUE buttons to select
Sequencer 1, or one of the B VOLUME/VALUE buttons to
select Sequencer 2.
THE LYRICS PAGE
This page shows the lyrics and chord abbreviations included
in the midifile (if any).
To access this page, select the Lyrics command, or press
PAGE+ twice, from the main page of the Song Play mode (see
“Main page” on page 72).
S1:Michelle
Michelle, ma belle
Chords
Sequencer 2
S1:Michelle
Michelle, ma belle
Sequencer 1
Note: You can have Sequencer 2 selected in the Main page of the
Song Play mode, and Sequencer 1 selected in the Lyrics page, or
vice-versa. In this way, you can select a Song whose lyrics to display on the external monitor, while selecting a different
sequencer for editing operations.
PLAYING A JUKEBOX FILE
Exit from this display, and go back to the main page of the
Song Play mode, by pressing the EXIT button.
While the Song is playing, the text flows in the display, and
the chord abbreviations (if any) will appear on the chords
area of the display. The lyrics at the current position are
underlined:
With Sequencer 1, you can select a Jukebox file (a file with the
“.JBX” extension) instead of a single Song. This lets you play a
list of Songs without multiple selections.
S1:MEDLEY1.JBX
Michelle, ma belle
S1:Sunday
Piano01
A (1)
S2:no song
Guitar01
Press this button pair to show Lyrics and Chords of
Sequencer 1.
Lyrics
StrngEns2
VoxPad1
B (2)
Press this button pair to show Lyrics and Chords of
Sequencer 2.
Note: The Jukebox file can be assigned to the Sequencer 1
only.
Note: To create a Jukebox file, go to the Jukebox page (see
page 79).
Warning: Should you delete a Song included into the Jukebox
list currently in play, the sequencer will stop, and the “No Song”
message will appear. At this point, press SHIFT+>> (Seq1) to
go to the next Song, and press PLAY/STOP again.
Transport controls
When you select a Jukebox file, Sequencer 1 transport controls are slightly different than with single Songs.
<< and >> Pressed alone, these buttons are the Rewind
and Fast Forward commands.
PAUSE
Keep the SHIFT button pressed, and
press these buttons to scroll to the previous or
next Song in the Jukebox list.
Pauses the Song at the current position. Press
PAUSE or PLAY/STOP to start the Song playing again.
Song Play operating mode
Menu
PLAY/STOP Starts or stops the current Song. When you
stop the Song, the sequencer goes back to measure 1 of the current Song.
If the Jukebox page is open, you can start from
the Song at the first line of the display. See
“Page 9 - Jukebox” on page 79.
MENU
From any page, press MENU to open the Song Play edit
menu. This menu gives access to the various Song Play edit
sections.
When in the menu, select a section using the VOLUME/
VALUE buttons, press PAGE+ to select a page, or press EXIT
to exit the menu.
When in an edit page, press EXIT to go back to the Song Play
mode main page.
75
Song Play icon
When on, this icon indicates that the instrument is in Song
Play mode.
Page header
The header shows the name of the current edit page. Usually,
the header is divided into a first word, identifying the section
name (e.g., “Mixer:FX Send” is a “Mixer” section page), and a
second word, referring to the page name (e.g. “FX Send”).
Section name
Page name
Mixer:FX Send
Selected Sequencer
These indicators show if the currently selected sequencer is
Seq1 or Seq2. Go to the Main page and use the A and B VOLUME/VALUE buttons to select a sequencer.
Page
This area shows the current page number.
A-H
Song Play Menu
Mixer
Each pair of VOLUME/VALUE buttons select a different
parameter of command, depending on the edit page.
Preferences
Effects
Track ctrls
PAGE 1 - MIXER: VOLUME
Jukebox
Each item of this menu corresponds to an edit section. Each
edit section groups many edit pages.
EDIT PAGE STRUCTURE
Select an edit section from the Menu, and/or use the PAGE
buttons to reach the desired page.
Press EXIT to go back to the main page of the Song Play
mode.
All edit pages share the same structure.
Selected Sequencer
Song Play icon
Page header
Page number
Here you can adjust the volume for each of the 16 sequencer
tracks. Press both VOLUME/VALUE button to mute/unmute
the corresponding track.
A muted track remains muted even when selecting a different
Song.
Use the TRACK SELECT button to switch between Song
tracks 1-8, Song tracks 9-16, and back again.
Mixer:Volume
|||| 090
|||| 090
|||| 090
|||| 092
|||| 090
|||| 086
|||| 090
||||| 112
Mixer:Volume
|||| 090
|||| 090
|||| 090
|||| 092
|||| 090
|||| 086
|||| 090
||||| 112
Mixer:Volume
|||| 090
|||| 090
|||| 090
|||| 092
|||| 090
|||| 086
|||| 090
||||| 112
76
Song Play operating mode
Page 2 - Mixer: Pan
PAGE 2 - MIXER: PAN
Here you can adjust the pan for each Song track.
Use the TRACK SELECT button to switch between Song
tracks 1-8, Song tracks 9-16, and back again.
Mixer:Pan
C+00
C+00
C+00
C+00
C+00
C+00
C+00
C+00
Note: When you stop the Song, or select a different Song, the
default effects are selected again. You can, however, stop the
Song, change the effects, then start the Song again. Edit the Song
in Song mode to permanently change the effects.
Here is the edit procedure:
1. Use the VOLUME/VALUE (A-H) buttons to select a
track.
2. Use the F1-F4 buttons to select a parameter for that
track.
3. Use the TEMPO/VALUE controls to change the parameter’s value.
Parameters
000
127
Mixer:Pan
C+00
C+00
C+00
C+00
C+00
C+00
C+00
C+00
Pan
-64
+00
+63
Off
Hard Left.
Center.
Hard Right.
The direct (uneffected) signal does not go to
the outputs; only the FX signal is heard for this
track.
No effect. Only the direct (uneffected) signal
goes to the outputs.
100% effect. The direct (uneffected) and
effected signals go to the outputs with the same
level.
PAGE 3 - MIXER: FX SEND C/D
This page lets you set the level of the track’s direct (uneffected) signal going to the C and D Internal FX processors.
Note: You can access this page only while editing the Sequencer
2, and the “S2 FX Mode” parameter is set to “CD Mode” (see
page 80).
Use the TRACK SELECT button to switch from tracks 1-8 to
tracks 9-16.
Mixer:FXSend
PAGE 3 - MIXER: FX SEND A/B
C:100 D:050 C:100 D:050
C:127 D:020 C:100 D:050
This page lets you set the level of the track’s direct (uneffected) signal going to the A and B Internal FX processors
(usually assigned to Sequencer 1).
Use the TRACK SELECT button to switch from tracks 1-8 to
tracks 9-16.
C:110 D:050 C:100 D:050
C:100 D:050 C:100 D:050
Mixer:FXSend
C:100 D:050 C:100 D:050
Mixer:FXSend
C:127 D:020 C:100 D:050
A:100 B:050 A:100 B:050
C:110 D:050 C:100 D:050
A:127 B:020 A:100 B:050
C:100 D:050 C:100 D:050
A:110 B:050 A:100 B:050
A:100 B:050 A:100 B:050
A:127 B:020 A:100 B:050
Here is the edit procedure:
1. Use the VOLUME/VALUE (A-H) buttons to select a
track.
2. Use the F1-F4 buttons to select a parameter for that
track.
3. Use the TEMPO/VALUE controls to change the parameter’s value.
A:110 B:050 A:100 B:050
Parameters
A:100 B:050 A:100 B:050
000
Note: When playing back a Song that makes use of all four
effects (A-D), you can’t edit any effect parameter. These parameters appear greyed out in the display.
127
Mixer:FXSend
A:100 B:050 A:100 B:050
No effect. Only the direct (uneffected) signal
goes to the outputs.
100% effect. The direct (uneffected) and
effected signals go to the outputs with the same
level.
Song Play operating mode
Page 4 - FX: A/B Select
PAGE 4 - FX: A/B SELECT
This page lets you select the A and B effects. Usually, the A
effect is a reverb, while the B effect is a modulating effect.
Effects A and B are usually reserved to Sequencer 1. You can,
however, create Songs by using all four effects in Song mode.
Depending on the status of the “S2 FX Mode” parameter, this
effect pair could be reserved to Sequencer 2, too (see
page 80).
77
Song, change the effects, then start the Song again. Edit the Song
in Song mode to permanently change the effects.
C, D
Effects assigned to the C and D effect processors. Usually, C is
the reverb, while D is the modulating effect (chorus, flanger,
delay…). For a list of the available effects, see “Effects” on
page 175.
ModTrk (Modulating Track)
Source track for modulating MIDI messages. You can modulate an effect parameter with a MIDI message generated by a
physical controller.
FX:A/B Select
A:02
B:97
BigHall
MlwChrs
ModTrk:Up1
B>Asend:127
Note: When playing back a Song that makes use of all four
effects (A-D), you can’t edit any effect parameter. These parameters appear greyed out in the display.
Note: When you stop the Song, or select a different Song, the
default effects are selected again. You can, however, stop the
Song, change the effects, then start the Song again. Edit the Song
in Song mode to permanently change the effects.
D>Csend (D>C Send)
Amount of the D effect going back to the input of the C
effect.
PAGE 5 - FX: A EDITING
This page contains the editing parameters for the A effect
(usually, reverb for Sequencer 1).
FX:A Edit
Rev Time [sec]: 3.07 |
High Damp [%]:0
A, B
Pre Dly [ms]:0
Effects assigned to the A and B effect processors. Usually, A is
the reverb, while B is the modulating effect (chorus, flanger,
delay…). For a list of the available effects, see “Effects” on
page 175.
ModTrk (Modulating Track)
Source track for modulating MIDI messages. You can modulate an effect parameter with a MIDI message generated by a
physical controller.
B>Asend (B>A Send)
Amount of the B effect going back to the input of the A effect.
PAGE 4 - FX: C/D SELECT
This page lets you select the C and D effects. Usually, the C
effect is a reverb, while the D effect is a modulating effect.
Effects C and D are usually reserved to Sequencer 2 and the
Realtime tracks. You can, however, create Songs using all four
effects in Song mode. Depending on the status of the “S2 FX
Mode” parameter, Sequencer 2 might also use the A/B effect
pair (see page 80).
Pre Dly Thru [%]:0
|
Use the E-F and G-H VOLUME/VALUE button pairs to scroll
the parameter list.
Use the A-D VOLUMME/VALUE button pairs to select and
edit a parameter.
Use the TEMPO/VALUE controls to edit the selected parameter.
Note: When playing back a Song that makes use of all four
effects (A-D), you can’t edit any effect parameter. These parameters appear greyed out in the display.
Note: When you stop the Song, or select a different Song, the
default effects are selected again. You can, however, stop the
Song, change the effects, then start the Song again. Edit the Song
in Song mode to permanently change the effects.
Parameters
See “Effects” on page 175 for a list of available parameters for
each effect type.
PAGE 6 - FX: B EDITING
FX:C/D Select
C:02
D:97
BigHall
MlwChrs
ModTrk:Up1
D>Csend:127
Note: When playing back a Song that makes use of all four
effects (A-D), you can’t edit any effect parameter. These parameters appear greyed out in the display.
Note: When you stop the Song, or select a different Song, the
default effects are selected again. You can, however, stop the
This page contains the editing parameters for the B effect
(usually modulating effect for Sequencer 1). For more details,
see “Page 5 - FX: A editing” above.
PAGE 5 - FX: C EDITING
This page contains the editing parameters for the C effect.
You can access this page only when the “S2 FX Mode” parameter is set to C/D (see “S2 FX Mode” on page 80). For more
details, see “Page 5 - FX: A editing” above.
Note: C and D effects are used also by the Realtime (Keyboard)
tracks.
78
Song Play operating mode
Page 6 - FX: D editing
PAGE 6 - FX: D EDITING
PAGE 8 - TRACK: INTERNAL/EXTERNAL
This page contains the editing parameters for the D effect.
You can access this page only when the “S2 FX Mode” parameter is set to C/D (see “S2 FX Mode” on page 80). For more
details, see “Page 5 - FX: A editing” above.
Note: C and D effects are used also by the Realtime (Keyboard)
tracks.
This page lets you set the Internal or External status for each
track. It is very useful to let a Song track drive an external
expander.
Use the TRACK SELECT button to switch from tracks 1-8 to
tracks 9-16.
PAGE 7 - TRACK: MODE
Track:Int/Ext
This page lets you set the polyphony mode for each Song
track.
Use the TRACK SELECT button to switch from tracks 1-8 to
tracks 9-16.
Internal
Internal
Internal
Internal
Internal
External
Internal
Internal
Track:Mode
Poly
Poly
Poly
Poly
Poly
Poly
Poly
Poly
Track:Int/Ext
Internal
Internal
Internal
Internal
Internal
External
Internal
Internal
Parameters
Track:Mode
Poly
Mono Right
Drum
Poly
Drum
Poly
Poly
Poly
Internal
External
Parameters
Drum
This is a Drum/Percussion track. No Master or
Octave Transpose applies to this track.
Poly
Tracks of this kind are polyphonic, i.e. they can
play more than one note at the same time.
Mono
Tracks of this kind are monophonic, i.e. each
new note stops the previous note.
Mono Right A Mono track, but with priority assigned to
the rightmost (highest) note.
The track plays the sounds generated by the
internal sound engine. It does not play an
external instrument connected to the MIDI
OUT.
The track plays an external instrument connected to the MIDI OUT. It does not play the
internal sounds, therefore saving polyphony.
When a track is set to “External”, a strings of
transmitted Control Change and Program
Change data is shown instead of the Program
name assigned to the track. In the following
example, CC#0 is the Control Change 0 (Bank
Select MSB), CC#32 is the Control Change 32
(Bank Select LSB), PC is the Program Change.
121CC#0
Both
3- 0
CC#32
PC
The track plays both the internal sounds and
an external instrument connected to the MIDI
OUT.
Song Play operating mode
Page 9 - Jukebox
PAGE 9 - JUKEBOX
4.
The Jukebox function lets you play a list of Songs (127 max),
at the simple touch of a button. You can play a Jukebox file by
selecting it in the Song Select page (see “Playing a Jukebox
file” on page 74), just as if it was a normal Song.
F2 (Add)
JB List:NEW_NAME
01 Sunday.mid
|
02 Likeavrg.mid
|
SAVE
ADD
INS
DEL
79
When you have finished writing a name, press F2 (Save)
to confirm. The “Are you sure?” message appears. Press
ENTER to confirm, EXIT to abort.
Adds a Song at the end of the current list. You can add up to
127 Songs in a list.
Note: A Jukebox list can include only Songs contained in the
same folder.
F3 (Ins)
Inserts a Song at the cursor position (i.e., the first line of the
display). All subsequent Songs are moved to the next highernumbered slot. You can add up to 127 Songs in a list.
Note: A Jukebox list can include only Songs contained in the
same folder.
In this page, you can create, edit and save a Jukebox file. If a
Jukebox file is already selected into a Sequencer, you will
enter this page with that file ready to be edited. Otherwise,
you will enter this page with an empty “NEW_NAME.JBX”
file.
To create a new file, even when a Jukebox file is already
selected, press SHIFT+ F4 (Del), and confirm with ENTER
(see below the “F4 (Del)” paragraph).
When you press PLAY/STOP from this page, the Jukebox
playback begins from the currently selected Song (i.e., the
Song on the fist line of the display).
F4 (Del)
F1 (Save)
In this page, you can set various general parameters.
This command let’s you delete the Song on the first line of the
display.
Pressed while keeping SHIFT pressed, the whole
Jukebox list is deleted. (The instrument asks for a confirmation with the “Are you sure?” message; press ENTER to confirm, EXIT to abort).
The Jukebox file name changes to “NEW_NAME.JBX”.
PAGE 10 - PREFERENCES
Press this button to save the Jukebox file on disk. The Jukebox
Save page appears, allowing you to save your file on disk.
Preferences (Gbl)
Link Mode:Off
JBX Save
S2 FX Mode:CD
Perf. FX Mode:CD
NEW_NAME.JBX
|
MEDLEY1.JBX
|
HD
SAVE
ABORT
Note: You can save your “.JBX” file only in the same folder as
the Songs in the list.
You can create a new file, or overwrite an existing one.
1. Move to the first line of the display the “.JBX” file you
want to save your list into. Select an existing file if you
want to overwrite it. Select the “NEW_NAME.JBX”
item to create a new file.
Use the E-F (Scroll Up) and G-H (Scroll Down) VOLUME/VALUE buttons, or the TEMPO/VALUE controls
to scroll the list.
2. If you are making a new file, when the
“NEW_NAME.JBX” item is on the first line of the display, press one of the A VOLUME/VALUE buttons. You
are prompted to assign a name to the selected item:
NEW_NAME
3.
Move the cursor using the DOWN/- and UP/+ buttons.
Select a character using the DIAL. Insert a character at
the cursor position by pressing the INSERT button.
Delete a character at the cursor position by pressing the
DELETE button.
Use the A-D VOLUME/VALUE button pairs to select a
parameter.
Note: These settings are stored in the Global file. After changing
these settings, press WRITE to save them into the Global. The
Write Global window will appear (see “The Write window” on
page 72).
Note: You can always start both sequencers simultaneously.
Start both sequencers simultaneously by keeping SHIFT held
down while pressing one of the PLAY/STOP controls.
Link Mode
The two onboard Sequencers can work each with a different
Tempo (Off), or use the same Tempo (Link modes).
Off
The sequencers Tempo are not linked. Each
sequencer uses its own Tempo.
Link Measure
The two sequencers Tempo are linked together.
The Tempo data written into the Songs are
ignored. Adjust the Tempo using the TEMPO/
VALUE controls.
Start one of the sequencers, by pressing its own
PLAY/STOP control. Then, start the other
sequencer, by pressing the other PLAY/STOP
control; the second sequencer starts at the next
measure.
80
Song Play operating mode
Saving a list of Songs
Link Beat
The two sequencers Tempo are linked together.
The Tempo data written into the Songs are
ignored. Adjust the Tempo using the TEMPO/
VALUE controls.
Start one of the sequencers, by pressing its own
PLAY/STOP control. Then, start the other
sequencer, by pressing the other PLAY/STOP
control; the second sequencer starts at the next
beat (quarter or octave, depending on the
Song’s Time Signature).
S2 FX Mode
This parameter selects the effects mode for Sequencer 2.
When a 4-effects Song is loaded, all four effects are used,
independently from this setting.
AB
The A and B effect pair is used. Sequencer 2
shares its effects with Sequencer 1.
CD
The C and D effect pair is used.
Note: When this parameter is set to CD,
Sequencer 2 shares its effects with the Realtime
(Keyboard) tracks, so these effects can be changed
either selecting a Song for Sequencer 2, or selecting a Performance (unless the “Performance FX
Mode” parameter is set to Off – see below).
Performance FX Mode
This parameter selects the effects mode for the Performance.
Off
When selecting a Performance, no effect is
selected.
CD
The Performance selects the C and D effect
pair.
Note: When both this parameter and the “S2 FX
Mode” parameter are set to CD, Sequencer 2
shares its effects with the Realtime (Keyboard)
tracks, so these effects can be changed either
selecting a Song for Sequencer 2, or selecting a
Performance.
SAVING A LIST OF SONGS
How to save a list of Songs contained in a
folder
Press SONG PLAY to select the Song Play operative
mode.
2. Press one of the A (S1:) VOLUME/VALUE button to
select the Load Song page.
3. Use the F3 (Open) and F4 (Close) buttons to browse
through the folders inside the floppy disk.
4. Move the folder you are looking for to the first line of
the display. Use the TEMPO/VALUE controls, or the E-F
(Scroll Up) and G-H (Scroll Down) VOLUME/VALUE
buttons.
5. Once the folder is selected, press SHIFT + F2.
6. A dialog box will appear, asking you to insert a new
floppy disk into the disk drive. Insert the disk, and press
ENTER to confirm, or EXIT to abort.
Note: The text file will contain a list of “*.mid”, “*.kar” and
“*.jbx” files only (i.e., the files you can select using the numeric
keypad – see “Selecting a Song composing its progressive number” on page 70). Folders and different kinds of files will not be
included.
When saved, the text file will be named after the selected folder.
For example, a folder named “Dummy” will generate a
“Dummy.txt” file. If a file with the same name already exists on
the floppy disk, it will be overwritten without waiting for any
confirmation. A file containing the list of all valid files contained
into the root of the disk will generate a “Root.txt” file.
The list will include the progressive number assigned to each
Song, file names in MS-DOS format (8.3), the total number of
files in the list.
For the correct display and printing of the list on a personal
computer, use a fixed size (i.e., non-proportional) character in
your text editor.
Warning: While the list may contain more than 9999 files, you
can’t select Songs outside the 0001-9999 range when using the
numeric keypad.
1.
Song Play operating mode
Saving a list of Songs
How to save a list of Songs contained in a
Jukebox file
1.
2.
3.
4.
5.
6.
Press SONG PLAY to select the Song Play operative
mode.
To select an existing Jukebox file, press one of the A (S1:)
VOLUME/VALUE buttons to select the Load Song page.
If you are creating a new Jukebox file, press MENU
instead, select the Jukebox page, and jump to step 7.
Use the F3 (Open) and F4 (Close) buttons to browse
through the folders inside the floppy disk.
Move the folders and files to select to the first line of the
display. Use the TEMPO/VALUE controls, or the E-F
(Scroll Up) and G-H (Scroll Down) VOLUME/VALUE
buttons.
When the Jukebox file you are looking for is selected,
press F2 (Select) to select it.
Once the Jukebox file is selected, press MENU and select
the Jukebox page.
81
While you are in the Jukebox page, press SHIFT + F2 to
save the list.
8. A dialog box will appear, asking you to insert a new
floppy disk into the disk drive. Insert the disk, and press
ENTER to confirm, or EXIT to abort.
Note: When saved, the text file will be named after the selected
Jukebox file. For example, a Jukebox file named “Dummy.jbx”
will generate a “Dummy.txt” file. A new, unnamed Jukebox file
will generate a “New_name.txt” file. If a file with the same
name already exists on the floppy disk, it will be overwritten
without waiting for any confirmation.
The list will include the progressive number assigned to each
Song, file names in MS-DOS format (8.3), the total number of
files in the list.
For the correct display and printing of the list on a personal
computer, use a fixed size (i.e., non-proportional) character in
your text editor.
7.
82
Backing Sequence operating mode
Transport controls
12. BACKING SEQUENCE OPERATING MODE
The Backing Sequence mode lets you record a live performance with the Styles. The front panel controls work mostly
as in Style Play mode, but here you are recording what you
are playing. After recording, the result is a new Song made of
the Realtime tracks and the Style tracks.
TRANSPORT CONTROLS
When in Backing Sequence mode, use SEQ1 transport controls (PLAY/STOP, PAUSE…). See “SEQUENCER TRANSPORT CONTROLS - SEQ1 and SEQ2” on page 18 for more
information).
REALTIME RECORDING MODE
While in Backing Sequence mode, you can record a new Song
in realtime mode (i.e., recording exactly what you play).
Realtime (Keyboard) tracks will be Song tracks 1-4, Pads will
be Song tracks 5-8, while Style tracks will be Song tracks 916.
1. Enter the Backing Sequence mode.
2. Press RECORD. You will be prompted to select the Realtime Recording mode, or the Chord/Acc Step Mode.
Record
THE BACKING SEQUENCE, SONG AND SONG
PLAY MODES
The Backing Sequence and Song modes are linked together:
go to Backing Sequence mode to record a Song, and switch to
Song mode to edit it.
Since they use the same sequencer and memory area, recording a new Song in Backing Sequence mode deletes the Song
loaded in Song mode.
Note: The Song is kept in RAM, so save it before turning the
instrument off, or it will be lost.
Warning: When switching to Song Play, the Song is deleted,
since Backing Sequence, Song and Song Play share the same
sequencer (Sequencer 1). The “Erase Song?” message appears.
Press ENTER to confirm, EXIT to stay in Backing Sequence
mode, and avoid deleting the Song.
Realtime Recording
Chord/Acc Step Mode
3.
Rec:NewSong
Style:NewBossa
4.
5.
6.
BS:New Song
2.
3.
4.
Load Song
Metro:Off
Save Song
Meter:4/4
Sel.Tempo
Tempo:Auto
Press one of the B (Load Song) VOLUME/VALUE buttons to load a Song (see “Load Song page” on page 84).
You can load any Standard Midi File (files with the
“.MID” or “.KAR” extension).
Press PLAY/STOP to start the playback.
Press PLAY/STOP again to stop the playback. The playback is automatically stopped at the end of the Song.
99%
Perf:01-01 Metro:On1
HOW TO PLAYBACK A SONG
You can load a Standard MIDI File, and play it back while in
Backing Sequence mode.
Note: When in the Main page (Backing Sequence Play) the keyboard doesn’t play.
1. Enter the Backing Sequence mode. The Backing
Sequence Playback page appears (see page 83).
Press one of the A VOLUME/VALUE buttons to select
the Realtime Recording mode. The Realtime Recording
page appears (see “Realtime Recording page” on
page 85).
7.
Resol:HI
RT/Pad:REC
Sel.Tempo
Ch/Acc:REC
The last selected Style is currently selected. Should it not
be the right one, select a different Style to start recording
with. (See “Selecting a Style” on page 26).
The last selected Performance or STS is currently
selected. If you prefer, select a different Performance or
STS. (See “Selecting a Performance” on page 25, and
“Selecting a Single Touch Setting (STS)” on page 27).
Select the status of the Backing Sequence tracks, using
the G (RT) and H (Ch/Acc) button pairs. (RT stays for
Realtime/Keyboard; Ch/Acc stays for Chord/Accompaniment, i.e. the Style tracks). To record all you play on
the keyboard, plus the automatic accompaniment, leave
their status to REC (see “Realtime Recording page” on
page 85).
Warning: Tracks set to REC are automatically deleted
when starting recording. Set a track to the PLAY status,
when you don’t want to delete it. For example, if you are
recording a Realtime (Keyboard) part on and existing
Style track, set the Ch/Acc parameter to PLAY, and the RT
track to REC.
Start recording by pressing the left PLAY/STOP button
(or the START/STOP button). After a count-in (see
“Metro (Metronome)” on page 85), you can start
recording.
Play a solo intro, or start the auto-accompaniment with
the START/STOP button. To start with the Style playing
Backing Sequence operating mode
Chord/Acc Step recording
right from bar 1, keep the chord pressed during the precount, and press START/STOP before the end of the
precount. Otherwise, the Style will start playing from
the next bar, following the one where you pressed
START/STOP.
Since you can use any Style control, you could start with
the usual combinations (INTRO, ENDING, FILL… see
“2 - Playing a Style” on page 29 for more information).
Note: While in Backing Sequence mode, you can’t record
the SYNCHRO, FADE IN/OUT, TAP TEMPO/RESET,
ACCOMPANIMENT VOLUME controls.
8. Play your music. You can even stop the Style by pressing
START/STOP. If you stop the Style while recording, start
it again with the START/STOP button.
9. When finished recording your performance, press the
left PLAY/STOP button. The RECORD LED will turn
off, and you will go back to the Playback page (see “How
to playback a Song” before).
The recorded Song will be automatically converted to
the Standard MIDI File format.
10. At this point, you can edit the Song in Song mode (see
“Song operating mode” on page 88), or save it on disk
(see “Save Song page” on page 84).
Warning: The recorded Song is in RAM (Random Access
Memory), and will be deleted when turning the instrument off, or entering Record again (either in Backing
Sequence or Song mode). Save the Song on disk, if you
wish to preserve it.
CHORD/ACC STEP RECORDING
While in the Backing Sequence operative mode, you can
enter the Chord/Acc Step Mode to create or edit the Style
(Chord/Acc) part of a Song. This mode lets you enter chords
even if you are not a keyboard player, or fix any error made
playing chords or selecting Style controls, during the Realtime Recording mode.
You can edit only Songs created on the Pa50 or Pa80 (Backing
Sequence mode), provided that you have the same Styles in
the same locations. When saving a Song created in Backing
Sequence mode, all Chord/Acc data is preserved, and can be
loaded later, to be edited using the Chord/Acc Step Mode.
Here is how to enter the Chord/Acc Step Mode, and execute
your editing:
1. Press B.SEQ to enter the Backing Sequence mode.
2. Press RECORD. You will be prompted to select the Realtime Recording mode or the Chord/Acc Step Mode.
83
Step mode page appears (see “Chord/Acc Step Recording page” on page 85).
Step Chord/Acc
M001.01.000 Tempo:120
Style:Umpl_Bossa
4.
5.
6.
7.
8.
Perf :01-1
SE:Off
C
-
Maj
/C
Select the M(easure) parameter, and go to a different
position into the Song, using the TEMPO/VALUE controls, or the A VOLUME/VALUE buttons. Alternatively,
you can move the locator using the < > and << >> buttons. See “Transport controls” on page 87.
Select the parameter type to insert, edit or delete at the
current position. If an arrow ( ) appears next to a
parameter, the shown event has been inserted at the current position.
Use the TEMPO/VALUE controls to modify the selected
event. Delete it using the DELETE button. When editing
a parameter without the arrow ( ) next to it, a new
event is inserted.
Exit the Chord/Acc Step Mode by pressing the RECORD
button.
Press START/STOP to listen to the results of your editing. If they are fine, save the Backing Sequence on a disk.
MAIN PAGE (BACKING SEQUENCE PLAY)
This is the main page of the Backing Sequence mode.
To access this page from another operating mode, press the
B.SEQ button.
Note: When in this page, the keyboard doesn’t play.
Backing Sequence icon
Page header
BS:New Song
Load Song
Metro:Off
Save Song
Meter:4/4
Sel.Tempo
Tempo:Auto
Backing Sequence icon
Record
Realtime Recording
Chord/Acc Step Mode
When on, this icon indicates that the instrument is in Backing Sequence mode.
Page header
This header shows the name of the selected Song.
B (Load Song)
3.
Press one of the B (Chord/Acc Step Mode) VOLUME/
VALUE buttons to enter the Step Mode. The Chord/Acc
Use these buttons to select a Song (i.e., a Standard MIDI
File). The Song Select page opens, and you can select a Song
(see below “Load Song page”).
C (Save Song)
This command saves the recorded Song as a Standard MIDI
File. The file is automatically added the “.MID” extension.
84
Backing Sequence operating mode
Load Song page
After pressing this command, the Save Song page appears
(see “Save Song page” on page 84).
shown on the display will be updated.
D (Select Tempo)
Load the Song at the first line of the display.
Select this parameter to use the TEMPO/VALUE section to
select the Tempo. When you select this parameter, the VALUE
LED turns off.
F3 (Open)
F (Metro)
Use these buttons to turn the metronome on/off during playback.
F2 (Load)
Opens the selected folder (file whose name begins with the
“
” symbol).
F4 (Close)
G (Meter)
Closes the current folder, returning to the parent (“upper”)
folder.
This non-editable parameter shows the starting meter (or
time signature) of the selected Song.
SAVE SONG PAGE
H (Tempo mode)
This sets the Tempo change mode.
Man(ual)
When the cursor is on the “D (Select Tempo)”
parameter, you can change the Tempo using
the TEMPO/VALUE section controls. The
Song will be played back using the manually
selected tempo.
Auto
The Tempo recorded into the Song will be used
instead.
The recorded Song is contained in RAM, and is lost when
turning the instrument off. The Song is also lost when you
overwrite it in Record mode, or when switching to the Song
Play mode. You must save on disk any Song you wish to preserve.
1. If you are in Record mode (RECORD LED on), stop the
sequencer and press RECORD to go back to the Backing
Sequence Playback page.
2. Select the Save Song button. The Save Song page
appears.
LOAD SONG PAGE
This page appears when you press PAGE+ or either the B
(Load Song) buttons while you are in the main page.
Press EXIT to go back to the main page of the Backing
Sequence operating mode, without selecting a Song.
BS:Save Song
NEW_NAME.MID
MYSONG.MID
FD
Load Song
3.
BALLADS
|
MYSONGS
MYSONG.MID
FD
LOAD
|
OPEN
CLOSE
4.
A-C (File, folder)
Move the file or folder to be selected to the first line of the
display. To select a file, press the F2 (Select) button. To open a
folder, press the F3 (Open) button.
The “
” symbol identifies a folder.
E-F (Scroll Up)
5.
Scroll the list up. Keep SHIFT pressed and press one of these
buttons to jump to the previous alphabetical section.
G-H (Scroll Down)
SAVE
|
OPEN
CLOSE
Move the folder where you wish to save your Song to the
first line of the display, using the E-F (Scroll Up) and GH (Scroll Down) VOLUME/VALUE buttons, or the
TEMPO/VALUE controls. Press F3 (Open) to open it.
Close the current folder by pressing F4 (Close).
When in the selected folder, you can save the Song over
an existing file, or create a new file.
• To overwrite an existing file, move it to the first line of
the display.
• To create a new file, move the “NEW_NAME.MID”
item to the first line of the display.
When the “NEW_NAME.MID” item is selected, press
one of the A VOLUME/VALUE buttons. You are
prompted to assign a name to the new folder:
NEW_NAME.MID
Scroll the list down. Keep SHIFT pressed and press one of
these buttons to jump to the next alphabetical section.
TEMPO/VALUE section
These controls scroll the list up or down.
F1 (FD)
Press this button after replacing a floppy disk in the floppy
disk drive. The new floppy disk will be read, and the file list
|
MYSONGS
6.
Move the cursor using the DOWN/- and UP/+ buttons.
Select a character using the DIAL. Insert a character at
the cursor position by pressing the INSERT button.
Delete a character at the cursor position by pressing the
DELETE button.
When you have finished writing a name for the new
midifile, press F2 (Save) to confirm. The “Are you sure?”
message will appear. Press ENTER to confirm, or EXIT
to abort.
Backing Sequence operating mode
Realtime Recording page
REALTIME RECORDING PAGE
On1
While you are in Backing Sequence mode, press RECORD,
then one of the A VOLUME/VALUE buttons, to access the
Realtime Recording mode. The RECORD LED turns on.
85
The metronome plays during recording.
Recording begins with a 1-bar precount. Start
recording after bar -1.
The metronome plays during recording.
Recording begins with a 2-bar precount. Start
recording after bar -1.
On2
RT/Pads
Ch/Acc
Rec:NewSong
Style:NewBossa
99%
Perf:01-01 Metro:On1
Resol:HI
RT/Pad:REC
Sel.Tempo
Ch/Acc:REC
These parameters let you decide the track status during
recording.
RT/Pads: This Backing Sequence track includes the four
Realtime (Keyboard) tracks, and the four Pads. They will be
Song tracks 1-8, as in the following table:
Style
This non-editable parameter shows the selected Style. If no
Style is selected, the name will be empty. You can select a different Style, using the STYLE section (see “Selecting a Style”
on page 26).
0…99%
This non-editable parameters shows the remaining recording
space in memory, as a percentage.
Perf or STS (Performance or STS)
This non-editable parameter shows the selected Performance
or STS (depending on the last item selected). If no Performance or STS is selected, the name will be empty. You can
select a different Performance, using the PROGRAM/PERFORMANCE section (see “Selecting a Performance” on
page 25). To select one of the four STS for the current Style,
use the F1-F4 buttons.
Resol (Resolution)
Use this parameter to set the quantization during recording.
Quantization is a way of correcting timing errors; notes
played too soon or too later are moved to the nearest axis of a
rhythmic “grid”, set with this parameter, thus playing perfectly in time.
Hi
No quantization applied.
(1/32)… (1/8)
Grid resolution, in musical values. For example, when you select 1/8, all notes are moved to
the nearest 1/8 division. When you select 1/4,
all notes are moved to the nearest 1/4 division.
Hi (no
quantization)
RT/Pad track
Song track/Channel
Upper 1
1
Upper 2
2
Upper 3
3
Lower
4
Pad 1
5
Pad 2
6
Pad 3
7
Pad 4
8
Ch/Acc: This Backing Sequence track includes all Style
tracks, including recognized chords. They will be Song tracks
9-16.
MUTE
The track is muted. If this tracks has already
been recorded, it will not be heard during
recording of the other Backing Sequence track.
PLAY
The track is in play. If there are recorded data,
they will be heard during recording of the
other Backing Sequence track.
REC
The track is in record. All previously recorded
data will be deleted.
CHORD/ACC STEP RECORDING PAGE
While you are in Backing Sequence mode, press RECORD,
then one of the B VOLUME/VALUE buttons, to access the
Chord/Acc Step Recording mode. The RECORD LED turns
on.
1/16
Step Chord/Acc
M001.01.000 Tempo:120
Style:Umpl_Bossa
1/8
Perf :01-1
SE:Off
C
-
Maj
/C
Sel.Tempo (Select Tempo)
Select this parameter to use the TEMPO/VALUE section to
select the Tempo. When you select this parameter, the VALUE
LED turns off.
Metro (Metronome)
This parameter sets the metronome mode during recording.
Off
The metronome can be heard only during the
precount.
Side arrow (
)
The small arrow next to a parameter means that its value is
effective at the current position. For example, if you are at the
“M003.01.000” position, and an arrow lights up next to the
Chord parameter, this means that a chord change happens at
the “M003.01.000” position.
86
Backing Sequence operating mode
Chord/Acc Step Recording page
M(easure)
This is the locator. It shows the current position of the Step
Editor. To go to a different position within the Song, select
this parameter, then use the TEMPO/VALUE controls, the A
VOLUME/VALUE buttons, or the < > buttons (while the <<
>> buttons let you move to the previous or following measure). When using one of these controls, the locator moves in
steps of 1/8 (192 ticks), or jumps to the next event.
The locator’s format is as follows:
M001.01.000
Measure
Beat
Tick
Measure: Measure or bar number.
Beat: Divider in the Time Signature ratio (e.g., a quarter in a
3/4 time).
Tick: Minimal sequencer’s resolution. The Pa50 internal
sequencers feature a resolution of 384 ticks per quarter.
INSERT
When the Measure parameter is selected, press
INSERT to insert a measure starting from the
current position. All Chord/Acc events contained into the current measure will be moved
to the following measure. The event at the
Mxxx.xx.000 position (i.e., exactly at the
beginning of the measure, like a Time Signature or Style change) will not be moved.
DELETE
When the Measure parameter is selected, press
DELETE to delete the current measure. All
Chord/Acc event contained into the following
measures are moved to the current measure.
SHIFT + DELETE
When the Measure parameter is selected, press
SHIFT + DELETE to delete all events in the
Style tracks, starting from the current position
to the end of the Song. To delete all events in
the Style tracks, go back to the M001.01.000
position, and press SHIFT + DELETE.
Note: All events on the very first tick
(M001.01.000), like Style, Tempo, Chord, Style
Element selection, cannot be deleted.
Tempo
This is the Tempo Change parameter. To insert a Tempo
Change event at the current position, select this parameter
and use the TEMPO/VALUE controls to change its value.
DELETE
When the Tempo parameter is selected, and
the side arrow ( ) – showing that a Tempo
Change event has been selected at the current
position – appears next to it, press DELETE to
delete the Tempo Change at the current position.
Note: If the side arrow doesn’t appear, the event
was not selected at the current position, and will
not be deleted.
SHIFT + DELETE
When the Tempo parameter is selected, press
SHIFT + DELETE to delete all Tempo Change
events, starting from the current position to
the end of the Song. To delete all Tempo
Change events in the Song, go back to the
M001.01.000 position, and press SHIFT +
DELETE.
Note: All events on the very first tick
(M001.01.000), like Perf, Style, Tempo, Chord,
Style Element selection, cannot be deleted.
Style
This is the last selected Style. To insert a Style change at the
current position, follow the standard selecting procedure
using the buttons of the STYLE section.
Note: Any Style Change inserted after the beginning of the measure (i.e., to a position other than Mxxx.01.000) will be effective
at the following measure. For example, if a Style Change event
has been inserted at M004.03.000, the selected Style will be
effectively selected at M005.01.000. (This works exactly as in
Style Play mode).
Note: When inserting a Style Change, you may also insert a
Tempo Change at the same position. A Style Change will not
automatically insert the Style’s Tempo.
DELETE
When the Style parameter is selected, and the
side arrow ( ) – showing that a Style Change
event has been selected at the current position
– appears next to it, press DELETE to delete
the Style Change at the current position.
Note: If the side arrow doesn’t appear, the event
was not selected at the current position, and will
not be deleted.
SHIFT + DELETE
When the Style parameter is selected, press
SHIFT + DELETE to delete all Style Change
events, starting from the current position to
the end of the Song. To delete all Style Change
events in the Song, go back to the
M001.01.000 position, and press SHIFT +
DELETE.
Note: All events on the very first tick
(M001.01.000), like Perf, Style, Tempo, Chord,
Style Element selection, cannot be deleted.
Perf
This is the last selected Performance. Select a Performance to
recall the Style it memorizes. To insert a Performance change
at the current position, follow the standard selecting procedure using the buttons of the PROGRAM/PERFORMANCE
section.
Note: The STYLE CHANGE LED is automatically turned on
when entering the Chord/Acc Step Mode. This means that
selecting a Performance automatically selects the Style memorized into the Performance.
The SINGLE TOUCH and STS buttons are automatically disabled, meaning that you can’t change the Realtime (Keyboard)
tracks while in Chord/Acc Step Mode.
DELETE
When the Perf parameter is selected, and the
side arrow ( ) – showing that a Performance
Change event has been selected at the current
position – appears next to it, press DELETE to
delete the Performance Change at the current
position.
Backing Sequence operating mode
How to delete a whole Song
Note: If the side arrow doesn’t appear, the event
was not selected at the current position, and will
not be deleted.
SHIFT + DELETE
When the Perf parameter is selected, press
SHIFT + DELETE to delete all Performance
Change events, starting from the current position to the end of the Song. To delete all Performance Change events in the Song, go back
to the M001.01.000 position, and press SHIFT
+ DELETE.
Note: All events on the very first tick
(M001.01.000), like Perf, Style, Tempo, Chord,
Style Element selection, cannot be deleted.
SE (Style Element)
This is the Style Element (i.e., a Variation, Fill, Intro, or Ending). The length of the selected Style Element is always shown
on the measure counter, at the top of the display:
This will let you know where to place the following Style Element Change. For example, if you inserted an Intro event
lasting for 4 measures, you can insert 4 empty measure after
this event, and a Variation event at the end of the Intro,
beginning at the 4th empty measure.
“Off ” means that the accompaniment will not play at the
selected position – only the Realtime tracks will play.
Hint: Insert a Style Element Off event exactly where the autoaccompaniment must stop, at the end of the Song.
Chord
Use the D VOLUME/VALUE buttons to select the Chord line.
Use the F1-F4 buttons to select the part of the chord you wish
to edit.
C
Name
Maj
Type
-
/C
Tension
Extension
Use the TEMPO/VALUE controls to modify the selected
parameter. You can also play a chord, and it will be automati-
87
cally recognized. While recognizing a chord, the status of the
BASS INVERSION button will be considered.
“No chord” means that the accompaniment will not play at
the current position (apart for the Drum and Percussion
tracks). To select the “No chord” option, press F1 to select the
Name part of the Chord, then use the TEMPO/VALUE section to select the very last value (C…B, Off).
Note: If you replace a chord with a different one, please remember that the Lower track will not be automatically changed.
Transport controls
While in Step Mode, you can use various control panel buttons to accomplish the editing procedure.
<< or >> (Rewind or Fast Forward)
Use these buttons to move to the previous or following measure. These commands are effective even if the M(easure)
parameter is not selected.
< or > (Previous or Next Step)
Use these button to go to the previous or next step (1/8, or
192 ticks). If an event is located before the previous or next
step, the locator stops on that event. For example, if you are
positioned on M001.01.000, and no event exists before
M001.01.192, the > button moves to the M001.01.192 location. If an event exists on M001.01.010, the > button stops to
the M001.01.010 location.
These commands are effective even if the M(easure) parameter is not selected.
+ < or > (Previous or Next Event)
Keep the SHIFT button pressed while pressing the < or >
button, to move to the previous or next recorded event.
HOW TO DELETE A WHOLE SONG
You can delete a whole Song with the simple SHIFT +
DELETE key sequence.
1. Enter the Backing Sequence mode. You must be in the
main page of the mode. If you are in Record mode, go
back to the Playback mode.
2. Press SHIFT + DELETE.
3. The “Delete Song?” message appears. Press ENTER to
confirm, EXIT to abort.
88
Song operating mode
Transport controls
13. SONG OPERATING MODE
The Song operating mode is the full-featured onboard
sequencer, where you can create from scratch or edit a Song.
You can also use this mode to edit the initial parameters of a
Standard MIDI File, either made with an external sequencer
or with Pa50 own Song and Backing Sequence modes.
You can save the edited Song as a Standard MIDI File
(“.MID” file), and playback it either in Song Play, Backing
Sequence or Song mode.
For a practical example of Song editing, see “5 - Editing a
Song” on page 32.
TRANSPORT CONTROLS
While in Song mode, use the SEQ1 transport controls for the
Song playback. See “SEQUENCER TRANSPORT CONTROLS - SEQ1 and SEQ2” on page 18 for more information).
MAIN PAGE
Press SONG to access this page from another operating
mode.
Note: When switching from Style Play to Song, the Song Setup
is automatically selected, and various track parameters may
change.
Press EXIT/NO to access this page from the Menu or any of
the Song Play edit pages.
To see the Song’s tracks, use the TRK SELECT button to
switch from the Main page to the Tracks pages. Pressed a first
time, you will see tracks 1-8 (enlightened TRK SELECT
LED); a second press will show tracks 9-16 (flashing TRK
SELECT LED); pressed again, you will go back to the Main
page (TRK SELECT LED switched off).
Song icon
Page header
Bar number
MASTER VOLUME AND SEQUENCER VOLUME
You can use the MASTER VOLUME and ACC/SEQ VOLUME sliders to set the volume. See “Master Volume,
Sequencer Volume, BALANCE” on page 71.
Move the BALANCE slider to the center (or the left) for the
maximum volume of the sequencer (Song mode relies on
Sequencer 1).
New Song
THE SONGS AND THE STANDARD MIDI FILE
FORMAT
Song icon
The native Song format for Pa50 is the Standard MIDI File.
See “The Songs and the Standard MIDI File format” on
page 70.
When saving a Song as a SMF, an empty measure in automatically inserted to the beginning of the Song. This measure
contains various Song initialization parameters.
When a SMF is loaded, the empty measure is automatically
removed.
Page header
FAST TRACK DELETION
When you are in the Main page of the Song Record mode,
and the Song tracks are shown in the display, keep the
DELETE button pressed, and press one of the VOLUME/
VALUE buttons corresponding to the track to delete. The
“Are you sure?” message will appear. Press ENTER to delete
the track, or EXIT to abort.
HOW TO DELETE A WHOLE SONG
While in the Main page, you can delete a whole Song, with
the simple SHIFT + DELETE key sequence.
1. Enter the Song mode. You must be in the Main page of
the mode. If you are in Record mode, go back to the
Playback mode.
2. Press SHIFT + DELETE.
3. The “Delete Song?” message appears. Press ENTER to
confirm, EXIT to abort.
Load Song
Metro:Off
Save Song
Meter:4/4
Sel.Tempo
Tempo:Auto
When on, this icon shows that the instrument is in Song
mode.
This line shows the selected Song name.
Bar number
This counter shows the current bar number position of the
selected Song.
B (Load Song)
Use these buttons to select a Song (i.e., a Standard MIDI
File). The Song Select page opens, and you can select a Song
(see below “Song Select page”).
C (Save Song)
This command saves the edited Song as a Standard MIDI
File. After pressing this command, the Save Song page
appears (see “Save Song page” on page 90).
D (Select Tempo)
Select this parameter to use the TEMPO/VALUE section to
select the Tempo. When you select this parameter, the VALUE
LED turns off.
Note: The tempo is always record in overwrite mode (old data is
replaced by the new data).
F (Metro)
Use these buttons to turn the metronome on/off during playback.
G (Meter)
This non-editable parameter shows the starting meter (or
time signature) of the selected Song.
H (Tempo mode)
This sets the Tempo change mode.
Song operating mode
Tracks 1-8 page
Man(ual)
Auto
When the cursor is on the “D (Select Tempo)”
parameter, you can change the Tempo using
the TEMPO/VALUE section controls. The
Song will be played back using the manually
selected tempo.
The Tempo recorded to the Song will be used.
TRACKS 1-8 PAGE
To see and edit tracks 1-8, press TRACK SELECT from the
main page. The TRACK SELECT LED turns on.
Press the TRACK SELECT button twice, to go back to the
main page.
89
A-H (Tracks 9-16 Programs)
Name of the Programs assigned to tracks 9-16. Use these buttons to select, mute/unmute or change the volume of the corresponding tracks.
SONG SELECT PAGE
This page appears when you press PAGE+ or either the B
(Load Song) buttons while you are in the main page.
Press EXIT to go back to the Main page of the Song operating
mode, without selecting a Song.
Load Song
BALLADS
MySong
Piano1
|
MYSONGS
MYSONG.MID
Piano1
DkStrings
Guitar01
Legato
StrngEns2
BrassyHorn
VoxPad1
A-H (Tracks 1-8 Programs)
Name of the Programs assigned to tracks 1-8. Use these buttons to select, mute/unmute or change the volume of the corresponding tracks.
FD
LOAD
|
OPEN
CLOSE
A-C (File, folder)
Move the file or folder to be selected to the first line of the
display. To select a file, press the F2 (Load) button. To open a
folder, press the F3 (Open) button.
The “
” symbol identifies a folder.
E-F (Scroll Up)
TRACKS 9-16 PAGE
Scroll the list up.
To see and edit tracks 9-16, press TRACK SELECT once from
the Tracks 1-8 page, or twice from the main page. The
TRACK SELECT LED begins flashing.
Press the TRACK SELECT button again, to go back to the
main page.
Scroll the list down.
G-H (Scroll Down)
TEMPO/VALUE section
These controls scroll the list up or down.
F1 (FD)
Press this button after replacing a floppy disk in the floppy
disk drive. The new floppy disk will be read, and the file list
shown on the display will be updated.
MySong
F2 (Load)
Strings1
VocaEns
Load the Song at the first line of the display.
DkStrings
Bassi
Legato
StrngEns2
F3 (Open)
BrassyHorn
Strings2
Opens the selected folder (file whose name begins with the
“
” symbol).
F4 (Close)
Closes the current folder, returning to the parent (“upper”)
90
Song operating mode
Save Song page
SAVE SONG PAGE
The new or edited Song is contained in RAM, and is lost
when turning the instrument off. The Song is also lost when
you overwrite it in Backing Sequence Record mode, or when
switching to the Song Play mode. You must save on disk any
Song you wish to preserve. The Song is saved as a Standard
MIDI File (SMF).
Note: When saving a Song as a SMF, an empty measure in
automatically inserted to the beginning of the Song. This measure contains various Song initialization parameters.
1. If you are in an edit page, press EXIT to go back to the
Main page.
2. Select the Save Song button. The Save Song page
appears.
6.
Move the cursor using the DOWN/- and UP/+ buttons.
Select a character using the DIAL. Insert a character at
the cursor position by pressing the INSERT button.
Delete a character at the cursor position by pressing the
DELETE button.
When you have finished writing a name for the new
midifile, press F2 (Save) to confirm. The “Are you sure?”
message will appear. Press ENTER to confirm, or EXIT
to abort.
Play/Mute status saved with the Song
When saving a Song, the Play/Mute status is saved with the
Song. This status is preserved when playing back the same
Song in Song Play mode.
Master Transpose saved with the Song
Save Song
NEW_NAME.MID
MYSONGS
MYSONG.MID
FD
3.
4.
5.
SAVE
|
OPEN
CLOSE
Move the folder where you wish to save your Song to the
first line of the display, using the E-F (Scroll Up) and GH (Scroll Down) VOLUME/VALUE buttons, or the
TEMPO/VALUE controls. Press F3 (Open) to open it.
Close the current folder by pressing F4 (Close).
When in the selected folder, you can save the Song over
an existing midifile (a file with a “.MID” extension), or
create a new midifile.
• To overwrite an existing midifile, move it to the first
line of the display.
• To
create
a
new
midifile,
move
the
“NEW_NAME.MID” item to the first line of the display.
When the “NEW_NAME.MID” item is selected, press
one of the A VOLUME/VALUE buttons. You are
prompted to assign a name to the new file:
NEW_NAME.MID
When saving a Song, the Master Transpose value is saved
with the Song. Since this value is saved as System Exclusive
data, it is preserved when playing back the Song in Song Play
mode.
Hint: Since the Master Transpose is a global parameter, loading
a Song with a non-standard transposition may result in
unwanted transposing when loading other Songs that do not
contain their own transposition data. To transpose a Song it is
advisable to use the Edit-Transpose function; you can access this
function by pressing the MENU button and one of the E VOLUME/VALUE buttons (see “Page 18 - Edit: Transpose” on
page 100).
You may also lock the Master Transpose for various tracks, to
avoid unwanted transposition. See “Page 2 - Master Transpose”
on page 126 of the Global chapter.
As a general rule, you should use the Master Transpose
(TRANSPOSE buttons on the control panel) when you need to
transpose the Realtime tracks together with the Song. You
should use the Edit-Transpose function (Song Edit mode) when
only the Song has to be transposed.
Note: The Master Transpose value is always shown in the upper
right corner of the display:
Song operating mode
Realtime Record procedure
REALTIME RECORD PROCEDURE
Here is the general procedure to follow for the Realtime
Recording.
1. Press SONG to enter the Song mode.
2. Press RECORD to enter the Song Record mode.You are
now in the Main page of the Song Record mode, and
you can prepare your recording. (For more details, see
“Song Record page” on page 93).
Rec:NewSong
Rec:Overdub Trk:1 98%
S:
3.
4.
5.
E:
Metro:On1
Resol:
Meter:4/4
Sel.Tempo
Tempo:Auto
Be sure one of the Overdub or Overwrite recording
options is selected (see “Rec (Record mode)” on
page 93).
Set the tempo. There are two ways of changing tempo:
• Keep the SHIFT button pressed, and use the TEMPO/
VALUE controls to change the tempo.
• Move the cursor to the “Sel.Tempo” parameter, and use
the TEMPO/VALUE controls to change tempo.
Press TRK SELECT to switch to the Song Tracks 1-8
page.
Rec:NewSong
Piano1
Piano1
DkStrings
Guitar01
Legato
StrngEns2
BrassyHorn
VoxPad1
91
While the status icon is flashing, press PLAY/STOP to
begin recording. Depending on the Metro option you
selected, a 1- or 2-bars precount may play before the
recording actually begins. When it begins, play freely.
• If you selected the Auto Punch recording mode, the
recording will begin only when reaching the Start point.
• If you selected the Pedal Punch recording mode, press
the pedal when you want to begin recording. Press it
again to finish recording.
Note: The Punch functions will not work on an empty
Song. At least one track must already be recorded.
10. When finished recording, press PLAY/STOP to stop the
sequencer. Select a different track, and go on recording
the whole Song.
11. When finished recording the new Song, press RECORD
to exit the Record mode. The Song will be saved in
memory.
Warning: Save the Song on a disk, to avoid it is lost when
turning the instrument off.
Note: When exiting the Record mode, the Octave Transpose is automatically reset to “0”.
12. Edit the new Song; press the MENU page, and select the
various edit pages.
9.
STEP RECORD PROCEDURE
The Step Record allows you to create a new Song by entering
the single notes or chords in each track. This is very useful
when transcribing an existing score, or needing a higher
grade of detail, and is particularly suitable to create drum and
percussion tracks.
1. While in the Main screen of the Song mode, press
RECORD to enter the Song Record mode. The Main
page of the Song Record mode will appear.
Press the button again to switch to the Song Tracks 9-16
page.
Rec:NewSong
Rec:Overdub Trk:1 98%
S:
E:
Metro:On1
Resol:
Meter:4/4
Sel.Tempo
Tempo:Auto
Rec:NewSong
6.
7.
8.
Strings1
VocaEns
DkStrings
Bassi
Legato
StrngEns2
BrassyHorn
Strings2
If you like, you can set the tempo again from these
pages: just use the TEMPO/VALUE controls.
Assign the right Program to each track.
Select the track to put in record. Its status icon will automatically begin flashing.
2.
3.
Use the A VOLUME/VALUE buttons to select the “Rec”
(Recording Mode) parameter. Use these buttons, or the
TEMPO/VALUE controls, to select the “Step Dub” (Step
Overdub) or the “StepOwr” (Step Overwrite) recording
mode.
• The Step Overdub mode lets you add events to the
existing events.
• The Step Overwrite mode will overwrite all existing
events.
Press SEQ1 PLAY/STOP to turn its LED on, and enter
the Step Record page. (See “Step Record page” on
92
Song operating mode
Step Record procedure
page 94 for more information on each parameter of this
page).
Previous event
Event to be inserted
Step Owr
(a)
M---.--.--- Empty
(b)
M001.01.000 Meter: 4/4
-key?
Current position
V:64
D:85%
Step value
Waiting for a keystroke…
4.
5.
7.
The first two lines (a) are the latest inserted event. The
second two lines (b) are the event currently in edit,
ready to be inserted.
The “Empty” event marks the beginning of the Song,
when there are no events inserted. It is automatically
inserted when entering the Record mode. It will be
removed when an event is inserted.
The “Maaa.bb.ccc” parameter in (b) is the current position. This is the place where the note in edit will be
inserted.
• If you don’t want to insert a note at this position,
insert a rest instead, as shown in step 6.
• To jump to the next measure, filling the remaining
beats with rests, press the >> button.
To change the step value, use the NOTE VALUE buttons,
on the lower left area of the control panel.
8.
editing the V (Velocity) and D (Duration) parameters.
See “V (Velocity)” and “D (Duration)” on page 94.
• To insert a rest, just press the REST button. Its length
will match the step value.
• To tie the note to be inserted to the previous one, press
the TIE button. A note will be inserted, tied to the previous one, with exactly the same name. You don’t need to
play it on the keyboard again.
• To insert a chord or a second voice, see “Chords and
second voices” below.
After inserting a new event, you may go back by pressing
the < button. This will delete the previously inserted
event, and set the step in edit again.
When finished recording, press SEQ1 PLAY/STOP to
turn off its LED. The Main page of the Song Record
mode appears again.
Rec:NewSong
Rec:Overdub Trk:1 98%
S:
9.
E:
Metro:On1
Resol:
Meter:4/4
Sel.Tempo
Tempo:Auto
From the Main page of the Song Record mode, press
RECORD to exit the Record mode. While in the Main
page of the Song mode, you may press SEQ1 PLAY/
STOP to listen to the Song, or select the Save Song command to save the Song on disk.
Chords and second voices
6.
Insert a note, rest or chord at the current position.
• To insert a single note, just play it on the keyboard. The
inserted note length will match the step length. You may
change the velocity and relative duration of the note, by
With Pa50, you are not obliged to insert single notes in a
track. There are several ways to insert chords and double
voices. For more information, see the “Chords and second
voices in Step Record mode” section on page 10-60 of the
“Style Record mode” chapter.
Song operating mode
Song Record page
SONG RECORD PAGE
On1
While in the Song mode, press RECORD to enter the Song
Record mode. The Song Record page appears.
On2
93
Metronome on, with a one-bar precount
before starting recording.
Metronome on, with a two-bar precount
before starting recording.
Resol (Resolution)
Rec:NewSong
Rec:Overdub Trk:1 98%
S:
E:
Metro:On1
Resol:
Meter:4/4
Sel.Tempo
Tempo:Auto
Rec (Record mode)
Set this parameter to select a recording mode.
Overdub
The newly recorded events will be mixed to any
existing events.
Overwrite
The newly recorded events will replace any
existing events.
Auto Punch Recording will automatically begin at the “S”
position, and stop at the “E” position (see the
following line).
Note: The Auto Punch function will not work on
an empty Song. At least one track must already
be recorded.
PedalPunch Recording will begin when pressing a pedal set
to the “Punch In/Out” function, and will finish
when pressing the same pedal again.
Note: The Pedal Punch function will not work
on an empty Song. At least one track must
already be recorded.
StepDub
Step Overdub. This recording mode lets you
enter events one at a time, adding events to the
existing events.
StepOwr
Step Overwrite. This recording mode lets you
enter events one at a time, overwriting all existing events.
Trk (Track)
Track in record.
1…16
One of the 16 tracks selected. To select a track,
go to the Track pages (see “Tracks 1-8 page” on
page 89 and “Tracks 9-16 page” on page 89).
S/E (Start/End)
These parameters appear only when the “Auto Punch”
recording mode is selected. They set the starting and ending
points of the Punch recording.
Metro (Metronome)
This is the metronome heard during recording.
Off
No metronome click will be heard during
recording. A one-bar precount will be played
before starting recording.
Use this parameter to set the quantization during recording. Quantization is a way of correcting timing errors;
notes played too soon or too later are moved to the nearest
axis of a rhythmic “grid”, set with this parameter, thus
playing perfectly in time.
Hi
No quantization applied.
(1/32)… (1/8)
Grid resolution, in musical values. For
example, when you select 1/16, all notes are
moved to the nearest 1/16 division. When
you select 1/8, all notes are moved to the
nearest 1/8 division.
No quantization
1/16
1/8
Meter
This is the meter (or time signature) of the Song. You can edit
this parameter only when the Song is empty, i.e. before you
begin recording anything. To insert a meter change in the
middle of the Song, use the “Insert Measure” function (see
page 13-101).
Sel.Tempo (Select Tempo)
Select this parameter to use the TEMPO/VALUE controls to
set the tempo.
Note: You can always change the Tempo, when other parameters are selected, by keeping the SHIFT button pressed, and
rotating the DIAL.
Note: The tempo is always record in overwrite mode (old data is
replaced by the new data).
Tempo (Tempo mode)
This parameter sets the way tempo events are read.
Record
All Tempo changes made during recording will
be recorded to the Master Track.
Auto
The Sequencer plays back all recorded Tempo
events. No new Tempo events are recorded.
Manual
The latest manual Tempo setting (made using
the TEMPO/VALUE controls) is considered
the current Tempo value. No Tempo change
will be recorded. This is very useful to record
the Song much slower than its actual Tempo.
94
Song operating mode
Step Record page
STEP RECORD PAGE
…
Access this page from the Main page of the Song Record
mode, by selecting the “StepDub” or “StepOwr” recording
mode (“Rec” parameter), and pressing SEQ1 PLAY/STOP.
Dot (.)
Previous event
Event to be inserted
Step Owr
(a)
M---.--.--- Empty
(b)
M001.01.000 Meter: 4/4
-key?
Current position
V:64
D:85%
Step value
Waiting for a keystroke…
Triplet (3)
Note value.
Augments the selected note by one half of its
value.
Makes the selected note a triplet note.
V (Velocity)
Set this parameter before entering a note or chord. This will
be the playing strength (i.e., velocity value) of the event to be
inserted.
KBD
Keyboard. You can select this parameter, by
turning all counter-clockwise the dial. When
this option is selected, the playing strength of
the played note is recognized and recorded.
1…127
Velocity value. The event will be inserted with
this velocity value, and the actual playing
strength of the note played on the keyboard
will be ignored.
D (Duration)
(a) section
Previously inserted event. You may delete this event, and set it
in edit again, by pressing the < button.
(b) section
Event to be inserted. See the following parameters for information on each element of this section.
Relative duration of the inserted note. The percentage is
always referred to the step value.
50%
Staccato.
85%
Ordinary articulation.
100%
Legato.
M (Measure)
Buttons used in Step Record mode
This is the position of the event (note, rest or chord) to be
inserted.
TIE button
Meter
REST button
Meter of the current measure. This parameter can’t be edited.
You can set a Meter change by using the Insert function of the
Edit menu, and inserting a new series of measures with a different Meter (see “Page 22 - Edit: Insert Measures” on
page 101).
Ties the note to be inserted to the previous note.
Inserts a rest.
NOTE VALUE buttons
Select the step value.
SEQ1 PLAY/STOP button
key?
Exits the Step Record mode.
This is a prompt, asking for a note or chord to be played on
the keyboard, to enter an event on the current step.
< (Previous step)
Step value
>> (Fast Forward)
Length of the event to be inserted. Use the NOTE VALUE
buttons, on the lower left area of the control panel, to change
this value.
Goes to the next measure, and fill the remaining space with
rests.
Goes to the previous step, erasing the inserted event.
Song operating mode
Menu
MENU
95
Track status icons
While in any page, press MENU to open the Song edit menu.
This menu gives access to the various Song edit sections.
When in the menu, select an edit section using the VOLUME/
VALUE (A-H) buttons, select an edit page using PAGE +, or
press EXIT to exit the menu.
When in an edit page, press EXIT to go back to the main page
of the Song operating mode.
A series of icons near each track show the track’s status.
Selected track or parameter. When this symbol
appears, you can execute any available operation on the selected item.
(no icon)
Track in play or already recorded.
The track is in mute, or does not contain data.
PAGE 1 - MIXER: VOLUME
Song Edit MENU
Mixer/Tun.
Transp/Vel
Effects
Del/Cut-Ins
Track Edit
Copy
Quantize
Event Edit
Each item in this menu corresponds to an edit section. Each
edit section groups various edit pages.
EDIT PAGE STRUCTURE
Mixer:Volume
Select an edit section from the Menu, and/or use the PAGE
buttons to reach the desired page.
Press EXIT to go back to the main page of the Song mode.
All edit pages share the same structure.
Song icon
Here you can adjust the volume for each of the 16 sequencer
tracks. Press both VOLUME/VALUE button to mute/unmute
the corresponding track.
A muted track remains muted even when selecting a different
Song.
Use the TRACK SELECT button to switch between Song
tracks 1-8, Song tracks 9-16, and back again.
Page header
|||| 090
|||| 090
|||| 090
|||| 092
|||| 090
|||| 086
|||| 090
||||| 112
Page number
Mixer:Volume
Mixer:Volume
|||| 090
|||| 090
|||| 090
|||| 092
|||| 090
|||| 090
|||| 090
|||| 086
|||| 090
|||| 092
|||| 090
||||| 112
|||| 090
|||| 086
|||| 090
||||| 112
Track status icons
Song icon
When on, this icon indicates that the instrument is in Song
mode.
PAGE 2 - MIXER: PAN
Here you can adjust the pan for each Song track.
Use the TRACK SELECT button to switch between Song
tracks 1-8, Song tracks 9-16, and back again.
Page header
The header shows the name of the current edit page. Usually
the header is divided in a first word, identifying the section
name (e.g., “Mixer:FX Send” is a “Mixer” section page), and a
second word, referring to the page name (e.g. “FX Send”).
Section name
Page name
Mixer:Pan
C+00
C+00
C+00
C+00
C+00
C+00
C+00
C+00
Mixer:FX Send
Page
This area shows the current page number.
A-H
Each pair of VOLUME/VALUE buttons select a different
track, parameter of command, depending on the edit page.
Mixer:Pan
C+00
C+00
C+00
C+00
C+00
C+00
C+00
C+00
96
Song operating mode
Page 3 - Mixer: FX Block
Pan
-64
+00
+63
Off
Hard Left.
Center.
Hard Right.
The direct (uneffected) signal does not go to
the outputs; only the FX signal is heard for this
track.
Here is the edit procedure:
1. Use the VOLUME/VALUE (A-H) buttons to select a
track.
2. Use the F1-F4 buttons to select a parameter for that
track.
3. Use the TEMPO/VALUE controls to change the parameter’s value.
Parameters
PAGE 3 - MIXER: FX BLOCK
This page lets you select a pair of effect processor (AB or CD)
for each of the Song track.
Use the TRACK SELECT button to switch between Song
tracks 1-8, Song tracks 9-16, and back again.
000
127
No effect. Only the direct (uneffected) signal
goes to the outputs.
100% effect. The direct (uneffected) and
effected signals go to the outputs with the same
level.
PAGE 5 - TUNING: DETUNE
Mixer:FX Block
AB
AB
AB
AB
AB
AB
AB
AB
This page is where you can set the fine tuning for each track.
Use the TRACK SELECT button to switch between Song
tracks 1-8, Song tracks 9-16, and back again.
Tuning:Detune
Mixer:FX Block
AB
AB
AB
AB
AB
AB
AB
AB
+OO
+OO
+OO
+OO
+OO
+OO
+OO
+OO
Tuning:Detune
PAGE 4 - MIXER: FX SEND A/B (OR C/D)
This page lets you set the level of the track’s direct (uneffected) signal going to the A and B, or C and D Internal FX
pair. Go to the previous page (“Page 3 - Mixer: FX Block”) to
select an FX pair.
Use the TRACK SELECT button to switch from tracks 1-8 to
tracks 9-16.
Mixer:FXSend
A:100 B:050 A:100 B:050
A:127 B:020 A:100 B:050
A:110 B:050 A:100 B:050
A:100 B:050 A:100 B:050
Mixer:FXSend
A:100 B:050 A:100 B:050
A:127 B:020 A:100 B:050
A:110 B:050 A:100 B:050
A:100 B:050 A:100 B:050
+OO
+OO
+OO
+OO
+OO
+OO
+OO
+OO
Detune
This is the fine tuning.
-64
Lowest pitch.
0
Standard tuning.
+63
Highest pitch.
Song operating mode
Page 6 - Tuning: Scale
PAGE 6 - TUNING: SCALE
This page lets you program the alternative scale for the Song
tracks.
Tuning:Scale
97
Sc(ale)
This parameter lets you activate/deactivate the alternative
scale for each track. (See “Page 6 - Tuning: Scale” on page 97
for more information on selecting an alternative scale).
Yes
The track is tuned according to the alternative
scale.
No
The track is tuned according to the Global
scale (see “Scale” on page 125).
Scale:User
Key:C
PAGE 8 - FX: A/B SELECT
Note:C#
Detune:+63
Scale
Alternative scale for the Song tracks. See “Scales” on page 227
for a list of available scales. To enable/disable the alternative
scale for each Song track, see “Page 7 - Tuning: PitchBend/
Scale” on page 97.
This page lets you select the A and B effects. Usually, the A
effect is a reverb, while the B effect is a modulating effect.
Standard MIDI Files usually require two effects only. You can,
however, assign all four effects to a Song (see “Page 3 - Mixer:
FX Block” on page 96).
Key
FX:A/B Select
Parameter required for some Scales, when you should set a
preferred key.
Note
Note in edit, to be detuned. This parameter can be accessed
when a User Scale is selected.
Detune
Note detune, compared to the standard Equal tuning. This
parameter can be accessed when a User Scale is selected.
PAGE 7 - TUNING: PITCHBEND/SCALE
This page lets you program the Pitch Bend range for the Song
tracks. Furthermore, it lets you activate/deactivate the alternative scale for each track.
Use the TRACK SELECT button to switch between Song
tracks 1-8, Song tracks 9-16, and back again.
A:02
B:89
Compressor
Rev-Gate
ModTrk:Up1
B>Asend:127
Note: When you stop the Song, or select a different Song, the
default effects are selected again. You can, however, stop the
Song, change the effects, then start the Song again. Save the
Song to permanently change the effects.
A, B
Effects assigned to the A and B effect processors. Usually, A is
the reverb, while B is the modulating effect (chorus, flanger,
delay…). For a list of the available effects, see “Effects” on
page 175.
ModTrk (Modulating Track)
Source track for modulating MIDI messages. You can modulate an effect parameter with a MIDI message generated by a
physical controller.
Tuning:PB/Scale
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
Tuning:PB/Scale
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB:02 Sc:N
PB(end)
This parameters shows the Pitch Bend range for each track,
in semitones.
01…12
Maximum positive/negative pitchbend range
(in semitones). 12 = ±1 octave.
Off
No pitchbend allowed.
B>Asend (B>A Send)
Amount of the B effect going back to the input of the A effect.
PAGE 9 - FX: C/D SELECT
This page lets you select the C and D effects. Usually, the C
effect is a reverb, while the D effect is a modulating effect.
Standard MIDI Files usually require two effects only. You can,
however, assign all four effects to a Song (see “Page 3 - Mixer:
FX Block” on page 96).
FX:C/D Select
C:02
D:89
Compressor
Rev-Gate
ModTrk:Up1
D>Csend:127
Note: When you stop the Song, or select a different Song, the
default effects are selected again. You can, however, stop the
98
Song operating mode
Page 10 - FX: A editing
Song, change the effects, then start the Song again. Edit the Song
in Song mode to permanently change the effects.
C, D
Effects assigned to the C and D effect processors. Usually, C is
the reverb, while D is the modulating effect (chorus, flanger,
delay…). For a list of the available effects, see “Effects” on
page 175.
ModTrk (Modulating Track)
Source track for modulating MIDI messages. You can modulate an effect parameter with a MIDI message generated by a
physical controller.
PAGE 14 - TRACK: EASY EDIT
In this page you can edit the main parameters of the Programs assigned to each track.
Note: All values are relative to the value of the original Program.
You can also change the volume for each class of Drums and
Percussions, if the selected track is set in Drum mode (see
below “Page 15 - Track: Mode”).
Use the TRACK SELECT button to switch between Song
tracks 1-8, Song tracks 9-16, and back again.
D>Csend (D>C Send)
Amount of the D effect going back to the input of the C
effect.
Track:Easy Edit
PAGE 10 - FX: A EDITING
This page contains the editing parameters for the A effect
(usually a reverb).
FX:A Edit
(Sq1)
Attack:0
Attack:0
Attack:0
Attack:0
Attack:0
Attack:0
Attack:0
Attack:0
Track:Easy Edit
Rev Time [sec]: 3.07 |
High Damp [%]:0
Pre Dly [ms]:0
Pre Dly Thru [%]:0
|
Use the E-F and G-H VOLUME/VALUE button pairs to scroll
the parameter list.
Use the A-D VOLUME/VALUE button pairs to select and edit
a parameter.
Use the TEMPO/VALUE controls to edit the selected parameter.
Note: When you stop the Song, or select a different Song, the
default effects are selected again. You can, however, stop the
Song, change the effects, then start the Song again. Edit the Song
in Song mode to permanently change the effects.
Parameters
See “Effects” on page 175 for a list of available parameters for
each effect type.
PAGE 11 - FX: B EDITING
This page contains the editing parameters for the B effect
(usually a modulating effect). For more details, see “Page 10 FX: A editing” above.
PAGE 12 - FX: C EDITING
This page contains the editing parameters for the C effect.
For more details, see “Page 10 - FX: A editing” above.
PAGE 13 - FX: D EDITING
This page contains the editing parameters for the D effect.
For more details, see “Page 10 - FX: A editing” above.
Attack:0
Attack:0
Attack:0
Attack:0
Attack:0
Attack:0
Attack:0
Attack:0
Here is the edit procedure:
1. Use the VOLUME/VALUE (A-H) buttons to select a
track.
2. Use the F1-F4 buttons to select a sound parameter, or its
value. (For the Drum and Percussion tracks, see below
the “Drum tracks” section).
3. Use the TEMPO/VALUE controls to change the sound
parameter or its value.
Parameters
Attack
Attack time. This is the time during which the
sound goes from zero (at the moment when
you strike a key) to it’s maximum level.
Decay
Decay time. Time to go from the final Attack
level to the beginning of the Release.
Release
Release time. This is the time during which the
sound goes from the sustaining (or Decay)
phase, to zero. The Release is triggered by
releasing a key.
Cutoff
Filter cutoff. This sets the sound brightness.
Resonance Use the Filter Resonance to define the width of
the frequency range affected by the Filter.
Vibrato Rate Speed of the Vibrato.
Vibrato Depth
Intensity of the Vibrato.
Vibrato Delay
Delay time before the Vibrato begins, after the
sound starts.
Song operating mode
Page 15 - Track: Mode
Drum tracks
99
Poly
When a track is set in Drum Mode (like the Drum and Percussion tracks), you can adjust the volume for each of the
Drum and Percussion categories.
Kick V
Kick drums volume.
Snare V
Snare drums volume.
Tom V
Toms volume.
HiHat V
Hi-Hat volume.
CymbalV
Ride, Crash and other cymbals volume.
Percus1V
“Classic” percussion set volume.
Percus2V
“Ethnic” percussion set volume.
SFX V
Special effects volume.
Tracks of this kind are polyphonic, i.e. they can
play more than one note at the same time.
Mono
Tracks of this kind are monophonic, i.e. each
new note stops the previous note.
Mono Right A Mono track, but with priority assigned to
the rightmost (highest) note.
PAGE 16 - TRACK: INTERNAL/EXTERNAL
This page lets you set the Internal or External status for each
track. It is very useful to let a Song track drive an external
expander.
Use the TRACK SELECT button to switch between Song
tracks 1-8, Song tracks 9-16, and back again.
Reset
You can reset the parameters’ value by keeping the SHIFT
button pressed, while pressing the selected track VOLUME/
VALUE button. When you press the above combination, the
Reset window appears:
RESET
NO=Cancel
YES=Trk
SHFT+YES=All
Track:Int/Ext
Press ENTER/YES to reset the currently selected track. Keep
SHIFT pressed, and press ENTER/YES, to reset all tracks.
Press EXIT/NO to abort and leave all parameters unchanged.
Both
Both
Both
Both
Both
External
Both
Both
Track:Int/Ext
PAGE 15 - TRACK: MODE
Both
Both
Both
Both
This page lets you set the polyphony mode for each track.
Use the TRACK SELECT button to switch between Song
tracks 1-8, Song tracks 9-16, and back again.
Both
External
Both
Both
Parameters
Internal
Track:Mode
Poly
Poly
Poly
Poly
Poly
Poly
Poly
Poly
External
Track:Mode
Poly
Poly
Drum
Poly
Drum
Poly
Poly
Poly
121-
Parameters
Drum
The track plays the sounds generated by the
internal sound engine. It does not play an
external instrument connected to the MIDI
OUT.
The track plays an external instrument connected to the MIDI OUT. It does not play the
internal sounds, thus saving polyphony.
When a track is set to “External”, a strings of
transmitted Control Change and Program
Change data is shown instead of the Program
name assigned to the track. In the following
example, CC#0 is the Control Change 0 (Bank
Select MSB), CC#32 is the Control Change 32
(Bank Select LSB), PC is the Program Change.
CC#0
This is a Drum/Percussion track. No Master or
Octave Transpose applies to this track. You can
set a different volume for each class of percussive instruments (“Page 14 - Track: Easy edit”
on page 98).
Both
3- 0
CC#32
PC
The track plays both the internal sounds and
an external instrument connected to the MIDI
OUT.
100
Song operating mode
Page 17 - Edit: Quantize
PAGE 17 - EDIT: QUANTIZE
PAGE 18 - EDIT: TRANSPOSE
The quantize function corrects any rhythm error after
recording.
Here you can transpose the Song, a track or a part of a track.
Edit:Transpose
Edit:Quantize
Trk:1
Value:
Trk:1
Bottom:G-1
S001.01.000 E001.01.192
Bottom:C-1
+0
S001-01-000 E001-01-192
Resol:
Top:C8
Top: G9
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
Trk (Track)
Use this parameter to select a track.
All
All tracks selected.
1…16
Selected track.
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
Trk (Track)
Use this parameter to select a track.
All
All tracks selected (apart for Drum tracks).
1…16
Selected track.
Value
Resol (Resolution)
Value of the transpose (in semitones).
This parameter sets the quantization after recording. For
example, when you select 1/8a, all notes are moved to the
nearest 1/8 division. When you select 1/4, all notes are moved
to the nearest 1/4 division.
S / E (Start/End)
No quantization
Use these parameters to set the starting (S) and ending (E)
points of the range to transpose.
If you wish to select a four-measure sequence starting at the
beginning of the Song, the Start will be positioned at
1.01.000, and the End at 5.01.000.
Bottom / Top
1/8
1/4
(1/32)… (1/4)
Grid resolution, in musical values. An “a” after
the value means no swing. A “b…f ” after the
value means swing-quantization.
Use these parameters to set the bottom and top of the keyboard range to transpose. If you select the same note as the
Bottom and Top parameters, you can select a single percussive instrument in a Drum track.
PAGE 19 - EDIT: VELOCITY
Here you can change the Velocity value for the notes.
S / E (Start/End)
Edit:Velocity
Use these parameters to set the starting (S) and ending (E)
points of the range to quantize.
If you wish to select a four-measure sequence starting at the
beginning of the Song, the Start will be positioned at
1.01.000, and the End at 5.01.000.
Bottom / Top
Use these parameters to set the bottom and top of the keyboard range to quantize. If you select the same note as the
Bottom and Top parameters, you can select a single percussive instrument in a Drum track.
Note: These parameters are available only when a Drum track
is selected.
Trk:1
Value:
+0
S001-01-000 E001-01-192
Bottom:G-1
Top:C8
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
Trk (Track)
Use this parameter to select a track.
All
All tracks selected.
1…16
Selected track.
Value
Velocity change value.
S / E (Start/End)
Use these parameters to set the starting (S) and ending (E)
points of the range to edit.
Song operating mode
Page 20 - Edit: Delete
If you wish to select a four-measure sequence starting at the
beginning of the Song, the Start will be positioned at
1.01.000, and the End at 5.01.000.
Bottom / Top
Use these parameters to set the bottom and top of the keyboard range to edit. If you select the same note as the Bottom
and Top parameters, you can select a single percussive instrument in a Drum track.
101
Bottom / Top
Use these parameters to set the bottom and top of the keyboard range to delete. If you select the same note as the Bottom and Top parameters, you can select a single percussive
instrument in a Drum track.
Note: These parameters are available only when the All or Note
options are selected.
PAGE 21 - EDIT: CUT MEASURES
PAGE 20 - EDIT: DELETE
In this page you can cut measures from the Song.
This page is where you can delete MIDI events from the
Song.
Edit:Cut Meas.
Edit:Delete
Start: 1
Length:1
Trk:1
Ev:All
S001-01-000 E001-01-192
Bottom:G-1
Top:C8
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
After selecting the Start and Length parameters, press ENTER
to execute. The “Are you sure?” message will appear. Press
ENTER to confirm, EXIT to abort.
After the cut, the following measure are moved back, to fill
the cut measures.
Trk (Track)
Start
Use this parameter to select a track.
All
All tracks selected.
1…16
Selected track.
Master
Master track. This is where the Tempo, Scale
and Effect events are recorded.
First measure where to begin cutting.
Ev (Event)
Type of MIDI event to delete.
All
All events. The measures will not be removed
from the Song.
Note
All notes in the selected range.
Dup.Note
All duplicate notes. When two notes with the
same pitch are encountered on the same tick,
the one with the lowest velocity is deleted.
A.Touch
After Touch events.
P.Bend
Pitch Bend events.
PrChange
Program Change events, excluding the bundled Control Change #00 (Bank Select MSB)
and #32 (Bank Select LSB).
C.Change
All Control Change events, for example Bank
Select, Modulation, Damper, Soft Pedal…
CC00/32…CC127
Single Control Change events. Double Control
Change numbers (like 00/32) are MSB/LSB
bundles.
Length
Number of measures to be cut.
PAGE 22 - EDIT: INSERT MEASURES
In this page you can insert measures in the Song. You can also
use this function to insert measures with a different meter
(time signature).
Edit:Ins.Meas.
Meter: 4/4
Start: 1
Length:1
After selecting the Meter, Start and Length parameters, press
ENTER to execute. The “Are you sure?” message will appear.
Press ENTER to confirm, EXIT to abort.
Note: You cannot append measures after the end of the Song. To
append measures use the Record or Copy function.
Note: You cannot use this function on an empty Song.
Meter
S / E (Start/End)
Meter of the measures to be inserted.
Use these parameters to set the starting (S) and ending (E)
points of the range to delete.
If you wish to select a four-measure sequence starting at the
beginning of the Song, the Start will be positioned at
1.01.000, and the End at 5.01.000.
Start
First of the inserted measures.
Length
Number of measures to be inserted.
102
Song operating mode
Page 23 - Edit: Copy
PAGE 23 - EDIT: COPY
PAGE 24 - EVENT EDIT
Here you can copy tracks or phrases.
Enter this page from the Menu of the Song mode. The Event
Edit page allows you to edit each event in a single track. See
“Event Edit procedure” on page 104 for more information on
the event editing procedure.
Edit:Copy
Mode:Merge
Event Edit
FromTrk:All ToTrk:All
S:1
E:1
S:1
T1
Trk: 1
Position: 001.01.000
After setting the various parameters, press ENTER to execute.
The “Are you sure?” message will appear. Press ENTER to
confirm, EXIT to abort.
Note: If you copy too many events on the same “tick”, the “Too
many events!” message appears, and the copy operation is
aborted.
Mode
Use this parameter to select the Copy mode.
Merge
Copied data are merged with the data at the
target position.
Overwrite
Copied data replace all data at the target position.
Warning: Deleted data cannot be recovered!
Ev: Note
G1
Lenght:000.00.110
Event Type
|
94
First value
|
Second value
Trk (Track)
Track in edit. To select a different track, press one of the A
VOLUME/VALUE buttons to open the Go To Track window.
Go to Track: 1
Enter=Ok
Exit=Cancel
Use these parameters to select the source and target track to
copy.
All
All tracks. The target track cannot be selected.
1…16
Selected source and target tracks.
Use the TEMPO/VALUE controls to select a track, and press
ENTER to confirm, or EXIT to abort.
1…16
One of the ordinary tracks of the Song. These
tracks contains musical data, like notes and
controllers.
Master
This is a special track, containing Tempo
changes, Meter changes, Scale and Transpose
data, and the effect parameters.
S/E
Position
FromTrk (From Track)
ToTrk (To Track)
The left “S/E” parameters are the starting and ending measure to copy. For example, if S=1 and E=4, the first four measures are copied.
S
The right “S” parameter is the first of the target measures.
T
Number of times the copy must be executed.
Position of the event shown in the display, expressed in the
form ‘aaa.bb.ccc’:
•
‘aaa’ is the measure
•
‘bb’ is the beat
•
‘ccc’ is the tick (each quarter beat = 384 ticks)
You can edit this parameter to move the event to a different
position.
Ev (Event)
Type and values of the event shown in the display. Depending
on the selected event, the value may change. This parameter
also shows the (non-editable) “End Of Track” marking, when
the end of the track is reached.
Here are the events contained in ordinary tracks (1-16).
Event
First value
Second value
Note
Note name
Velocity
Prog
Program Change number
–
Ctrl
Control Change number
Control Change value
Bend
Bending value
–
Aftt
Mono (Channel) Aftertouch value
–
PAft
Note to which the Aftertouch is applied
Poly Aftertouch value
Song operating mode
Page 25 - Event Filter
And here are the events contained in the Master track.
Event
First value
Second value
Tempo
Tempo change
–
Volume
Master Volume value
–
Meter
Meter change(a)
–
Scale
One of the available preset Scales
Root note for
the selected
Scale
UScale (User
Scale)
One of the available
User Scales
Root note for
the selected
Scale
QT (Quarter
Tone)
Altered note
Note alter-
QT Clear (Quarter Tone Clearing)
Reset of all Scale
changes
FXType
One of the four available FX processors
Effect
FXSend
Feedback Send (B>A or
D>C)
Feedback send
level
103
SEQ1 PLAY/STOP button
Press PLAY/STOP to listen to the Song in edit. Press PLAY/
STOP again to stop it.
SHIFT + << or >>
Keep the SHIFT button pressed and press the << or >> button to open the Go to Measure window.
ation(b)
–
Go to Measure: 1
Enter=Ok
Exit=Cancel
Use the TEMPO/VALUE controls to select a measure, and
press ENTER to confirm, or EXIT to abort.
SHIFT + PAUSE
While the sequencer is running, keep the SHIFT button
pressed, and press the PAUSE button to display the event that
is currently playing. This is called the Catch Locator function.
INSERT
number(c)
(a) Meter changes can’t be edited or inserted. To insert a Meter
change, use the Insert function in the Edit section and insert a
series of measures with the new meter. Existing data can then be
copied or entered to these measures
(b) To edit the Quarter Tone settings, select the first value, then
select the scale’s degree to edit. Edit the second value to change
the tuning of the selected note of the scale.
(c) When selecting a different effect number during this edit,
default settings will be assigned to this event.
To change the event type, use the C VOLUME/VALUE buttons to select the Event line, then use the same buttons or the
TEMPO/VALUE controls to select a different event type.
To select and edit the event’s value, use the F3 and F4 function keys, and use the G/VOLUME/VALUE buttons or the
TEMPO/VALUE controls.
Length
Length of the selected Note event. The value format is the
same as the Position value.
Note: If you change a length of “000.00.000” to a different
value, you can’t go back to the original value. This rather
uncommon zero-length value may be found in the drum and
percussion tracks of Songs made in Backing Sequence mode.
Transport, navigation and editing controls
E/F and H VOLUME/VALUE buttons
These buttons are the “Scroll to previous event” and “Scroll to
next event” controls. They corresponds to the scroll arrows
shown on the screen.
G VOLUME/VALUE buttons
Use these buttons to select the corresponding parameter
value area.
F3 and F4 buttons
After selecting the parameter value area with the G VOLUME/VALUE buttons, use these buttons to select, respectively, the first and second value of the event in edit.
Press the INSERT button to insert a new event at the current
shown Position. The default values are Type = Note, Pitch =
C4, Velocity = 100, Length = 192.
Note: You can’t insert new events in an empty, non-recorded
Song. To insert an event, you must first insert some empty measures. To use the Insert function, press MENU and one of the F
VOLUME/VALUE buttons, then press the PAGE+ button twice.
DELETE
Press the DELETE button to delete the event shown in the
display.
PAGE 25 - EVENT FILTER
This page is where you can select the event types to be shown
in the Event Edit page. You can access this page by pressing
the PAGE+ button while in the Event Edit page.
Edit:Ev.Filter
Note: Off
MTch:
Off
Prog: Off
PTch:
Off
Ctrl: Off
Bend:
Off
T/Meter: Off PaCtl: Off
Turn On the filter for all event types you do not wish to see in
the Event Edit page.
Note
Notes.
Prog
Program Change values.
Ctrl
Control Change events.
T/Meter
Tempo and Meter changes (Master Track
only).
Aftt
Mono (Channel) Aftertouch events.
PAft
Poly Aftertouch events.
Bend
Pitch Bend events.
PaCtl
Controls exclusive of the Pa50, like the FX and
Scale settings. These controls are recorded to
the Master Track, and saved as System Exclusive data.
104
Song operating mode
Event Edit procedure
EVENT EDIT PROCEDURE
The Event Edit is the page where you can edit each single
MIDI event of the selected track. You can, for example,
replace a note with a different one, or change its playing
strength. Here is the general event editing procedure.
1. While in the Main page of the Song mode, load the Song
to edit (see “Main page” on page 88). If a Song is already
loaded or just recorded, this step is not needed.
2. Press MENU, and use one of the H VOLUME/VALUE
buttons to select the Event Edit section. The Event Edit
page appears (see “Page 24 - Event Edit” on page 102 for
more information).
Event Edit
8.
For more information on the event types and their values, see “Page 24 - Event Edit” below.
Use the B VOLUME/VALUE buttons to select the Position line. Use these buttons or the TEMPO/VALUE controls to change the event’s position.
Position: 001.01.001
Measure
9.
Beat
Tick
Use the C VOLUME/VALUE buttons to select the Event
line. You may use the C VOLUME/VALUE buttons or
the TEMPO/VALUE controls to change the event type.
Use the G VOLUME/VALUE buttons, and the F3 and F4
function keys to respectively select the first and second
value of the parameter. Use the G VOLUME/VALUE
buttons or the TEMPO/VALUE controls to modify the
selected value.
Trk: 1
Position: 001.01.000
Ev: Note
G1
|
94
Lenght:000.00.110
Ev: Note
Event Type
3.
4.
Press SEQ1 PLAY/STOP to listen to the Song. Press
SEQ1 PLAY/STOP again to stop it.
Press PAGE+ to go to the Event Filter page, and turn
“Off ” the filter for the event types you wish to see in the
display (see “Page 25 - Event Filter” on page 103 for
more information).
Edit:Ev.Filter
Note: Off
MTch:
Off
Prog: Off
PTch:
Off
Ctrl: Off
Bend:
Off
T/Meter: Off PaCtl: Off
Press PAGE- to go back to the Event Edit page.
Press the A VOLUME/VALUE button (Trk), to select the
track to edit. The Go To Track window appears.
Go to Track: 1
Enter=Ok
7.
Exit=Cancel
Use the TEMPO/VALUE controls to select a track, and
press ENTER to confirm (or EXIT to abort).
The list of events contained in the selected track will
appear in the display.
Event Edit
Trk: 1
Position: 001.01.000
Ev: Note
G1
|
94
Lenght:000.00.110
94
|
First value
Second value
10. In the case of a Note event, use the D VOLUME/VALUE
buttons to select the Length line, and use the same buttons, or the TEMPO/VALUE controls, to change the
event’s length.
Lenght:000.00.000
Measure
5.
6.
G1
|
Beat
Tick
• After having modified the shown event, you may scroll
to the next event with the H VOLUME/VALUE buttons
(Scroll to next), or to the previous event with the E/F
VOLUME/VALUE buttons (Scroll to previous).
• You may use the SHIFT + << or >> shortcut to go to a
different measure (see “SHIFT + << or >>” on
page 103)
• While the sequencer is running, you may use the
SHIFT + PAUSE shortcut to move the current event in
the display (see “SHIFT + PAUSE” on page 103).
• As described in step 3, you may press SEQ1 PLAY/
STOP to listen to the Song, and press SEQ1 PLAY/STOP
again to stop the sequencer.
11. Use the INSERT button to insert an event at the Position
shown in the display (a Note event with default values
will be inserted). Use the DELETE button to delete the
event shown in the display.
12. When the editing is complete, you may select a different
track (go to step 6).
13. When finished editing the whole Song, press EXIT to go
back to the Main page of the Song mode, and select the
Save Song command to save the Song on disk. See “Save
Song page” on page 90 for more information on saving a
Song.
Program operating mode
Main page
105
14. PROGRAM OPERATING MODE
The Program operating mode is where you can listen to
individual Programs, and edit them.
To select a Program, see the “Basic operations” chapter.
In this mode, the selected Program can always be played
across the full keyboard range.
To automatically select the Program to be assigned to the
last selected track, keep the SHIFT button pressed, and
press the PROGRAM button.
Hint: This is useful to see the Bank Select/Program Change
numbers when programming a Song on an external sequencer.
Note: The Program uses the same Scale of the latest selected Performance or STS.
MAIN PAGE
Here is the main page of the Program operating mode.
Page header
GrandPiano
Group:Piano
MIDI CC00:121
CC32:3
PC:
Effects
In Program mode, the Program uses its own effects instead of
relying on A-D effects. Two effect processors (FX1 and FX2)
are available.
The MIDI channel
In Program mode, Pa50 receives and transmits on the same
channel of the Upper 1 track. If the Global channel is
assigned, notes can be received also on this channel. See
“Page 6 - MIDI IN Channels” on page 127 and “Page 10 MIDI OUT Channels” on page 129 for more information.
SOUND PROGRAMS AND DRUM PROGRAMS
Tempo
Program icon
Note: Some manufacturers could use the 1-128 numbering system; when connecting your Pa50 to an instrument of this kind,
increment the PC value by 1 unit.
0
Program icon
When turned on, this icon shows that the instrument is in
Program mode.
Page header
This line shows the selected Program name. Use the TEMPO/
VALUE controls, or the PROGRAM/PERFORMANCE section to select a Program. (See “Selecting a Program” on
page 26 for more information).
Tempo
This is the tempo of Sequencer 1. The Tempo is one of the
AMSs (see “AMS (Alternate Modulation Source) list” on
page 123). Use the SHIFT + DIAL combination to change it.
Pa50 features two different kinds of Programs:
•
Sound Programs. These are normal instrument Programs, like pianos, strings, basses.
•
Drum Programs. These are drum and percussion kits,
where each note of the keyboard is a different percussive
instrument. You can find Drum Programs in the DRUM
KIT and USER DK banks.
Before pressing MENU to enter the edit environment, you
should select a Program of the type you wish to edit or create.
Notes pointing to special Drum Program features are marked
by the
icon.
MENU
While in any other page of the Program operative mode,
press MENU to open the Program edit menu. This menu
gives access to the various Program edit sections.
When in the menu, select an edit section using the VOLUME/
VALUE (A-G) buttons, select an edit page using PAGE +, or
press EXIT to exit the menu.
When in an edit page, press EXIT to go back to the main page
of the Program operating mode.
A (Group)
This non-editable parameter shows which group the Program is included into. A group is the equivalent of a PROGRAM/PERFORMANCE button.
Prog Edit MENU
Basic
Amp
B (CC00)
Samples
LFOs
This non-editable parameter shows the value of the Control
Change (CC) 00 message (or Bank Select MSB) for the
selected Program.
Pitch
Effects
C (CC32)
This non-editable parameter shows the value of the Control
Change (CC) 32 message (a.k.a. Bank Select LSB) for the
selected Program.
D (PC)
This non-editable parameter shows the value of the Program
Change (PC) message for the selected Program. Values are in
the standard 0-127 MIDI numbering format.
Filter
Each item in this menu corresponds to an edit section. Each
edit section groups various edit pages.
EDIT PAGE STRUCTURE
Select an edit section from the Menu, and/or use the PAGE
buttons to reach the desired page.
106
Program operating mode
The Compare function
Press EXIT to go back to the main page of the Program
mode.
All edit pages share the same structure.
Oscillator in edit
Program icon
Page header
Samples
Page number
|Osc1
Selected:
While in the Basic page, keep the SHIFT button pressed,
and press the DELETE button to initialize the whole
Program to a default status.
•
While in an edit page where the “Osc” abbreviation
appears in the upper right area of the display, keep the
SHIFT button pressed, and press the DELETE button to
initialize the currently selected oscillator to a default status
After you press the shortcut, the “Init osc?” message appears.
Press ENTER to confirm, EXIT to abort.
Osc1
MS Hi Bank/Num:
ROM
L>AcousticPiano
0
[H] Reverse:
Parameters
•
No
THE ‘WRITE’ WINDOW
This page appears when you press the WRITE button. Here
you can save the Program into a User Program location in
memory.
Parameters value
Program icon
WRITE to:
When switched on, this icon shows that the instrument is in
Program mode.
Name: GrandPiano
To: U1-01
Page header
<empty>
The header shows the name of the current edit page.
Oscillator in edit
When in an edit page where selecting an oscillator is
required, this area shows the selected oscillator. Use the F1-F4
buttons to select one of the four available oscillators.
Page number
This area shows the current page number.
Parameters
Select an edit parameter using the A-D VOLUME/VALUE
buttons. You can scroll the parameter list using the E-F
(Scroll Up) and G-H (Scroll Down) VOLUME/VALUE buttons.
Parameter value
Use the A-D VOLUME/VALUE buttons, or the TEMPO/
VALUE controls, to change the parameter value.
THE COMPARE FUNCTION
While in edit, you can compare the current Program with its
original values. You cannot edit the Program while you are in
Compare mode.
•
Keep the SHIFT button pressed, and press ENTER to
enter the Compare function. The PROGRAM LED
begins flashing. Play on the keyboard to listen to the
original Program.
•
Press SHITF + ENTER again to exit the Compare mode
and return to the edited Program.
HOW TO SELECT OSCILLATORS
While in an edit page requiring an oscillator to be selected for
editing, use the F1-F4 buttons to select one of the available
oscillators.
1.
2.
Select a name and a location, then press ENTER to save
the Program.
The “Are you sure?” message appears. Press ENTER to
confirm, or EXIT to abort.
Warning: If you write over an existing User Program, the
Program will be deleted and replaced by the one you are
saving (“overwrite”). Please save on disk any Program you
don’t want to lose.
Name
Use this parameter to change the Program’s name. Press the
right A VOLUME/VALUE button to enter editing. Modify the
name using the UP/DOWN buttons to move the cursor, and
the DIAL to select a character. Press INSERT to insert a character at the cursor position, or DELETE to delete it
To (Location number)
Use the B VOLUME/VALUE buttons to select a different User
Program location in memory. Otherwise, select this parameter and use the VOLUME/VALUE controls to select the location.
Note: You can’t save over a Factory Program location.
PAGE 1 - BASIC
Here you can make basic settings for the Program, such as
basic oscillator settings, the oscillator count, and the polyphonic mode.
Basic
Oascillators:
2
ERASE PROGRAM/OSCILLATOR
Mode:
Poly
Single Trigger:
No
You can initialize any parameter value, by using one of the
following shortcuts:
Legato:
No
Program operating mode
Page 2 - Sample (Sound Programs)
Oscillators
Use this parameter to specify the basic Program type;
whether it will use one or more oscillators (up to four).
Drum Programs use only one oscillator.
1…4
Number of oscillators the Program will use.
The total amount of polyphony varies depending on the number of oscillators used by the
Program (a maximum of 62 with only 1 oscillator, or a maximum of 15 with 4 oscillators).
PAGE 2 - SAMPLE (SOUND PROGRAMS)
The multisample(s) (waveform) on which the Program will
be based can be selected here for each of the four oscillators.
Each oscillator can use 1 or 2 multisamples, each one
assigned to the High or Low layer.
Samples
Mode
Selected:
This is the polyphonic mode of the Program.
Poly
The Program will play polyphonically, allowing you play chords.
Mono
The Program will play monophonically, producing only one note at a time.
MS Hi Bank/Num:
Single Trigger
This parameter is available when the “Mode” parameter is set
to Poly.
Yes
When the same note is played repeatedly, the
previous note will be silenced before the next
note is sounded, so that the notes do not overlap.
No
When the same note is played repeatedly, the
previous note will not be silenced before the
next note is sounded.
Legato
This parameter is available when the “Mode” parameter is set
to Mono.
Yes
Legato is on. When multiple note-on’s occur,
the first note-on will retrigger the sound, and
the second and subsequent note-on’s will not
retrigger.
When legato is on, multiple note-on’s will not
retrigger the voice. If one note is already on
and another note is turned on, the first voice
will continue sounding. The oscillator sound,
envelope, and LFO will not be reset, and only
the pitch of the oscillator will be updated. This
setting is effective for wind instrument sounds
and analog synth-type sounds.
No
Legato is off. Notes will always be retriggered
when note-on occurs.
When legato is off, multiple note-on’s will
retrigger the voice at each note-on. The oscillator sound, envelope, and LFO will be reset
(and retriggered) according to the settings of
the Program.
Note: If “Legato” is On, certain multisamples or keyboard locations may produce an incorrect pitch.
Priority
This parameter is available when the “Mode” parameter is set
to Mono. It specifies which note will be given priority to play
when two or more notes are played simultaneously.
Low
Lowest note will take priority.
High
Highest note will take priority.
Last
Last note will take priority.
107
L>AcousticPiano
[H] Reverse:
|Osc1
Osc1
ROM
0
No
The internal Flash-ROM contains 340 different multisamples
(preset multisamples).
Selected
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
MS Hi/Lo Bank/Num
Use these parameters to select a different multisample for
each of the High and Low layers. You can use velocity to
switch between the two multisamples. Reverse, Offset and
Level can be adjusted independently for the High and Low
multisamples.
The first line shows the bank (ROM), while the second line is
for selecting the multisample. The Program number appears
at the end of the second line.
The multisample you select for the High layer will be triggered by velocities higher than the value of the “Velocity
Switch” parameter (see page 14-108). If you do not wish to
use velocity switching, set the switch to a value of 001, and
select only the High multisample.
Note: Each multisample has an upper limit, and may not produce sound when played above that limit.
[H/L] Reverse
The multisample will be played in reverse. In the case of
Flash-ROM multisamples that were originally specified to
loop, the multisample will be played back in “one-shot”
reverse mode. If the multisample was originally set to reverse,
it will playback without change.
Yes
The multisample will playback in reverse.
No
The multisample will play back normally.
[H/L] Use Offset
These parameters specify the point where the multisample(s)
will begin to play. For some multisamples this parameter will
not be available.
Yes
The sound will begin from the offset location
pre-determined for each multisample.
No
The sound will start from the beginning of the
multisample waveform.
[H/L] Level
These parameters specify the level of each multisample.
0…127
Multisample level.
Note: Depending on the multisample, high settings of this
parameter may cause the sound to distort when a chord is
played. If this occurs, lower the level.
108
Program operating mode
Page 2 - DK Samples (Drum Programs)
Velocity Switch
MS Hi/Lo Bank/Num
This is the velocity value dividing the High and Low layers for
the selected oscillator. Notes struck harder than this value
will be played by the High multisample.
Use these parameters to select a different multisample (drum
kit) for each of the High and Low layers. For more information, see “MS Hi/Lo Bank/Num” on page 107.
V-Zone Top/Bottom (Velocity Zone)
[H/L] Level
Here you can specify the velocity range for the selected oscillator.
Note: You cannot set the Bottom Velocity higher than the Top
Velocity, nor the Top Velocity lower than the Bottom Velocity.
0…127
Assigned velocity.
These parameters specify the level of each multisample. For
more information, see “[H/L] Level” on page 107.
Octave
Use this parameter to adjust the pitch of the selected oscillator in octave units. The normal octave of the multisample is
“0”.
-2…+1
Octave transposition.
Transpose
Use this parameter to adjust the pitch of the selected oscillator in semitone steps over a range of ±1 octave.
-12…+12
Transposition in semitones.
Tune
[H/L] Transpose
These parameters transpose the selected multisample. Use
them to change the pitch of the selected key.
0
No transposition applied.
-64…+63
Transpose value in semitones.
[H/L] Tune
Use these parameters to fine-tune the assigned sample.
0
No fine-tuning.
-99…+99
Fine-tuning value in cents (1/100 of a semitone).
[H/L] Reverse
The multisample will be played in reverse. For more information see “[H/L] Reverse” on page 107.
Use this parameter to adjust the pitch of the sample in onecent steps (a semitone is 100 cents) over a range of ±1 octave.
-1200…+1200
Fine-tune value in cents.
[H/L] Use Offset
Delay (ms)
[H/L] Cutoff
This parameter sets a delay time from the note-on to the real
beginning of the sound. With a setting of KeyOff, the sound
will begin when note-off occurs. This is useful to create
sounds such as the “click” that is heard when a harpsichord
note is released. In this case, set the “Sustain Level” parameter to 0 (see page 14-115).
Key Off
The sound will begin when the note is released.
0…5000
Delay time in milliseconds.
These parameters set the cutoff frequency for the filter
applied to the selected sample.
PAGE 2 - DK SAMPLES (DRUM PROGRAMS)
This page appears when you edit a Drum Program. Here you
can select a different percussive sample for each layer (High
and Low) on each key.
[H/L] Resonance
These parameters set the resonance for the filter applied to
the selected sample.
[H/L] Attack
These parameters are an offset to the selected sample’s EG
Attack.
[H/L] Decay
These parameters are an offset to the selected sample’s EG
Decay.
Velocity Switch
This is the velocity value dividing the High and Low layers for
the selected sample/key. Notes stricken harder than this value
will be played by the High multisample.
Single Trigger
DK Samples
Key:
C 2
Assigned:
Yes
MS Hi Bank/Num:
ROM
BD-SoftRoom
These parameters specify the point where the multisample(s)
will begin to play. For more information see “[H/L] Use Offset” on page 107.
4
Key
Key in edit. You can press a key on the keyboard to select a
key.
Assigned
Use this parameter to turn the sample on/off.
Yes
The sample is assigned to the selected key.
No
The sample is not assigned. The sample
assigned to the next highest assigned key is
used instead.
Use this parameter to set the sample as a single-triggered one.
Yes
When the same key (note) is played repeatedly,
the previous note will be stopped before the
new note is triggered, so that they will not
overlap.
No
When the same key (note) is played repeatedly,
the previous note will not be stopped before
the new note is triggered.
Receive Note On
Use this parameter to enable/disable the reception of the
Note On (Key On) message.
Yes
The Note On message is normally received.
No
The Note On message is not received. Therefore, the corresponding key is muted.
Program operating mode
Page 3 - Pitch
Receive Note Off
Use this parameter to enable/disable the reception of the
Note Off (Key Off) message.
Yes
The sound will stop as soon as you release the
key.
No
The sound will continue playing up to the end
of the sample. The Note Off message is
ignored.
Warning: If the “Single Trigger” parameter is set
to No, and the sound is looped, the sound will
play endlessly. In an “emergency” situation, use
the Panic command (see “START/STOP” on
page 15).
and negative (–) values will cause the pitch to fall as you play
higher notes.
With a value of 0, there will be no change in pitch, and the C4
pitch will sound regardless of the keyboard location you play.
The diagram shows how the Pitch Slope and pitch are related:
Pitch
+2
+1
2oct
Exclusive Groups are sets of mutually exclusive keys, stopping
each other. For example, if the Open Hi-Hat and Closed HiHat are assigned the same Exclusive Group, playing an Open
Hi-Hat will stop the Closed Hi-Hat playing.
None
No Exclusive Group assigned. The selected key
will not be stopped by any other key.
1…127
Exclusive Groups assigned to the selected key.
When you play this key, all other keys assigned
to the same Exclusive Group will be stopped,
and this key will be stopped by other keys
assigned to the same Exclusive Group.
JS (+X)
Send FX1
This parameter sets the FX1 send level for of the selected key.
Send FX2
0
–1
-1.0…+2.0
This parameter sets the position in the stereo panorama of
the selected key.
1oct
1oct
C4 C5
Exclusive Group
Pan
109
Key
Pitch slope value.
This parameter specifies how the pitch will change when the
joystick is moved all the way to the right. A setting of 12 produces 1 octave of change.
For example if you set this to +12 and move the joystick all
the way to the right, the pitch will rise one octave above the
original pitch.
-60…+12
Maximum pitch change in semitones.
JS (–X)
This parameter specifies how the pitch will change when the
joystick is moved all the way to the left. A setting of 12 produces 1 octave of change.
For example, if you set this to -60 and move the joystick all
the way to the left, the pitch will fall five octaves below the
original pitch. This can be used to simulate the downward
swoops that a guitarist produces using the tremolo arm.
-60…+12
Maximum pitch change in semitones.
This parameter sets the FX2 send level for of the selected key.
Pitch modulation
PAGE 3 - PITCH
AMS (Alternate Modulation Source)
Here you can make pitch settings for each oscillator. These
settings specify how keyboard location will affect the pitch of
each oscillator, and select the controllers that will affect the
oscillator pitch and specify the depth of control. You can also
specify the amount of pitch change produced by the Pitch EG
and by LFO1 and LFO2, switch portamento on/off and specify how it will apply.
Pitch
|Osc1
Selected:
Osc1
Slope:
+1.0
Joystick +X:
+2
Joystick -X:
-2
This parameter selects the source that will modulate the pitch
of the selected oscillator. See “AMS (Alternate Modulation
Source) list” on page 123.
Intensity
This parameter specifies the depth and direction of the effect
produced by “AMS”. With a setting of 0, no modulation will
be applied. With a setting of 12.00, the pitch will change up to
one octave.
For example, if you set “AMS” to Joystick +Y and push the
joystick, the pitch will rise if this parameter is set to a positive
(+) value, or fall if this parameter is set to a negative (–)
value. The range is a maximum of one octave.
-12.00…+12.00
Parameter value.
Pitch EG modulation
Selected
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
Slope
Normally you will leave this parameter at +1.0. Positive (+)
values will cause the pitch to rise as you play higher notes,
EG Intensity
This parameter specifies the depth and direction of the modulation that the pitch EG specified on “Page 6 - Pitch EG” will
apply to the pitch. With a setting of 12.00, the pitch will
change a maximum of ±1 octave.
-12.00…+12.00
Parameter value.
110
Program operating mode
Page 4 - Pitch LFO1
EG AMS (EG Alternate Modulation Source)
This parameter selects the source that will modulate the pitch
EG of the selected oscillator. See “AMS (Alternate Modulation Source) list” on page 123).
of pitch modulation will be applied. Negative (–) values will
invert the LFO waveform.
-12.00…+12.00
Intensity depth and direction.
Intensity (AMS Intensity)
JS+Y (JoyStick +Y)
This parameter specifies the depth and direction of the effect
that “AMS” will have. For example, if you set “AMS” to Velocity and set this value to +12.00, the velocity will control the
range of pitch change produced by the pitch EG in a range of
±1 octave. As you play more softly, the pitch change will draw
closer to the pitch EG levels.
This parameter specifies the depth and direction of the effect
that joystick movement in the +Y direction (away from yourself) will have on the pitch modulation applied by the LFO1.
As this value is increased, moving the joystick in the +Y
direction will cause the LFO1 to produce deeper pitch modulation. With a setting of 12.00 a maximum of ±1 octave of
pitch modulation will be applied. Negative (–) values will
invert the LFO waveform.
-12.00…+12.00
Joystick action depth.
Pitch change (level)
Note-on
Note-on
Note-on
Note-off
Note-off
Softly played
(Intensity (Pitch EG) setting)
Note-off
Strongly played with
a positive (+) value
Strongly played with a
negative (–) value
Pitch LFO1 ‘Level’ modulation
AMS (Alternate Modulation Source)
Note: “Intensity” (Pitch EG) and AMS will be added to determine the depth and direction of the pitch modulation applied by
the pitch EG.
This parameter selects the source that will control the depth
of pitch modulation produced by the LFO1. See “AMS (Alternate Modulation Source) list” on page 123.
Intensity
Portamento
Portamento
This parameter turns the portamento effect (smooth change
in pitch from one note to the next) on/off, and specifies how
it will be applied.
Note: Portamento will also be switched when CC#65 (Portamento SW) is received.
On
Portamento will be applied.
Off
Portamento will not be applied.
Portamento Time
This parameter sets the portamento time. Increasing the
value will produce a slower change in pitch.
000…127
Portamento time in MIDI value.
PAGE 4 - PITCH LFO1
In this page you can set the LFO1 modulation parameters for
the selected oscillator.
This parameter specifies the depth and direction of the effect
that “AMS” will have. With a setting of 0, modulation will not
be applied. With a setting of 12.00, the LFO1 will apply a
maximum of ±1 octave of pitch modulation. Negative (–)
settings will invert the LFO waveform.
For example if “AMS” is set to Joystick +Y and push the joystick, a positive (+) setting of this parameter will cause the
pitch modulation created by LFO1 to be applied with the
normal phase, and a negative (–) setting will cause the LFO
to be applied with inverted phase.
The “LFO1 Intensity”, “JS+Y” and “AMS” settings will be
added to determine the depth and direction of the pitch
modulation applied by LFO1.
-12.00…+12.00
Parameter value.
PAGE 5 - PITCH LFO2
In this page you can set the LFO2 modulation parameters for
the selected oscillator. See “Page 4 - Pitch LFO1” for information on the various parameters.
Pitch LF01 |Osc1
Selected:
Osc1
Intensity:
0.00
Joystick +Y:
AMS
+0.07
ChannelAT
Pitch LF02 |Osc1
Selected:
Osc1
Intensity:
0.00
Joystick +Y:
Selected
AMS
+0.07
ChannelAT
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
Intensity
This parameter specifies the depth and direction of the pitch
modulation applied by the LFO1 settings you made on “Page
17 - LFO1”. With a setting of 12.00, a maximum of ±1 octave
PAGE 6 - PITCH EG
Here you can make settings for the pitch EG, which creates
time-variant changes in the pitch of the oscillators. The depth
of pitch change produced by these EG settings on the oscilla-
Program operating mode
Page 6 - Pitch EG
tors is adjusted by the “Intensity (AMS1/2 Intensity)” parameter (see page 14-111).
111
Pitch EG ‘Level’ modulation
Pitch EG change (level) (AMS=JS-Y/Velocity, Intensity= positive (+) value
Note-on
Note-on
Note-on
Note-off
Note-off
Note-off
Pitch EG
Start Level:
+0
Attack Time:
39
Attack Level:
+0
Decay Time:
A note played softly with
Start Level Swing set at 0,
Attack Level Swing set to +,
the Joystick pulled on
0
A note played strongly with
Start Level Swing set to 0,
Attack Level Swing set to +,
the Joystick pulled on
A note played strongly with
Start Level Swing set to 0,
Attack Level Swing set to –,
the Joystick pulled on
AMS1/2 (L) (Alternate Modulation Source 1/2)
These parameters select the source that will control the pitch
EG “Level” parameters (“AMS (Alternate Modulation
Source) list” on page 123).
Pitch envelope
Time-varying pitch settings (when Pitch EG Intensity = +12.00)
Intensity (AMS1/2 Intensity)
+99 = approximately 1 octave Attack Level
Note-off
Note-on
0 = pitch when
key is held
(sustained)
Start Level
Time
Release Level
Attack
Time
Decay
Time
–99 = approximately 1 octave
Release Time
Start/Attack/Decay/Release Level
These parameters specify the amount of pitch change. The
actual amount of pitch change will depend on the “Intensity
(AMS1/2 Intensity)” parameter (see below). For example,
with an “Intensity” setting of +12.00, a “Level” setting of +99
would raise the pitch one octave, and a “Level” setting of –99
would lower the pitch one octave.
-99…+99
Parameter value.
Start Level
Specifies the amount of pitch change at note-on.
Attack Level
Specifies the amount of pitch change when the attack time
has elapsed.
Release Level
Specifies the amount of pitch change when the release time
has elapsed.
Attack/Decay/Release Time
These parameters specify the time over which the pitch
change will occur.
0…99
Parameter value.
These parameters specify the depth and direction of the effect
applied by “AMS1”. With a setting of 0, the levels specified by
“Start/Attack/Decay/Release Level” will be used.
For example if “AMS1” is Joystick +Y, pushing the joystick to
turn it on will change the “Level” parameters of the Pitch EG.
As the absolute value of “Intensity” is increased, the pitch EG
levels will change more greatly when the joystick is released.
The direction of the change is specified by “Start Level
Swing” and “Attack Level Swing”. When the key pressure is
released, the pitch EG levels will return to their own settings.
If “AMS1” is set to Velocity, increasing the absolute value of
“Intensity” will produce increasingly wider change in pitch
EG levels for strongly-played notes. The direction of the
change is specified by “Start Level Swing” and “Attack Level
Swing”. As you play more softly, the pitch change will draw
closer to the pitch EG levels.
-99…+99
Parameter value.
Start Level Swing
This parameter specifies the direction of change in “Start
Level” caused by “AMS1/2”. If “Intensity” is a positive (+)
value, a setting of + will raise the EG level, and a setting of –
will decrease it. With a setting of 0 there will be no change.
Attack Level Swing
This parameter specifies the direction of change in “Attack
Level” caused by “AMS1/2”. If “Intensity” is a positive (+)
value, a setting of + will raise the EG level, and a setting of –
will decrease it. With a setting of 0 there will be no change.
Attack Time
Specifies the time over which the pitch will change from
note-on until it reaches the pitch specified as the attack level.
Decay Time
Specifies the time over which the pitch will change after
reaching the attack level until it reaches the normal pitch.
Pitch EG ‘Time’ modulation
Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)
Note-on
Note-on
Note-off
Note-on
Note-off
Note-off
Release Time
Specifies the time over which the pitch will change from
note-off until it reaches the pitch specified as the release level.
A note played softly with Attack A note played strongly with
A note played strongly with
Time Swing set to + and
Attack Time Swing set to + and Attack Time Swing set to – and
Decay Time Swing set to +
Decay Time Swing set to +
Decay Time Swing set to –
AMS(T) (Alternate Modulation Source)
This parameter selects the source that will control the “Time”
parameters of the pitch EG (see “AMS (Alternate Modulation
Source) list” on page 123).
Intensity (AMS(T) Intensity)
This parameter specifies the depth and direction of the effect
that “AMS” will have on the “Time” parameters. With a set-
112
Program operating mode
Page 7 - Filter
ting of 0, the pitch EG times will be just as specified by the
“Attack/Decay/Release Time” settings.
The alternate modulation value at the moment that the EG
reaches each point will determine the actual value of the EG
time that comes next.
For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is
reached.
When this parameter is set to values of 16, 33, 49, 66, 82, or
99, the specified EG times will speed up as much as 2, 4, 8, 16,
32, or 64 times respectively (or slowed down to 1/2, 1/4, 1/8,
1/16, 1/32, or 1/64 of the original time).
For example if “AMS” is set to Velocity, increasing the absolute value of “Intensity” will allow strongly-played notes to
increase the changes in pitch EG “Time” values. The direction of the change is specified by “Attack Time Swing” and
“Decay Time Swing”. As you play more softly, the pitch EG
times will more closely approach the actual settings of the
pitch EG.
-99…+99
Parameter value.
Attack Time Swing
This parameter specifies the direction in which “AMS” will
affect the “Attack Time” parameter. With positive (+) values
of “Intensity”, a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened.
With a setting of 0 there will be no change.
Decay Time Swing
Specify the direction in which “AMS” will affect the “Decay
Time”. With positive (+) values of “Intensity”, a setting of +
will cause the time to be lengthened, and a setting of – will
cause the time to be shortened. With a setting of 0 there will
be no change.
PAGE 7 - FILTER
Here you can make settings for the filters that will be used by
the oscillators. You can select either a 24 dB/octave low pass
filter with resonance, or a series connection of a 12 dB/octave
low pass filter and a 12 dB/octave high pass filter.
Filter
|Osc1
Selected:
Osc1
Type:
LPF Resonant
Trim:
99
Frequency A:
7
Selected
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
Filter Type
This parameter selects the type of filter (Low Pass Resonant,
Low Pass & High Pass) for the selected oscillator. When the
Low Pass & High Pass filter type is selected, the filter B will be
activated.
Low Pass Resonance: 24 dB/octave low
pass filter with resonance
Low Pass & High Pass: 12 dB/octave
low pass filter and 12 dB/octave high pass
filter in series
Trim
Use this parameter to adjust the level at which the audio signal output from the selected oscillator is input to filter A.
Note: If this value is raised, the sound may distort if Resonance
is set to a high value or when you play a chord.
00…99
Trim level.
Frequency A (Cutoff Frequency A)
This parameter specifies the cutoff frequency of filter A.
Low Pass
Level
00…99
This is a filter that cuts the highfrequency region above the cutoff
frequency.
This is the most common type of filter,
and is used to cut part of the overtone
12dB/oct
components, making an originally bright
24dB/oct
timbre sound more mellow (darker).
When the “Filter Type” is Low Pass
Frequency Resonance, the cutoff will have a
steeper slope.
Cutoff frequency value.
Resonance A
The resonance emphasizes the overtone components that lie
in the region of the cutoff frequency specified by “Frequency”,
producing a more distinctive sound. Increasing this value will
produce a stronger effect.
00…99
Resonance value.
Program operating mode
Page 8 - Filter Modulation
113
Selected
Resonance modulation
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
The effect of resonance
Low Pass
Level
Filter keyboard tracking
Tracking Low/High
Low resonance value
High resonance value
AMS (Alternate Modulation Source)
Selects the source that will control the “Resonance” level. See
“AMS (Alternate Modulation Source) list” on page 123.
Intensity (AMS Intensity)
This parameter specifies the depth and direction of the effect
that “AMS (Alternate Modulation Source)” will have on the
resonance level specified by “Resonance A”.
For example if Velocity has been selected, changes in keyboard velocity will affect the resonance.
With positive (+) values, the resonance will increase as you
play more strongly, and as you play more softly the resonance
will approach the level specified by the “Resonance” setting.
With negative (–) values, the resonance will decrease as you
play more strongly, and as you play more softly the resonance
will approach the level specified by the “Resonance” setting.
The resonance level is determined by adding the “Resonance”
and “Intensity (AMS Intensity)” values.
-99…+99
Parameter value.
These settings specify keyboard tracking for the cutoff frequency of the filter for the selected oscillator. The way in
which the cutoff frequency is affected by the keyboard location you play can be specified by the “Tracking Low”, “Tracking High”, “Ramp Low” and “Ramp High” parameters.
C–1…G9
Lowest/Highest note in the range.
Tracking Low
Keyboard tracking will apply to the range below the specified
note number.
Tracking High
Keyboard tracking will apply to the range above the specified
note number.
Ramp
This parameter specifies the angle of keyboard tracking.
-99…+99
Angle value.
Here is how cutoff frequency is affected by keyboard location
and the Ramp setting (“Intensity to A” and “Intensity to B” =
+50):
Cutoff frequency
High Ramp=+99
High Ramp=+62
High Ramp=0
Filter B
This parameter specifies the cutoff frequency of filter B. This
parameter will be displayed when “Filter Type” is set to Low
Pass & High Pass.
High Pass
High Ramp=–99
Low Ramp=+43
Low Ramp=0
Low Ramp=–62
Low Key
High Key
Key
Low Ramp=–99
Ramp Low
Level
This filter cuts the low-frequency range that
lies below the cutoff frequency. By cutting
the lower overtones, it lightens the tone.
12dB/oct
Frequency
00…99
High Ramp=–43
Low Ramp=+99
Frequency B (Cutoff Frequency B)
Cutoff frequency value.
PAGE 8 - FILTER MODULATION
These settings let you apply modulation to the cutoff frequency (“Frequency”) of the filter for the selected oscillator
to modify the tone.
Ramp High
If “Intensity to A” and “Intensity to B” are set to +50, “Ramp
Low” is set to –62 and “Ramp High” is set to +62, the angle of
the change in cutoff frequency will correspond to the keyboard location (pitch). This means that the oscillation that
occurs when you increase the “Resonance A” will correspond
to the keyboard location.
If you set “Ramp Low” to +43 and “Ramp High” to –43, the
cutoff frequency will not be affected by keyboard location.
Use this setting when you do not want the cutoff frequency to
change for each note.
Tracking to A/B
Filter Mod |Osc1
Selected:
Tracking Low:
Osc1
B 3
Tracking High:
F 5
Ramp Low:
+48
When “Filter Type” is Low Pass Resonance, parameters for
filter B will not be editable (greyed out).
These parameters specify the note numbers at which keyboard tracking will begin to apply, and set the “Intensity to A”
and “Intensity to B” parameters to specify the depth and
direction of the change applied to filters A and B.
For the range of notes between “Key Low” and “Key High”,
the cutoff frequency will change according to the keyboard
location (pitch).
-99…+99
Parameter value.
114
Program operating mode
Page 9 - Filter LFO1
Intensity to B
Filter EG modulation
Changes in cutoff frequency
Note-on
Note-on
Note-on
Note-off
Softly played
Note-off
Strongly played
Setting to +
Note-off
Strongly played
Setting to –
Specifies the depth and direction of the effect that “AMS” will
have on filter B. For details on how this will apply, refer to
“EG Intensity to A”.
Note: The sum of the settings for “Velocity to A/B”, “Intensity to
A/B”, and “(AMS) Intensity to A/B” will determine the depth
and direction of the effect produced by the filter EG.
Filter A/B modulation
Velocity to A
AMS1(fA/B) (Alternate Modulation Source1 for filter A/B)
This parameter specifies the depth and direction of the effect
that velocity will have on the time-varying changes created by
the filter EG (as set on “Page 11 - Filter EG”) to control the
filter A cutoff frequency.
With positive (+) values, playing more strongly will cause the
filter EG to produce greater changes in cutoff frequency. With
negative (–) values, playing more strongly will also cause the
filter EG to produce greater changes in cutoff frequency, but
with the polarity of the EG inverted.
99…+99
Value of the Velocity to A parameter.
Selects the source that will control modulation of the filter A
cutoff frequency. See “AMS (Alternate Modulation Source)
list” on page 123.
Note: The filter B parameters will be displayed when “Filter
Type” on page 112 is Low Pass & High Pass.
Velocity to B
This parameter specifies the depth and direction of the effect
that velocity will have on the time-varying changes created by
the filter EG to control the filter B cutoff frequency (see
“Velocity to A”).
99…+99
Value of the Velocity to B parameter.
EG Intensity to A
Specifies the depth and direction of the effect that the timevarying changes created by the filter 1 EG will have on the filter A cutoff frequency.
With positive (+) settings, the sound will become brighter
when the EG levels set by Filter EG “Level” and “Time”
parameters are in the “+” area, and darker when they are in
the “–” area.
With negative (–) settings, the sound will become darker
when the EG levels set by Filter EG “Level” and “Time”
parameters are in the “+” area, and brighter when they are in
the “–” area.
-99…+99
Parameter value.
Intensity
Specifies the depth and direction of the effect that “AMS1”
will have.
When “AMS1” is JS X, a positive (+) value for this parameter
will cause the cutoff frequency to rise when the joystick is
moved toward the right, and fall when the joystick is moved
toward the left. With a negative (–) value for this parameter,
the opposite will occur.
This value is added to the setting of the Filter A “Frequency”.
AMS2 (Alternate Modulation Source2)
Selects the source that will control modulation of the filter A
cutoff frequency (see “AMS (Alternate Modulation Source)
list” on page 123).
Intensity
Specifies the depth and direction of the effect that the
selected source will have (see “Intensity” on page 114).
PAGE 9 - FILTER LFO1
Here you can use the filter LFO to apply cyclic modulation to
the cutoff frequency of the filter (for the selected oscillator)
to create cyclical changes in tone.
EG Intensity to B
Filter LFO1|Osc1
Specifies the depth and direction of the effect that the timevarying changes created by the filter EG will have on the filter
B cutoff frequency (see “EG Intensity to A”).
-99…+99
Parameter value.
Selected:
Osc1
Intensity to A:
+0
Intensity to B:
+0
Joystick -Y to A:
+5
EG AMS (Alternate Modulation Source)
Selects the source that will control the depth and direction of
the effect that the time-varying changes produced by the filter EG will have on the cutoff frequency of filters A and B. See
“AMS (Alternate Modulation Source) list” on page 123.
Intensity to A
Specifies the depth and direction of the effect that “AMS” will
have on filter A. For details on how this will apply, refer to
“EG Intensity to A”.
Selected
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
Intensity to A
Specifies the depth and direction of the modulation that
LFO1 (set on “Page 17 - LFO1”) will have on the cutoff frequency of filter A. Negative (–) settings will invert the phase.
-99…+99
Parameter value.
Program operating mode
Page 10 - Filter LFO2
Intensity to B
Specify the depth and direction of the modulation that LFO1
will have on the cutoff frequency of filter B (see “Intensity to
A”).
Change in cutoff
Low setting
-99…+99
PAGE 11 - FILTER EG
Here you can make settings for the EG that will produce
time-varying changes in the cutoff frequency of filters A and
B for the selected oscillator. The depth of the effect that these
settings will have on the filter cutoff frequency is determined
by the “Velocity” and “Intensity” parameters.
High setting
FilterEG
Parameter value.
|Osc1
Selected:
Joystick –Y to A
Osc1
Start Level:
By moving the joystick in the Y direction (toward yourself),
you can control the depth at which LFO1 modulates the cutoff frequency of filter A. This parameter specifies the depth
and direction of the control.
Higher settings of this parameter will produce greater
increases in the effect of LFO1 on the filter when the joystick
is moved toward yourself.
-99…+99
Parameter value.
Joystick –Y to B
By moving the joystick in the Y direction (toward yourself),
you can control the depth at which LFO1 modulates the cutoff frequency of filter B. This parameter specifies the depth
and direction of the control (see “Joystick –Y to A”).
115
+99
Attack Time:
73
Attack Level:
+95
Selected
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
Filter envelope
Attack Level
Note-off
Sustain Level
Note-on
The specified
cutoff
frequency
Filter LFO1 modulation
Release
Level
Break
Point
Level
Start
Level
Attack
Time
Decay
Time
Time
Slope
Time
Release
Time
AMS (Alternate Modulation Source)
Select a source that will control the depth and direction of
cutoff frequency change for both filters A and B. See “AMS
(Alternate Modulation Source) list”.
Intensity to A
Specifies the depth and direction of the effect that “AMS” will
have on filter A.
For example if “AMS” is Joystick +Y, higher settings of this
parameter will allow greater change to be applied to LFO1
when you push the joystick.
-99…+99
Parameter value.
Start/Attack/Break/Sustain/Release Level
These are the envelope segment levels. The result will depend
on the filter that was selected in “Filter Type”. For example,
with the Low Pass Resonance filter, positive (+) values of EG
Intensity will cause the tone to be brightened by positive (+)
levels, and darkened by negative (–) levels.
-99…+99
Level value.
Start Level
This parameter specifies the change in cutoff frequency at the
time of note-on.
Intensity to B
Attack Level
Specifies the depth and direction of the effect that “AMS” will
have on filter B (see “Intensity to A”).
This parameter specifies the change in cutoff frequency after
the attack time has elapsed.
Break Point Level
PAGE 10 - FILTER LFO2
Adjusts the depth of the cyclic modulation applied by LFO2
(set on “Page 18 - LFO2”) to the cutoff frequency of filters A
and B. For more information on the parameters see “Page 9 Filter LFO1” on page 114.
This parameter specifies the change in cutoff frequency after
the decay time has elapsed.
Sustain Level
This parameter specifies the change in cutoff frequency that
will be maintained from after the slope time has elapsed until
note-off occurs.
Release Level
Filter LFO2|Osc1
Selected:
Osc1
Intensity to A:
+0
Intensity to B:
+0
Joystick -Y to A:
+5
This parameter specifies the change in cutoff frequency that
will occur when the release time has elapsed.
Attack/Decay/Slope/Release Time
These parameters specify the time over which the filter
change will occur.
0…99
Time value.
Attack Time
This parameter specifies the time over which the level will
change from note-on until the attack level is reached.
116
Program operating mode
Page 11 - Filter EG
Decay Time
Filter EG ‘Time’ modulation
This parameter specifies the time over which the level will
change from the attack level to the break point level.
Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)
Note-on
Note-on
Note-off
Slope Time
Note-on
Note-off
Note-off
This parameter specifies the time over which the level will
change after the decay time has elapsed until the sustain level
is reached.
Release Time
This parameter specifies the time over which the level will
change after note-on occurs until the release level is reached.
Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)
Note-on
Softly played note with Start Level
Swing, Attack Level Swing, and
Break Level Swing set to +
Note-on
Note-off
Note-off
AMS1/2(T)
Use this parameter to select the source that will control the
“Time” parameters of the filter EG. See “AMS (Alternate
Modulation Source) list” on page 123.
Filter EG ‘Level’ modulation
Note-on
Strongly played note with
Softly played note with Attack, Strongly played note with
Attack, Decay, Slope and
Attack, Decay, Slope and
Decay, Slope and Release
Release Level Swings set to + Release Level Swings set to –
Level Swings set to +
Note-off
Strongly played note with Start
Strongly played note with Start
Level Swing, Attack Level Swing, Level Swing, Attack Level Swing,
and Break Level Swing set to –
and Break Level Swing set to +
AMS(L) (Alternate Modulation Source)
This parameter selects the source that will control the “Level”
parameters of the filter EG (“AMS (Alternate Modulation
Source) list” on page 123).
Intensity (AMS Intensity)
This parameter specifies the depth and direction of the effect
applied by “AMS”. With a setting of 0, the levels specified by
“Frequency A (Cutoff Frequency A)” will be used.
For example, if “AMS” is Velocity, and you set “Start Level
Swing”, “Attack Level Swing” and “Break Level Swing” to +
and set “Intensity” to a positive (+) value, the EG levels will
rise as you play more strongly. If “Intensity” is set to a negative (–) values, the EG levels will fall as you play more
strongly.
-99…+99
Intensity value.
Start Level Swing
This parameter specifies the direction in which “AMS” will
affect “Start Level”. When “Intensity” has a positive (+)
value, a setting of + for this parameter will allow “AMS” to
raise the EG level, and a setting of – will allow “AMS” to lower
the EG level. With a setting of 0 there will be no change.
Attack Level Swing
This parameter specifies the direction in which “AMS” will
affect “Attack Level”. When “Intensity” has a positive (+)
value, a setting of + for this parameter will allow “AMS” to
raise the EG level, and a setting of – will allow “AMS” to lower
the EG level. With a setting of 0 there will be no change.
Break Level Swing
This parameter specifies the direction in which “AMS” will
affect “Break Point Level”. When “Intensity” has a positive
(+) value, a setting of + for this parameter will allow “AMS”
to raise the EG level, and a setting of – will allow “AMS” to
lower the EG level. With a setting of 0 there will be no
change.
Intensity
This parameter specifies the depth and direction of the effect
that “AMS1/2(T)” will have.
For example, if “AMS1/2(T)” is set to FltKTr +/+, the EG
“Time” parameters will be controlled by the Keyboard Tracking settings. With positive (+) values of this parameter, positive (+) values of “Ramp” will lengthen the EG times, and
negative (–) values of “Ramp” will shorten the EG times. The
direction of change is specified by “Attack Time Swing”,
“Decay Time Swing”, “Slope Time Swing”, and “Release
Time Swing”.
With a setting of 0, the times specified by “Frequency A (Cutoff Frequency A)” will be used.
If “AMS1/2(T)” is set to Velocity, positive (+) values of this
parameter will cause EG times to lengthen as you play more
strongly, and negative (–) values will cause EG times to
shorten as you play more strongly.
-99…+99
Intensity value.
Attack Time Swing
This parameter specifies the direction in which “AMS1/2(T)”
will affect the attack time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen
the time, and setting this parameter to – will allow AMS to
shorten the time. With a setting of 0 there will be no change.
Decay Time Swing
This parameter specifies the direction in which “AMS1/2(T)”
will affect the decay time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen
the time, and setting this parameter to – will allow AMS to
shorten the time. With a setting of 0 there will be no change.
Slope Time Swing
This parameter specifies the direction in which “AMS1/2(T)”
will affect the slope time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen
the time, and setting this parameter to – will allow AMS to
shorten the time. With a setting of 0 there will be no change.
Release Time Swing
This parameter specifies the direction in which “AMS1/2(T)”
will affect the release time. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS to lengthen
the time, and setting this parameter to – will allow AMS to
shorten the time. With a setting of 0 there will be no change.
Program operating mode
Page 12 - Amp
117
PAGE 12 - AMP
PAGE 13 - AMP MODULATION
These parameters control the volume and pan of the selected
oscillator.
These settings allow you to apply modulation to amp (for
each oscillator) to modulate the volume.
Amp
Selected:
Level:
|Osc1
Amp Mod
Osc1
120
Pan:
L001
AMS:
Note Number
|Osc1
Selected:
Osc1
Tracking Low:
C 3
Tracking High:
A#4
Ramp Low:
+48
Selected
Selected
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
Level
Volume of the selected oscillator.
Note: The volume of a Program can be controlled by CC#7 (volume) and #11 (expression). The resulting level is determined by
multiplying the values of CC#7 and #11. The Global MIDI
channel is used for control.
0…127
Volume level.
Amplifier keyboard tracking
Pan
These settings specify the note number at which keyboard
tracking will begin to apply. The volume will not change
between “Tracking Low” and “Tracking High”.
C–1…G9
Lowest/Highest note in the range.
Pan (stereo position) of the selected oscillator.
This parameter is not available when editing a Drum Program. Use the individual Pan control for each key (see
“Pan” on page 109).
Random
The sound will be heard from a different location at each note-on.
L001
Places the sound at far left.
C064
Places the sound in the center.
R127
Places the sound to far right.
Note: This can be controlled by CC#10 (panpot). A CC#10
value of 0 or 1 will place the sound at the far left, a value of 64
will place the sound at the location specified by the “Pan” setting
for each oscillator, and a value of 127 will place the sound at the
far right. This is controlled on the global MIDI channel.
These parameters let you use keyboard tracking to adjust the
volume of the selected oscillator. Use the “Key” and “Ramp”
parameters to specify how the volume will be affected by the
keyboard location that you play.
Tracking Low/High
Tracking Low
Keyboard tracking will apply to the range below the specified
note number.
Tracking High
Keyboard tracking will apply to the range above the specified
note number.
Ramp
These parameters specify the angle of keyboard tracking.
-99…+99
Angle value.
Here is an example of volume changes produced by keyboard
location and “Ramp” settings:
Volume
Pan modulation
AMS (Alternate Modulation Source)
Selects the source that will modify pan (see “AMS (Alternate
Modulation Source) list” on page 123). This change will be
relative to the “Pan” setting.
Ramp Low=+99
Ramp High=+99
Ramp Low=0
Ramp High=0
Ramp Low=–99
Ramp High=–99
Intensity
Specifies the depth of the effect produced by “AMS”. For
example, if “Pan” is set to C064 and “AMS” is Note Number,
positive (+) values of this parameter will cause the sound to
move toward the right as the note numbers increase beyond
the C4 note (i.e., as you play higher), and toward the left as
the note numbers decrease (i.e., as you play lower). Negative
(–) values of this parameter will have the opposite effect.
-99…+99
Parameter value.
Key Low
Key High
Key
Ramp Low
With positive (+) values of this parameter, the volume will
increase as you play notes below the “Tracking Low” note
number. With negative (–) values, the volume will decrease.
Ramp High
With positive (+) values of this parameter, the volume will
increase as you play notes above the “Key High” note number.
With negative (–) values, the volume will decrease.
118
Program operating mode
Page 14 - Amp LFO1
Amplifier Modulation
Amplifier LFO1 modulation
These parameters specify how the volume of the selected
oscillator will be affected by velocity.
AMS (Alternate Modulation Source)
Velocity Intensity
With positive (+) values, the volume will increase as you play
more strongly. With negative (–) values, the volume will
decrease as you play more strongly.
Volume change (with positive (+) values of this parameter)
Note-on
Note-on
Note-off
Note-off
Strongly played
Softly played
-99…+99
Intensity value.
EG AMS (Alternate Modulation Source)
Selects the source that will control the volume of the amp for
the selected oscillator (See “AMS (Alternate Modulation
Source) list” on page 123). “Velocity” cannot be selected.
Use this parameter to select a source that will control the
depth by which “LFO1” will modulate the volume of the
selected oscillator. See “AMS (Alternate Modulation Source)
list” on page 123.
Intensity
As the absolute value of this setting is increased, the effect of
“AMS” on “LFO1” will increase. Negative (–) values will
invert the LFO waveform.
-99…+99
Intensity value.
PAGE 15 - AMP LFO2
These parameters let you use “LFO1” (see “Page 17 - LFO1”
on page 120) and “LFO 2” (see “Page 18 - LFO2” on
page 121) to control the selected oscillator volume. See “Page
14 - Amp LFO1” for more information on parameter’s editing.
Intensity
This parameter specifies the depth and direction of the effect
that “AMS” will have. The actual volume will be determined
by multiplying the value of the changes produced by the amp
EG with the values of Alternate Modulation etc., and if the
levels of the amp EG are low, the modulation applied by
Alternate Modulation will also be less.
For example, if “AMS” is set to Joystick +Y, positive (+) values
of this parameter will cause the volume to increase when you
push the joystick. However if the EG settings etc. have already
raised the volume to its maximum level, the volume cannot
be increased further.
With negative (–) values of this parameter, the volume will
decrease when the joystick is pushed.
-99…+99
Intensity value.
Amp LFO2
Selected:
Osc1
Intensity:
AMS:
|Osc1
+0
Joystick -Y
Intensity:
+0
PAGE 16 - AMP EG
These parameters let you create time-varying changes in the
volume of the selected oscillator.
Amp EG
PAGE 14 - AMP LFO1
Selected:
These parameters let you use “LFO1” (see “Page 17 - LFO1”
on page 120) and “LFO 2” (see “Page 18 - LFO2” on
page 121) to control the volume of the selected oscillator.
Start Level:
Attack Time:
Attack Level:
|Osc1
Osc1
+99
73
+95
Selected
Amp LFO1
Selected:
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
Osc1
Intensity:
AMS:
|Osc1
+0
Joystick -Y
Intensity:
+0
Amp envelope
Amplifier EG
Note-off
Attack Level
Note-on
Selected
Use this parameter to select an oscillator to put in edit. Alternatively, you can select oscillators using the F1-F4 buttons.
Intensity
This parameter specifies the depth and direction of the effect
that “LFO1” will have on the volume of the selected oscillator. Negative (–) values will invert the LFO waveform.
-99…+99
Intensity value.
Break Point
Volume
Sustain
Level
Start
Level
Attack
Time
Time
Decay Slope
Time Time
Release Time
Start/Attack/Break/Sustain/Release Level
These parameters are the level of the envelope segment.
0…99
Level value.
Program operating mode
Page 16 - Amp EG
119
Start Level
Start Level Swing
This parameter specifies the volume level at note-on. If you
want the note to begin at a loud level, set this to a high value.
This parameter specifies the direction in which “AMS” will
change “Start Level”. If “Intensity” is set to a positive (+)
value, setting this parameter to + will allow AMS to increase
the EG level, and setting this parameter to – will allow AMS
to decrease the EG level. With a setting of 0, no change will
occur.
Attack Level
This parameter specifies the volume level that will be reached
after the attack time has elapsed.
Break Level
This parameter specifies the volume level that will be reached
after the decay time has elapsed.
Sustain Level
This parameter specifies the volume level that will be maintained from after the slope time has elapsed until note-off
occurs.
Attack/Decay/Slope/Release Time
These parameters specify the time over which the volume
change will occur.
0…99
Time value.
Attack Time
This parameter specifies the time over which the volume will
change after note-on until it reaches the attack level. If the
start level is 0, this will be the rise time of the sound.
Decay Time
Attack Level Swing
This parameter specifies the direction in which “AMS” will
change “Attack Level”. If “Intensity” is set to a positive (+)
value, setting this parameter to + will allow AMS to increase
the EG level, and setting this parameter to – will allow AMS
to decrease the EG level. With a setting of 0, no change will
occur.
Break Point Level Swing
This parameter specifies the direction in which “AMS” will
change “Break Level”. If “Intensity” is set to a positive (+)
value, setting this parameter to + will allow AMS to increase
the EG level, and setting this parameter to – will allow AMS
to decrease the EG level. With a setting of 0, no change will
occur.
Amp EG ‘Time’ modulation
This parameter specifies the time over which the volume will
change from when it reaches the attack level until it reaches
the break point level.
Slope Time
This parameter specifies the time over which the volume will
change from when it reaches the break point level until it
reaches the sustain level.
These parameters let you use an alternate modulation source
to modify the amp EG times that were specified in “Attack/
Decay/Slope/Release Time” on page 119.
Amp 1 EG changes (Time)
(AMS=Amp KTrk +/+, Intensity = a positive (+) value)
(When Amp Keyboard Track “Low Ramp”= a positive (+) value, and
“High Ramp” = a positive (+) value)
Note-on
Note-on
Note-off
Release Time
Note-on
Note-off
Note-off
This parameter specifies the time over which the volume will
change after note-off until it reaches 0.
Low-pitched note played with High -pitched note played with
Attack, Decay, Slope, and
Attack, Decay, Slope, and
Release Time Swing at –
Release Time Swing at +
Amp EG ‘Level’ modulation
Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)
Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)
Note-on
Note-on
Note-off
Note-on
Note-on
Note-off
Note-on
Note-on
Note-off
Note-off
Note-off
Softly played note with
Attack, Decay, Slope and
Release Time Swing at +
Strongly played note with
Attack, Decay, Slope and
Release Time Swing at +
Strongly played note with
Attack, Decay, Slope and
Release Time Swing at –
Note-off
Softly played note when Start Level Strongly played note when Start Level Strongly played note when Start Level
Swing=0 and Attack Level Swing Swing=0 andAttack Level Swing and Swing=0 andAttack Level Swing and
Breack Level Swing are set to +
and Breack Level Swing are set to + Breack Level Swing are set to +
AMS1(T) (Alternate Modulation Source 1 - Time)
This parameter specifies the source that will control the
“Level” parameters of the amp EG. See “AMS (Alternate
Modulation Source) list” on page 123.
This parameter specifies the source that will control the
“Time” parameters of the amp EG (see “AMS (Alternate
Modulation Source) list” on page 123). With a setting of Off,
there will be no modulation.
Intensity
Intensity
This parameter specifies the depth and direction of the effect
that “AMS” will have. For example, if “AMS” is Velocity, setting “Start Level Swing”, “Attack Level Swing” and “Break
Point Level Swing” to + and setting “Intensity” to a positive
(+) value will cause the amp EG volume levels to increase as
you play more strongly. Setting “Intensity” to a negative (–)
values will cause the amp EG volume levels to decrease as you
play more strongly. With a setting of 0, the levels will be as
specified on “Page 16 - Amp EG”.
-99…+99
Intensity value.
This parameter specifies the depth and direction of the effect
that “AMS1” will have. For example, if “AMS1(T)” is Amp
KTrk +/+, the (Amp) Keyboard Track settings (see “Amplifier
keyboard tracking” on page 117) will control the EG “Time”
parameters. With positive (+) values of this parameter, positive (+) values of “Ramp (Ramp Setting) will cause EG times
to be lengthened, and negative (–) values of “Ramp (Ramp
Setting)” will cause EG times to be shortened. The direction
of the change is specified by “Attack Time Swing”, “Decay
Time Swing”, “Slope Time Swing”, and “Release Time”.
When “AMS1(T)” is Velocity, positive (+) values will cause
EG times to lengthen as you play more strongly, and negative
AMS(L) (Alternate Modulation Source)
120
Program operating mode
Page 17 - LFO1
(–) values will cause EG times to shorten as you play more
strongly. With a setting of 0, the EG times will be as specified
by the “Amp envelope” parameters (see page 14-118).
Attack Time Swing
This parameter specifies the direction of the effect that
“AMS1” will have on “Attack Time”. With positive (+) values
of “Intensity”, setting this parameter to + will allow AMS1 to
lengthen the time, and setting it to – will allow AMS1 to
shorten the time. With a setting of 0 there will be no effect.
This parameter selects the LFO waveform. The numbers that
appear at the right of some of the LFO waveforms indicate
the phase at which the waveform will begin.
Triangle
0
Triangle
90
Triangle
Random
Saw
Step Triangle – 4
Triangle wave
Step Triangle – 6
Phase will change
randomly at each key-in
Step Saw – 4
Step Saw – 6
0
Sawtooth down ↓
Decay Time Swing
Saw
This parameter specifies the direction of the effect that
“AMS1” will have on “Decay Time”. With positive (+) values
of “Intensity”, setting this parameter to + will allow AMS1 to
lengthen the time, and setting it to – will allow AMS1 to
shorten the time. With a setting of 0 there will be no effect.
Slope Time Swing
This parameter specifies the direction of the effect that
“AMS1” will have on “Slope Time”. With positive (+) values
of “Intensity”, setting this parameter to + will allow AMS1 to
lengthen the time, and setting it to – will allow AMS1 to
shorten the time. With a setting of 0 there will be no effect.
Release Time
This parameter specifies the direction of the effect that
“AMS1” will have on “Release Time”. With positive (+) values of “Intensity”, setting this parameter to + will allow AMS1
to lengthen the time, and setting it to – will allow AMS1 to
shorten the time. With a setting of 0 there will be no effect.
AMS2 (Alternate Modulation Source 2)
This is another alternate modulation source for the Amp EG.
See above “AMS1” parameters.
PAGE 17 - LFO1
In this and the next page you can make settings for the LFO
that can be used to cyclically modulate the Pitch, Filter, and
Amp of each oscillator. There are two LFO units for each
oscillator. By setting the LFO1 or LFO2 Intensity to a negative
(–) value for Pitch, Filter, or Amp, you can invert the LFO
waveform.
LFO1
|Osc1
Selected:
Wave:
Wave
Osc1
180
Square
Square wave
Sine
Sine wave
Guitar
Guitar vibrato
Exponential
Triangle
31
Key Sync:
On
Random4 (Vector)
Random5 (Vector)
Random6 (Vector)
These types cause Random 1–3 to change
smoothly. They can be used to simulate the
instability of acoustic instruments etc.
Exponential
Saw Down
Exponential
Saw Up
Frequency
Set the LFO frequency. A setting of 99 is the fastest.
00…99
Frequency rate.
Key Sync
This parameter specifies if the LFO is synchronized to key
strokes.
On
The LFO will start each time you play a note,
and an independent LFO will operate for each
note.
Off
The LFO effect that was started by the firstplayed note will continue to be applied to each
newly-played note. (In this case, Delay and
Fade will be applied only to the LFO when it is
first started).
Offset
This parameter specifies the central value of the LFO waveform. For example, with a setting of 0 as shown in the following diagram, the vibrato that is applied will be centered on
the note-on pitch. With a setting of +99, the vibrato will only
raise the pitch above the note-on pitch, in the way in which
vibrato is applied on a guitar.
When “Wave” is set to Guitar, the modulation will occur only
in the positive (+) direction even if you set “Offset” to 0.
Here are offset settings and pitch change produced by vibrato
Triangle Rand
Frequency:
Random1 (S/H):
Conventional sample & hold (S/H) in which the
level changes randomly at fixed intervals of
time
Random2 (S/H):
Both the levels and the time intervals will
change randomly.
Random3 (S/H):
The maximum level and minimum level will
alternate at random intervals of time (i.e., a
square wave with random period).
Pitch
offset = –99
offset = 0
offset = +99
Pitch at note-on
-99…+99
Offset value.
Delay
This parameter specifies the time from note-on until the LFO
effect begins to apply. When “Key Sync” is Off, the delay will
apply only when the LFO is first started.
0…99
Delay time.
Fade In
This parameter specifies the time from when the LFO begins
to apply until it reaches the maximum amplitude. When “Key
Sync.” is Off, the fade will apply only when the LFO is first
started.
Program operating mode
Page 18 - LFO2
Here is how “Fade In” affects the LFO (when “Key Sync” is
On):
Note-on
Note-off
Fade
Delay
00…99
Fade rate.
Frequency MIDI/Tempo Sync
MIDI/Tempo Sync
This parameter enables/disables the LFO synchronization
with Sequencer 1 Tempo.
On
The LFO frequency will synchronize to the
tempo (MIDI Clock) of Sequencer 1. In this
case, the values you specified for “Frequency”
(see page 14-120) and “Frequency modulation” (see page 14-121) will be ignored.
Base Note/Times
When “MIDI/Tempo Sync” is On, these parameters set a note
length relative to “ (Tempo)” and the multiple (“Times”)
that will be applied to it. These parameters will determine the
frequency of the LFO1. For example if “Base Note” is (quarter note) and “Times” is 04, the LFO will perform one cycle
every four beats.
Even if you change the “ (Tempo)” setting of Sequencer 1,
the LFO will always perform one cycle every four beats.
121
If “AMS1(F)” is set to JS +Y, raising the value of this parameter will cause the oscillator LFO1 speed to increase as the joystick is moved away from yourself. With a setting of +99,
moving the joystick all the way away from yourself will
increase the LFO speed by approximately 64 times.
-99…+99
Intensity value.
AMS2(F) (Alternate Modulation Source2)
Intensity (AMS2 Intensity)
Make settings for a second alternate modulation source that
will adjust the frequency of the oscillator LFO1 (see above
“AMS1(F) (Alternate Modulation Source1)” and “Intensity
(AMS1 Intensity)”).
PAGE 18 - LFO2
Here you can make settings for the LFO2, which is the second
LFO that can be applied to the selected oscillator. See “Page
17 - LFO1” for more information on the parameters value.
However in “Frequency modulation”, the LFO cannot be
selected as a modulation source in “AMS1” or “AMS2.”
PAGE 19 - EFFECTS
Here you can select two effects for the whole Program, switch
them on/off, and specify chaining.
Effects
Base Note
FX1:
This parameter is not available when editing a Drum Program.
, , , , , , , Note value.
Send:
FX2:
Send:
53 RecSmthHall
56
16 Chorus
0
Times
Note: For details on the effects, refer to the “Effects” chapter.
This parameter is not available when editing a Drum Program.
01...16
Beats before restarting the cycle.
FX1/2
Frequency modulation
You can use two alternate modulation sources to adjust the
speed of the LFO1 for the selected oscillator.
AMS1(F) (Alternate Modulation Source1)
Selects the source that will adjust the frequency of the
selected oscillator LFO1 (see “AMS (Alternate Modulation
Source) list” on page 123). LFO1 can be modulated by LFO2.
Intensity (AMS1 Intensity)
This parameter specifies the depth and direction of the effect
that “AMS1(F)” will have. When this parameter is set to a
value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can
be increased by a maximum of 2, 4, 8, 16, 32, or 64 times
respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64
respectively).
For example, if “AMS1(F)” is Note Number, positive (+) values of this parameter will cause the oscillator LFO to speed
up as you play higher notes. Negative (–) values will cause the
oscillator LFO to slow down as you play higher notes. This
change will be centered on the C4 note.
Use these parameters to select the effect type for effect 1/2.
See the “Effects” chapter for more information.
Note: If 000: No Effect is selected, the output from the master
effect will be muted.
Send
Send level for each effect.
Drum samples have their own send level settings (see
“Send FX1” and “Send FX2” on page 14-109). Use this
parameter to adjust the general offset of the Drum Program.
000…127
Effect level.
Chain 2>1
Use this parameter to send the output of effect 2 to the input
of effect 1.
000…127
Level of the signal exiting the effect 2 going
back to the effect 1.
Send to Master
This parameters allows you to decide if the direct + effected
signal must go to the Master, or just the effected signal.
Yes
Only the effected signal will be sent to the
Audio Outputs. The direct (non-effected) signal will not be sent.
122
No
Program operating mode
Page 20 - FX1 editing
Both the effected signal and direct signals will
be sent to the Audio Outputs.
PAGE 20 - FX1 EDITING
In this page you can edit the effected assigned to the FX1 (A
or C) effect processor (usually reverb). See the “Effects” chapter for more information.
PAGE 21 - FX2 EDITING
In this page you can edit the effected assigned to the FX2 (B
or D) effect processor (usually modulating effect). See the
“Effects” chapter for more information.
Program operating mode
AMS (Alternate Modulation Source) list
123
AMS (ALTERNATE MODULATION SOURCE) LIST
Off
Do not use Alternate Modulation
Pitch EG
Pitch EG
Filter EG
Filter EG within the same oscillator
Amp EG
Amp EG within the same oscillator
LFO1
LFO1 within the same oscillator
LFO2
LFO2 within the same oscillator
Flt KTrk +/+ (Filter Keyboard Track +/+)
Filter keyboard tracking within the same oscillator
Flt KTrk +/– (Filter Keyboard Track +/–)
Filter keyboard tracking within the same oscillator
Flt KTrk 0/+ (Filter Keyboard Track 0/+)
Filter keyboard tracking within the same oscillator
Flt KTrk +/0 (Filter Keyboard Track +/0)
Filter keyboard tracking within the same oscillator
Amp KTrk +/+ (Amp Keyboard Track +/+)
Amp keyboard tracking within the same oscillator
Amp KTrk +/– (Amp Keyboard Track +/–)
Amp keyboard tracking within the same oscillator
Amp KTrk 0/+ (Amp Keyboard Track 0/+)
Amp keyboard tracking within the same oscillator
Amp KTrk +/0 (Amp Keyboard Track +/0)
Amp keyboard tracking within the same oscillator
Note Number
Note number
Velocity
Velocity
Poly AT (Poly After Touch)(a)
Polyphonic After Touch (transmitted from the Pa50 only as sequence data)
Channel AT (Channel After Touch)(a)
After Touch (Channel After Touch)
Joystick X
Joystick X (horizontal) axis
Joystick +Y
Joystick +Y (vertical upward) direction (CC#01)
Joystick –Y
Joystick –Y (vertical downward) direction (CC#02)
JS+Y & AT/2 (Joy Stick +Y & After Touch/2)(a)
(a)
Joystick +Y (vertical upward) direction and After Touch
JS–Y & AT/2 (Joy Stick –Y & After Touch/2)
Joystick –Y (vertical downward) direction and After Touch
Ass.Pedal
Assignable foot pedal (CC#04)
CC#18
CC#18
CC#17
CC#17
CC#19
CC#19
CC#20
CC#20
CC#21
CC#21
Damper
Ddamper pedal (CC#64)
CC#65
Portamento switch (CC#65)
Sostenuto
Sostenuto pedal (CC#66)
CC#80
CC#80
CC#81
CC#81
CC#82
CC#82
CC#83
CC#83
Tempo
Tempo (tempo data from Sequencer 1 clock or external MIDI clock)
(a) After Touch data can only be received via MIDI, or create as a MIDI event in Song Record-Step Recording mode.
Flt KTrk +/+ (Filter Keyboard Track +/+)
+/–
Flt KTrk +/– (Filter Keyboard Track +/–)
Flt KTrk 0/+ (Filter Keyboard Track 0/+)
Flt KTrk +/0 (Filter Keyboard Track +/0)
Amp KTrk +/+ (Amp Keyboard Track +/+)
Amp KTrk +/– (Amp Keyboard Track +/–)
Amp KTrk 0/+ (Amp Keyboard Track 0/+)
Amp KTrk +/0 (Amp Keyboard Track +/0)
+/+
The direction of the effect will be determined
by the sign (positive or negative) of the “Ramp
Low” or “Ramp High” setting.
0/+
The direction of the effect will be determined
by the sign of the “Ramp Low” setting, and by
the opposite sign of the “Ramp High” setting
(–50 for a setting of +50, and +50 for a setting
of –50).
“Ramp Low” will have no AMS effect. The sign
of the “Ramp High” setting will determine the
direction of its effect.
124
+/0
Program operating mode
AMS (Alternate Modulation Source) list
The sign of the “Ramp Low” setting will determine the direction of its effect. “Ramp High”
will have no AMS effect.
example of Amp
Keyboard Track settings
Amp
Ramp Low
= +50
Ramp High
= +50
Key Low Key High
Note Number
+ max
AMS = Amp KTrk +/+
AMS Intensity = positive (+) value
zero
Depth and direction of modulation
- max
+ max
AMS = Amp KTrk +/–
AMS Intensity = positive (+) value
zero
Depth and direction of modulation
- max
+ max
AMS = Amp KTrk 0/+
AMS Intensity = positive (+) value
zero
Depth and direction of modulation
- max
+ max
AMS = Amp KTrk +/0
AMS Intensity = positive (+) value
zero
Depth and direction of modulation
- max
JS +Y & AT/2 (Joy Stick +Y & After Touch/2)
The effect will be controlled by the joystick +Y (vertically
upward) and by after touch data (received via MIDI). In this
case, the effect of after touch will be only half of the specified
intensity.
JS –Y & AT/2 (Joy Stick –Y & After Touch/2)
The effect will be controlled by the joystick –Y (vertically
downward) and by after touch data (received via MIDI). In
this case, the effect of after touch will be only half of the specified intensity.
Global edit environment
The Write window
125
15. GLOBAL EDIT ENVIRONMENT
The Global edit environment is the place where you can set
most of the Pa50 global functions, i.e. functions overriding
any operating mode. This edit environment overlaps the current operating mode (Style, Song Play, Song, Backing
Sequence).
PAGE 1 - GENERAL CONTROLS
This page contains various general parameters, setting the
status of the keyboard, the speakers and the metronome.
THE WRITE WINDOW
Open this window by pressing the WRITE button while one
of the Global pages is in the display. Here, you can save various global settings. Among the global settings saved with this
page are also the Preference parameters of the Style Play and
Song Play mode, plus the Global Protect parameter of the
Disk mode. The Split Point is also saved here.
Write Global:
Press 'Enter'
to store
the Global
Gbl:Gen.Controls
Vel.Curve:3 M.Tune:+00
Scale:Equal
Met.Vol:110 Key:C
Spkrs:On
Vel.Curve (Velocity Curve)
This parameter sets the sensitivity of the keyboard to your
touch.
1
No dynamic control available. Dynamic values
are fixed, as in a classic organ.
2…9
Curves, from the lightest one to the hardest
one.
M.Tune (Master Tune)
While this page is on the display, press ENTER twice. The
parameters are saved to the Flash-ROM, and will stay in
memory even when turning the instrument off.
MENU
From any page, press MENU to open the Global edit menu.
This menu gives access to the various Global edit pages.
When in this menu, select a section using the VOLUME/
VALUE buttons, press PAGE+ to select a page, or press EXIT
to exit the menu.
When in a page, press EXIT to go back to current operating
mode (Style Play, Song Play, Song, Backing Sequence).
This is the master tuning of the instrument. Use it to adapt
your keyboard tuning to an acoustic instrument, for example
an acoustic piano.
-50
Lowest pitch.
00
Standard pitch (A4=440Hz).
+50
Highest pitch.
Scale
This parameter sets the main scale (or temperament) for the
whole instrument, apart for tracks where a different scale is
selected by a Performance or STS (see “Scale” on page 44).
See “Scales” on page 227 for a list of available scales.
Note: You cannot select a User scale in Global mode.
Key
This parameter is needed by some scales to set the preferred
key (see “Scale” on page 44).
Speakers
Global Menu
General Ctl Midi Out
Pdl/Fw/Sld
MidiSet/Ctl
Midi In
This parameter turns the internal speakers on or off.
Note: Speakers are always turned on again each time you turn
the instrument on.
Met.Vol (Metronome Volume)
Volume of the metronome.
40…127
Relative volume, from minimum to maximum.
126
Global edit environment
Page 2 - Master Transpose
PAGE 2 - MASTER TRANSPOSE
internal tone generator. Therefore, the Scale
will be applied before transposition. For example, if you altered an E, and then set the Master
Transpose to +1, the altered key will still be E
(that will play an altered F).
This page is where you can turn the Master Transpose on or
off.
Scale
Transpose
Tone
generator
Gbl:M.Transpose
Style/Realtime:Sync
Sequsencer1/2 :On
Midi In
:Off
Scales
:Post-KB
PAGE 3 - ASSIGNABLE PEDAL/FOOTSWITCH,
ASSIGNABLE SLIDER
Style/Realtime
This is a flag to turn the Master Transpose on or off on the
Style and Realtime (Keyboard) tracks.
Off
No Master Transpose is applied to the Style
and Realtime tracks.
Sync
Sync mode. When you press either the
TRANSPOSE [] or [] buttons, the new transpose setting will not take effect until the first
beat of the next measure is reached. The Realtime tracks sounding at the time of the transpose will be stopped.
RTime
Realtime mode. When you press either the
TRANSPOSE [] or [] buttons, the new transpose setting will occur when the next note is
played for both the Style and Realtime tracks
individually. (Note that any notes sounding
from the Realtime tracks will be stopped when
you press the TRANSPOSE button) The next
key or chord you press will sound with the new
transpose setting. (Note that if you play a Realtime track prior to a new chord, the Realtime
track will play in the new key as the Style will
continue to play in the old key until a new
chord is entered).
Seq 1/2
Gbl:P/Sw-Sld
P/S:Soft
Sld:M.Volume
Damper Pol.:-(Korg)
Pedal/Sw. Pol.:-(Korg)
See page 225 for a list of the assignable functions. The first
functions are switch-type functions, while the remaining
(starting from Master Volume) are continuous-like functions.
P/S (Pedal/Switch)
Continuous pedal, or footswitch, connected to the ASSIGNABLE PDL/SW connector.
Sld (Slider)
Function assigned to the ASSIGNABLE SLIDER on the front
panel.
Damper Pol. (Damper Polarity)
Polarity of the Damper pedal.
Pedal/Sw.Pol. (Pedal/Footswitch Polarity)
Polarity of the Assignable pedal or footswitch.
This is a flag to turn the Master Transpose on or off on the
two onboard Sequencers’ tracks.
Midi In
This is a flag to turn the Master Transpose on or off on the
received MIDI messages.
Scales
The Scale Transpose Position allows you to decide the relation between the Scale and the Master Transpose.
Post-KB
When this option is selected, notes will be
transposed immediately after they leave the
keyboard. The Scale will be applied to the
transposed notes. For example, if you altered
an E, and then set the Master Transpose to +1,
the E key will play F, and the altered key will be
E (that will play an altered E).
Transpose
Pre-OSC
This page lets you program the Assignable Pedal/Footswitch,
and the Assignable Slider.
Scale
Tone
generator
When this option is selected, all notes are
transposed immediately before they enter the
PAGE 4 - MIDI SETUP
MIDI channels can be automatically configured by selecting a
MIDI Setup. Each of them assigns the best values to various
MIDI parameters, to allow an easier connection with a particular MIDI controller.
Gbl:Midi Setup
Default
Accordion1
Master Kbd
Accordion2
Sequencer1
Accordion3
Sequencer2
Ext.Seq
Note: After selecting a MIDI Setup, you can apply any changes
to each channel’s settings. To store the changes in memory, press
WRITE and save the Global in memory.
See “MIDI” on page 35 for more information on using the
MIDI Setups.
Global edit environment
Page 5 - MIDI Controls
This a default setting. It is suitable both for
programming on an external sequencer, and
for playing Pa50 with a master keyboard.
Master Kbd Select this setting when you are connecting a
mute master keyboard.
Sequencer 1 This setting is for playing a Song (Sequencer 1)
with an external instrument sounds, or for listening to a Song performed by an external
sequencer using Pa50 as a sound generator.
Each track (S1 Tr1-16) corresponds to a MIDI
channel with the same number (1-16).
Sequencer 2 As above, but with Sequencer 2.
Accordion 1…3
Select one of these settings when connecting a
MIDI Accordion.
Ext.Seq
This setting is for programming a Song on an
external sequencer.
not be selected from the control panel of the
Pa50. Use the external instrument to set the
Tempo, and start or stop the sequencers (Song,
Song Play, Backing Sequence modes) and the
arranger (Style and Backing Sequence modes).
Default
PAGE 5 - MIDI CONTROLS
This page lets you program general MIDI parameters.
127
Clock Send
This parameter turns the clock information on the MIDI
OUT on or off.
Off
The Pa50 cannot send the MIDI Clock signal.
You cannot slave another instrument to the
Pa50, even when connected to the MIDI OUT.
MIDI
The Pa50 can send the MIDI Clock signal. You
can slave another instrument to the Pa50
Tempo, Start/Stop and Play/Stop commands.
Connect the other instrument to the Pa50
MIDI OUT port.
PAGE 6 - MIDI IN CHANNELS
In this page, you can assign the Pa50 tracks to any of the
MIDI IN channels. Use the TRACK SELECT button to switch
from channels 1-8 to channels 9-16.
Gbl:MIDI Ctl
Gbl:Midi In Chnl
Local:On
Clock:Internal
Ch01:Upper1 Ch05:Upper3
Clock Send:Off
Ch02:Lower
Ch06:Global
Ch03:Bass
Ch07:Pad1
Ch04:Upper2 Ch08:Pad2
Local
The Local parameter turns the keyboard on or off.
Note: The Local parameter is always turned on again each time
you turn the instrument on.
On
When you play on the keyboard, MIDI data is
sent to the internal sound generator and to the
MIDI OUT port.
Off
The keyboard is connected to the MIDI OUT,
but cannot play the internal sound generator.
This is very useful when working with an
external sequencer, to send notes and controllers from the keyboard to the external
sequencer, and then let the sequencer send
them back to the sound generator, without
overlapping. See the MIDI chapter.
Clock
This parameter selects the MIDI Clock source.
Note: The Clock parameter is always set to “Int” each time you
turn the instrument on.
Internal
Internal, i.e. the clock generated by the Pa50
Sequencer 1 internal metronome.
MIDI
External from MIDI. The Pa50 is slaved to an
external instrument or sequencer, connected to
its MIDI IN port. The Start/Stop and Play/Stop
commands, and the metronome Tempo, can-
Channel
You can assign to each channel one of the following tracks:
(Off)
No track assigned.
Lower
Lower track.
Upper1…3 One of the Upper tracks.
Drum
Drum track.
Perc
Percussion track.
Bass
Bass track.
Acc1…5
One of the Auto-accompaniment tracks.
S1 T1…16 One of Sequencer 1 tracks.
S2 T1…16 One of Sequencer 2 tracks.
Global
Special channel to simulate the Pa50’s integrated controls (keyboard, pedals, joystick)
with an external keyboard or controller. MIDI
messages coming on this channel are considered as being generated by Pa50’s integrated
controllers.
Control
On this special channel, the Pa50 receives
MIDI messages to remotely select Styles, Performances, STS and Style Elements. See tables
on page 144 and following for more information on the received data
128
Global edit environment
Page 7 - MIDI IN Controls (1)
PAGE 7 - MIDI IN CONTROLS (1)
PAGE 8 - MIDI IN CONTROLS (2)
This page is where you can program the Chord Recognition
channels for the internal arranger, and a fixed velocity value
for all notes appearing at the input.
This is another page containing various MIDI IN settings,
like note transposition for the Realtime tracks. The transpose
parameters are useful to many MIDI accordion players,
whose MIDI interface may transmit on an unexpected
octave.
Gbl:MidiIn Ctl 1
Chord1 channel:Off
Gbl:MidiIn Ctl 2
Chord2 channel:Off
Velocity In:Normal
There are two separate Chord channels. This is very useful
when you must send chords to Pa50 on two channels (like
with some MIDI Accordions).
UppOct:+1
OctIn:Off
LowOct:+0
MuteIn:Off
UppOct (Upper Octave)
Notes entering this channel are sent to the Chord Recognition engine.
Octave transposition of data received on the MIDI IN for the
Upper tracks. For example, if you select the +1 value, a
received C4 will play a C5 on the Pa50.
Chord2 channel
LowOct (Lower Octave)
Notes entering this channel are sent to the Chord Recognition engine.
Octave transposition of data received on the MIDI IN for the
Lower track. For example, if you select the +1 value, a
received C4 will play a C5 on the Pa50.
Chord1 channel
Velocity Input
Use this parameter to set a fixed velocity (dynamics) value for
all MIDI notes entering. This is useful when playing the Pa50
with an organ or a MIDI Accordion.
Normal
Normal velocity values are received.
40…127
All received velocity values are converted to the
selected value.
OctIn (Octave In)
Enables/disables the octave transposition of data received via
MIDI.
On
Data received via MIDI can be transposed,
according to the selected Octave Transposition.
For example, if the Octave Transposition is +1,
a received C4 will actually play a C5.
Off
Data received via MIDI can’t be transposed by
the Octave Transposition applied to the track.
For example, if the Octave Transposition is +1,
a received C4 will still play a C4.
Mute In
Use this parameter to determine if a muted track can still play
data received via MIDI.
On
No data received via MIDI on a muted track
can be played by Pa50.
Off
Data received via MIDI on a muted track can
still play on the Pa50.
Global edit environment
Page 9 - MIDI IN Filters
PAGE 9 - MIDI IN FILTERS
Use this page to set up to 8 filters for the MIDI data received
by the Pa50.
Gbl:MidiIn Filt.
SysEx
PitchBend
MonoTouch
Off
Upper1…3
Drum
Perc
Bass
Acc1…5
S1 T1…16
S2 T1…16
SQ Tr01…16
0 Bank Sel. Off
1 Mod1 (Y+) Off
Chord
Filters
Selected MIDI IN filters.
Off
No filter.
Pitch Bend Pitch Bend.
MonoTouch Mono (or Channel) After Touch.
PolyTouch Poly After Touch.
PrgChange Program Change.
SysExcl
System Exclusive.
All CC
All Control Change messages.
0…127
Control Change message #0…127. See “MIDI
Controllers” on page 228 for a list of available
Control Change messages.
One of the Upper tracks.
Drum track.
Percussion track.
Bass track.
One of the Auto-accompaniment tracks.
One of Sequencer 1 tracks.
One of Sequencer 2 tracks.
Use these channels to send data generated by a
track with the same name on either or both
onboard sequencers at the same time.
Use this channel to send notes recognized by
the Chord Recognition engine to the MIDI
OUT. This is useful, for example, to control an
external Harmonizer from the Pa50, using the
Lower track to play chords, even if the track is
in mute.
PAGE 11 - MIDI OUT FILTERS
Use this page to set up to 8 filters for the MIDI data sent by
the Pa50.
Gbl:MidiOut Flt.
SysEx
PitchBend
PAGE 10 - MIDI OUT CHANNELS
MonoTouch
Off
In this page, you can assign to any MIDI OUT channel one of
Pa50’s tracks. Use the TRACK SELECT button to switch from
channels 1-8 to channels 9-16.
1 Mod1 (Y+) Off
Gbl:Midi Out Chnl
Ch01:Upper1 Ch05:Upper3
Ch02:Lower
Ch06:Acc1
Ch03:Bass
Ch07:Acc2
Ch04:Upper2 Ch08:Acc3
Channel
You can assign to each channel one of the following tracks:
(Off)
No track assigned.
Lower
Lower track.
129
0 Bank Sel. Off
Filters
Selected MIDI OUT filters.
Off
No filter.
Pitch Bend Pitch Bend.
MonoTouch Mono (or Channel) After Touch.
PolyTouch Poly After Touch.
PrgChange Program Change.
SysExcl
System Exclusive.
All CC
All Control Change messages.
0…127
Control Change message #0…127. See “MIDI
Controllers” on page 228 for a list of available
Control Change messages.
130
Disk edit environment
The WRITE/DISK IN USE LED
16. DISK EDIT ENVIRONMENT
The Disk edit environment is the place where you can manage files. This edit environment overlaps the current operating mode (Style Play, Song Play, Backing Sequence, Song,
Program).
THE WRITE/DISK IN USE LED
When a disk is reading or writing data, the WRITE/DISK IN
USE indicator lights up. While in a Disk page, the “Wait”
message appears in the display; in this situation, you can’t
select a different Disk page (you can, however, select a different operative mode).
Inserting a disk
Insert the disk delicately into the disk drive, with the label
facing upwards and the metal part to the front. Press it in as
far as it will go.
Note: The Pa50 incorporates a new type of disk drive and you
cannot hear “click” when the disk is inserted into place.
Opening for
disk insertion
Disk activity
indicator
Eject
button
Disk:Save
ALL
|Wait
|
|
FD
SAVE
OPEN
CLOSE
Removing a disk
Warning! Never remove a floppy disk when the WRITE/DISK
IN USE LED is turned on!
Note: When loading or saving, you can obtain the maximum
speed by loading or saving into the same location as the source
data. When loading or saving into a different location, some
data restructuring is needed, and the operation becomes slower.
FLOPPY DISK HANDLING
The Pa50 can save most of the data contained in memory on
a 3,5” DS-DD disk (720KB capacity) or HD (1,44MB capacity), MS-DOS®-formatted. Here are some precautions when
handling disks.
Before removing a disk, make sure that the disk activity indicator is off. If the LED is off, remove the disk by pressing the
eject button.
Warning: Do not remove the disk if the disk activity indicator is
lit up.
Opening for disk
insertion
Disk activity
indicator
Eject button
Write protection
You can protect a disk from the accidental overwriting of
data, by opening the write protect hole. To protect the disk
from overwriting, slide the protection flap so that the hole
becomes visible.
To write-protect the disk:
move the flap and open the
hole
To write-enable the disk: move
the flap to close the hole
Cleaning the heads
The disk drive read/write heads get dirty with use and
become less accurate. You can clean the heads with a special
cleaning disk, you can purchase from any computer or musical instrument store. Use a 3.5” DS wet type head cleaning
disk; and carefully follow the instructions included with it.
Disk edit environment
Loading data created with the Pa80
131
Precautions
LOADING OLDER I-SERIES DATA
•
Pa50 is compatible with the Styles of the older i-Series instruments. You can load them as if they were ordinary Pa50 data.
1. Insert an older i-Series floppy disk into the disk drive.
2. Press DISK to go to the Disk environment.
3. In case you must replace the disk, insert the new disk,
and press the F1 button to scan the floppy disk again.
4. If you are reading an i30 disk, move the “.SET” folder to
the first line of the display (use the TEMPO/VALUE
controls, or the E-H buttons), and press F3 (Open).
5. Move the “.STY” folder to the first line of the display
(use the TEMPO/VALUE controls, or the E-H buttons).
6. At this point, you can load the whole “.STY” folder, or
open it and select a single Style.
• To load the whole folder, press F2 (Load). You will be
prompted to select one of the three USER Style banks in
memory.
Once the target bank is selected, press F2 (Load) to load
the bank. The “Are you sure?” message will appear. Press
ENTER to confirm, or EXIT to abort.
• To load a single Style, press F3 (Open) to open the
“.STY” folder. Since a conversion will be started at this
point, please wait some seconds for the operation to be
completed.
Move the Style to load to the first line of the display.
Then press F2 (Load). You will be prompted to select a
target location in memory.
Once the target location is selected, press F2 (Load) to
load the Style. The “Are you sure?” message will appear.
Press ENTER to confirm, or EXIT to abort.
Note: Loading a whole “.SET” folder from an i30 disk
takes very long. You are advised to load a single bank or a
single Style a time.
7. Select the loaded Style. Set the Tempo, then press
WRITE and select “Current Style” to memorize the
changes to the Style Performance. Press ENTER twice to
confirm.
8. Due to difference in Programs, you will probably make
some adjustment to the old Styles, once they are loaded
in Pa50 (changing the Program, Volume, Pan, Tempo,
Drum Mapping, Wrap Around…).
9. To make the Program assignment to the Style tracks
effective, you should set the “Prog (Program)” parameter to On (see page 49).
10. Save the Style Performance again. Press WRITE and
select “Current Style” to save the changes in memory.
Press ENTER twice to confirm.
•
•
•
•
•
•
•
Do not remove the disk or move the instrument while
the disk drive is operating (disk drive LED and WRITE/
DISK IN USE LED lit up).
Make a backup copy of the disks, in order not to loose
data forever in case of damage. If you have a personal
computer, you can keep a copy of the data on its hard
disk.
Do not open the metallic shutter on the disk, and do not
touch the surface of the magnetic media inside it. If the
magnetic media becomes scratched or soiled, data can
be lost.
Do not leave a disk in the disk drive while carrying the
instrument: the read/write heads may scratch the disk
and damage saved data.
Keep the disks away from sources of magnetic fields, for
example televisions, refrigerators, computers, monitors,
speakers and transformers. Magnetic fields can alter the
contents of the disks.
Do not keep disks in very hot or wet places, do not
expose them to direct sunlight and do not store them
without use in dusty or dirty places.
Do not place heavy objects on top of the disks.
After use, replace the disks in a case.
Possible problems
•
•
In exceptional cases, the disk can get stuck in the disk
drive. In order to avoid this happening, you should only
use high quality disks. If the disk does get stuck, do not
try to force it out using sharp objects. Contact your local
dealer or your nearest KORG Service Center.
Magnetic fields, dirt, humidity and usage can damage
data on disk. You can try to recover the data with disk
repair utilities for personal computers. It is, however,
advisable to make a backup copy of data.
LOADING DATA CREATED WITH THE PA80
Pa50 data is perfectly interchangeable with its Pa80 and Pa60
counterparts. The only data Pa50 can’t load from a Pa80/Pa60
disk is the following:
•
Digital Drawbar Programs
•
Input 1/2 settings
•
VHG1 Vocal/Guitar Processor Board settings
•
EC5 settings
•
TO HOST port setting
•
Audio Output routing
At the same time, Pa80 and Pa60 can read any data created
with the Pa50.
132
Disk edit environment
Disk structure
DISK STRUCTURE
MYDIR.SET
GLOBAL
BANK01.GBL
PERFORM
BANK01.PRF
1-1 Grand Piano
1-8 Full Strings
BANK02.PRF
2-1 Jazz Brass
2-8 Jazz Strings
BANK .PRF
BANK10.PRF
Each disk (and the internal memory) can contain files and
folders. The data structure in Pa50 is slightly more rigorously
determined than in a computer, due to the pre-configured
data structure inside the instrument’s memory. The diagram
on the left shows the global structure of a Pa50 disk.
Note: Style banks from 1 to 16 (Factory Styles) can be seen in
Disk mode only when the “Factory Style Protect” parameter is
set to Off (see page 142), and only when loading or saving a single Style bank.
FILE TYPES
The following tables describe all the file and folder types the
Pa50 can manage. Here are the files you can read or write on
the Pa50.
Extension
File/folder type
SET
All the User data. (This is a folder containing
other folders).
GBL
Global, Seq1+Seq2 Setup
PRF
Performance
2-1 Rock Brass
2-8 Rock Strings
PROGRAM
USER01.PCG
1 Piano 1
PCG
User Program
STY
User Style
64 SynBrass22
The Pa50 can also read the following common types of data.
USER02.PCG
1 SopranoSax
Extension
File type
64 Noise
MID
Midi file (Standard MIDI File, SMF)
USERDK.PCG
KAR
Karaoke file
JBX
Jukebox
1 Standard Kit
64 Orchestral Kit
FILE AND FOLDER SIZE DISPLAY
STYLE
BANK01.STY
1-1 8 Beat 1
The size of any file and folder in the disk can be seen in the
display.
The single file size is always shown on the right of the file:
1-16 8 Beat 16
BANK .STY
BANK16.STY
16-1 Traditional 1
16-8 Traditional 16
USER01.STY
Disk:Load
ETNICA.MID
11K|
MYFUNNY
23K
WWALTZ
12K|
FD
LOAD
OPEN
CLOSE
U1-1 User 1
U1-16 User 16
USER02.STY
U2-1 User 1
U2-16 User 16
USER03.STY
To see a folder size, first move it to the first line of the display,
then keep the SHIFT button pressed, and press the F3 (Open)
function key under the display. A dialog box will appear,
showing the size of the folder:
Directory size:
384 Kb
U3-1 User 1
U3-16 User 16
Press EXIT to exit this dialog.
Disk edit environment
Page structure
PAGE STRUCTURE
133
F2 (Disk command)
Here is the typical structure of a Disk page.
Operating mode icon
Page header
Executes the disk operation.
F3 (Open)
Opens the selected folder or bank (files whose name begins
with the “
” icon.
F4 (Close)
Closes the current folder, returning to the parent (“upper”)
folder.
Disk:Load
NEWNAME.SET
|
LIVE.SET
ETHNICA.SET
FD
LOAD
Disk content
OPEN
|
CLOSE
Page commands
Operating mode icon
When in the Disk edit environment, one of the operating
modes is still active in the background. The operating mode
icon shows which mode is currently active. Press EXIT to go
back to the current operating mode from any of the Disk
pages.
Page header
This line shows the Disk page you are in.
Disk content
These lines show the content of the current folder. Move the
item to select to the first line, using the E-F (Scroll Up) and
G-H (Scroll Down) VOLUME/VALUE buttons, or the
TEMPO/VALUE controls.
Use the Page commands (F1-F4) on the last line to execute an
operation on the selected file or folder.
The “
” symbol before a name identifies a folder (i.e., a
“folder” containing other files).
MENU
From any page, press MENU to open the Disk edit menu.
This menu gives access to the various Disk edit pages.
When in this menu, select a section using the VOLUME/
VALUE buttons, press PAGE+ to select a page, or press EXIT
to exit the menu.
When in any page, press EXIT to go back to the current operating mode.
Disk Menu
Load
Format
Save
New Dir
Copy
Rename
Erase
Utilities
PAGE 1 - LOAD
In this page you can load files from a disk to the internal
memory.
Press DISK and use the MENU button to reach this page.
Page commands
You can use these commands to browse through files and
folders, and to execute disk commands (load, save…). Commands may be different in any Disk page. Use the F1-F4 buttons to select the corresponding command.
Disk:Load
NEWNAME.SET
|
LIVE.SET
ETHNICA.SET
FD
LOAD
OPEN
|
CLOSE
NAVIGATION TOOLS
When in a Disk page, you can use any of the following commands to browse through the files and folders, or through the
list of commands.
E-F (Scroll Up)
Scroll the list up. Keep SHIFT pressed and press one of these
buttons to jump to the previous alphabetical section.
G-H (Scroll Down)
Scroll the list down. Keep SHIFT pressed and press one of
these buttons to jump to the next alphabetical section.
TEMPO/VALUE section
These controls scroll the list up or down.
F1 (FD)
Press this button after replacing a floppy disk in the floppy
disk drive. After pressing this button, the new disk will be
scanned, and the file list shown on the display will be
updated.
Loading all the User data
You can load all the User data (Performances, User Programs,
User Styles, Global) with a single operation.
1. Insert the source disk into the disk drive.
2. Press F1 to scan the disk and show the file list.
3. Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to select the “.SET” folder containing the data
you wish to load.
Move the folder to the first line of the display. If the
folder you are looking for is in another folder, use the F3
(Open) button to open it. Use the F4 (Close) button to
go back to the parent folder.
4. Press F2 (Load) to confirm the selection. The “Are you
sure?” message appears. Press ENTER to confirm, or
EXIT to abort.
134
Disk edit environment
Page 1 - Load
When the operation is completed (the “Wait” indicator
disappears), the source page comes back in the display,
and you may perform further loading operations.
Note: Data loaded from disk, and data already in memory
is merged. For example, if there is data in all three USER
Style banks in memory (USER01, USER02, USER03), and
there is only the USER01 Style bank on disk, the USER01
bank is overwritten, while USER02 and USER03 banks
are left unchanged.
As a result, you will have a STYLE folder in memory containing the USER01 bank you just loaded, and the old
USER02 and USER03 banks.
1.
2.
3.
4.
Insert the source disk into the disk drive.
Press F1 to scan the disk and show the file list.
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to select the “.SET” folder containing the data
you wish to load.
Move the folder to the first line of the display. If the
folder you are looking for is in another folder, use the F3
(Open) button to open it. Use the F4 (Close) button to
go back to the parent folder.
Press F3 (Open) to open the “.SET” folder. A list of User
data appears (Global, Performance, Program, Style).
Loading all data of a specified type
You can load all User data of a specified type (User Programs,
User Styles, Performances) with a single operation.
1. Insert the source disk into the disk drive.
2. Press F1 to scan the disk and show the file list.
3. Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to select the “.SET” folder containing the data
you wish to load.
Move the folder to the first line of the display. If the
folder you are looking for is in another folder, use the F3
(Open) button to open it. Use the F4 (Close) button to
go back to the parent folder.
4. Press F3 (Open) to open the “.SET” folder. A list of User
data appears (Performance, Program, Style, Global).
Disk:Load
PERFORM
|
PROGRAM
STYLE
FD
5.
6.
LOAD
|
OPEN
CLOSE
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the data type you are looking for to
the first line of the display.
Press F3 (Open) to open the selected folder. A list of
User banks appears.
Disk:Load
USER01.STY
Disk:Load
PERFORM
|
USER02.STY
USER03.STY
FD
|
LOAD
OPEN
|
CLOSE
PROGRAM
STYLE
FD
5.
6.
LOAD
|
OPEN
CLOSE
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the data type you are looking for to
the first line of the display.
Press F2 (Load) to confirm your selection. The “Are you
sure?” message will appear. Press ENTER to confirm, or
EXIT to abort.
When the operation is completed (the “Wait” indicator
disappears), the source page comes back in the display,
and you may perform further loading operations.
Note: Data loaded from disk, and data already in memory
are merged. For example, if there is data in all three USER
Style banks in memory (USER01, USER02, USER03), and
there is only the USER01 Style bank on disk, the USER01
bank is overwritten, while USER02 and USER03 banks
are left unchanged.
As a result, you will have a STYLE folder in memory containing the USER01 bank you just loaded, and the old
USER02 and USER03 banks.
Loading a single bank
You can load a single bank of User data (User Programs, User
Styles, Performances) with a single operation. A bank corresponds to a STYLE or PROGRAM/PERFORMANCE button.
7.
8.
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the desired bank to the first line of the
display.
Press F2 (Load) to confirm the file selection. The list of
User banks in memory appears.
Disk:Load
User01
|
User02
User03
FD
LOAD
|
OPEN
CLOSE
In the page above, the previously selected Style bank will
be loaded into the bank 1 (USER1 button) in memory.
The existing Styles in memory will be deleted and overwritten.
9. Scroll the available locations in memory, using the E-H
(Scroll) buttons (or the TEMPO/VALUE controls).
10. When the target bank is selected (i.e., it is in the first line
of the display), press F2 (Load) to load the bank. The
“Are you sure message” will appear. Press ENTER to
confirm, or EXIT to abort.
Warning: After confirming, all User data contained in the
bank in memory is deleted.
Disk edit environment
Page 2 - Save
When the operation is completed (the “Wait” indicator
disappears), the source page comes back in the display,
and you may perform further loading operations.
10. Press F2 (Load) to confirm the file selection. The inter-
nal memory file list appears. If you are loading a single
file or bank of Styles, Programs or Performances, you
are prompted to choose a destination in memory. For
example, when loading a single Style, after selecting the
Load command, a page similar to the following appears
in the display:
Loading a single item
You can load a single User item (i.e., a single User Program, a
single User Style, or a single Performance) with a single operation.
1. Insert the source disk into the disk drive.
2. Press F1 to scan the disk and show the file list.
3. Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to select the “.SET” folder containing the item
you wish to load.
Move the folder to the first line of the display. If the
folder you are looking for is in another folder, use the F3
(Open) button to open it. Use the F4 (Close) button to
go back to the parent folder.
4. Press F3 (Open) to open the “.SET” folder. A list of User
data appears (Global, Performance, Program, Style).
Disk:Load
PERFORM
|
PROGRAM
STYLE
FD
5.
6.
LOAD
|
OPEN
CLOSE
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the data type you are looking for to
the first line of the display.
Press F3 (Open) to open the selected folder. A list of
User banks appears.
135
Disk:Load
to U1: 1 16BeatNew
to U1: 2 _ _ _ _ _ _
to U1: 3 _ _ _ _ _ _ |
FD
LOAD
OPEN
CLOSE
In the page above, the previously selected Style will be
loaded into the location U1:1 (USER1 button, Style 01)
in memory. The existing Style in memory will be deleted
and overwritten.
11. Scroll the available locations in memory, using the E-H
(Scroll) buttons (or the TEMPO/VALUE controls).
When the target location is selected (i.e., it is in the first
line of the display), press F2 (Load) to load the file.
Locations marked with a row of underscores (“_ _ _”)
are empty locations.
12. Once the target location is selected, press F2 (Load) to
load the file. The “Are you sure?” message will appear.
Press ENTER to confirm, or EXIT to abort.
Warning: After confirming, the item you are overwriting
in memory will be deleted.
When the operation is completed (the “Wait” indicator
disappears), the source page comes back in the display,
and you may perform further loading operations.
PAGE 2 - SAVE
Disk:Load
USER01.STY
|
USER02.STY
USER03.STY
FD
7.
8.
LOAD
OPEN
|
CLOSE
In this page, you can save User data from the internal memory to a disk. You can save files, banks, or all the User files of
the internal memory.
Press DISK and use the MENU or PAGE buttons to reach this
page.
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the desired bank to the first line of the
display.
Press F3 (Open) to open the selected bank. A list of User
items appears.
Disk:Save
ALL
FD
Disk:Load
SAVE
OPEN
CLOSE
Here are the various types of files contained in memory:
U1: 1 16BeatNew
U1: 2 8Beat
U1: 3 WalzerMarch
FD
9.
LOAD
OPEN
|
CLOSE
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the desired item to the first line of the
display.
The file/folder
type…
…contains…
…and will create on
disk…
ALL
All the User data in
memory
A .SET folder
Style
The USER 01-03 Styles
A STYLE folder inside
a .SET folder
136
Disk edit environment
Page 2 - Save
The file/folder
type…
…contains…
…and will create on
disk…
Program
The USER Programs
and Drum Kits
A PROGRAM folder
inside a .SET folder
Perform (Performances)
The Performances
A PERFORM folder
inside a .SET folder
.GBL file
The Global. All parameters marked with
within the Style
Play, Song Play, Song
and Global chapters
are saved in the Global.
A GLOBAL folder
inside a .SET folder
folder. A list of User data types appear (each type is a
separate folder).
Disk:Save
GLOBAL
PROGRAM
FD
3.
Saving the whole memory content
You can save the whole content of the memory with a single
operation.
1. Insert the target disk into the disk drive.
2. The whole content (“All”) of the internal memory is
already selected. Press F2 (Save) to confirm the selection.
3. The content of the target disk appears.
|
PERFORM
4.
5.
|
SAVE
OPEN
CLOSE
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the data type you are looking for to
the first line of the display.
Once you have selected the type of data required, press
F2 (Save) to confirm the selection.
The content of the target disk appears.
Disk:Save
NEW_NAME.SET
LIVE.SET
ETHNICA.SET
FD
SAVE
OPEN
|
CLOSE
Disk:Save
NEW_NAME.SET
LIVE.SET
ETHNICA.SET
FD
SAVE
OPEN
|
CLOSE
6.
4.
5.
At this point, you can:
• Create a new “.SET” folder (see “Creating a new “.SET”
folder” on page 138).
• Save onto an existing “.SET” folder.
If you are saving into an existing folder, move the
desired “.SET” folder to the first line of the display, using
the E-H (Scroll) buttons (or the TEMPO/VALUE controls).
Once the target folder is selected, press F2 (Save) to save
the files. The “Are you sure?” message will appear. Press
ENTER to confirm, or EXIT to abort.
Warning: After confirming, all data in the target folder is
deleted.
When the operation is completed (the “Wait” indicator
disappears), the source page comes back in the display,
and you may perform further saving operations.
Saving all data of a specific type
You can save all data of a specific type with a single operation.
1. Insert the target disk into the disk drive.
2. The whole content (“All”) of the internal memory is
already selected. Press F3 (Open) to open the “All”
7.
At this point, you can:
• Create a new “.SET” folder (see “Creating a new “.SET”
folder” on page 138).
• Save onto an existing “.SET” folder.
If you are saving into an existing folder, move the
desired “.SET” folder to the first line of the display, using
the E-H (Scroll) buttons (or the TEMPO/VALUE controls).
Once the target folder is selected, press F2 (Save) to save
the files. The “Are you sure?” message will appear. Press
ENTER to confirm, or EXIT to abort.
Warning: After confirming, all data in the target folder is
deleted.
When the operation is completed (the “Wait” indicator
disappears), the source page comes back in the display,
and you may perform further saving operations.
Saving a single bank
You can save a single User bank with a single operation. A
bank corresponds to a button on the control panel of the
instrument (i.e. a button of the STYLE section).
1. Insert the target disk into the disk drive.
2. The whole content (“All”) of the internal memory is
already selected. Press F3 (Open) to open the “All”
Disk edit environment
Page 2 - Save
folder. A list of User data types appear (each type is a
separate folder).
11. Once the target bank is selected, press F2 (Save) to save
the files. The “Are you sure?” message will appear. Press
ENTER to confirm, or EXIT to abort.
Warning: If you confirm, any data in the target bank will
be deleted.
When the operation is completed (the “Wait” indicator
disappears), the source page comes back in the display,
and you may perform further saving operations.
Disk:Save
GLOBAL
|
PERFORM
PROGRAM
FD
3.
4.
|
SAVE
OPEN
CLOSE
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the data type you are looking for to
the first line of the display.
Once the data type is selected, press F3 (Open) to open
the folder and gain access to the separate banks.
Saving a single item
You can save a single User item with a single operation.
1. Insert the target disk into the disk drive.
2. The whole content (“All”) of the internal memory is
already selected. Press F3 (Open) to open the “All”
folder. A list of User data types appear (each type is a
separate folder).
Disk:Save
USER01.STY
Disk:Save
|
GLOBAL
USER02.STY
USER03.STY
FD
SAVE
OPEN
PROGRAM
CLOSE
6.
7.
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the bank to save to the first line of the
display.
Once you have selected the bank that you want to save,
press F2 (Save) to confirm the selection.
The content of the target disk appears.
3.
4.
USER01.STY
OPEN
CLOSE
|
USER02.STY
LIVE.SET
SAVE
|
OPEN
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the data type you are looking for to
the first line of the display.
Once the data type is selected, press F3 (Open) to open
the folder and gain access to the separate banks.
NEW_NAME.SET
FD
SAVE
Disk:Save
Disk:Save
ETHNICA.SET
|
PERFORM
|
FD
5.
137
USER03.STY
|
FD
CLOSE
At this point, you can:
• Create a new “.SET” folder (see “Creating a new “.SET”
folder” on page 138).
• Save onto an existing “.SET” folder.
8. If you are saving into an existing folder, move the
desired “.SET” folder to the first line of the display, using
the E-H (Scroll) buttons (or the TEMPO/VALUE controls).
9. Press F2 (Save) to confirm. A list of banks on the target
disk appears. Only banks of the selected type are shown.
10. Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the target bank to the first line of the
display.
5.
6.
SAVE
OPEN
|
CLOSE
Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the bank containing the file to save to
the first line of the display.
Once you have selected the bank, press F3 (Open) to
gain access to the single files.
Disk:Save
U1: 1 8B-Groove1
U1: 2 8B-Groove2
U1: 3 8B-Groove3
FD
7.
SAVE
OPEN
|
CLOSE
Once you have selected the file that you want to save,
press F2 (Save) to confirm the selection.
138
8.
Disk edit environment
Page 2 - Save
The content of the target disk appears in the display.
12. Once the target location is selected, press F2 (Save) to
save the file. The “Are you sure?” message will appear.
Press ENTER to confirm, or EXIT to abort.
Warning: If you confirm, any data at the target location
will be deleted.
When the operation is completed (the “Wait” indicator
disappears), the source page comes back in the display,
and you may perform further saving operations.
Disk:Save
NEW_NAME.SET
LIVE.SET
ETHNICA.SET
FD
SAVE
OPEN
|
CLOSE
Creating a new “.SET” folder
At this point, you can:
• Create a new “.SET” folder (see “Creating a new “.SET”
folder” on page 138).
• Save onto an existing “.SET” folder (saved data is
merged with the existing data on disk).
9. If you are saving into an existing folder, move the
desired “.SET” folder to the first line of the display, using
the E-H (Scroll) buttons (or the TEMPO/VALUE controls).
10. Press F2 (Save) to confirm. A list of files on the target
device appears. Only files of the selected type are shown.
When saving data (Save operations), you can save onto existing folders, or you can create a new “.SET” folder. Here is how
to do it.
1. When the file list of the target disk is in the display, use
the E-H (Scroll) buttons (or the TEMPO/VALUE controls) to move the “NEW_NAME.SET” item to the first
line of the display.
Note: A “NEW_NAME.SET” item is always the first item
in any directory.
2. When the “NEW_NAME.SET” item is selected, press
one of the A VOLUME/VALUE buttons. You are
prompted to assign a name to the new folder:
NEW_NAME.SET
Disk:Save
to U1: 1 16BeatNew
3.
to U1: 2 8Beat
to U1: 3 _ _ _ _ _ _ |
FD
SAVE
OPEN
CLOSE
Locations marked with a row of underscores (“___”) are
empty locations.
11. Use the E-H (Scroll) buttons (or the TEMPO/VALUE
controls) to move the target location to the first line of
the display.
4.
Move the cursor using the DOWN/- and UP/+ buttons.
Select a character using the DIAL. Insert a character at
the cursor position by pressing the INSERT button.
Delete a character at the cursor position by pressing the
DELETE button.
When you have finished writing a name for the new
folder, press F2 (Save) to confirm. The “Are you sure?”
message will appear. Press ENTER to confirm, or EXIT
to abort.
Disk edit environment
Page 3 - Copy
PAGE 3 - COPY
7.
In this page you can copy single files (i.e., midifiles of Jukebox
files), whole folders (generic or “.SET” folders), or a generic
folder’s content. You can copy within the same disk, or from a
disk to a different one.
To preserve the data structure integrity, during Copy operations you can’t open a “.SET” folder, and copy one of its files.
You can only open generic folders.
Press DISK and use the MENU or PAGE buttons to reach this
page.
Overwrite on Copy?
<current dir>
LIVE.SET
ETHNICA.SET
COPY
OPEN
|
CLOSE
8.
Copying a whole folder or folder’s content
You can copy a folder (generic or “.SET”) into a different disk
or folder. If selecting the <current dir> item, you can copy
the current folder’s content, without copying the folder itself.
If copying a whole folder, a new folder with the same name is
created at the target location.
Note: During the Copy procedure, you can’t open a “.SET”
folder. You can, anyway, open any generic folder.
1. Insert the source disk into the disk drive.
2. Press F1 to scan the disk and show the file list.
3. Move the folder that you want to copy to the first line of
the display. If it is contained in another folder, use the F3
(Open) button to open it. Press F4 (Close) to go back to
the previous hierarchic level.
To copy just the current folder’s content, move the <current dir> item to the first line of the display.
4. Once the item to copy is on the first line, press F2
(Copy) to confirm the item selection. You are prompted
to insert a target disk. The window’s header changes
from “Copy from” to “Copy to”.
Once the target is selected, press F2 (Copy). The “Overwrite?” message appears:
Enter/Yes - Exit/No
Disk:Copy from
FD
139
Press ENTER to confirm overwriting, EXIT to avoid it.
When you decide to overwrite, the data you are copying
will replace the existing data on the target. For example,
if the same midifile exists on the target folder, it will be
overwritten. If a USER bank exists, it will be overwritten.
Data that doesn’t exist on the source folder is left
unchanged. For example, if the USER03 Style bank
exists on the target folder, but not in the source folder, it
is left untouched after copying the other banks.
When you decide not to overwrite, data existing on the
target folder is left unchanged, therefore are not copied.
The “Are you sure?” message appears. Press ENTER to
confirm, EXIT to abort the copy.
Copying a single file
You can copy a single file from a generic folder to a different
folder. The file must reside on the root (the main/highest
folder in the disk hierarchy) or into a generic folder. You can’t
copy single files from a “.SET” folder.
1. Insert the source disk into the disk drive.
2. Press F1 to scan the disk and show the file list.
3. Move the folder, containing the file you wish to copy, to
the first line of the display. If it is contained in another
folder, use the F3 (Open) button to open it. Press F4
(Close) to go back to the previous hierarchic level.
4. Press F3 (Open) to open the folder containing the file to
copy.
5. Move the file to copy to the first line of the display.
6. Once the file is on the first line, press F2 (Copy) to confirm its selection. You are prompted to insert a target
disk. The window’s header changes from “Copy from” to
“Copy to”.
Disk:Copy to
<current dir>
Disk:Copy to
LIVE.SET
<current dir>
ETHNICA.SET
LIVE.SET
ETHNICA.SET
FD
COPY
OPEN
FD
6.
•
•
OPEN
|
CLOSE
|
CLOSE
7.
5.
COPY
Insert the target disk, and press F1 to update the file list
shown on the display.
When the target disk content appears in the display,
move the target folder to the first line in the display.
To copy into an existing generic folder (not a “.SET”
folder), select that folder.
To copy into the current folder, select the <current dir>
item.
8.
9.
Insert the target disk, and press F1 to update the file list
shown on the display.
When the target disk content appears in the display,
move the target folder to the first line in the display.
Press F3 (Open) to open a folder, F4 (Close) to close it.
Once the target is selected, press F2 (Copy). The “Overwrite?” message appears:
Overwrite on Copy?
Enter/Yes - Exit/No
140
Disk edit environment
Page 4 - Erase
Press ENTER to confirm overwriting, EXIT to avoid it.
When you decide to overwrite, the data you are copying
will replace the existing data on the target. For example,
if the same midifile exists on the target folder, it will be
overwritten.
Data that doesn’t exist on the source folder is left
unchanged. For example, if the MYSONG01.MID midifile exists on the target folder, but not in the source
folder, it is left untouched after copying the other data.
When you decide not to overwrite, data existing on the
target folder is left unchanged, therefore are not copied.
10. The “Are you sure?” message appears. Press ENTER to
confirm, EXIT to abort the copy.
PAGE 4 - ERASE
The Erase function lets you erase files and folders from disks.
Disk:Erase
MYFILES.SET
|
LIVE.SET
ETHNICA.SET
FD
DEL
OPEN
|
CLOSE
Erase procedure
1. If the file to be deleted is contained in a floppy disk,
2.
insert the disk into the disk drive.
Press F1 to select a device. Devices are selected in this
order: FD ➛ SSD ➛ FD…
Device
Type
FD
Floppy disk
SSD
Solid State Disk (internal memory)
3.
4.
Move the file or folder that you want to erase to the first
line of the display. If the file or folder you are looking for
is in another folder, use the F3 (Open) button to open it.
Press F4 (Close) to go back to the previous hierarchic
level.
Press F2 (Erase) to delete the selected item. The “Are you
sure?” message will appear. Press ENTER to confirm, or
EXIT to abort.
When the operation is completed (the “Wait” indicator
disappears), you are kept on the Erase page, and you
may perform further erase operations.
Press DISK and use the MENU or PAGE buttons to reach this
page.
Disk:Format
FD Fast Format
|
FD Full Format
|
--
FORMAT
--
--
Warning: When formatting a disk, all data it contains is lost.
FD Fast Format
This is a very fast format command, that you can use on previously formatted floppy disks. This command rewrites just
the FAT (File Allocation Table) of the disk, without actual
reformatting of all sectors.
If it cannot be executed, the “FD Fast Format failed. Full Format?” message appears. Press ENTER/YES to proceed with
the Full Format, or EXIT/NO to abort.
1. Insert a 3.5” HD or DD/DS floppy disk into the disk
drive, and select this option to format it.
2. Move the FD Fast Format option to the first line of the
display.
3. Press F2 (Format) to confirm formatting.
4. The “Delete all data?” message appears in the display;
press ENTER to confirm, EXIT to abort.
FD Full Format
This is the traditional format command, where each sector of
the floppy disk is formatted. It is slower than the Fast Format
command, but sometimes more reliable.
See above for the procedure.
PAGE 6 - NEW DIR
The New Dir function lets you create a new folder in any of
the disks, or inside any generic folder. You can’t create or
open “.SET” folders, since these are reserved folders, to be
created with a Save operation.
Press DISK and use the MENU or PAGE buttons to reach this
page.
Disk:New Dir
FD
CREATE OPEN
CLOSE
PAGE 5 - FORMAT
The Format function lets you initialize a disk.
New folder procedure
1. Insert a disk into the disk drive.
2. Press F1 to scan the disk.
3. Press one of the A VOLUME/VALUE buttons. You are
prompted to assign a name to the new folder:
NEW_NAME
Move the cursor using the DOWN/- and UP/+ buttons.
Select a character using the DIAL. Insert a character at
Disk edit environment
Page 7 - Rename
4.
the cursor position by pressing the INSERT button.
Delete a character at the cursor position by pressing the
DELETE button.
Press F2 (Create) to confirm. The “Are you sure?” message appears. Press ENTER to confirm, EXIT to abort.
141
PAGE 8 - UTILITIES 1
This page includes a set of disk utilities.
Press DISK and use the MENU or PAGE buttons to reach this
page.
PAGE 7 - RENAME
Disk:Utilities1
Use the Rename function to change the name of a folder or a
file. To preserve data structure consistence, you can’t rename
single files inside a “.SET” folder, or the “.SET” folder name
extension.
Press DISK and use the MENU or PAGE buttons to reach this
page.
FD info
SSD info
BackupData
Save OS
RestoreData
FD info
Disk:Rename
DJSET.SET
|
LIVE.SET
ETHNICA.SET
FD
RENAME OPEN
|
CLOSE
Select this command to see the name of the inserted floppy
disk, and the free space on it.
If pressed without a disk inserted, the “No disk!” warning
appears. Please, insert a disk and press ENTER (or EXIT to
abort).
SSD info
Select this command to see the free space on the Solid State
Disk (SSD), used as the system’s internal memory.
Rename procedure
1. Insert the disk that contains the file to be renamed into
2.
3.
the disk drive.
Press F1 to scan the disk.
Move the item to rename to the first line. Then press one
of the A VOLUME/VALUE buttons. You are prompted
to change the name:
Ethnic.set
4.
Move the cursor using the DOWN/- and UP/+ buttons.
Select a character using the DIAL. Insert a character at
the cursor position by pressing the INSERT button.
Delete a character at the cursor position by pressing the
DELETE button.
Press F2 (Rename) to confirm. The “Are you sure?” message appears. Press ENTER to confirm, EXIT to abort.
Save OS
This command starts an Operating System backup, to save a
copy of the instrument’s Operating System on a floppy disk.
Note: Should you not do a back-up and your internal data is
changed, you can download the data from www.korgpa.com, or
ask your local KORG dealer.
1. Prepare a formatted, empty disk (1.44MB, MS-DOS
formatted). You can prepare this kind of disk using a PC
or the Pa50 itself (see “Page 5 - Format” on page 140).
Note: You can’t prepare a Pa50 OS disk on a Macintosh.
After formatting, the Mac includes some invisible files in
the root, that may interfere with the Pa50 OS loading procedure.
2. Select the Save OS command.
3. Insert a disk and press ENTER. The following files are
created on disk:
• OSPa50.LZX
• BPa50.SYS
• NBPa50.SYS
If the disk is not formatted or empty, Pa50 asks if you
want to format it:
Disk not empty!
Sh+Enter to format
Keep SHIFT pressed, and press ENTER to format the
disk. Pa50 first tries a Fast Format, then makes a Full
Format if the former is not possible.
Backup Data
This command starts a backup of all internal factory data
(Styles, Programs, Performances…) excluding the Operating
System itself.
Note: Should you not do a back-up and your internal data is
changed, you can download the data from www.korgpa.com, or
ask your local KORG dealer.
142
1.
2.
3.
4.
5.
Disk edit environment
Page 9 - Utilities 2
Prepare 5 disks. Disks don’t need to be formatted,
because Pa50 will format them for you during the
Backup procedure.
Select the Backup Data command.
The “Are you sure?” message appears. Press ENTER to
continue, EXIT to abort.
The “Insert backup disk #1 and press Enter” message
appears. Insert a disk and press ENTER
When the Pa50 asks for it, insert a new disk into the
floppy disk drive. Write the disk number on each disk’s
label.
Insert 1.4MB FD #1
data, so it is not a problem. Press EXIT to exit the message.
When the Wait message has disappeared, and the
WRITE/DISK IN USE LED has turned off, turn the
instrument off, then on again.
Note: At the end of a Restore Data operation, the “Missing some
files” error message may appear. This is due to the lack of Performance banks 11-20 on older versions of the operating system
of Pa80, whose disk you are probably reading. However, this is
not a problem. Press EXIT to close the message window.
6.
PAGE 9 - UTILITIES 2
This page includes the Protect functions.
and press Enter
If a disk is not formatted or empty, Pa50 asks if you want
to format it:
Disk:Utilities2
Global Protect:Off
Fact.Style Protect:On
Disk not empty!
Sh+Enter to format
Keep SHIFT pressed, and press ENTER to format the
disk. Pa50 first tries a Fast Format, then makes a Full
Format if the former is not possible.
Restore Data
This command restores the backup of the internal factory
data, executed with the “Backup Data” command.
Note: Should your Factory Data disks become corrupt, you can
download the data from www.korgpa.com, or ask your local
KORG dealer.
Warning: Don’t play on the keyboard while restoring data, and
stay in the Disk mode. Wait until the “Wait” message disappears, and the WRITE/DISK IN USE LED turns off.
1. Select this command.
2. The “Are you sure?” message appears. Press ENTER to
continue, EXIT to abort.
3. The “Insert backup disk #1 and press Enter” message
appears. Insert the first backup disk, and press ENTER.
4. Wait until the first backup disk has been read. A message
will appear: “Insert backup disk #2 and press Enter”.
Insert the second backup disk and press ENTER.
5. Repeat the same procedure with backup disks #3, #4 and
#5. When the backup disk #5 has been loaded, the
backup data has been restored into the internal memory.
Note: After the last disk has been loaded, a “Some files
missing” message may appear. This may refer to some User
Global Protect
When loading a “.SET” file, this parameter (if On) protects
the Global from being reprogrammed by the loaded data. All
Global parameters are therefore left unchanged.
When loading a single “.GLB” file, this parameter is ignored,
and the Global is overwritten by the loaded data.
Note: This parameter is saved in memory, but not on disk.
Factory Style Protect
When On, this parameter protects the Factory Styles (from
the “8 BEAT/16 BEAT 1” to the “TRADITIONAL” bank)
from being overwritten when loading data from disk. Furthermore, you can’t access these banks when saving data.
When Off, you can load or save User Styles even into the Factory Styles banks (from “8 BEAT/16 BEAT 1” to “TRADITIONAL”). This way, you can personalize your Factory Style
banks.
Please note that the Save All procedure always saves only the
USER Style banks.
Note: This parameter is automatically set to On when turning
the instrument off.
Note: Should your accidentally delete some Factory Data,
reload the Backup data, contact your KORG dealer or service
center, or download the data from www.korgpa.com.
APPENDIX
144
Factory Data
Styles
17. FACTORY DATA
STYLES
Note: You can remotely select Styles on the Pa50, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program
Change messages on the Control channel (see page 127).
#
CC#0
CC#32
PC
Bank: 8/16 Beat 1
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
0
0
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Soft Beat
Pop Beat
Stndrd8Beat
Unplug8Bt 1
Love 8 Beat
Half Beat
UK 8 Beat
8BeatGroove
UK RnB
PopBallad 1
HipHop Beat
LightRock 1
LightRock 2
Miami Beat
ClassicBeat
Unplug8Bt 2
#
CC#0
CC#32
PC
Bank: Ballroom
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
0
3
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Slow Pop
Slow Rock 1
Slow Rock 2
Unpl.SlRock
BigBnd Fox1
Slow Waltz1
Slow Waltz2
Foxtrot 1
BigBnd Fox2
Slow Fox
Foxtrot 2
Operetta
BigBnd Fox3
Charleston
Quick Step
New Jive
#
CC#0
CC#32
PC
Bank: Soul & Funk
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
0
6
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Rubber Funk
Groove Funk
Acid Jazz
Double Beat
Groove
Jazz Funk
Al Swing
HipHop Funk
HipHop Soul
MotownShufl
PopBallad 4
RhythmBlues
Soul
Memphis
Motown
Gospel
CC#0
CC#32
PC
Bank: 8/16 Beat 2
CC#0
CC#32
PC
Ballad
0
1
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Guitar Bld1
Guitar Bld2
8Bt Analog1
Analogyst
8Bt Analog2
Trendy Beat
Slow Ballad
6Strings Bt
Std16Beat 1
Std16Beat 2
Unpl.16Beat
Pop 16Beat1
Pop 16Beat2
Cinema Bld
Windy Beat
Home Beat
0
2
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Groove Bld
Diva
Rock Ballad
Folk Ballad
PopBallad 2
HalfTimeBld
Country Bld
4/4 Ballad
Love Ballad
NaturalBeat
Celtic Bld
16BtAnalog1
Color Beat
PopBallad 3
8Bt Analog3
16BtAnalog2
CC#0
CC#32
PC
Bank: Dance
CC#0
CC#32
PC
Bank: Rock
0
4
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
HouseGarage
House
Dream
Techno
Underground
Progressive
Jungle
Rap
Hip Hop
Disco 70
80's Dance
Love Disco
Disco Party
Disco Funky
Disco Gully
Twist
0
5
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Open Rock 1
Open Rock 2
Pop Rock
Fire Rock
Hard Rock
Heavy Rock
RockShuffle
Rock Ballad
Half Time
Rock 6/8
Abbey Road
Surf Rock
Pop Shuffle
BluesShuffl
60's Rock
Rock & Roll
CC#0
CC#32
PC
Bank: World 1
CC#0
CC#32
PC
Bank: World 2
0
7
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
OberkrWaltz
OberkrPolka
Bavar.Pop1
Bavar.Pop 2
Party Polka
Pop Polka
Flipper 6/8
Flipper 4/4
Schlager 1
Schlager 2
Schlager 3
Schlager 4
PopSchlager
Trucker
Cajun
Zydeco
0
8
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Bluegrass
Country 8Bt
Country16Bt
CountryBeat
Mod.Country
CntryBoogie
CountryShf1
CountryShf2
Country Bld
Country 3/4
Orleans
Jig
CelticDream
Norteno
Quebradita
Tejano
Factory Data
Styles
#
CC#0
CC#32
PC
Bank: World 3
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
0
9
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Hora
Sevillana 1
Sevillana 2
Jota
Copla
Classic 3/4
Bolero
Minuetto
Baroque
New Age
Tarantella
Raspa
Vahde
Oriental
Roman
Ciftetelli
#
CC#0
CC#32
PC
Bank: Latin Dance
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
0
12
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Samba
Sambalegre
Disco Samba
Samba Funk
Merengue 1
Merengue 2
Cumbia
Latin Dance
Batucada
Rumba
Gipsy
Rumba Pop
Calypso
Lambada
Meneito
Macarena
#
CC#0
CC#32
PC
Bank: Traditional
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
0
15
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Ital. Valzer
Valzer
GermWaltz 1
GermWaltz 2
Laendler
WalzMusette
ViennaWaltz
Viennese
Mazurka 1
Mazurka 2
Polka 1
Polka 2
Germ. Polka
Trad. Polka
Marsch
FrenchMarsc
CC#0
CC#32
PC
Bank: Latin 1
CC#0
CC#32
PC
Bank: Latin 2
0
10
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
UnplugBossa
Basic Bossa
L.A. Bossa
New Bossa
Miss Bossa
Lite Bossa
GrooveBossa
DiscoChaCha
Cha Cha Cha
Sabor
ChaCha Funk
Latin Rock
UnplugLatin
Beguine 1
Beguine 2
Slow Bolero
0
11
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
EnglishTango
Orch. Tango
Tango.it
Habanera 1
Habanera 2
Mambo 1
Mambo 2
Salsa 1
Salsa 2
Mariachi
Reggae 1
Reggae 2
Reggae 3
Pasodoble 1
PasDobBanda
Pasodoble 2
CC#0
CC#32
PC
Bank: Jazz 1
CC#0
CC#32
PC
Bank: Jazz 2
0
13
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Jazz Brush
Med. Swing
Slow Swing
SwingBallad
JazzWaltz 1
JazzWaltz 2
5/4 Swing
Mood Swing
Be Bop
Unpl.Swing1
Unpl.Swing2
B.BndBallad
BigBandMed.
Big Band 1
BigBand40's
Big Band 2
0
14
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Big Band 3
Sw. Shuffle
FastBigBand
Latin Big Band
BigBnd Fox4
Dixieland
Hollywood
Broadway
Acid Jazz
New Jazz
Latin Jazz
Fusion
Ragtime Pno
Shuffle Pno
Boogie Pno
Bossa Pno
CC#0
CC#32
PC
Bank: User 1-3
0
17-19
0-15
145
146
Factory Data
Style Elements
#
CC#0
CC#32
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
0
29
PC
Bank: Direct FD
Page 1-2
0-15 *.SET
CC#0
CC#32
0
30
PC
Bank: Direct FD
Page 3-4
CC#0
CC#32
0
31
0-15 *.SET
PC
Bank: Direct FD
Page 5-6
0-15 *.SET
STYLE ELEMENTS
Note: You can remotely select the various Style Elements on the Pa50, by sending it Program Change messages on the Control channel
(see page 127).
PC
Style Element
80
Var.1
85
Intro 2
90
Break/Count IN
95
Tempo Lock
PC
Style Element
PC
Style Element
PC
Style Element
PC
Style Element
81
Var.2
82
Var.3
83
Var.4
84
Intro 1
86
Fill 1
87
Fill 2
88
Ending 1
89
Ending 2
91
Fade IN/OUT
92
Memory
93
Bass Inversion
94
Manual Bass
96
Single Touch
97
Style Change
SINGLE TOUCH SETTINGS (STS)
Note: You can remotely select Single Touch Settings (STS) on the Pa50, by sending it Bank Select MSB (CC#0), Bank Select LSB
(CC#32) and Program Change messages on the Control channel (see page 127). If a Style is already selected, just send the Program
Change message.
CC#0
CC#32
The same as the Style to which the STS pertains
PC
STS
PC
STS
PC
STS
PC
STS
64
STS 1
65
STS 2
66
STS 3
66
STS 4
Factory Data
Programs (bank order)
PROGRAMS (BANK ORDER)
Name
The following table enlists all Pa50 Factory Programs in the
same order as they appear by pressing the PROGRAM/PERFORMANCE bank buttons.
Legend: The table also includes MIDI data used to remotely
select the Programs. CC00: Control Change 0, or Bank Select
MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
Name
CC00
CC32
PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
3
4
5
1
0
0
0
1
2
1
3
2
4
5
0
1
2
3
4
7
6
6
0
1
2
3
4
0
1
2
3
4
0
0
0
0
0
1
2
2
0
1
2
2
2
2
3
3
1
1
1
0
2
0
6
6
6
6
6
7
7
7
7
7
Bank: Mallet & Bell
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
11
10
4
5
6
7
6
7
4
8
9
10
12
13
9
4
4
4
4
4
4
5
5
5
5
5
5
5
5
4
Bank: Accordion
Bank: Piano
Grand Piano
Class.Piano
L/R Piano
AcPianoWide
Ac. Piano
BrightPian
ElGranPian
ElGrandWide
AcPianoDark
BrPianoWide
90's Piano
M1 Piano
2000'sPiano
ChorusPiano
Honky-Tonk
Honky-Wide
Piano Pad
Piano Pad 2
PnoStrngPad
Pno&Strings
PianoLayers
Piano&Vibes
Harpsichord
Harpsi Oct.
Harpsi Wide
HarpsiK.Off
Harpsi Korg
Clav
Pulse Clav
Clav Wah
Clav Snap
Sticky Clav
Bank: E. Piano
ClubElPiano
DynoTine EP
Vintage EP
Pro-Dyno EP
ProStage EP
Studio EP
StereoDigEP
ClassDigiEP
EP Phase
Hybrid EP
Class.Tines
PhantomTine
Sweeping EP
WhitePad EP
ThinElPiano
DW8000 EP
E.Piano 1
E.Piano 2
DetunedEP 1
EP1Veloc.sw
60'sElPiano
DetunedEP 2
EP2Veloc.sw
EP Legend
R&B E.Piano
SynPiano X
Vibraphone
Vibraphone2
Vibrap.Wide
Marimba
MarimbaWide
RimbaKeyOff
MonkeySkuls
Xylophone
Balaphon
Celesta
Glocken
Music Box
Sistro
Orgel
Digi Bell
Vs Bell Boy
Steel Drum
Warm Steel
TubularBell
Church Bell
Carillon
KrystalBell
ChurchBell2
Tinkle Bell
Dulcimer
Santur
Kalimba
VeloKalimba
MalletClock
Gamelan
BaliGamelan
GarbageMall
Sweet Harm.
Harmonica
Harmonica 2
Cassotto
Fisa Master
Fisa 16+8
Fisa 16+4
MusetteClar
Musette 1
Musette 2
Accordion
TangoAccord
Fisa Tango!
Akordeon
147
CC00
CC32
PC
121
121
121
121
121
121
121
121
121
121
121
11
0
0
1
2
3
1
2
3
8
5
5
4
5
4
4
4
5
5
5
4
5
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
2
1
0
1
2
3
0
6
0
0
0
1
1
4
2
0
1
0
1
2
3
3
0
0
1
0
1
5
1
2
3
11
11
11
12
12
12
12
13
12
8
9
10
9
10
98
98
114
114
14
14
14
98
14
112
15
15
108
108
12
112
112
112
121
121
121
121
121
121
121
121
121
121
121
121
121
121
1
0
2
9
8
6
7
5
3
4
0
0
1
2
22
22
22
21
21
21
21
21
21
21
21
23
23
21
148
Factory Data
Programs (bank order)
Name
Accordion 2
Arab.Accord
CC00
CC32
PC
Name
121
121
1
10
21
21
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
10
1
4
5
8
5
8
4
7
6
4
2
0
1
2
3
3
0
1
2
0
10
3
5
6
7
9
8
9
7
11
6
12
18
18
18
17
16
18
17
16
17
18
17
18
16
16
16
16
17
17
17
17
18
16
18
16
16
16
16
18
18
18
16
17
16
121
121
121
121
121
121
121
121
121
121
121
121
3
3
6
7
0
1
2
4
5
0
1
2
19
20
19
19
19
19
19
19
19
20
20
20
121
121
121
121
121
121
121
121
121
0
6
0
1
2
0
0
0
4
24
24
25
25
26
27
28
30
24
NylonKeyOff
Steel Gtr 2
AcGtrKeyOff
Club J.Gtr2
Vintage S.
CleanMutGtr
Stereo Dist
Nylon Gtr 2
Gtr Strings
FingerK.Off
St12Strings
Jazz Guitar
SingleCoil
Clean Funk
JoystGtr YReso.Guitar
St.Folk Gtr
Steel&Body
Hackbrett
Jazz Man
DetCleanGtr
R&R Guitar
OverdriveG
Ukulele
Mandolin
Mandol.KOff
MandoTrem
Banjo
BanjoKeyOff
Bouzouki
Tambra
Finger Tips
MidToneGtr
Chorus Gtr
ProcesElGtr
NewStra.Gtr
DistRhytmGt
WetDistGtr
SoloDistGtr
L&R El.Gtr
L&R El.Gtr2
RhythmElGtr
Guitarish
Country Nu
Stra. Chime
MuteMonster
Disto Mute
FunkyCutGtr
MuteVeloGtr
FeedbackGtr
Guitar Pinc
Ped.Steel 2
PedSteelGtr
GtrFeedback
PowerChords
FunkyWhaSw
VoxWahChick
EGHarmonics
GtrHarmonic
Sitar
Bank: Organ 1
Jimmy Organ
BX3 Velo Sw
ClassiClick
M1 Organ
Jazz Organ
Dist. Organ
RotaryOrgan
DarkJazzOrg
Bx3ShortDec
SuperBXPerc
Percuss.BX3
Killer B
Drawb.Organ
DetDrawbOrg
It60'sOrgan
DrawbOrgan2
Old Wheels
Perc. Organ
Det.PercOrg
Perc.Organ2
Rock Organ
Good Old B
Dirty B
IperDarkOrg
FullDrawbar
DWGS Organ
GospelOrgan
PercShorDec
Perc.Wheels
DirtyJazOrg
VOX Legend
TeknoOrgBas
ArabianOrg.
Bank: Organ 2
PipeMixture
FlautoPipes
Pipe Tutti
PositiveOrg
ChurchOrg.1
ChurchOcMix
DetunChurch
ChurchPipes
Full Pipes
Reed Organ
Puff Organ
Small Pipe
Bank: Guitar
NylonGuitar
Spanish Gtr
SteelGuitar
12StringGtr
Club J.Gtr1
CleanGuitar
MutedGuitar
DistortionG
Nylon Bossa
CC00
CC32
PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
2
4
5
3
4
6
8
3
7
7
5
0
6
8
3
12
9
3
6
3
1
4
0
1
2
10
11
0
1
5
6
8
2
3
5
7
2
6
7
9
10
7
8
11
5
5
9
1
2
1
1
4
1
1
4
12
3
2
0
0
24
25
24
26
27
28
30
24
24
25
25
26
27
28
30
25
25
25
25
28
27
28
29
24
25
25
25
105
105
104
104
25
27
27
27
27
30
30
30
27
27
28
27
27
28
30
28
28
28
30
29
26
26
31
30
27
120
31
31
104
Factory Data
Programs (bank order)
Name
Sitar 2
SitarTambou
IndianStars
Oud
Kanun
Kanun Trem.
Kanun Mix
Shamisen
Koto
Taisho Koto
IndianFrets
CC00
CC32
PC
Name
121
121
121
121
121
121
121
121
121
121
121
1
2
3
2
2
3
4
0
0
1
4
104
104
104
105
107
107
107
106
107
107
104
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
2
9
11
3
2
5
9
4
3
12
7
4
2
6
3
5
1
1
0
2
1
3
7
2
0
0
0
0
0
0
0
0
0
0
0
2
8
1
6
1
1
3
13
0
0
4
11
40
48
48
48
50
48
52
52
40
48
48
48
89
48
52
52
40
45
110
45
49
50
52
52
40
41
42
43
44
45
52
53
48
49
46
48
48
50
52
52
48
45
48
50
51
50
52
Slow Choir
Symph. Bows
Cyber Choir
Choir Light
Vocalesque
Synth Voice
Voice Lead
Choir Pad
Halo Pad
FullVox Pad
FreshBreath
EtherVoices
DreamVoice
Humming
AnalogVoice
Mmmh Choir
StringChoir
ClassicVox
Doolally
Fresh Air
Vocalscape
Heaven
Airways
Yang Chin
Bank: Strings & Vocals
Solo Violin
StringQuart
Ens. & Solo
St. Strings
Analog Str
i3 Strings
Oh-AhVoices
Take Voices
Slow Violin
Camera Str.
ArcoStrings
LegatoStrng
MasterPad
N Strings
OhSlowVoice
TakeVoices2
SlowAttViol
PizzEnsembl
Fiddle
PizzSection
SweeperStr.
AnalogVelve
Aaah Choir
Oooh Voices
Violin
Viola
Cello
Contrabass
Tremolo Str
PizzicatoSt
Choir Aahs
Voice Oohs
StringsEns1
StringsEns2
Orches.Harp
60s Strings
Oct.Strings
SynStrings3
Oooh Choir
Choir Aahs2
String&Bras
Dbl Strings
ArabStrings
SynStrings1
SynStrings2
Odissey
Grand Choir
149
CC00
CC32
PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
10
10
2
12
2
0
0
0
0
9
7
1
5
1
1
8
13
4
2
2
3
3
3
1
52
48
85
52
54
54
85
91
94
91
91
85
54
53
54
52
52
54
53
91
54
91
53
46
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
3
7
5
4
3
4
2
0
6
8
0
2
0
1
5
9
1
0
2
1
3
2
1
56
56
56
56
57
57
59
59
56
56
56
56
57
57
57
56
56
58
58
58
58
57
59
121
121
121
121
121
121
121
121
121
121
4
2
7
3
3
4
0
0
0
13
61
61
61
61
59
60
62
55
61
61
Bank: Trumpet & Trombone
MonoTrumpet
Flugel Horn
TrumptPitch
TrumpetExpr
HardTrombon
SoftTrombon
Wha Trumpet
Muted Trp
Dual Trump
Warm Flugel
Trumpet
Trumpet 2
Trombone
Trombone 2
PitchTromb
BeBopCornet
DarkTrumpet
Tuba
Tuba Gold
Ob.Tuba
Dynabone
BrightTromb
Muted Trp 2
Bank: Brass
BigBandBrs
Tight Brass
Trp & Brass
Glen&Friend
MutEnsemble
Horns & Ens
Syn Brass
Orches. Hit
BrassSect.
Fat Brass
150
Factory Data
Programs (bank order)
Name
Trumpet Ens
Glen & Boys
MutEnsembl2
French Horn
Syn Brass
Brass Hit
AttackBrass
BrassSect.2
TromboneEns
Sax & Brass
Flute Muted
FrenchHorn2
Syn Brass 3
Euro Hit
TightBrass2
Dyna Brass
Trombones
Brass Band
Brass Pad
French Sect
Syn Brass 4
6th Hit
Power Brass
Brass Expr.
Dyna Brass2
Film Brass
Brass Slow
ClassicHorn
ElectrikBrs
BrassImpact
Fanfare
Movie Brass
Sfz Brass
Jump Brass
AnalogBras1
AnalogBras2
Syn Brass 5
Brass Fall
BassHitPlus
Dbl Brass
CC00
CC32
PC
Name
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
9
6
4
0
0
25
8
1
10
5
6
1
1
3
12
14
11
16
3
2
1
2
21
15
22
17
18
3
4
4
19
20
23
3
2
2
5
26
1
24
61
61
59
60
63
61
61
61
61
61
73
60
62
55
61
61
61
61
63
60
63
55
61
61
61
61
61
60
62
55
61
61
61
62
62
63
62
61
55
61
Bank: Woodwind
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
1
1
1
1
2
2
2
5
0
0
0
0
3
4
3
4
66
65
64
67
67
66
65
66
66
65
64
67
66
66
65
65
Bank: Sax
Tenor Noise
Alto Breath
Sweet Sprno
Barit Growl
BreathyBari
Soft Tenor
SaxEnsemble
Folk Sax
Tenor Sax
Alto Sax
Soprano Sax
BaritoneSax
TenorBreath
Tenor Growl
BreathyAlto
AltSaxGrowl
Jazz Flute
Old Shaku
FluteSwitch
FluteDyn5th
Flute Frull
Pan Flute
Jazz Clarin
Flute 2
Double Reed
EnglisHorn2
Recorder 2
Nay
Orch. Flute
WoodenFlute
War Pipes
ClarinetEns
Woodwinds
Small Orch
Kawala
Shaku 2
Whistle 2
Sect Winds
Sect Winds2
Clarinet G
Folk Clarin
Oboe
EnglishHorn
Bassoon
Clarinet
Piccolo
Flute
Recorder
Bambu Flute
BlownBottle
Shakuhachi
Whistle
Ocarina
Bag Pipe
Zurna
Hichiriki
Shanai
Flute Click
CC00
CC32
PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
1
1
2
3
4
0
1
9
1
1
1
2
5
7
1
5
6
1
1
2
1
3
4
2
7
0
0
0
0
0
0
0
8
0
0
0
0
0
1
2
0
1
73
77
73
73
73
75
71
73
68
69
74
72
73
73
109
71
71
72
75
77
78
71
71
71
71
68
69
70
71
72
73
74
73
76
77
78
79
109
111
111
111
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
4
5
1
6
3
4
8
9
5
6
8
1
2
2
2
89
91
97
89
97
97
89
89
89
91
91
95
95
97
90
Bank: Synth 1
The Pad
Future Pad
Air Clouds
Dark Pad
Tinklin Pad
Pods In Pad
Analog Pad
Analog Pad2
Money Pad
TsunamiWave
RavelianPad
AstralDream
Meditate
Reso Down
Sky Watcher
Factory Data
Programs (bank order)
Name
Super Sweep
Wave Sweep
Cross Sweep
Digi IcePad
Crimson5ths
Freedom Pad
Noble Pad
Mellow Pad
Lonely Spin
Cinema Pad
VirtualTrav
Syn Ghostly
MotionOcean
Moon Cycles
Farluce
Bell Pad
Bell Choir
Warm Pad
Sweep Pad
Soundtrack
Sine Pad
Itopia Pad
Big Panner
Dance ReMix
Rave
ElastickPad
Moving Bell
CC00
CC32
PC
Name
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
4
5
6
2
1
7
5
4
1
5
1
2
1
5
11
6
7
0
0
0
1
1
4
10
6
7
5
90
90
90
101
86
89
97
95
100
95
88
100
96
102
90
98
98
89
95
97
89
91
63
91
97
97
98
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
3
5
6
2
3
4
4
5
6
2
6
5
6
7
7
8
8
9
9
7
3
10
1
3
1
1
3
10
7
4
8
80
81
81
87
87
87
80
80
80
84
55
87
87
80
81
80
81
81
80
55
89
80
90
90
93
101
84
81
90
91
90
Mega Synth
TecnoPhonic
DarkElement
Band Passed
Cat Lead
Pan Reso
Square Rez
Rezbo
Auto Pilot
MetallicRez
Square Bass
Syn Pianoid
Brian Sync
Arp Twins
Arp Angeles
Big & Raw
Caribbean
Lead Square
Lead Saw
Calliope
Chiff
Charang
Fifths Lead
Bass & Lead
New Age Pad
Polysynth
BowedGlass
MetallicPad
Crystal
Atmosphere
Brightness
LeadSquare2
Lead Sine
Lead Saw 2
LeadSawPuls
LeadDblSaw
Seq. Analog
Wire Lead
Soft Wrl
Bank: Synth 2
Old Portam
Power Saw
Octo Lead
ElectroLead
Rich Lead
ThinAnaLead
Dance Lead
Wave Lead
Sine Wave
Synchro Cit
Wild Arp
EspressLead
HipHop Lead
Analog Lead
Seq Lead
Old&Analog
PhatSawLead
Glide Lead
Gliding Sq.
Flip Blip
Power Synth
Sine Switch
Reso Sweep
Syn Sweeper
Cosmic
MotionRaver
Sync Kron
Fire Wave
Dig PolySix
Pop Syn Pad
Noisy Stabb
151
CC00
CC32
PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
9
10
3
3
9
4
11
11
14
4
7
12
5
6
2
8
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
2
1
2
3
4
1
1
90
90
95
102
87
102
80
81
38
84
87
81
84
84
88
87
96
80
81
82
83
84
86
87
88
90
92
93
98
99
100
80
80
81
81
81
81
84
87
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
0
0
0
0
0
0
0
1
2
1
1
1
2
1
2
2
3
2
32
33
34
35
36
37
38
39
32
33
34
35
36
36
38
38
32
33
34
Bank: Bass
Acous. Bass
Finger Bass
Picked Bass
Fretl. Bass
Slap Bass
Slap Bass
SynthBass
SynthBass
AcBass Buzz
Fing ElBass
Pick ElBass
Fret. Bass2
SuperSwBass
SuperSwBas2
SynBassWarm
SynBassReso
Bass & Ride
FingElBass2
PickElBass2
152
Factory Data
Programs (bank order)
Name
Fretless Sw
Thumb Bass
Finger Slap
Attack Bass
Rubber Bass
FingElBass3
DarkR&BBass
Sweet Fret
Dyna Bass
Stick Bass
Gtr Bass
Bass Mute
Dr. Octave
Nasty Bass
30303 Bass
Stein Bass
Euro Bass
Jungle Rez
30303Square
Bass Square
Phat Bass
SynBass Res
Clav Bass
Hammer
AttackPulse
Digi Bass 1
BlindAsABat
PoinkerBass
Digi Bass 3
Jungle Bass
Hybrid Bass
Digi Bass 2
CC00
CC32
PC
Name
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
2
1
1
1
2
4
4
3
2
5
4
5
16
6
5
3
4
5
6
7
7
8
3
4
3
9
12
8
11
13
15
10
35
37
33
39
39
33
35
35
37
33
34
34
38
39
38
34
39
39
38
38
39
38
38
38
39
38
38
39
38
38
38
38
SFX Kit
Percus.Kit1
Latin P.Kit
TRI-Per.KIT
ArabianKit1
ArabianKit2
Timpani
Agogo
Log Drum
Woodblock
Taiko Drum
Melodic Tom
Synth Drum
Reverse Cym
Dragon Gong
Castanets
Concert BD
MelodicTom2
Rhyt.BoxTom
Electr.Drum
Rev Tom
Rev Snare
i30Perc.Kit
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
2
4
3
8
12
10
9
13
11
14
15
16
17
24
25
26
27
28
29
32
40
41
48
50
Bank: Drum & Perc
Std. Kit1
Std. Kit2
Std. Kit3
Std. Kit4
AcousticKit
Room Kit1
Room Kit2
Jungle Kit
HipHop Kit1
HipHop Kit2
Techno Kit1
Techno Kit2
Techno Kit3
Power Kit1
Power Kit2
Electro Kit
Analog Kit
House Kit1
House Kit2
House Kit3
House Kit4
Jazz Kit
Brush Kit1
Brush V.S.2
OrchestraK.
Bdrum&Sdrum
CC00
CC32
PC
120
120
120
120
120
120
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
120
0
0
0
0
0
0
0
0
4
0
0
0
0
0
1
1
1
1
1
2
2
3
0
56
64
65
66
116
117
47
113
12
115
116
117
118
119
119
115
116
117
118
118
117
118
67
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
0
0
0
0
0
0
2
0
0
0
0
1
1
2
1
1
2
3
4
5
1
2
3
1
2
3
4
5
1
2
3
4
5
6
101
102
103
120
121
122
123
120
124
125
126
127
98
102
102
120
122
122
122
122
122
123
123
123
124
124
124
124
124
125
125
125
125
125
125
Bank: SFX
Goblins
Echo Drops
Star Theme
GtFretNoise
BreathNoise
Seashore
Bird Tweet
AcBassStrng
Telephone
Helicopter
Applause
Gun Shot
SynthMallet
Echo Bell
Echo Pan
GtrCutNoise
Rain
Thunder
Wind
Stream
Bubble
Dog
HorseGallop
Bird Tweet2
Telephone 2
Door Creak
Door
Scratch
Wind Chime
Car Engine
Car Stop
Car Pass
Car Crash
Siren
Train
Factory Data
Programs (bank order)
Name
Jetplane
Starship
Burst Noise
Laughing
Screaming
Punch
Heart Beat
Footsteps
Machine Gun
Lasergun
Explosion
Ice Rain
Jaw Harp
HitInIndia
Stadium
CC00
CC32
PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
7
8
9
1
2
3
4
5
1
2
3
0
3
5
6
125
125
125
126
126
126
126
126
127
127
127
96
105
55
126
153
154
Factory Data
Programs (Program Change order)
PROGRAMS (PROGRAM CHANGE ORDER)
The following table enlists all Pa50 Factory Programs in order
of Bank Select-Program Change number.
Legend: The table also includes MIDI data used to remotely
select the Programs. CC00: Control Change 0, or Bank Select
MSB. CC32: Control Change 32, or Bank Select LSB. PC: Program Change.
CC00
CC32
PC
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
2
3
4
5
6
7
0
1
2
3
4
0
1
2
3
4
5
6
0
1
0
1
2
3
4
5
6
7
8
9
10
11
0
1
2
3
4
5
6
7
8
9
10
11
12
13
0
1
2
0
0
0
0
0
0
0
0
1
1
1
1
1
2
2
2
2
2
2
2
3
3
4
4
4
4
4
4
4
4
4
4
4
4
5
5
5
5
5
5
5
5
5
5
5
5
5
5
6
6
6
Name
Pa50 Bank
Ac. Piano
AcPianoWide
AcPianoDark
Grand Piano
Class.Piano
L/R Piano
Piano&Vibes
Pno&Strings
BrightPiano
BrPianoWide
Piano Pad
Piano Pad 2
PnoStrngPad
ElGranPiano
ElGrandWide
M1 Piano
90's Piano
2000'sPiano
ChorusPiano
PianoLayers
Honky-Tonk
Honky-Wide
E.Piano 1
DetunedEP 1
EP1Veloc.sw
60'sElPiano
Vintage EP
Pro-Dyno EP
ProStage EP
Studio EP
R&B E.Piano
ThinElPiano
DynoTine EP
ClubElPiano
E.Piano 2
DetunedEP 2
EP2Veloc.sw
EP Legend
EP Phase
SynPiano X
StereoDigEP
ClassDigiEP
Hybrid EP
Class.Tines
PhantomTine
DW8000 EP
Sweeping EP
WhitePad EP
Harpsichord
Harpsi Oct.
Harpsi Wide
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
E.Piano
Piano
Piano
Piano
GM2
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
CC00
CC32
PC
Name
Pa50 Bank
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
3
4
0
1
2
3
4
0
0
1
0
1
0
1
2
0
1
2
3
4
5
6
0
0
1
2
3
0
1
0
1
2
3
4
5
6
7
8
9
10
11
12
0
1
2
3
4
5
6
7
8
0
1
2
3
4
5
6
7
8
6
6
7
7
7
7
7
8
9
9
10
10
11
11
11
12
12
12
12
12
12
12
13
14
14
14
14
15
15
16
16
16
16
16
16
16
16
16
16
16
16
16
17
17
17
17
17
17
17
17
17
18
18
18
18
18
18
18
18
18
HarpsiK.Off
Harpsi Korg
Clav
Pulse Clav
Clav Wah
Clav Snap
Sticky Clav
Celesta
Glocken
Sistro
Music Box
Orgel
Vibraphone
Vibrap.Wide
Vibraphone2
Marimba
MarimbaWide
RimbaKeyOff
MonkeySkuls
Log Drum
MalletClock
Balaphon
Xylophone
TubularBell
Church Bell
Carillon
ChurchBell2
Dulcimer
Santur
Drawb.Organ
DetDrawbOrg
It60'sOrgan
DrawbOrgan2
DarkJazzOrg
IperDarkOrg
FullDrawbar
DWGS Organ
Jazz Organ
GospelOrgan
Good Old B
VOX Legend
ArabianOrg.
Perc. Organ
Det.PercOrg
Perc.Organ2
Old Wheels
Percuss.BX3
M1 Organ
TeknoOrgBas
Bx3ShortDec
RotaryOrgan
Rock Organ
BX3 Velo Sw
Killer B
Dirty B
ClassiClick
Dist. Organ
SuperBXPerc
DirtyJazOrg
PercShorDec
Piano
Piano
Piano
Piano
Piano
Piano
Piano
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Drum & Perc
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
Organ 1
GM2
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
Factory Data
Programs (Program Change order)
CC00
CC32
PC
Name
Pa50 Bank
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
9
10
0
1
2
3
4
5
6
7
0
1
2
3
0
1
2
3
4
5
6
7
8
9
10
0
1
2
0
1
0
1
2
3
4
5
6
7
0
1
2
3
4
5
6
7
8
9
10
11
12
0
1
2
3
4
0
1
2
3
18
18
19
19
19
19
19
19
19
19
20
20
20
20
21
21
21
21
21
21
21
21
21
21
21
22
22
22
23
23
24
24
24
24
24
24
24
24
25
25
25
25
25
25
25
25
25
25
25
25
25
26
26
26
26
26
27
27
27
27
Perc.Wheels
Jimmy Organ
ChurchOrg.1
ChurchOcMix
DetunChurch
PipeMixture
ChurchPipes
Full Pipes
Pipe Tutti
PositiveOrg
Reed Organ
Puff Organ
Small Pipe
FlautoPipes
Accordion
Accordion 2
Akordeon
Musette 1
Musette 2
MusetteClar
Fisa 16+8
Fisa 16+4
Fisa Master
Cassotto
Arab.Accord
Harmonica
Sweet Harm.
Harmonica 2
TangoAccord
Fisa Tango!
NylonGuitar
Ukulele
NylonKeyOff
Nylon Gtr 2
Nylon Bossa
AcGtrKeyOff
Spanish Gtr
Gtr Strings
SteelGuitar
12StringGtr
Mandolin
Steel&Body
Steel Gtr 2
St12Strings
Hackbrett
FingerK.Off
Finger Tips
St.Folk Gtr
Mandol.KOff
MandoTrem
Reso.Guitar
Jazz Guitar
PedSteelGtr
Club J.Gtr1
Club J.Gtr2
Ped.Steel 2
CleanGuitar
DetCleanGtr
MidToneGtr
Chorus Gtr
Organ 1
Organ 1
Organ 2
Organ 2
Organ 2
Organ 2
Organ 2
Organ 2
Organ 2
Organ 2
Organ 2
Organ 2
Organ 2
Organ 2
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Accordion
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
GM2
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
CC00
CC32
PC
Name
Pa50 Bank
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
4
5
6
7
8
9
10
11
12
0
1
2
3
4
5
6
7
8
9
0
1
0
1
2
3
4
5
6
7
8
0
1
2
0
1
2
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
3
4
0
1
2
0
1
2
0
27
27
27
27
27
27
27
27
27
28
28
28
28
28
28
28
28
28
28
29
29
30
30
30
30
30
30
30
30
30
31
31
31
32
32
32
33
33
33
33
33
33
34
34
34
34
34
34
35
35
35
35
35
36
36
36
37
37
37
38
Vintage S.
ProcesElGtr
SingleCoil
NewStra.Gtr
Guitarish
L&R El.Gtr
L&R El.Gtr2
Country Nu
FunkyWhaSw
MutedGuitar
FunkyCutGtr
MuteVeloGtr
Jazz Man
R&R Guitar
Stra.Chime
CleanMutGtr
RhythmElGtr
Clean Funk
Disto Mute
OverdriveGt
Guitar Pinch
DistortionG
FeedbackGtr
DistRhytmGt
JoystGtr YPowerChords
MuteMonster
WetDistGtr
SoloDistGtr
Stereo Dist
GtrHarmonic
GtrFeedback
EGHarmonics
Acous. Bass
AcBass Buzz
Bass & Ride
Finger Bass
Finger Slap
Fing ElBass
FingElBass2
FingElBass3
Stick Bass
Picked Bass
Pick ElBass
PickElBass2
Stein Bass
Gtr Bass
Bass Mute
Fretl. Bass
Fret. Bass2
Fretless Sw
Sweet Fret
DarkR&BBass
Slap Bass 1
SuperSwBass
SuperSwBas2
Slap Bass 2
Thumb Bass
Dyna Bass
SynthBass 1
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
155
GM2
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
156
Factory Data
Programs (Program Change order)
CC00
CC32
PC
Name
Pa50 Bank
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
0
1
2
3
4
5
6
7
8
0
1
2
3
0
0
0
0
0
1
2
3
0
1
0
0
1
2
3
4
5
6
7
8
9
10
11
12
13
0
1
0
1
2
3
38
38
38
38
38
38
38
38
38
38
38
38
38
38
38
38
39
39
39
39
39
39
39
39
39
40
40
40
40
41
42
43
44
45
45
45
45
46
46
47
48
48
48
48
48
48
48
48
48
48
48
48
48
48
49
49
50
50
50
50
SynBassWarm
SynBassReso
Clav Bass
Hammer
30303 Bass
30303Square
Bass Square
SynBass Res
Digi Bass 1
Digi Bass 2
Digi Bass 3
BlindAsABat
Jungle Bass
Auto Pilot
Hybrid Bass
Dr. Octave
SynthBass 2
Attack Bass
Rubber Bass
AttackPulse
Euro Bass
Jungle Rez
Nasty Bass
Phat Bass
PoinkerBass
Violin
SlowAttViol
Solo Violin
Slow Violin
Viola
Cello
Contrabass
Tremolo Str
PizzicatoSt
PizzEnsembl
PizzSection
Dbl Strings
Orches.Harp
Yang Chin
Timpani
StringsEns1
String&Bras
60s Strings
St. Strings
LegatoStrng
i3 Strings
N Strings
ArcoStrings
Oct.Strings
StringQuart
Symph. Bows
Ens. & Solo
Camera Str.
ArabStrings
StringsEns2
SweeperStr.
SynStrings1
SynStrings3
Analog Str
AnalogVelve
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Synth 2
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Bass
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Drum & Perc
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
GM2
CC00
CC32
PC
Name
Pa50 Bank
√
√
√
√
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
4
0
0
1
2
3
4
5
6
7
8
9
10
11
12
13
0
1
2
3
0
1
2
3
4
5
0
1
2
3
4
5
6
7
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
0
1
2
3
0
1
2
3
4
0
50
51
52
52
52
52
52
52
52
52
52
52
52
52
52
52
53
53
53
53
54
54
54
54
54
54
55
55
55
55
55
55
55
55
56
56
56
56
56
56
56
56
56
56
57
57
57
57
57
57
58
58
58
58
59
59
59
59
59
60
Odissey
SynStrings2
Choir Aahs
Choir Aahs2
Oooh Voices
OhSlowVoice
Take Voices
TakeVoices2
Oooh Choir
Aaah Choir
Mmmh Choir
Oh-AhVoices
Slow Choir
Grand Choir
Choir Light
StringChoir
Voice Oohs
Humming
Doolally
Airways
Synth Voice
AnalogVoice
Vocalesque
Vocalscape
ClassicVox
DreamVoice
Orches. Hit
BassHitPlus
6th Hit
Euro Hit
BrassImpact
HitInIndia
Wild Arp
Flip Blip
Trumpet
DarkTrumpet
Trumpet 2
MonoTrumpet
TrumpetExpr
TrumptPitch
Dual Trump
Flugel Horn
Warm Flugel
BeBopCornet
Trombone
Trombone 2
BrightTromb
HardTrombon
SoftTrombon
PitchTromb
Tuba
Ob.Tuba
Tuba Gold
Dynabone
Muted Trp
Muted Trp 2
Wha Trumpet
MutEnsemble
MutEnsembl2
French Horn
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Strings & Vocals
Brass
Brass
Brass
Brass
Brass
SFX
Synth 2
Synth 2
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Trp & Trbn
Brass
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
GM2
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
Factory Data
Programs (Program Change order)
157
CC00
CC32
PC
Name
Pa50 Bank
GM2
CC00
CC32
PC
Name
Pa50 Bank
GM2
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
1
2
3
4
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
0
1
2
3
4
5
0
1
2
3
4
0
1
0
1
2
3
4
0
1
2
3
4
5
0
1
2
0
1
60
60
60
60
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
62
62
62
62
62
62
63
63
63
63
63
64
64
65
65
65
65
65
66
66
66
66
66
66
67
67
67
68
68
FrenchHorn2
French Sect
ClassicHorn
Horns & Ens
BrassSect.1
BrassSect.2
Tight Brass
Glen&Friend
BigBandBrs
Sax & Brass
Glen & Boys
Trp & Brass
AttackBrass
Trumpet Ens
TromboneEns
Trombones
TightBrass2
Fat Brass
Dyna Brass
Brass Expr.
Brass Band
Film Brass
Brass Slow
Fanfare
Movie Brass
Power Brass
Dyna Brass2
Sfz Brass
Dbl Brass
Brass Hit
Brass Fall
Syn Brass 1
Syn Brass 3
AnalogBras1
Jump Brass
ElectrikBrs
Syn Brass 5
Syn Brass 2
Syn Brass 4
AnalogBras2
Brass Pad
Big Panner
Soprano Sax
Sweet Sprno
Alto Sax
Alto Breath
SaxEnsemble
BreathyAlto
AltSaxGrowl
Tenor Sax
Tenor Noise
Soft Tenor
TenorBreath
Tenor Growl
Folk Sax
BaritoneSax
Barit Growl
BreathyBari
Oboe
Double Reed
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Brass
Synth 1
Sax
Sax
Sax
Sax
Sax
Sax
Sax
Sax
Sax
Sax
Sax
Sax
Sax
Sax
Sax
Sax
Woodwind
Woodwind
√
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
0
0
1
2
3
4
5
6
7
0
1
2
0
1
2
3
4
5
6
7
8
9
0
1
0
1
0
0
1
2
0
1
0
0
1
2
3
4
5
6
7
8
9
10
11
0
1
2
3
4
5
6
7
8
9
10
11
12
69
69
70
71
71
71
71
71
71
71
71
72
72
72
73
73
73
73
73
73
73
73
73
73
74
74
75
75
76
77
77
77
78
78
79
80
80
80
80
80
80
80
80
80
80
80
80
81
81
81
81
81
81
81
81
81
81
81
81
81
EnglishHorn
EnglisHorn2
Bassoon
Clarinet
Jazz Clarin
Clarinet G
Sect Winds
Sect Winds2
ClarinetEns
Woodwinds
Folk Clarin
Piccolo
Small Orch
Nay
Flute
Jazz Flute
FluteSwitch
FluteDyn5th
Flute Frull
Orch. Flute
Flute Muted
WoodenFlute
Bambu Flute
Flute 2
Recorder
Recorder 2
Pan Flute
Kawala
BlownBottle
Shakuhachi
Old Shaku
Shaku 2
Whistle
Whistle 2
Ocarina
Lead Square
LeadSquare2
Lead Sine
Old Portam
Dance Lead
Wave Lead
Sine Wave
Analog Lead
Old&Analog
Gliding Sq.
Sine Switch
Square Rez
Lead Saw
Lead Saw 2
LeadSawPuls
LeadDblSaw
Seq. Analog
Power Saw
Octo Lead
Seq Lead
PhatSawLead
Glide Lead
Fire Wave
Rezbo
Syn Pianoid
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Woodwind
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
158
Factory Data
Programs (Program Change order)
CC00
CC32
PC
Name
Pa50 Bank
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
0
0
1
2
3
4
5
6
0
1
2
0
1
0
1
2
3
4
5
6
7
8
9
0
1
2
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
6
7
8
9
10
11
0
1
2
3
4
5
6
7
8
9
10
82
83
84
84
84
84
84
84
84
85
85
85
86
86
87
87
87
87
87
87
87
87
87
87
88
88
88
89
89
89
89
89
89
89
89
89
89
90
90
90
90
90
90
90
90
90
90
90
90
91
91
91
91
91
91
91
91
91
91
91
Calliope
Chiff
Charang
Wire Lead
Synchro City
Sync Kron
MetallicRez
Brian Sync
Arp Twins
Voice Lead
EtherVoices
Cyber Choir
Fifths Lead
Crimson5ths
Bass & Lead
Soft Wrl
ElectroLead
Rich Lead
ThinAnaLead
EspressLead
HipHop Lead
Square Bass
Big & Raw
Cat Lead
New Age Pad
VirtualTrav
Arp Angeles
Warm Pad
Sine Pad
MasterPad
Power Synth
The Pad
Money Pad
Dark Pad
Freedom Pad
Analog Pad
Analog Pad2
Polysynth
Reso Sweep
Sky Watcher
Syn Sweeper
Super Sweep
Wave Sweep
Cross Sweep
Dig PolySix
Noisy Stabb
Mega Synth
TecnoPhonic
Farluce
Choir Pad
Itopia Pad
Fresh Air
Heaven
Pop Syn Pad
Future Pad
TsunamiWave
FreshBreath
RavelianPad
FullVox Pad
Dance ReMix
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Strings & Vocals
Strings & Vocals
Strings & Vocals
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 2
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Strings & Vocals
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
GM2
CC00
CC32
PC
Name
Pa50 Bank
√
√
√
√
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
0
1
0
0
1
2
3
4
5
0
1
2
0
1
2
3
4
5
6
7
0
1
2
3
4
5
6
7
0
0
1
2
0
1
2
0
1
2
3
4
5
0
0
1
2
3
4
5
6
0
1
2
3
0
0
1
2
3
4
92
93
93
94
95
95
95
95
95
95
96
96
96
97
97
97
97
97
97
97
97
98
98
98
98
98
98
98
98
99
100
100
100
101
101
101
102
102
102
102
102
102
103
104
104
104
104
104
104
104
105
105
105
105
106
107
107
107
107
107
BowedGlass
MetallicPad
Cosmic
Halo Pad
Sweep Pad
AstralDream
Meditate
DarkElement
Mellow Pad
Cinema Pad
Ice Rain
MotionOcean
Caribbean
Soundtrack
Air Clouds
Reso Down
Tinklin Pad
Pods In Pad
Noble Pad
Rave
ElastickPad
Crystal
SynthMallet
Vs Bell Boy
KrystalBell
Digi Bell
Moving Bell
Bell Pad
Bell Choir
Atmosphere
Brightness
Lonely Spin
Syn Ghostly
Goblins
MotionRaver
Digi IcePad
Echo Drops
Echo Bell
Echo Pan
Band Passed
Pan Reso
Moon Cycles
Star Theme
Sitar
Sitar 2
SitarTambou
IndianStars
IndianFrets
Bouzouki
Tambra
Banjo
BanjoKeyOff
Oud
Jaw Harp
Shamisen
Koto
Taisho Koto
Kanun
Kanun Trem.
Kanun Mix
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 1
Synth 2
SFX
Mallet & Bell
Mallet & Bell
Mallet & Bell
Synth 1
Mallet & Bell
Synth 1
Synth 2
Synth 2
Synth 1
Synth 1
SFX
Synth 2
Synth 1
SFX
SFX
SFX
Synth 2
Synth 2
Synth 1
SFX
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
SFX
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
√
√
√
√
√
√
√
√
√
√
GM2
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
Factory Data
Programs (Program Change order)
CC00
CC32
PC
Name
Pa50 Bank
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
0
1
0
0
1
2
0
1
2
3
0
0
1
0
1
0
1
0
1
2
0
1
2
3
0
1
0
1
2
3
0
1
0
1
2
3
4
5
0
1
2
3
0
1
2
3
4
5
0
1
2
3
4
5
6
7
8
9
108
108
109
109
110
111
111
111
112
112
112
112
113
114
114
115
115
116
116
117
117
117
118
118
118
118
119
119
120
120
120
120
121
121
122
122
122
122
122
122
123
123
123
123
124
124
124
124
124
124
125
125
125
125
125
125
125
125
125
125
Kalimba
VeloKalimba
Bag Pipe
War Pipes
Fiddle
Shanai
Zurna
Hichiriki
Tinkle Bell
Gamelan
BaliGamelan
GarbageMall
Agogo
Steel Drums
Warm Steel
Woodblock
Castanets
Taiko Drum
Concert BD
Melodic Tom
MelodicTom2
Rev Tom
Synth Drum
Rhyt.BoxTom
Electr.Drum
Rev Snare
Reverse Cym
Dragon Gong
GtFretNoise
GtrCutNoise
AcBassStrng
VoxWahChick
BreathNoise
Flute Click
Seashore
Rain
Thunder
Wind
Stream
Bubble
Bird Tweet
Dog
HorseGallop
Bird Tweet2
Telephone 1
Telephone 2
Door Creak
Door
Scratch
Wind Chime
Helicopter
Car Engine
Car Stop
Car Pass
Car Crash
Siren
Train
Jetplane
Starship
Burst Noise
Mallet & Bell
Mallet & Bell
Woodwind
Woodwind
Strings & Vocals
Woodwind
Woodwind
Woodwind
Mallet & Bell
Mallet & Bell
Mallet & Bell
Mallet & Bell
Drum & Perc
Mallet & Bell
Mallet & Bell
Drum & Perc
Drum & Perc
Drum & Perc
Drum & Perc
Drum & Perc
Drum & Perc
Drum & Perc
Drum & Perc
Drum & Perc
Drum & Perc
Drum & Perc
Drum & Perc
Drum & Perc
SFX
SFX
SFX
Guitar
SFX
Woodwind
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
GM2
CC00
CC32
PC
Name
Pa50 Bank
√
121
121
121
121
121
121
121
121
121
121
121
0
1
2
3
4
5
6
0
1
2
3
126
126
126
126
126
126
126
127
127
127
127
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
Stadium
Gun Shot
Machine Gun
Lasergun
Explosion
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
159
GM2
√
√
√
√
√
√
√
√
√
√
160
Factory Data
Drum Kits
DRUM KITS
The following table enlists all Pa50 Factory Drum Kit Programs in order of Bank Select-Program Change number.
Legend: The table also includes MIDI data used to remotely
select the Programs. CC00: Control Change 0, or Bank Select
MSB. CC32: Control Change 32, or Bank Select LSB. PC:
Program Change.
CC00
CC32
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
PC
Name
0
Std. Kit1
1
Std. Kit2
2
Std. Kit3
3
AcousticKit
4
Std. Kit4
5-7: (remap to 0)
8
Room Kit1
9
HipHop Kit1
10
Jungle Kit
11
Techno Kit1
12
Room Kit2
13
HipHop Kit2
14
Techno Kit2
15
Techno Kit3
16
Power Kit1
17
Power Kit2
18-23: (remap to 16)
24
Electro Kit
25
Analog Kit
26
House Kit1
GM2
√
√
√
√
√
CC00
CC32
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
PC
Name
27
House Kit2
28
House Kit3
29
House Kit4
30-31: (remap to 24)
32
Jazz Kit
33-39: (remap to 32)
40
Brush Kit1
41
Brush V.S.2
42-47: (remap to 40)
48
OrchestraK.
49: (remap to 48)
50
Bdrum&Sdrum
51: (remap to 116)
52-55: (remap to 48)
56
SFX Kit
57-63: (remap to 56)
64
Percus.Kit1
65
Latin P.Kit
66
TRI-Per.KIT
67
i30 Perc.Kit
68-71: (remap to 64)
72-115: (remap to 0)
116
Arabian Kit 1
117
Arabian Kit 2
118-127: (remap to 0)
GM2
√
√
√
√
Factory Data
Drum Kit instruments
DRUM KIT INSTRUMENTS
Legend: In the Drum Kit
tables, the numer 120-x-x
before each Drum Kit
name is the Bank Select
MSB (CC00) - Bank
Select LSB (CC32) - Program Change (PC) number. Sample enlists both
the sample number in
memory, and the sample
name. Excl is the Exlcusive
parameter: when a note is
struck, all notes with the
same Exclusive number
are stopped. A right-pointing arrow (→) indicates a
velocity switch.
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
Note
G#-1
A-1
A#-1
B-1
C0
C#0
D0
D#0
E0
F0
F#0
G0
G#0
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
120-0-0: Std. Kit1
Sample
17
125
123
124
37
48
0
12
31
87
2
73
120
119
74
120
119
121
143
281
145
145
74
142
249
213
2
0
73
32
122
37
79
90
79
94
78
89
78
77
104
77
113
106
114
212
107
225
104
198
113
171
168
159
161
158
207
202
224
224
219
182
234
234
181
180
199
200
200
215
216
214
213
220
228
231
178
203
202
243
BD-House 1
99-SD
88-BD
88-SD
SD-Full Room
SD-Processed
BD-Dry 1
BD-Tight
SD-Dry 1
HH1 Closed2
BD-Dry 3
SideStickAmb
SD-Orch.
SD-Orch.Roll
DrumStickHit
SD-Orch.
SD-Orch.Roll
FingerSnaps
Zap2
Noise White
DJ-Scratch2
DJ-Scratch2
DrumStickHit
Zap1
Click
Triangle-Open
BD-Dry 3
BD-Dry 1
SideStickAmb
SD-Dry 2
Hand Claps
SD-Full Room
Tom 2-Floor
HH1 Open 2
Tom 2-Floor
HH2 Foot
Tom 2-Lo
HH1 Open 1
Tom 2-Lo
Tom 2-Hi
Crash Cymbal 1
Tom 2-Hi
Ride-Edge 2
China Cymbal
Ride-Jazz
Tambourin-Acc2
Splash Cymbal
Cowbell
Crash Cymbal 1
Vibraslap
Ride-Edge 2
BongoHi-Open
BongoLo-Open
CongaLoMtSlp
CongaHi-Open
CongaLo-Open
TimbaleHi-Rim2
TimbaleLo-Open
Agogo-Bell
Agogo-Bell
Cabasa-Up
MaracasPush
SambaWhistle
SambaWhistle
Guiro Short
Guiro Long
Claves
Woodblock1
Woodblock1
Cuica-Hi
Cuica-Lo
Triangle-Mute
Triangle-Open
Cabasa-Down
Sleigh Bell
Marc Tree
CastSingle
TimbaleLo-Mute
TimbaleLo-Open
Stadium
Excl.
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
7
7
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-1: Std. Kit2
Sample
0
BD-Dry 1
17
BD-House 1
125 99-SD
123 88-BD
124 88-SD
40
SD-Amb.Piccolo
48
SD-Processed
6
BD-Pillow
27
BD-Amb.Rocker
39
SD-Jazz Ring
87
HH1 Closed2
0
BD-Dry 1
72
SideStickDry
32
SD-Dry 2
49
SD-CrackerRoom
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
12
BD-Tight
10
BD-Tubby
73
SideStickAmb
38
SD-Off Center
127 88-Claps
38
SD-Off Center
79
Tom 2-Floor
86
HH1 Closed1
79
Tom 2-Floor
88
HH1 Foot
78
Tom 2-Lo
89
HH1 Open 1
78
Tom 2-Lo
77
Tom 2-Hi
104 Crash Cymbal 1
77
Tom 2-Hi
113 Ride-Edge 2
106 China Cymbal
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
159 CongaLoMtSlp
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
7
7
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-2: Std. Kit3
Sample
17
125
123
124
38
48
6
27
42
87
5
72
69
32
74
120
119
121
143
281
145
145
74
142
249
213
0
10
73
39
127
40
79
92
79
94
78
89
78
77
104
77
113
106
114
212
107
225
104
198
113
171
168
163
161
158
207
202
224
224
219
182
234
234
181
180
199
200
200
215
216
214
213
220
228
231
178
203
202
243
BD-House 1
99-SD
88-BD
88-SD
SD-Off Center
SD-Processed
BD-Pillow
BD-Amb.Rocker
SD-BrushHit
HH1 Closed2
BD-Jazz
SideStickDry
SD-Brasser
SD-Dry 2
DrumStickHit
SD-Orch.
SD-Orch.Roll
FingerSnaps
Zap2
Noise White
DJ-Scratch2
DJ-Scratch2
DrumStickHit
Zap1
Click
Triangle-Open
BD-Dry 1
BD-Tubby
SideStickAmb
SD-Jazz Ring
88-Claps
SD-Amb.Piccolo
Tom 2-Floor
HH2 Closed1
Tom 2-Floor
HH2 Foot
Tom 2-Lo
HH1 Open 1
Tom 2-Lo
Tom 2-Hi
Crash Cymbal 1
Tom 2-Hi
Ride-Edge 2
China Cymbal
Ride-Jazz
Tambourin-Acc2
Splash Cymbal
Cowbell
Crash Cymbal 1
Vibraslap
Ride-Edge 2
BongoHi-Open
BongoLo-Open
CongaHiMtSlap
CongaHi-Open
CongaLo-Open
TimbaleHi-Rim2
TimbaleLo-Open
Agogo-Bell
Agogo-Bell
Cabasa-Up
MaracasPush
SambaWhistle
SambaWhistle
Guiro Short
Guiro Long
Claves
Woodblock1
Woodblock1
Cuica-Hi
Cuica-Lo
Triangle-Mute
Triangle-Open
Cabasa-Down
Sleigh Bell
Marc Tree
CastSingle
TimbaleLo-Mute
TimbaleLo-Open
Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
7
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
161
162
Factory Data
Drum Kit instruments
Note
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
A-1
A#-1
B-1
C0
C#0
D0
D#0
E0
F0
F#0
G0
G#0
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
120-0-3: AcousticKit
120-0-4: Std. Kit4
Sample
Excl.
Sample
17
BD-House 1
Off
17
BD-House 1
125 99-SD
Off
125 99-SD
123 88-BD
Off
123 88-BD
124 88-SD
Off
124 88-SD
38
SD-Off Center
Off
38
SD-Off Center
49
SD-CrackerRoom
Off
48
SD-Processed
6
BD-Pillow
Off
27
BD-Amb.Rocker
27
BD-Amb.Rocker
Off
12
BD-Tight
40
SD-Amb.Piccolo
Off
39
SD-Jazz Ring
87
HH1 Closed2
1
87
HH1 Closed2
5
BD-Jazz
Off
2
BD-Dry 3
72
SideStickDry
Off
72
SideStickDry
120 SD-Orch.
7
32
SD-Dry 2
119 SD-Orch.Roll
7
31
SD-Dry 1
74
DrumStickHit
Off
74
DrumStickHit
120 SD-Orch.
7
120 SD-Orch.
119 SD-Orch.Roll
7
119 SD-Orch.Roll
121 FingerSnaps
Off
121 FingerSnaps
143 Zap2
Off
143 Zap2
281 Noise White
Off
281 Noise White
145 DJ-Scratch2
7
145 DJ-Scratch2
145 DJ-Scratch2
7
145 DJ-Scratch2
74
DrumStickHit
Off
74
DrumStickHit
142 Zap1
Off
142 Zap1
249 Click
Off
249 Click
213 Triangle-Open
Off
213 Triangle-Open
3
BD-Normal
Off
2
BD-Dry 3
0→6 BD-Dry 1→BD-Pillow
Off
12
BD-Tight
73
SideStickAmb
Off
73
SideStickAmb
40
SD-Amb.Piccolo
35→36 SD-Ghost f→SD-Ghost p Off
122 Hand Claps
Off
127 88-Claps
37
SD-Full Room
35→36 SD-Ghost f→SD-Ghost p Off
79
Tom 2-Floor
Off
79
Tom 2-Floor
90
HH1 Open 2
1
90
HH1 Open 2
79
Tom 2-Floor
Off
79
Tom 2-Floor
94
HH2 Foot
1
94
HH2 Foot
78
Tom 2-Lo
Off
78
Tom 2-Lo
89
HH1 Open 1
1
89
HH1 Open 1
78
Tom 2-Lo
Off
78
Tom 2-Lo
77
Tom 2-Hi
Off
77
Tom 2-Hi
104 Crash Cymbal 1
Off
104 Crash Cymbal 1
77
Tom 2-Hi
Off
77
Tom 2-Hi
113 Ride-Edge 2
Off
113 Ride-Edge 2
106 China Cymbal
Off
106 China Cymbal
115 Ride-Cup
Off
114 Ride-Jazz
212 Tambourin-Acc2
Off
212 Tambourin-Acc2
107 Splash Cymbal
Off
107 Splash Cymbal
225 Cowbell
Off
225 Cowbell
104 Crash Cymbal 1
Off
104 Crash Cymbal 1
198 Vibraslap
Off
198 Vibraslap
114 Ride-Jazz
Off
113 Ride-Edge 2
171 BongoHi-Open
Off
171 BongoHi-Open
168 BongoLo-Open
Off
168 BongoLo-Open
163 CongaHiMtSlap
Off
163 CongaHiMtSlap
161 CongaHi-Open
Off
161 CongaHi-Open
158 CongaLo-Open
Off
158 CongaLo-Open
207 TimbaleHi-Rim2
Off
207 TimbaleHi-Rim2
202 TimbaleLo-Open
Off
202 TimbaleLo-Open
224 Agogo-Bell
Off
224 Agogo-Bell
224 Agogo-Bell
Off
224 Agogo-Bell
219 Cabasa-Up
Off
219 Cabasa-Up
182 MaracasPush
Off
182 MaracasPush
234 SambaWhistle
2
234 SambaWhistle
234 SambaWhistle
2
234 SambaWhistle
181 Guiro Short
3
181 Guiro Short
180 Guiro Long
3
180 Guiro Long
199 Claves
Off
199 Claves
200 Woodblock1
Off
200 Woodblock1
200 Woodblock1
Off
200 Woodblock1
215 Cuica-Hi
4
215 Cuica-Hi
216 Cuica-Lo
4
216 Cuica-Lo
214 Triangle-Mute
5
214 Triangle-Mute
213 Triangle-Open
5
213 Triangle-Open
220 Cabasa-Down
Off
220 Cabasa-Down
228 Sleigh Bell
Off
228 Sleigh Bell
231 Marc Tree
Off
231 Marc Tree
178 CastSingle
Off
178 CastSingle
203 TimbaleLo-Mute
6
203 TimbaleLo-Mute
202 TimbaleLo-Open
6
202 TimbaleLo-Open
243 Stadium
Off
243 Stadium
Excl.
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-8: Room Kit1
Sample
13
BD-Squash
59
SD-Hip 6
123 88-BD
124 88-SD
56
SD-Hip 3
58
SD-Hip 5
25
BD-Ambi Kick
11
BD-Gated
40
SD-Amb.Piccolo
90
HH1 Open 2
6
BD-Pillow
72
SideStickDry
47
SD-Yowie
59
SD-Hip 6
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
10
BD-Tubby
27
BD-Amb.Rocker
72
SideStickDry
49
SD-CrackerRoom
127 88-Claps
37
SD-Full Room
79
Tom 2-Floor
86
HH1 Closed1
79
Tom 2-Floor
94
HH2 Foot
78
Tom 2-Lo
96
HH2 Open
78
Tom 2-Lo
77
Tom 2-Hi
104 Crash Cymbal 1
77
Tom 2-Hi
113 Ride-Edge 2
106 China Cymbal
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
7
7
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-9: HipHop Kit1
Sample
13
BD-Squash
59
SD-Hip 6
123 88-BD
124 88-SD
56
SD-Hip 3
58
SD-Hip 5
25
BD-Ambi Kick
11
BD-Gated
40
SD-Amb.Piccolo
90
HH1 Open 2
6
BD-Pillow
72
SideStickDry
47
SD-Yowie
59
SD-Hip 6
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
28
BD-Pop 99
21
BD-Hip 3
126 88-Rimshot
60
SD-Ringy
127 88-Claps
67
SD-Vintage6
75
Tom 1-Hi
97
HH-OldClose1
75
Tom 1-Hi
100 HH-OldClose2
75
Tom 1-Hi
98
HH-Old Open1
75
Tom 1-Hi
75
Tom 1-Hi
104 Crash Cymbal 1
75
Tom 1-Hi
113 Ride-Edge 2
108 CymbalReverse
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
136 88-Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
101 HH-Old Open2
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
Factory Data
Drum Kit instruments
Note
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
A-1
A#-1
B-1
C0
C#0
D0
D#0
E0
F0
F#0
G0
G#0
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
120-0-10: Jungle Kit
Sample
13
BD-Squash
59
SD-Hip 6
123 88-BD
124 88-SD
56
SD-Hip 3
58
SD-Hip 5
25
BD-Ambi Kick
11
BD-Gated
40
SD-Amb.Piccolo
90
HH1 Open 2
6
BD-Pillow
72
SideStickDry
47
SD-Yowie
59
SD-Hip 6
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
19
BD-Hip 1
29
BD-Deep 88
121 FingerSnaps
66
SD-Vintage5
127 88-Claps
61
SD-Tiny
75
Tom 1-Hi
129 88-HH Open
75
Tom 1-Hi
102 HH-Hip
75
Tom 1-Hi
98
HH-Old Open1
75
Tom 1-Hi
75
Tom 1-Hi
132 88-Crash
75
Tom 1-Hi
113 Ride-Edge 2
108 CymbalReverse
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
136 88-Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
101 HH-Old Open2
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-11: Techno Kit1
Sample
21
BD-Hip 3
59
SD-Hip 6
123 88-BD
124 88-SD
56
SD-Hip 3
58
SD-Hip 5
25
BD-Ambi Kick
11
BD-Gated
40
SD-Amb.Piccolo
90
HH1 Open 2
6
BD-Pillow
72
SideStickDry
47
SD-Yowie
59
SD-Hip 6
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
13
BD-Squash
17
BD-House 1
242 Comp Voice Noise
125 99-SD
127 88-Claps
125 99-SD
139 Real El.Tom
99
HH-Old TiteClos
139 Real El.Tom
103 HH-AlpoClose
139 Real El.Tom
101 HH-Old Open2
139 Real El.Tom
139 Real El.Tom
104 Crash Cymbal 1
139 Real El.Tom
113 Ride-Edge 2
108 CymbalReverse
114 Ride-Jazz
212 Tambourin-Acc2
106 China Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-12: Room Kit2
Sample
13
BD-Squash
59
SD-Hip 6
123 88-BD
124 88-SD
56
SD-Hip 3
58
SD-Hip 5
25
BD-Ambi Kick
11
BD-Gated
40
SD-Amb.Piccolo
90
HH1 Open 2
6
BD-Pillow
72
SideStickDry
46
SD-Big Rock
59
SD-Hip 6
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
12
BD-Tight
27
BD-Amb.Rocker
72
SideStickDry
48
SD-Processed
127 88-Claps
47
SD-Yowie
76
Tom 1-Floor
93
HH2 Closed2
76
Tom 1-Floor
94
HH2 Foot
75
Tom 1-Hi
91
HH1 Sizzle
75
Tom 1-Hi
75
Tom 1-Hi
104 Crash Cymbal 1
75
Tom 1-Hi
113 Ride-Edge 2
106 China Cymbal
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-13: HipHop Kit2
Sample
13
BD-Squash
59
SD-Hip 6
123 88-BD
124 88-SD
56
SD-Hip 3
58
SD-Hip 5
25
BD-Ambi Kick
11
BD-Gated
40
SD-Amb.Piccolo
90
HH1 Open 2
6
BD-Pillow
72
SideStickDry
47
SD-Yowie
59
SD-Hip 6
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
25
BD-Ambi Kick
24
BD-Dance 99
121 FingerSnaps
51
SD-Rap
337 Alkis
55
SD-Hip 2
75
Tom 1-Hi
97
HH-OldClose1
75
Tom 1-Hi
102 HH-Hip
75
Tom 1-Hi
98
HH-Old Open1
75
Tom 1-Hi
75
Tom 1-Hi
104 Crash Cymbal 1
75
Tom 1-Hi
113 Ride-Edge 2
108 CymbalReverse
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
136 88-Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
101 HH-Old Open2
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
163
164
Factory Data
Drum Kit instruments
Note
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
A-1
A#-1
B-1
C0
C#0
D0
D#0
E0
F0
F#0
G0
G#0
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
120-0-14: Techno Kit2
Sample
13
BD-Squash
59
SD-Hip 6
123 88-BD
124 88-SD
56
SD-Hip 3
58
SD-Hip 5
25
BD-Ambi Kick
11
BD-Gated
40
SD-Amb.Piccolo
90
HH1 Open 2
6
BD-Pillow
72
SideStickDry
47
SD-Yowie
59
SD-Hip 6
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
23
BD-Pop Kick
17
BD-House 1
126 88-Rimshot
52
SD-Noise
127 88-Claps
143 Zap2
133 88-Tom
99
HH-Old TiteClos
133 88-Tom
103 HH-AlpoClose
133 88-Tom
101 HH-Old Open2
133 88-Tom
133 88-Tom
104 Crash Cymbal 1
133 88-Tom
113 Ride-Edge 2
108 CymbalReverse
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
136 88-Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
134 88-Conga
134 88-Conga
134 88-Conga
134 88-Conga
134 88-Conga
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
215 Cuica-Hi
233 Flexatone
233 Flexatone
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
342 Darbuka 1 DumOp
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-15: Techno Kit3
Sample
13
BD-Squash
59
SD-Hip 6
123 88-BD
124 88-SD
56
SD-Hip 3
58
SD-Hip 5
25
BD-Ambi Kick
11
BD-Gated
40
SD-Amb.Piccolo
90
HH1 Open 2
6
BD-Pillow
72
SideStickDry
47
SD-Yowie
59
SD-Hip 6
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
23
BD-Pop Kick
17
BD-House 1
140 PR-House05
70
SD-Chili
127 88-Claps
124 88-SD
257 Tribe
130 99-HH Close
273 Wind
100 HH-OldClose2
296 Amp Noise
131 99-HH Open
139 Real El.Tom
139 Real El.Tom
104 Crash Cymbal 1
139 Real El.Tom
113 Ride-Edge 2
108 CymbalReverse
114 Ride-Jazz
212 Tambourin-Acc2
278 Xylophone Spectr
136 88-Cowbell
104 Crash Cymbal 1
212 Tambourin-Acc2
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
239 Uhh
237 Yeah!
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
Off
Off
5
5
Off
Off
Off
Off
6
6
Off
120-0-16: Power Kit1
Sample
24
BD-Dance 99
125 99-SD
123 88-BD
124 88-SD
65
SD-Vintage4
64
SD-Vintage3
27
BD-Amb.Rocker
19
BD-Hip 1
38
SD-Off Center
93
HH2 Closed2
13
BD-Squash
73
SideStickAmb
62
SD-Vintage1
69
SD-Brasser
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
11
BD-Gated
9
BD-Terminator
73
SideStickAmb
50
SD-Dance
122 Hand Claps
49
SD-CrackerRoom
82
Tom Processed
92
HH2 Closed1
82
Tom Processed
88
HH1 Foot
82
Tom Processed
96
HH2 Open
82
Tom Processed
82
Tom Processed
104 Crash Cymbal 1
82
Tom Processed
113 Ride-Edge 2
106 China Cymbal
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-17: Power Kit2
Sample
24
BD-Dance 99
125 99-SD
123 88-BD
124 88-SD
65
SD-Vintage4
64
SD-Vintage3
27
BD-Amb.Rocker
19
BD-Hip 1
38
SD-Off Center
93
HH2 Closed2
13
BD-Squash
73
SideStickAmb
62
SD-Vintage1
69
SD-Brasser
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
23
BD-Pop Kick
11
BD-Gated
72
SideStickDry
48
SD-Processed
122 Hand Claps
60
SD-Ringy
82
Tom Processed
93
HH2 Closed2
82
Tom Processed
94
HH2 Foot
82
Tom Processed
96
HH2 Open
82
Tom Processed
82
Tom Processed
104 Crash Cymbal 1
82
Tom Processed
113 Ride-Edge 2
106 China Cymbal
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
Factory Data
Drum Kit instruments
Note
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
A-1
A#-1
B-1
C0
C#0
D0
D#0
E0
F0
F#0
G0
G#0
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
120-0-24: Electro Kit
Sample
19
BD-Hip 1
125 99-SD
123 88-BD
124 88-SD
38
SD-Off Center
64
SD-Vintage3
23
BD-Pop Kick
25
BD-Ambi Kick
59
SD-Hip 6
128 88-HH Close
17
BD-House 1
143 Zap2
48
SD-Processed
65
SD-Vintage4
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
15
BD-Dance 2
138 FM El.Tom
141 PR-House06
139 Real El.Tom
127 88-Claps
58
SD-Hip 5
139 Real El.Tom
90
HH1 Open 2
139 Real El.Tom
94
HH2 Foot
139 Real El.Tom
89
HH1 Open 1
139 Real El.Tom
139 Real El.Tom
104 Crash Cymbal 1
139 Real El.Tom
113 Ride-Edge 2
108 CymbalReverse
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-25: Analog Kit
Sample
271 Explosion
59
SD-Hip 6
3
BD-Normal
47
SD-Yowie
39
SD-Jazz Ring
71
SD-Whopper
23
BD-Pop Kick
24
BD-Dance 99
69
SD-Brasser
86
HH1 Closed1
19
BD-Hip 1
142 Zap1
59
SD-Hip 6
61
SD-Tiny
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
29
BD-Deep 88
29
BD-Deep 88
126 88-Rimshot
124 88-SD
127 88-Claps
124 88-SD
133 88-Tom
128 88-HH Close
133 88-Tom
129 88-HH Open
133 88-Tom
129 88-HH Open
133 88-Tom
133 88-Tom
132 88-Crash
133 88-Tom
113 Ride-Edge 2
106 China Cymbal
114 Ride-Jazz
282 Noise FM Mod
107 Splash Cymbal
136 88-Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
134 88-Conga
134 88-Conga
134 88-Conga
133 88-Tom
133 88-Tom
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
135 88-Clave
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
215 Cuica-Hi
230 Finger Cymbal
230 Finger Cymbal
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-26: House Kit1
Sample
23
BD-Pop Kick
67
SD-Vintage6
29
BD-Deep 88
124 88-SD
50
SD-Dance
40
SD-Amb.Piccolo
25
BD-Ambi Kick
9
BD-Terminator
65
SD-Vintage4
143 Zap2
22
BD-Hip 4
142 Zap1
66
SD-Vintage5
310 Mouth Harp
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
21
BD-Hip 3
25
BD-Ambi Kick
141 PR-House06
61
SD-Tiny
127 88-Claps
125 99-SD
257 Tribe
130 99-HH Close
82
Tom Processed
96
HH2 Open
123 88-BD
131 99-HH Open
139 Real El.Tom
139 Real El.Tom
104 Crash Cymbal 1
139 Real El.Tom
113 Ride-Edge 2
108 CymbalReverse
114 Ride-Jazz
212 Tambourin-Acc2
106 China Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
102 HH-Hip
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
239 Uhh
237 Yeah!
214 Triangle-Mute
213 Triangle-Open
101 HH-Old Open2
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
Off
Off
5
5
Off
Off
Off
Off
6
6
Off
120-0-27: House Kit2
Sample
23
BD-Pop Kick
125 99-SD
29
BD-Deep 88
124 88-SD
50
SD-Dance
40
SD-Amb.Piccolo
25
BD-Ambi Kick
9
BD-Terminator
65
SD-Vintage4
143 Zap2
22
BD-Hip 4
142 Zap1
66
SD-Vintage5
310 Mouth Harp
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
21
BD-Hip 3
13
BD-Squash
319 Rek-Jingle
65
SD-Vintage4
127 88-Claps
51
SD-Rap
79
Tom 2-Floor
99
HH-Old TiteClos
79
Tom 2-Floor
103 HH-AlpoClose
78
Tom 2-Lo
97
HH-OldClose1
78
Tom 2-Lo
77
Tom 2-Hi
104 Crash Cymbal 1
77
Tom 2-Hi
113 Ride-Edge 2
108 CymbalReverse
114 Ride-Jazz
212 Tambourin-Acc2
106 China Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
209 Tambourin-Push
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
165
166
Factory Data
Drum Kit instruments
Note
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
A-1
A#-1
B-1
C0
C#0
D0
D#0
E0
F0
F#0
G0
G#0
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
120-0-28: House Kit3
Sample
23
BD-Pop Kick
125 99-SD
29
BD-Deep 88
124 88-SD
50
SD-Dance
40
SD-Amb.Piccolo
25
BD-Ambi Kick
9
BD-Terminator
65
SD-Vintage4
143 Zap2
22
BD-Hip 4
142 Zap1
66
SD-Vintage5
310 Mouth Harp
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
28
BD-Pop 99
24
BD-Dance 99
141 PR-House06
47
SD-Yowie
127 88-Claps
59
SD-Hip 6
139 Real El.Tom
128 88-HH Close
139 Real El.Tom
128 88-HH Close
139 Real El.Tom
129 88-HH Open
139 Real El.Tom
139 Real El.Tom
104 Crash Cymbal 1
139 Real El.Tom
113 Ride-Edge 2
108 CymbalReverse
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
102 HH-Hip
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
215 Cuica-Hi
233 Flexatone
233 Flexatone
101 HH-Old Open2
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
Off
Off
5
5
Off
Off
Off
Off
6
6
Off
120-0-29: House Kit4
Sample
23
BD-Pop Kick
125 99-SD
29
BD-Deep 88
124 88-SD
50
SD-Dance
40
SD-Amb.Piccolo
25
BD-Ambi Kick
9
BD-Terminator
65
SD-Vintage4
143 Zap2
22
BD-Hip 4
142 Zap1
66
SD-Vintage5
310 Mouth Harp
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
21
BD-Hip 3
11
BD-Gated
73
SideStickAmb
31
SD-Dry 1
127 88-Claps
52
SD-Noise
139 Real El.Tom
128 88-HH Close
139 Real El.Tom
129 88-HH Open
139 Real El.Tom
129 88-HH Open
139 Real El.Tom
139 Real El.Tom
132 88-Crash
139 Real El.Tom
111 CYM-99 Ride
108 CymbalReverse
114 Ride-Jazz
211 Tambourin-Acc1
107 Splash Cymbal
136 88-Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
209 Tambourin-Push
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
215 Cuica-Hi
233 Flexatone
233 Flexatone
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-32: Jazz Kit
Sample
17
BD-House 1
125 99-SD
29
BD-Deep 88
124 88-SD
39
SD-Jazz Ring
40
SD-Amb.Piccolo
27
BD-Amb.Rocker
6
BD-Pillow
37
SD-Full Room
87
HH1 Closed2
0
BD-Dry 1
73
SideStickAmb
32
SD-Dry 2
42
SD-BrushHit
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
5
BD-Jazz
4
BD-SoftRoom
73
SideStickAmb
31
SD-Dry 1
127 88-Claps
39
SD-Jazz Ring
84
Tom JazzFloor
92
HH2 Closed1
84
Tom JazzFloor
94
HH2 Foot
83
Tom Jazz Hi
91
HH1 Sizzle
83
Tom Jazz Hi
83
Tom Jazz Hi
104 Crash Cymbal 1
83
Tom Jazz Hi
113 Ride-Edge 2
106 China Cymbal
115 Ride-Cup
212 Tambourin-Acc2
105 Crash Cymbal 2
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
112 Ride-Edge 1
171 BongoHi-Open
168 BongoLo-Open
165 CongaHi-Slap2
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
Off
Off
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-40: Brush Kit1
Sample
79
Tom 2-Floor
79
Tom 2-Floor
79
Tom 2-Floor
78
Tom 2-Lo
77
Tom 2-Hi
32
SD-Dry 2
5
BD-Jazz
6
BD-Pillow
121 FingerSnaps
86
HH1 Closed1
2
BD-Dry 3
72
SideStickDry
43
SD-BrushTap1
43
SD-BrushTap1
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
6
BD-Pillow
5
BD-Jazz
73
SideStickAmb
43
SD-BrushTap1
42
SD-BrushHit
45
SD-BrushSwirl
85
Tom Brush Hi
90
HH1 Open 2
85
Tom Brush Hi
94
HH2 Foot
85
Tom Brush Hi
95
HH2 FootOpen
85
Tom Brush Hi
85
Tom Brush Hi
104 Crash Cymbal 1
85
Tom Brush Hi
112 Ride-Edge 1
106 China Cymbal
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
7
7
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
Factory Data
Drum Kit instruments
Note
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
A-1
A#-1
B-1
C0
C#0
D0
D#0
E0
F0
F#0
G0
G#0
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
120-0-41: Brush V.S.2
Sample
79
Tom 2-Floor
79
Tom 2-Floor
79
Tom 2-Floor
78
Tom 2-Lo
77
Tom 2-Hi
32
SD-Dry 2
5
BD-Jazz
6
BD-Pillow
121 FingerSnaps
86
HH1 Closed1
2
BD-Dry 3
72
SideStickDry
43
SD-BrushTap1
43
SD-BrushTap1
74
DrumStickHit
120 SD-Orch.
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
281 Noise White
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
142 Zap1
249 Click
213 Triangle-Open
5
BD-Jazz
3→4 BD-Normal BD→SoftRoom
43
SD-BrushTap1
43→44 SD-BrushTap1→SD-BrushTap2
39→42 SD-Jazz Ring SD→BrushHit
45→45 SD-BrushSwirl SD→BrushSwirl
85
Tom Brush Hi
90
HH1 Open 2
85
Tom Brush Hi
94
HH2 Foot
85
Tom Brush Hi
95
HH2 FootOpen
85
Tom Brush Hi
85
Tom Brush Hi
104 Crash Cymbal 1
85
Tom Brush Hi
112 Ride-Edge 1
106 China Cymbal
114 Ride-Jazz
212 Tambourin-Acc2
107 Splash Cymbal
225 Cowbell
104 Crash Cymbal 1
198 Vibraslap
113 Ride-Edge 2
171 BongoHi-Open
168 BongoLo-Open
163 CongaHiMtSlap
161 CongaHi-Open
158 CongaLo-Open
207 TimbaleHi-Rim2
202 TimbaleLo-Open
224 Agogo-Bell
224 Agogo-Bell
219 Cabasa-Up
182 MaracasPush
234 SambaWhistle
234 SambaWhistle
181 Guiro Short
180 Guiro Long
199 Claves
200 Woodblock1
200 Woodblock1
215 Cuica-Hi
216 Cuica-Lo
214 Triangle-Mute
213 Triangle-Open
220 Cabasa-Down
228 Sleigh Bell
231 Marc Tree
178 CastSingle
203 TimbaleLo-Mute
202 TimbaleLo-Open
243 Stadium
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
Off
7
7
Off
7
7
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
3
3
Off
Off
Off
4
4
5
5
Off
Off
Off
Off
6
6
Off
120-0-48: OrchestraK
Sample
120
119
121
86
88
89
112
74
142
249
213
4
116
73
120
178
120
118
118
118
118
118
118
118
118
118
118
118
118
118
212
107
225
104
198
117
171
168
163
161
158
207
202
224
224
219
182
234
234
181
180
199
200
200
215
216
214
213
220
228
231
178
203
202
243
120-0-116: Arabian Kit 1
Sample
17
BD-House 1
125 99-SD
123 88-BD
124 88-SD
37
SD-Full Room
48
SD-Processed
0
BD-Dry 1
12
BD-Tight
31
SD-Dry 1
87
HH1 Closed2
2
BD-Dry 3
73
SideStickAmb
74
DrumStickHit
283 Tubular
225 Cowbell
SD-Orch.
7
225 Cowbell
SD-Orch.Roll
7
119 SD-Orch.Roll
FingerSnaps
Off
121 FingerSnaps
HH1 Closed1
Off
143 Zap2
HH1 Foot
Off
87
HH1 Closed2
HH1 Open 1
7
145 DJ-Scratch2
Ride-Edge 1
Off
145 DJ-Scratch2
DrumStickHit
Off
74
DrumStickHit
Zap1
Off
165 CongaHi-Slap2
Click
Off
249 Click
Triangle-Open
Off
249 Click
BD-SoftRoom
Off
2
BD-Dry 3
BD-Orch.
Off
17
BD-House 1
SideStickAmb
Off
72
SideStickDry
SD-Orch.
Off
33
SD-Dry 3
CastSingle
Off
337 Alkis
SD-Orch.
Off
68
SD-AmbiHop
Timpani
Off
79
Tom 2-Floor
Timpani
Off
88
HH1 Foot
Timpani
Off
79
Tom 2-Floor
Timpani
Off
94
HH2 Foot
Timpani
Off
78
Tom 2-Lo
Timpani
Off
89
HH1 Open 1
Timpani
Off
78
Tom 2-Lo
Timpani
Off
77
Tom 2-Hi
Timpani
Off
104 Crash Cymbal 1
Timpani
Off
77
Tom 2-Hi
Timpani
Off
113 Ride-Edge 2
Timpani
Off
352 Hollo 1
Timpani
Off
353 Hollo 2
Tambourin-Acc2
Off
211 Tambourin-Acc1
Splash Cymbal
Off
345 Darbuka 2
Cowbell
Off
225 Cowbell
Crash Cymbal 1
Off
350 Darbuka D3
Vibraslap
Off
219 Cabasa-Up
Orch Cymb
Off
339 Bandir Closed
BongoHi-Open
Off
353 Hollo 2
BongoLo-Open
Off
168 BongoLo-Open
CongaHiMtSlap
Off
353 Hollo 2
CongaHi-Open
Off
171 BongoHi-Open
CongaLo-Open
Off
305 Douf-rim-ak
TimbaleHi-Rim2
Off
344 Darbuka 1 Closed
TimbaleLo-Open
Off
348 Darbuka D1
Agogo-Bell
Off
346 Darbuka 3
Agogo-Bell
Off
349 Darbuka D2
Cabasa-Up
Off
341 Darbuka 1 Tek7
MaracasPush
Off
341 Darbuka 1 Tek7
SambaWhistle
2
343 Darbuka 1 Tek5
SambaWhistle
2
359 Tef 1
Guiro Short
3
360 Tef 2
Guiro Long
3
320 Rik1
Claves
Off
322 Rik3
Woodblock1
Off
360 Tef 2
Woodblock1
Off
359 Tef 1
Cuica-Hi
4
360 Tef 2
Cuica-Lo
4
318 Rek-dom-ak
Triangle-Mute
5
359 Tef 1
Triangle-Open
5
321 Rik2
Cabasa-Down
Off
361 Tef 3
Sleigh Bell
Off
360 Tef 2
Marc Tree
Off
312 Bells Open
CastSingle
Off
323 Sagat-HalfOpen
TimbaleLo-Mute
6
324 Sagat-Close
TimbaleLo-Open
6
351 Davul
Stadium
Off
357 Ramazan DVL2
(continues on the next page)
Excl.
Excl.
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
4
4
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
2
Off
3
120-0-117: Arabian Kit 2
Sample
17
BD-House 1
125 99-SD
123 88-BD
124 88-SD
37
SD-Full Room
48
SD-Processed
0
BD-Dry 1
12
BD-Tight
31
SD-Dry 1
87
HH1 Closed2
2
BD-Dry 3
73
SideStickAmb
74
DrumStickHit
283 Tubular
225 Cowbell
225 Cowbell
119 SD-Orch.Roll
121 FingerSnaps
143 Zap2
87
HH1 Closed2
145 DJ-Scratch2
145 DJ-Scratch2
74
DrumStickHit
165 CongaHi-Slap2
249 Click
249 Click
2
BD-Dry 3
12
BD-Tight
72
SideStickDry
33
SD-Dry 3
122 Hand Claps
33
SD-Dry 3
79
Tom 2-Floor
90
HH1 Open 2
79
Tom 2-Floor
94
HH2 Foot
78
Tom 2-Lo
89
HH1 Open 1
78
Tom 2-Lo
77
Tom 2-Hi
104 Crash Cymbal 1
77
Tom 2-Hi
113 Ride-Edge 2
301 Dbk-Tky-Open
300 Dbk-Tky-Mute
211 Tambourin-Acc1
302 Dbk-Tky-Rim
225 Cowbell
302 Dbk-Tky-Rim
219 Cabasa-Up
304 Douf-Dom-ak
307 Douf-Tek-ak 2
168 BongoLo-Open
306 Douf-Tek-ak 1
171 BongoHi-Open
305 Douf-rim-ak
328 Tabla-Dom
348 Darbuka D1
331 Tabla-Tak
329 Tabla-Flam
330 Tabla-Rim
189 Tabla-Na
191 Tabla-Tin
318 Rek-dom-ak
321 Rik2
320 Rik1
322 Rik3
322 Rik3
319 Rek-Jingle
360 Tef 2
318 Rek-dom-ak
359 Tef 1
321 Rik2
322 Rik3
319 Rek-Jingle
312 Bells Open
323 Sagat-HalfOpen
324 Sagat-Close
351 Davul
175 Djembe-Open
Excl.
Off
Off
Off
Off
Off
1
Off
Off
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
Off
1
Off
1
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
4
4
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
2
2
2
Off
3
167
168
Factory Data
Drum Kit instruments
(continued)
120-0-41: Brush V.S.2
Sample
Note
89
90
91
92
93
94
95
96
F6
F#6
G6
G#6
A6
A#6
B6
C7
120-0-48: OrchestraK
Excl.
Sample
Excl.
120-0-116: Arabian Kit 1
Sample
356 Ramazan DVL1
358 Ramazan DVL3
355 Kup 2
83
Tom Jazz Hi
355 Kup 2
354 Kup 1
2
BD-Dry 3
354 Kup 1
Excl.
3
3
5
5
5
Off
Off
Off
120-0-117: Arabian Kit 2
Sample
175 Djembe-Open
301 Dbk-Tky-Open
312 Bells Open
323 Sagat-HalfOpen
324 Sagat-Close
351 Davul
5
BD-Jazz
361 Tef 3
Excl.
3
3
5
5
5
Off
Off
Off
Factory Data
Drum Kit instruments
120-0-50: Bdrum & Sdrum
Sample
C-1
257 Tribe
C#-1
142 Zap1
D-1
133 88-Tom
D#-1
123 88-BD
E-1
123 88-BD
F-1
22
BD-Hip 4
F#-1
23
BD-Pop Kick
G-1
19
BD-Hip 1
G#-1
18
BD-House 2
A-1
28
BD-Pop 99
A#-1
123 88-BD
B-1
138 FM El.Tom
C0
28
BD-Pop 99
C#0
27
BD-Amb.Rocker
D0
25
BD-Ambi Kick
D#0
24
BD-Dance 99
E0
23
BD-Pop Kick
F0
22
BD-Hip 4
F#0
21
BD-Hip 3
G0
19
BD-Hip 1
G#0
18
BD-House 2
A0
16
BD-Dance 3
A#0
15
BD-Dance 2
B0
13
BD-Squash
C1
30
BD-Klanger
C#1
29
BD-Deep 88
D1
29
BD-Deep 88
D#1
123 88-BD
E1
12
BD-Tight
F1
29
BD-Deep 88
F#1
17
BD-House 1
G1
14
BD-Dance 1
G#1
16
BD-Dance 3
A1
20
BD-Hip 2
A#1
26
BD-Amb.Crackle
B1
29
BD-Deep 88
C2
17
BD-House 1
C#2
23
BD-Pop Kick
D2
12
BD-Tight
D#2
1
BD-Dry 2
E2
2
BD-Dry 3
F2
7
BD-Woofer
F#2
3
BD-Normal
G2
0
BD-Dry 1
G#2
10
BD-Tubby
A2
3
BD-Normal
A#2
0
BD-Dry 1
B2
3
BD-Normal
C3
6
BD-Pillow
C#3
116 BD-Orch.
D3
11
BD-Gated
D#3
10
BD-Tubby
E3
8
BD-MondoKill
F3
10
BD-Tubby
F#3
9
BD-Terminator
G3
15
BD-Dance 2
G#3
138 FM El.Tom
A3
133 88-Tom
A#3
29
BD-Deep 88
B3
16
BD-Dance 3
C4
33
SD-Dry 3
C#4
37
SD-Full Room
D4
38
SD-Off Center
D#4
39
SD-Jazz Ring
E4
31
SD-Dry 1
F4
41
SD-Paper
F#4
65
SD-Vintage4
G4
69
SD-Brasser
G#4
47
SD-Yowie
A4
49
SD-CrackerRoom
A#4
46
SD-Big Rock
B4
59
SD-Hip 6
C5
48
SD-Processed
C#5
50
SD-Dance
D5
52
SD-Noise
D#5
62
SD-Vintage1
E5
47
SD-Yowie
F5
70
SD-Chili
F#5
139 Real El.Tom
G5
125 99-SD
G#5
124 88-SD
Note
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
120-0-56: SFX Kit
Sample
0
296
235
153
148
154
145
286
287
292
294
290
291
143
258
144
145
74
143
249
224
289
286
287
286
121
246
245
256
255
248
247
244
260
261
145
231
262
263
264
265
254
266
281
267
298
258
269
270
271
252
253
250
259
272
Excl.
120-0-64: Percus.Kit1
Sample
181
209
210
211
211
212
212
209
212
319
233
230
BD-Dry 1
Off
197
Amp Noise
Off
172
Chinese Gong
Off
173
DJ-BD Rub
Off
170
DJ-Scratch3c
Off
211
DJ-SD Rub
Off
224
DJ-Scratch2
Off
273
GtCutNois1
Off
224
GtCutNois2
Off
174
E.GtrPick1
Off
200
Gtr Scratch1
Off
199
Dist.Slide1
Off
201
Dist.Slide2
Off
225
Zap2
Off
200
GunShot 1
Off
179
DJ-Scratch1
7
184
DJ-Scratch2
7
217
DrumStickHit
Off
186
Zap2
Off
182
Click
Off
184
Agogo-Bell
Off
219
Fret Noise
Off
190
GtCutNois1
Off
192
GtCutNois2
Off
198
GtCutNois1
Off
189
FingerSnaps
Off
214
Laughing
Off
116
Scream
Off
213
Punch
Off
181
Heart-Beat
Off
311
Footsteps 2
Off
180
Footsteps 1
Off
232
Applause
Off
231
DoorCreak
Off
182
DoorSlam
Off
122
DJ-Scratch2
Off
127
Marc Tree
Off
144
Car Engine
Off
145
Car Stop
Off
150
Car Pass
Off
234
Car Crash
Off
234
Crickets
Off
165
Train
Off
166
Noise White
Off
161
Helicopter
Off
158
Swish Terra
Off
215
GunShot 1
Off
216
MachineGun
Off
208
Laser gun
Off
207
Explosion
Off
206
Dog
Off
202
Gallop
Off
135
Bird 1
Off
136
Rainstick
Off
121
Thunder
Off
196
(continues on the next page)
Guiro Short
Tambourin-Push
Tambourin-Pull
Tambourin-Acc1
Tambourin-Acc1
Tambourin-Acc2
Tambourin-Acc2
Tambourin-Push
Tambourin-Acc2
Rek-Jingle
Flexatone
Finger Cymbal
Tsuzumi
BongoHi-Slap
BongoHi-Stk1
BongoLo-Stk
Tambourin-Acc1
Agogo-Bell
Wind
Agogo-Bell
BongoHi-Stk2
Woodblock1
Claves
Woodblock2
Cowbell
Woodblock1
CastDouble
Baya-Open
Shaker1
Baya-Mute1
MaracasPush
Baya-Open
Cabasa-Up
Tabla-Open
Tabla-Mute1
Vibraslap
Tabla-Na
Triangle-Mute
BD-Orch.
Triangle-Open
Guiro Short
Jingle Bell
Guiro Long
Marc Tree LP
Marc Tree
MaracasPush
Hand Claps
88-Claps
DJ-Scratch1
DJ-Scratch2
DJ-HitRub
SambaWhistle
SambaWhistle
CongaHi-Slap2
CongaHeel
CongaHi-Open
CongaLo-Open
Cuica-Hi
Cuica-Lo
Timbale-Paila
TimbaleHi-Rim2
TimbaleHi-Rim1
TimbaleLo-Open
88-Clave
88-Cowbell
FingerSnaps
Taiko Rim
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
3
Off
3
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
120-0-65: Latin P.Kit
Sample
240
238
237
241
214
213
233
230
136
179
178
121
121
99
236
197
197
197
116
116
224
224
158
159
164
165
137
161
214
213
159
162
165
211
161
170
170
173
202
174
202
211
208
205
208
205
207
206
318
318
318
319
227
200
201
225
182
227
219
217
225
220
220
Hit It
Yeah!-Solo
Yeah!
Uhhhh Solo
Triangle-Mute
Triangle-Open
Flexatone
Finger Cymbal
88-Cowbell
CastDouble
CastSingle
FingerSnaps
FingerSnaps
HH-Old TiteClos
Metal Hit
Tsuzumi
Tsuzumi
Tsuzumi
BD-Orch.
BD-Orch.
Agogo-Bell
Agogo-Bell
CongaLo-Open
CongaLoMtSlp
CongaHi-Slap1
CongaHi-Slap2
88-Maraca
CongaHi-Open
Triangle-Mute
Triangle-Open
CongaLoMtSlp
CongaHiMute
CongaHi-Slap2
Tambourin-Acc1
CongaHi-Open
BongoLo-Stk
BongoLo-Stk
BongoHi-Stk1
TimbaleLo-Open
BongoHi-Stk2
TimbaleLo-Open
Tambourin-Acc1
Timbale-Paila
TimbaleHi-Edge
Timbale-Paila
TimbaleHi-Edge
TimbaleHi-Rim2
TimbaleHi-Rim1
Rek-dom-ak
Rek-dom-ak
Rek-dom-ak
Rek-Jingle
Mambo Bell
Woodblock1
Woodblock2
Cowbell
MaracasPush
Mambo Bell
Cabasa-Up
Shaker1
Cowbell
Cabasa-Down
Cabasa-Down
Excl.
Off
Off
Off
Off
7
7
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
1
1
Off
Off
Off
Off
Off
Off
Off
Off
2
2
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
169
170
Factory Data
Drum Kit instruments
Note
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
115
117
118
119
120
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8
C#8
D8
D#8
E8
F8
F#8
G8
G#8
A8
A#8
B8
C9
120-0-50: Bdrum & Sdrum
Sample
124 88-SD
125 99-SD
55
SD-Hip 2
44
SD-BrushTap2
43
SD-BrushTap1
42
SD-BrushHit
42
SD-BrushHit
42
SD-BrushHit
45
SD-BrushSwirl
45
SD-BrushSwirl
45
SD-BrushSwirl
31
SD-Dry 1
33
SD-Dry 3
46
SD-Big Rock
68
SD-AmbiHop
54
SD-Hip 1
62
SD-Vintage1
56
SD-Hip 3
67
SD-Vintage6
143 Zap2
58
SD-Hip 5
71
SD-Whopper
69
SD-Brasser
62
SD-Vintage1
125 99-SD
71
SD-Whopper
71
SD-Whopper
50
SD-Dance
50
SD-Dance
125 99-SD
125 99-SD
60
SD-Ringy
(continued)
120-0-56: SFX Kit
120-0-64: Percus.Kit1
Excl.
Sample
Excl.
Sample
Off
273 Wind
Off
195 Taiko Open
Off
281 Noise White
Off
143 Zap2
Off
274 Stream
Off
119 SD-Orch.Roll
Off
275 Bubble
Off
120 SD-Orch.
Off
299 Cat
Off
117 Orch Cymb
Off
251 Bird 2
Off
117 Orch Cymb
Off
308 Growl
Off
336 Udu-f-open
Off
243 Stadium
Off
155 Orchestra Hit
Off
277 Telephone Ring
Off
155 Orchestra Hit
Off
276 ChurchBell
Off
155 Orchestra Hit
Off
244 Applause
Off
155 Orchestra Hit
Off
244 Applause
Off
155 Orchestra Hit
Off
243 Stadium
Off
155 Orchestra Hit
Off
281 Noise White
Off
155 Orchestra Hit
Off
258 GunShot 1
Off
155 Orchestra Hit
Off
266 Train
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
155 Orchestra Hit
Off
290 Dist.Slide1
Off
291 Dist.Slide2
Off
286 GtCutNois1
Off
287 GtCutNois2
292 E.GtrPick1
293 E.GtrPick2
294 Gtr Scratch1
295 Gtr Scratch2
289 Fret Noise
288 Power Chord
288 Power Chord
296 Amp Noise
Excl.
Off
Off
5
5
6
6
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
120-0-65: Latin P.Kit
Sample
220 Cabasa-Down
334 Tambourin-Mute2
333 Tambourin-Open
332 Tambourin-Mute
332 Tambourin-Mute
333 Tambourin-Open
336 Udu-f-open
175 Djembe-Open
183 MaracasPull
183 MaracasPull
215 Cuica-Hi
180 Guiro Long
181 Guiro Short
181 Guiro Short
216 Cuica-Lo
199 Claves
234 SambaWhistle
234 SambaWhistle
323 Sagat-HalfOpen
323 Sagat-HalfOpen
324 Sagat-Close
311 Jingle Bell
231 Marc Tree
231 Marc Tree
228 Sleigh Bell
340 Bongo Roll
140 PR-House05
140 PR-House05
17
BD-House 1
125 99-SD
29
BD-Deep 88
124 88-SD
39
SD-Jazz Ring
48
SD-Processed
0
BD-Dry 1
27
BD-Amb.Rocker
40
SD-Amb.Piccolo
86
HH1 Closed1
6
BD-Pillow
73
SideStickAmb
Excl.
Off
Off
5
5
6
6
Off
Off
Off
Off
Off
3
3
3
Off
Off
4
4
5
5
5
Off
Off
Off
2
6
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Factory Data
Drum Kit instruments
Note
0
C-1
1
C#-1
2
D-1
3
D#-1
4
E-1
5
F-1
6
F#-1
7
G-1
8
G#-1
9
A-1
10
A#-1
11
B-1
12
C0
13
C#0
14
D0
15
D#0
16
E0
17
F0
18
F#0
19
G0
20
G#0
21
A0
22
A#0
23
B0
24
C1
25
C#1
26
D1
27
D#1
28
E1
29
F1
30
F#1
31
G1
32
G#1
33
A1
34
A#1
35
B1
36
C2
37
C#2
38
D2
39
D#2
40
E2
41
F2
42
F#2
43
G2
44
G#2
45
A2
46
A#2
47
B2
48
C3
49
C#3
50
D3
51
D#3
52
E3
53
F3
54
F#3
55
G3
56
G#3
57
A3
58
A#3
59
B3
60
C4
61
C#4
62
D4
63
D#4
64
E4
65
F4
66
F#4
67
G4
68
G#4
69
A4
70
A#4
71
B4
72
C5
73
C#5
74
D5
75
D#5
76
E5
77
F5
78
F#5
79
G5
80
G#5
81
A5
82
A#5
120-0-66: TRI-Per.KIT
Sample
322
321
320
319
318
303
195
317
316
315
314
313
196→195
197
175→175
177→176
185→184
186→187
188→303
190→190
191→194
192→193
189→193
192
116
257
121
122
214
213
179
178
179
180
181
180
198
199
135
216→216
215→215
202
200
204
200
203
200
205
207
226
206
227
208→208
168
225
169
225
171
174
172→172
158→158
160
159
163
161→161
162
166
164
167
165
224
Excl.
Rik3
Off
Rik2
Off
Rik1
Off
Rek-Jingle
Off
Rek-dom-ak
Off
Djembe-Bass
Off
Taiko Open
Off
Pand-Pattern4
Off
Pand-Pattern3
Off
Pand-Pattern2
Off
Pand-Pattern1
Off
Pand-Open
Off
Taiko Rim→Taiko Open
Off
Tsuzumi→Tsuzumi
Off
Djembe-Open→Djembe-Open
Off
Djembe-Slap→Djembe-Mute
Off
Baya-Ghe→Baya-Open
Off
Baya-Mute1→Baya-Mute2
Off
Baya-Mute5→Djembe-Bass
Off
Tabla-Open→Tabla-Open
Off
Tabla-Tin→Tabla-Mute3
Off
Tabla-Mute1→Tabla-Mute2
Off
Tabla-Na→Tabla-Mute2
6
Tabla-Mute1
Off
BD-Orch.
Off
Tribe
Off
FingerSnaps
Off
Hand Claps
Off
Triangle-Mute
1
Triangle-Open
1
CastDouble
Off
CastSingle
Off
CastDouble
Off
Guiro Long
2
Guiro Short
2
Guiro Long
2
Vibraslap
Off
Claves
Off
88-Clave
Off
Cuica-Lo→Cuica-Lo
3
Cuica-Hi→Cuica-Hi
Off
TimbaleLo-Open
Off
Woodblock1
Off
TimbaleLo-Rim
Off
Woodblock1
Off
TimbaleLo-Mute
Off
Woodblock1
Off
TimbaleHi-Edge
Off
TimbaleHi-Rim2
Off
ChachaBell
Off
TimbaleHi-Rim1
Off
Mambo Bell
Off
Timbale-Paila→Timbale-Paila
Off
BongoLo-Open
Off
Cowbell
Off
BongoLo-Slap
Off
Cowbell
Off
BongoHi-Open
Off
BongoHi-Stk2
Off
BongoHi-Slap→BongoHi-Slap
Off
CongaLo-Open→CongaLo-Open
Off
CongaLoSlap
Off
CongaLoMtSlp
Off
CongaHiMtSlap
Off
CongaHi-Open→CongaHi-Open
Off
CongaHiMute
Off
CongaHeel
Off
CongaHi-Slap1
Off
CongaToe
Off
CongaHi-Slap2
Off
Agogo-Bell
Off
(continues on the next page)
120-0-67: i30 Perc.Kit
Sample
209
212
189
233
230
197
172
173
170
211
224
273
224
174
200
199
201
225
200
179
184
217
186
182
184
219
190
192
198
189
214
116
213
181
311
180
232
231
182
122
127
144
145
150
234
234
165
166
161
158
215
216
208
207
206
202
135
136
121
196
195
143
Tambourin-Push
Tambourin-Acc2
Tabla-Na
Flexatone
Finger Cymbal
Tsuzumi
BongoHi-Slap
BongoHi-Stk1
BongoLo-Stk
Tambourin-Acc1
Agogo-Bell
Wind
Agogo-Bell
BongoHi-Stk2
Woodblock1
Claves
Woodblock2
Cowbell
Woodblock1
CastDouble
Baya-Open
Shaker1
Baya-Mute1
MaracasPush
Baya-Open
Cabasa-Up
Tabla-Open
Tabla-Mute1
Vibraslap
Tabla-Na
Triangle-Mute
BD-Orch.
Triangle-Open
Guiro Short
Jingle Bell
Guiro Long
Marc Tree LP
Marc Tree
MaracasPush
Hand Claps
88-Claps
DJ-Scratch1
DJ-Scratch2
DJ-HitRub
SambaWhistle
SambaWhistle
CongaHi-Slap2
CongaHeel
CongaHi-Open
CongaLo-Open
Cuica-Hi
Cuica-Lo
Timbale-Paila
TimbaleHi-Rim2
TimbaleHi-Rim1
TimbaleLo-Open
88-Clave
88-Cowbell
FingerSnaps
Taiko Rim
Taiko Open
Zap2
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
3
Off
3
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
171
172
Factory Data
Drum Kit instruments
Note
83
B5
84
C6
85
C#6
86
D6
87
D#6
88
E6
89
F6
90
F#6
91
G6
92
G#6
93
A6
94
A#6
95
B6
96
C7
97
C#7
98
D7
99
D#7
100
E7
101
F7
102
F#7
103
G7
104
G#7
105
A7
106
A#7
107
B7
108
C8
109
C#8
110
D8
111
D#8
112
E8
113
F8
114
F#8
115
G8
115
G#8
117
A8
118
A#8
119
B8
120
C9
(continued)
120-0-66: TRI-Per.KIT
Sample
224
Agogo-Bell
183→182 MaracasPull→MaracasPush
217→217 Shaker1→Shaker1
218→218 Shaker2→Shaker2
221→220 Cabasa-Tap→Cabasa-Down
219→221 Cabasa-Up→Cabasa-Tap
222→223 Caxixi-Hard→Caxixi-Soft
209
Tambourin-Push
211→211 Tambourin-Acc1→Tambourin-Acc1
210
Tambourin-Pull
212
Tambourin-Acc2
228→228 Sleigh Bell→Sleigh Bell
234
SambaWhistle
234
SambaWhistle
229
RapSleighBell
234
SambaWhistle
231
Marc Tree
234
SambaWhistle
312
Bells Open
259
Rainstick
235
Chinese Gong
250
Bird 1
250
Bird 1
251
Bird 2
279
Cricket Spectrum
231
Marc Tree
Excl.
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
4
4
Off
4
5
4
5
Off
Off
Off
Off
Off
Off
Off
120-0-67: i30 Perc.Kit
Sample
119 SD-Orch.Roll
120 SD-Orch.
117 Orch Cymb
117 Orch Cymb
336 Udu-f-open
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
155 Orchestra Hit
290 Dist.Slide1
214 Triangle-Mute
213 Triangle-Open
233 Flexatone
312 Bells Open
223 Caxixi-Soft
179 CastDouble
179 CastDouble
121 FingerSnaps
121 FingerSnaps
236 Metal Hit
236 Metal Hit
Excl.
5
5
6
6
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
Off
3
3
Off
Off
Off
Off
Off
Off
Off
Off
Off
Factory Data
Performances
173
PERFORMANCES
All Performances are user-editable. Use the following table as a model for your own Perfomance lists.
Note: You can remotely select Performances on the Pa50, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Program Change messages on the Control channel (see page 127).
#
1
CC#0 CC#32
1
0
PC
Bank: 1
0
CC#0 CC#32
1
1
PC
Bank: 2
0
CC#0 CC#32
1
2
PC
Bank: 3
0
CC#0 CC#32
1
3
PC
2
1
1
1
1
3
2
2
2
2
4
3
3
3
3
5
4
4
4
4
6
5
5
5
5
7
6
6
6
6
8
7
7
7
7
CC#0 CC#32
1
1
4
PC
Bank: 5
0
CC#0 CC#32
1
5
PC
Bank: 6
0
CC#0 CC#32
1
6
PC
Bank: 7
0
CC#0 CC#32
1
7
PC
2
1
1
1
3
2
2
2
2
4
3
3
3
3
5
4
4
4
4
6
5
5
5
5
7
6
6
6
6
8
7
7
7
7
1
1
8
PC
Bank: 9
0
CC#0 CC#32
1
9
PC
Bank: 10
0
CC#0 CC#32
1
10
PC
Bank: 11
0
CC#0 CC#32
1
11
PC
1
1
1
1
3
2
2
2
2
4
3
3
3
3
5
4
4
4
4
6
5
5
5
5
7
6
6
6
6
8
7
7
7
7
CC#0 CC#32
1
12
PC
Bank: 13
0
CC#0 CC#32
1
13
PC
Bank: 14
0
CC#0 CC#32
1
14
PC
Bank: 15
0
CC#0 CC#32
1
15
PC
1
1
1
1
3
2
2
2
2
4
3
3
3
3
5
4
4
4
4
6
5
5
5
5
7
6
6
6
6
8
7
7
7
7
1
1
16
PC
0
Bank: 17
CC#0 CC#32
1
17
PC
0
Bank: 18
CC#0 CC#32
1
18
PC
0
Bank: 19
CC#0 CC#32
1
19
Bank: 16
0
2
CC#0 CC#32
Bank: 12
0
2
1
Bank: 8
0
1
CC#0 CC#32
Bank: 4
0
PC
0
2
1
1
1
1
3
2
2
2
2
4
3
3
3
3
5
4
4
4
4
6
5
5
5
5
7
6
6
6
6
8
7
7
7
7
Bank: 20
174
Factory Data
MIDI Setup
MIDI SETUP
DEFAULT
Master Kbd
Sequencer1
Sequencer 2
Accordion 1
Accordion 2
Accordion 3
Ext. Seq
1
S1_Tr 1
Global
S1_Tr 1
S2_Tr 1
Global
Upp1
Upp1
S1_Tr 1
2
S1_Tr 2
-
S1_Tr 2
S2_Tr 2
Lower
Lower
Lower
S1_Tr 2
3
S1_Tr 3
-
S1_Tr 3
S2_Tr 3
Bass
-
Bass
S1_Tr 3
4
S1_Tr 4
-
S1_Tr 4
S2_Tr 4
-
Upp2
Upp2
S1_Tr 4
5
S1_Tr 5
-
S1_Tr 5
S2_Tr 5
-
Upp3
Upp3
S1_Tr 5
6
S1_Tr 6
-
S1_Tr 6
S2_Tr 6
-
-
-
S1_Tr 6
7
S1_Tr 7
-
S1_Tr 7
S2_Tr 7
-
-
-
S1_Tr 7
8
S1_Tr 8
-
S1_Tr 8
S2_Tr 8
-
-
-
S1_Tr 8
9
S1_Tr 9
-
S1_Tr 9
S2_Tr 9
-
Bass
-
S1_Tr 9
10
S1_Tr 10
-
S1_Tr 10
S2_Tr 10
Drum
Drum
Drum
S1_Tr 10
11
S1_Tr 11
-
S1_Tr 11
S2_Tr 11
Perc
Perc
Perc
S1_Tr 11
12
S1_Tr 12
-
S1_Tr 12
S2_Tr 12
Acc1
Acc1
Acc1
S1_Tr 12
13
S1_Tr 13
-
S1_Tr 13
S2_Tr 13
Acc2
Acc2
Acc2
S1_Tr 13
14
S1_Tr 14
-
S1_Tr 14
S2_Tr 14
Acc3
Acc3
Acc3
S1_Tr 14
15
S1_Tr 15
-
S1_Tr 15
S2_Tr 15
Acc4
Acc4
Acc4
S1_Tr 15
16
S1_Tr 16
-
S1_Tr 16
S2_Tr 16
Acc5
Acc5
Acc5
S1_Tr 16
1
1 Upp1
Upp1
S1_Tr 1
S2_Tr 1
Upp1
S1_Tr 1
S2_Tr 1
Upp. 1
2
Upp2
Upp2
S1_Tr 2
S2_Tr 2
Upp2
S1_Tr 2
S2_Tr 2
-
3
Upp3
Upp3
S1_Tr 3
S2_Tr 3
Upp3
S1_Tr 3
S2_Tr 3
-
4
Lower
Lower
S1_Tr 4
S2_Tr 4
Lower
S1_Tr 4
S2_Tr 4
-
5
-
-
S1_Tr 5
S2_Tr 5
-
S1_Tr 5
S2_Tr 5
-
6
-
-
S1_Tr 6
S2_Tr 6
-
S1_Tr 6
S2_Tr 6
-
7
-
-
S1_Tr 7
S2_Tr 7
-
S1_Tr 7
S2_Tr 7
-
MIDI IN
Channel
8
-
-
S1_Tr 8
S2_Tr 8
-
S1_Tr 8
S2_Tr 8
-
9
Bass
Bass
S1_Tr 9
S2_Tr 9
Bass
S1_Tr 9
S2_Tr 9
-
10
Drum
Drum
S1_Tr 10
S2_Tr 10
Drum
S1_Tr 10
S2_Tr 10
-
11
Perc
Perc
S1_Tr 11
S2_Tr 11
Perc
S1_Tr 11
S2_Tr 11
-
12
Acc1
Acc1
S1_Tr 12
S2_Tr 12
Acc1
S1_Tr 12
S2_Tr 12
-
13
Acc2
Acc2
S1_Tr 13
S2_Tr 13
Acc2
S1_Tr 13
S2_Tr 13
-
14
Acc3
Acc3
S1_Tr 14
S2_Tr 14
Acc3
S1_Tr 14
S2_Tr 14
-
15
Acc4
Acc4
S1_Tr 15
S2_Tr 15
Acc4
S1_Tr 15
S2_Tr 15
-
MIDI OUT
Channel
16
Acc5
Acc5
S1_Tr 16
S2_Tr 16
Acc5
S1_Tr 16
S2_Tr 16
-
MIDI IN Velocity
Normal
Normal
Normal
Normal
110
110
Normal
Normal
Chord 1 Chann.
Off
1
Off
Off
2
2
2
Off
Chord 2 Chann.
Off
Off
Off
Off
3
3
3
Off
Effects
Diagrams
175
18. EFFECTS
Pa50 is equipped with four powerful Effect Processors (A, B,
C, D). You can send them the internal tracks.
Modulation source
Note
MIDI(CC#20)
DIAGRAMS
MIDI(CC#21)
The following instructions show the signal path diagram for
each of the effect types. The signal coming from the tracks
(Send) is mono. Before entering an effect processor, it is split
in two “wires” (Left and Right), and processed in stereo. The
signal is then output in stereo from the effect processor, and
sent to the Mix output (Left&Right, the heaphones or the
internal speakers).
Damper: #64
Effect Block
Send
Diagram
Off
No modulation
Sostenu: #66
Sostenuto Pedal
MIDI(CC#80)
MIDI(CC#81)
MIDI(CC#82)
MIDI(CC#83)
Right
Tempo
When the
symbol is encoutered, a Dynamic Modulation can be applied to the corresponding parameter. The following table shows the available modulation sources.
Note
Portamento Switch
Left
DYNAMIC MODULATION SOURCES
Modulation source
Prta.SW: #65
FILTER/DYNAMIC
Filter and dynamics control effects
000: No Effect
Select this option when you do not use any effects. When this
option is selected, the effect is muted.
Gate1
001: Amp Simulat
Gate1+Dmpr
(Stereo Amp Simulation)
Gate2
Gate2+Dmpr
Note Nr
Note Number
Velocity
Note Velocity
ATouch
After Touch
JS X
Joystick Left/Right
JS+Y: CC#01
Joystick Forward
JS-Y: CC#02
Joystick Backward
This effect simulates the frequency response characteristics of
guitar amplifiers. It is also effective for organ and drum
sounds.
Stereo In - Stereo Out
Left
Wet / Dry
Amp Simulation Filter
Amp Simulation Filter
Right
Wet / Dry
MIDI(CC#04)
MIDI(CC#12)
MIDI(CC#13)
a
MIDI(CC#16)
MIDI(CC#18)
MIDI(CC#17)
MIDI(CC#19)
Amplifier Type
Selects the type of guitar amplifier
SS, EL84, 6L6
Wet/Dry
Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
b
Src
Selects the modulation source of the effect balance
Amt
Sets the modulation amount of the effect balance
Off...Tempo
–100...+100
176
Effects
Filter/Dynamic
002: Compressor
003: Limiter
(Stereo Compressor)
(Stereo Limiter)
This effect compresses the input signal to regulate the level
and give a “punchy” effect. It is useful for guitar, piano, and
drum sounds. This is a stereo compressor. You can link left
and right channels, or use each channel separately.
The Limiter regulates the input signal level. It is similar to the
Compressor, except that the Limiter compresses only signals
that exceed the specified level to lower unnecessary peak signals. The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing
you to set any band width to be covered. This effect is a stereo
limiter. You can link left and right channels, or use each channel individually.
Stereo In - Stereo Out
Left
Wet / Dry
EQ Trim
LEQ
HEQ
Compressor
Output Level
Envelope - Control
Envelope Select
Envelope - Control
LEQ
Stereo In - Stereo Out
Output Level
Compressor
EQ Trim
Left
Wet / Dry
HEQ
Gain Adjust
Right
Limiter
Wet / Dry
Side PEQ
Envelope - Control
+
Trigger Monitor
Envelope - Control
Envelope Select
Limiter
Gain Adjust
a
Envelope Select
L/R Mix, L/R Individually
Determines whether the left and right channels are linked or used separately
☞
b
Sensitivity
Sets the sensitivity
1...100
c
Attack
Sets the attack level
1...100
d
EQ Trim
Sets the EQ input level
0...100
Right
Wet / Dry
☞
☞
Pre LEQ Gain [dB]
Sets the gain of Low EQ
–15.0...+15.0dB
Pre HEQ Gain [dB]
Sets the gain of High EQ
–15.0...+15.0dB
a
☞
b
Ratio
Sets the signal compression ratio
c
Threshold [dB]
Sets the level above which the compressor is applied
e
Output Level
Sets the output level of the compressor
f
☞,
0...100
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
e
Release
Sets the release time
1...100
Src
Selects the modulation source for the output gain
Side PEQ Insert
Toggles between on/off of the trigger signal’s EQ
f
☞
☞
–Inf, –38...+24dB
☞,
Off...Tempo
–63...+63
Off, On
☞
Trigger Monitor
Off, On
Switches between effect output monitor and trigger signal monitor
☞
Side PEQ Cutoff [Hz]
Sets the EQ center frequency for the trigger signal
Compressor - Sensitivity
☞
1...100
Amt
Sets the modulation amount of the output gain
–100...+100
a: Envelope Select
This parameter selects whether the left and right channels
are linked to control both signals simultaneously, or
whether each channel is controlled independently.
b: Sensitivity, f: Output Level
The “Sensitivity” parameter sets the sensitivity of the compressor. If this parameter is set to a higher value, lower
level sounds will be boosted. With a higher Sensitivity, the
overall volume level is higher. To adjust the final volume
level, use the “Output Level” parameter.
☞
–40...0dB
Attack
Sets the attack time
Gain Adjust [dB]
Sets the output gain
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
1.0:1...50.0:1, Inf:1
d
Src
Off...Tempo
Selects the modulation source for the compressor output level
Amt
–100...+100
Sets the modulation amount of the compressor output level
Envelope Select
L/R Mix, L Only, R Only, L/R Individually
Selects from linking both channels, controlling only from left channel, only
from the right channel, or controlling each channel individually
g
Q
Sets the EQ bandwidth for the trigger signal
Gain [dB]
Sets the EQ gain for the trigger signal
20...12.00kHz
☞
0.5...10.0
–18.0...+18.0dB
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
Level
Wet
Louder
Sensitivity=100
Dry
Sensitivity=40
Time
c: Attack
This parameter controls the attack level.
Compressor - Attack
Level
Attack=80
Attack=20
Wet
Dry
Time
a: Envelope Select
When L/R Mix is selected for this parameter, the left and
right channels are linked to control the Limiter using the
mixed signal. If L Only (or R Only) is selected, the left and
right channels are linked, and the Limiter is controlled via
only the left (or right) channel.
With L/R individually, the left and right channels control
the Limiter individually.
b: Ratio, c: Threshold [dB], e: Gain Adjust [dB]
This parameter sets the signal compression “Ratio”. Compression is applied only when the signal level exceeds the
“Threshold” value.
177
Effects
Filter/Dynamic
Adjust the output level using the “Gain Adjust” parameter, since compression causes the entire level to be
reduced.
Limiter - Threshold / Ratio
Ratio=1.0 : 1
Output Level
Ratio=2.0 : 1
Threshold
Ratio=4.0 : 1
004: MBandLimit
(Multiband Limiter)
This effect applies the Limiter to the low range, mid range,
and high range of the input signal. You can control dynamics
for each range to adjust the sound pressure of the low range,
mid range, and high range in a different way from the EQ.
Ration=Inf : 1
Louder
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Band-Pass Filters
Low
Louder
Input Level
Level
Dry
+
Ratio=1.0 : 1
Ratio=2.0 : 1
Ratio=4.0 : 1
Mid
Wet / Dry
Limiter
Envelope - Control
Low Offset
Limiter
Envelope - Control
High Mid Offset
Gain Adjust
Limiter
Threshold
Right
Envelope - Control
High Offset
Wet / Dry
Ratio=Inf : 1
Time
d: Attack, d: Release
These parameters set the attack time and release time. A
higher attack time will cause the compression to be
applied more slowly.
a
Ratio
Sets the signal compression ratio
b
Threshold [dB]
Sets the level above which the compressor is applied
c
Attack
Sets the attack time
☞ Fx:003
d
Release
Sets the release time
☞ Fx:003
e
Low Offset [dB]
Gain of the low-range trigger signal
–40...0dB
f
Mid Offset [dB]
Gain of the mid-range trigger signal
–40...0dB
g
High Offset [dB]
Gain of the high-range trigger signal
–40...0dB
Limiter - Attack / Release
Threshold
Dry
Ratio=Inf : 1
Attack=1
Release=1
Wet
Ratio=Inf : 1
Attack=100
Release=100
Wet
Gain Adjust [dB]
Sets the output gain
h
Release
–40...0dB
☞ Fx:003
1...100
1...100
☞
☞
☞
–Inf, –38...+24dB
☞ Fx:003,
Src
Selects the modulation source for the output gain
Amt
Sets the modulation amount of the output gain
Attack
f: Side PEQ Insert, g: Side PEQ Cutoff [Hz], g: Q, g: Gain
[dB]
These parameters are used to set the EQ applied to the
trigger signal.
The Limiter determines whether the compression is
applied or not, based on the post-EQ trigger signal. Setting the equalizer allows you to set the Limiter to respond
to any frequency band.
f: Trigger Monitor
Setting this parameter On will cause the trigger signal to
be output, instead of the effect sound. Use this parameter
to check the trigger signal with EQ applied.
Usually, set this to Off.
1.0:1...50.0:1, Inf:1
☞ Fx:003
Off...Tempo
–63...+63
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
e: Low Offset [dB], f: Mid Offset [dB], g: High Offset [dB]
These parameters set the gain of the trigger signal.
For example, if you do not want to apply compression to
the high range, reduce the “High Offset” value down
below the “Threshold” level. In this way, the high range
limiter will not respond, and compression will not be
applied.
178
Effects
Filter/Dynamic
The Attack and Release parameters set the Gate attack
time and release time.
005: Gate
(Stereo Gate)
Gate - Threshold
This effect mutes the input signal if its level is lower than the
specified level. It also reverses the on and off operation of the
gate, and uses Note On and Off messages to turn the gate on
and off.
Output Level
Louder
Threshold
Louder
Stereo In - Stereo Out
Input Level
Left
Wet / Dry
Delay
Gate - Attack / Release
Gate
Threshold
Envelope - Control
+
Envelope - Control
Envelope Select
Delay
Dry
Gate
Right
Wet / Dry
Gate+Sus
a
Envelope Select
D-mod, L/R Mix, L Only, R Only
Selects from Control via the modulation source, mixing the left and right signals, Only left, and Only right
☞,
Src
Off...Gate2+Dmpr
Selects the modulation source that controls the gate when Envelope Select =
D-mod
b
Polarity
Switches between non-reversed and reversed Gate on/off
+, –
c
Threshold
Sets the level to which the Gate is applied
0...100
Attack
Sets the attack time
1...100
Release
Sets the release time
1...100
☞
☞
☞
d
e
Delay Time [msec]
Sets the delay time of the gate input
☞
0...100msec
☞
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
f
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Attack=1
Release=1
Wet
Attack=100
Release=100
Release
Attack
e: Delay Time
This parameter sets the delay time of the Gate input. If
the sound has a very fast attack, increase the delay time so
that the signal will be input after the Gate is opened. This
will preserve the attack part of the sound.
006: OD/HGainWah
(Overdrive/Hi.Gain Wah)
This distortion effect utilizes an Overdrive mode and a HiGain mode. Controlling the wah effect, the 3-band EQ, and
the amp simulation will allow you to create versatile distortion sounds. This effect is suitable for guitar and organ
sounds.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
–100...+100
a: Envelope Select, a: Src
The “Envelope Select” parameter selects whether the
gate on/off is triggered by the level of the input signal, or
controlled directly by the modulation source. The Src
parameter specifies the modulation source, selected from
Off to Gate2+Dpmr.
With “Envelope Select” = L/R Mix, the left and right channel signal mixture will trigger the gate on/off. When L
Only or R Only is selected, the gate is controlled by either
of the channel signals.
b: Polarity
This parameter reverses the Gate on/off operation. With a
negative value, the gate is closed when the input signal
level exceeds the Threshold. The gate operation controlled by the modulation source is also reversed.
c: Threshold, d: Attack, d: Release
This parameter sets the signal level below which Gate is
applied when “Envelope Select” is set to L/R Mix, L Only,
or R Only.
Wet
Left
Wet / Dry
+
Pre Low-cut
Wah
Mode: Overdrive / Hi-Gain
Drive
3 Band PEQ
Amp Simulation
Driver
Output Level
Direct Mix
Right
Wet / Dry
D-mod
Wah
Switches Wah on/off
a
☞,
Off, On
Src
Off...Tempo
Selects the modulation source that switches the Wah on and off
Sw
Toggle, Moment
Selects the switching mode for the modulation source that switches the Wah
on and off
☞
Wah Sweep Range
Sets the range of Wah
b
Wah Sweep Src
Selects the modulation source that controls the Wah
c
–10...+10
☞,
Off...Tempo
☞
Drive Mode
Overdrive, Hi-Gain
Switches between overdrive and hi-gain distortion
Drive
Sets the degree of distortion
1...100
☞
d
Pre Low-cut
Sets the low range cut amount of the distortion input
Output Level
Sets the output level
e
Src
Selects the modulation source for the output level
Amt
Sets the modulation amount of the output level
0...10
☞
☞,
0...50
Off...Tempo
–50...+50
179
Effects
Filter/Dynamic
Low Cutoff [Hz]
Sets the center frequency for Low EQ (shelving type)
007: Param.4B Eq
20...1.0kHz
(Stereo Parametric 4-Band EQ)
f
Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–18...+18dB
Mid1 Cutoff [Hz]
300...10.00kHz
Sets the center frequency for Mid/High EQ 1 (peaking type)
g
Q
Sets the band width of Mid/High EQ 1
This is a stereo 4-band parametric equalizer. You can select
peaking type or shelving type for Band 1 and 4. The gain of
Band 2 can be controlled by dynamic modulation.
0.5...10.0
☞
Stereo In - Stereo Out
Left
Gain [dB]
Sets the gain of Mid/High EQ 1
Band1 Band2 Band3 Band4
–18...+18dB
PEQ
Trim
Q
Sets the band width of Mid/High EQ 2
☞
PEQ
HEQ
HEQ
PEQ
PEQ
PEQ
Right
Gain [dB]
Sets the gain of Mid/High EQ 2
–18...+18dB
Direct Mix
Sets the amount of the dry sound mixed to the distortion
0...50
Off, On
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Wet / Dry
D-mod
i
Speaker Simulation
Switches the speaker simulation on/off
Wet / Dry
PEQ
LEQ
Trim
0.5...10.0
PEQ
LEQ
Mid2 Cutoff [Hz]
500...20.00kHz
Sets the center frequency for Mid/High EQ 2 (peaking type)
h
PEQ
–100...+100
a: Wah
The Wah parameter switches the wah effect on/off.
a: Sw
This parameter sets how the wah effect is switched on and
off via the modulation source.
When “Sw” = Moment, the wah effect is usually turned
off. It is turned on only when you press the pedal or operate the joystick.
a
Trim
Sets the input level
b
Band1 Type
Selects the type of Band 1
Peaking, Shelving-Low
c
Band4 Type
Selects the type of Band 4
Peaking, Shelving-High
e
☞
Band2 Dynamic Gain Src
Selects the modulation source of the Band 2 gain
Off...Tempo
Amt [dB]
Sets the modulation amount of Band 2 gain
–18...+18dB
Band1 Cutoff [Hz]
Sets the center frequency of Band 1
20...1.00kHz
☞
☞
Q
Sets the bandwidth of Band 1
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Band 1
–18.0...+18.0dB
Band2 Cutoff [Hz]
Sets the center frequency of Band 2
f
50...10.00kHz
Q
Sets the bandwidth of Band 2
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Band 2
–18.0...+18.0dB
☞,
Band3 Cutoff [Hz]
Sets the center frequency of Band 3
g
300...10.00kHz
Q
Sets the bandwidth of Band 3
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Band 3
The switch will be turned on/off each time the value of the
modulation source exceeds 64.
b: Wah Sweep Range, b: Wah Sweep Src
This parameter sets the sweep range of the wah center
frequency. A negative value will reverse the direction of
sweep. The wah center frequency can be controlled by the
modulation source specified in the “Wah Sweep Src”
parameter.
d: Drive, e: Output Level
The degree of distortion is determined by the level of
input signal and the setting of “Drive”. Raising the
“Drive” setting will cause the entire volume level to
increase. Use the “Output Level” parameter to adjust the
volume level. The “Output Level” parameter uses the signal level input to the 3-Band EQ. If clipping occurs at the
3-Band EQ, adjust the “Output Level” parameter.
d: Pre Low-cut
Cutting the signal in the low range before it is input to
the Distortion will create a sharp distortion.
g: Q, h: Q
These parameters set the bandwidth of each equalizer.
The higher the value, the narrower the band becomes.
☞
d
When a value for the modulation source is less than 64, “off”
speed is selected, and when the value is 64 or higher, “on” is
selected.
When “Sw” = Toggle, the wah effect is switched between
on and off each time you press the pedal or operate the
joystick.
0...100
–18.0...+18.0dB
Band4 Cutoff [Hz]
Sets the center frequency of Band 4
h
500...20.00kHz
Q
Sets the bandwidth of Band 4
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Band 4
–18.0...+18.0dB
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
b: Band1 Type, c: Band4 Type
Selects a filter type for Band 1 and 4.
Parametric 4EQ - Band1, Band4 Type
+Gain
3dB
Band4 Type=Shelving High
Band4 Type=Peaking
0dB
–Gain
Band1 Type=Shelving Low
Band1 Type=Peaking
3dB
Band1 Cutoff
Band4 Cutoff
180
Effects
Filter/Dynamic
d: Band2 Dynamic Gain Src, d: Amt [dB], f: Gain [dB]
You can control the gain of Band 2 using the modulation
source.
Parametric 4EQ - Band2 Dynamic Gain Control
You can configure a 21-Band Graphic EQ ranging from
80Hz to 18kHz if you route three Graphic 7Band EQ
effects in series, with a setting of 7:Low, 9:Mid, and
11:High for each EQ.
D-mod
+15dB
Band2 Cutoff
+6dB
+6dB
0dB
0dB
009: Wah/AutoWah
(Stereo Wah/Auto Wah)
Band2 Cutoff
–9dB
Band2 Gain[dB]= +6.0
Band2 Dynamic Gain Amt[dB]= +9.0
D-mod
This stereo wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much
broader range settings.
Band2 Gain[dB]= +6.0
Band2 Dynamic Gain Amt[dB]= –15.0
008: Graph.7B Eq
Stereo In - Stereo Out
Left
Wet / Dry
(Stereo Graphic 7 Band EQ)
Wah
Envelope Sens
This is a stereo 7-band graphic equalizer. The bar graph of
the gain setting for each band gives you a clear, visual idea of
frequency responses. You can select a center frequency setting
for each band from twelve types, according to the sound.
+
Envelope Shape
Response
D-mod
Sweep Mode
Auto
D-mod
LFO
LFO
Wah
Right
Wet / Dry
Stereo In - Stereo Out
Left
Wet / Dry
Trim
Band1 Band2 Band3 Band4 Band5 Band6 Band7
Frequency Bottom
Sets the lower limit of the wah center frequency
0...100
Frequency Top
Sets the upper limit of the wah center frequency
0...100
☞
a
Trim
☞
Sweep Mode
Auto, D-mod, LFO
Selects the control from auto-wah, modulation source, and LFO
☞,
Band1 Band2 Band3 Band4 Band5 Band6 Band7
Right
Wet / Dry
b
Src
Off...Tempo
Selects the modulation source for the wah when Sweep Mode=D-mod
a
Type1:Wide 1, 2:Wide 2, 3:Wide 3, 4:Half Wide 1, 5:Half Wide 2, 6:Half
Wide 3, 7:Low, 8:Wide Low, 9:Mid, 10:Wide Mid, 11:High, 12:Wide High
Selects a combination of center frequencies for each band
☞
Response
0...100
Sets the response speed when Sweep Mode = Auto or D-mod
b
Trim
Sets the input level
Envelope Sens (Envelope Sensitivity)
Sets the sensitivity of auto-wah
c
Band1 [dB]
Sets the gain of Band 1
0...100
0...100
☞
c
–18.0...+18.0dB
Envelope Shape
Sets the sweep curve of auto-wah
LFO Frequency [Hz]
Sets the LFO speed
–100...+100
☞
0.02...20.00Hz
☞,
d
Band2 [dB]
Sets the gain of Band 2
–18.0...+18.0dB
e
Band3 [dB]
Sets the gain of Band 3
–18.0...+18.0dB
f
Band4 [dB]
Sets the gain of Band 4
–18.0...+18.0dB
Amt
Sets the modulation amount of LFO speed
g
Band5 [dB]
Sets the gain of Band 5
–18.0...+18.0dB
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞,
h
Band6 [dB]
Sets the gain of Band 6
–18.0...+18.0dB
i
Band7 [dB]
Sets the gain of Band 7
–18.0...+18.0dB
d
e
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–20.00...+20.00Hz
BPM
Selects MIDI Clock and assigns tempo
Times
Sets the number of notes that specify the LFO speed
MIDI, 40...240
☞
x1...x16
☞
Resonance
Sets the resonance amount
0...100
Low Pass Filter
Switches the Wah Low Pass Filter on and off
Off, On
f
–100...+100
a: Type
This parameter selects a combination of center frequencies for each band. Each center frequency is shown on the
right edge of the LCD.
Off...Tempo
Base Note
, , , , , , , Selects the type of notes that specify the LFO speed
☞
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
Src
Selects the modulation source of LFO speed
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
181
Effects
Filter/Dynamic
a: Frequency Bottom, a: Frequency Top
The sweep width and direction of the wah filter are determined by the “Frequency Top” and “Frequency Bottom”
settings.
Sweep Mode=D-mod
Frequency
Top=75
Wah
Higher
Bottom=60
This stereo band pass filter uses a step-shape waveform and
random LFO for modulation. You can create a special effect
from filter oscillation.
Stereo In - Stereo Out
Wah
Left
Woo
Wet / Dry
Top=30
Woo
Bottom=25
(Stereo Random Filter)
Higher
Frequency
010: Random Filt
Filter
D-mod
Higher
Zero
D-mod
Higher
Zero
Max
Filter
Max
Right
Sweep Mode=Auto
Wet / Dry
Frequency
Frequency
Wah
Bottom=75
Woo
Woo
Bottom=25
Envelope
Top=25
Woo
Envelope
Time
LFO: Step-Tri/Random
Wah
Higher
Higher
Top=75
LFO Phase
Wah
Envelope
Time
b: Sweep Mode
This parameter changes the wah control mode. Setting
“Sweep Mode” to Auto will select an auto-wah that
sweeps according to envelope changes in the input signal
level. Auto-wah is frequently used for funk guitar parts
and clav sounds.
When “Sweep Mode” is set to D-mod, you can control the
filter directly via the modulation source in the same way
as a wah pedal.
When “Sweep Mode” is set to LFO, the effect uses LFO to
sweep in cycle.
c: Envelope Sens (Envelope Sensitivity)
This parameter sets the sensitivity of auto-wah. Increase
the value if the input signal is too low to sweep. Reduce
the value if the input signal is so high that the filter is
stopped temporarily.
c: Envelope Shape
This parameter determines the sweep curve for auto-wah.
a
LFO Waveform
Selects LFO Waveform
b
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right
☞
c
d
–50.00...+50.00Hz
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
e
BPM
Selects MIDI Clock and assigns tempo
Time
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
i
x1...x16
Step Base Note
Selects the type of notes to specify the LFO step speed ☞,
x1...x32
☞
Manual
Sets the filter center frequency
Depth
Sets the modulation depth of filter center frequency
h
MIDI, 40...240
☞ Fx:009, ☞
Base Note
Selects the type of notes that specify the LFO speed
Times
Sets the number of notes to specify the LFO step speed
g
d: LFO Frequency [Hz], e: BPM/MIDI Sync
When “BPM/MIDI Sync”=Off, the LFO speed uses the LFO
Frequency parameter setting. When “BPM/MIDI
Sync”=On, the LFO speed follows the “BPM”, “Base
Note”, and “Times” settings.
e: BPM, e: Base Note, e: Times
One cycle of LFO sweep is obtained by multiplying the
length of a note (…) (selected for “Base Note”, in relation to the tempo specified in (“BPM”, or the MIDI Clock
tempo if “BPM” is set to MIDI) by the number specified in
the Times parameter.
–20.00...+20.00Hz
LFO Step Freq (Frequency) [Hz]
0.05...50.00Hz
Sets the LFO step speed (speed that changes in steps) ☞,
Amt
Sets the modulation amount of LFO step speed
Envelope
value = 0...–100
0.02...20.00Hz
☞,
Src
Off...Tempo
Selects the modulation source used for both LFO speed and step speed
Amt
Sets the modulation amount of LFO speed
f
value = 0...+100
☞
LFO Frequency [Hz]
Sets the LFO speed
Envelope Shape
Level
Step-Tri, Random
0...100
0...100
Src
Selects the modulation source of filter modulation
Off...Tempo
Amt
Sets the modulation amount of filter modulation
–100...+100
Resonance
Sets the resonance amount
0...100
Wet/Dry
–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞,
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
a: LFO Waveform, c: LFO Frequency [Hz],
d: LFO Step Freq (Frequency) [Hz]
When “LFO Waveform” is set to Step-Tri, LFO is a stepshape, triangle waveform. The “LFO Frequency” parameter sets the original triangle waveform speed. Changing
the “LFO Step Freq” parameter enables you to adjust the
width of the steps.
182
Effects
Filter/Dynamic
When “LFO Waveform” is set to Random, the “LFO Step
Freq” parameter uses a random LFO cycle.
Random Filter LFO
LFO Frequency
LFO Step Freq
011: Excit/Enhan
(Stereo Exciter/Enhancer)
This effect is a combination of the Exciter, which adds a
punch to the sound and the Enhancer, which adds spread and
presence.
LFO Step Freq
Step-Tri
Stereo In - Stereo Out
Random
Left
Wet / Dry
LEQ
b: LFO Phase [degree]
Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a
swelling affect.
HEQ
Exciter
EQ Trim
Delay
EQ Trim
Delay
Depth
Exciter
Enhancer
LFO Phase
0
Right
+90 +180 [degree]
Wet / Dry
D-mod
–180
–90
Exciter Blend
Sets the intensity (depth) of the Exciter effect
0 [degree]
a
e: BPM, f: Step Base Note, f: Times
The width of an LFO step, or a cycle of random LFO, is
obtained by multiplying the length of a note (…)
(selected for “Step Base Note”, in relation to the tempo
specified in “BPM,” or the MIDI Clock tempo if “BPM” is
set to MIDI) by the number specified in the “Times”
parameter.
j: Wet/Dry
The effect sound’s phase will be reversed when you set
this parameter in the range of values from –Wet to –1:99.
Src
Selects the modulation source of the Exciter intensity
Off...Tempo
Amt
Sets the modulation amount of the Exciter intensity
–100...+100
Emphatic Point
Sets the frequency to be emphasized
b
–100...+100
☞,
☞,
0...70
Src
Off...Tempo
Selects the modulation source of the frequency to be emphasized
Amt
–70...+70
Sets the amount of modulation of the frequency to be emphasized
c
Enhancer Dly L (Enhancer Delay L) [msec]
Sets the delay time for the Enhancer left channel
d
Enhancer Dly R (Enhancer Delay R) [msec]
Sets the delay time for the Enhancer right channel
0.0...50.0msec
☞
0.0...50.0msec
☞
Enhancer Depth
0...100
Sets the determines to what degree the Enhancer effect is applied
e
f
Src
Selects the modulation source of the Enhancer width
Off...Tempo
Amt
Sets the modulation amount of the Enhancer width
–100...+100
EQ Trim
Sets the 2-band EQ input level
0...100
Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15.0...+15.0dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15.0...+15.0dB
g
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
a: Exciter Blend
This parameter sets the depth (intensity) of the Exciter
effect. Positive values give a frequency pattern (to be
emphasized) different from negative values.
b: Emphatic Point
This parameter sets the frequency to be emphasized.
Higher values will emphasize lower frequencies.
c: Enhancer Dly L [msec], d: Enhancer Dly R [msec]
These parameters set the delay time for the Enhancer left
and right channel. Specifying a slightly different delay
time for the left and right channel will add a stereo
image, depth, and width to the sound.
183
Effects
Filter/Dynamic
012: Sub Oscill
013: Talking Mod
(Stereo Sub Oscillator)
(Talking Modulator)
This effect adds very low frequencies to the input signal. It is
very useful when simulating a roaring drum sound or
emphasizing powerful low range. This effect is different from
the equalizer in that you can add very low range harmonics.
You can also adjust the oscillator frequency to match a particular note number, for use as an octaver.
This effect adds an unusual character, like a human voice, to
the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the
guitar or synthesizer is talking.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Stereo In - Stereo Out
Left
+
Wet / Dry
Talking Modulator
A-I-U-E-O
Envelope Shape
Envelope Sens Pre LPF
D-mod
Note No.
Fixed Frequency
Note Interval, Fine
Fixed
Sine Oscillator
OSC Mode Pitch
Right
Note (Key Follow)
D-mod
Envelope Sens Pre LPF
LFO
Envelope Shape
Right
a
b
Wet / Dry
a
OSC Mode
Note (Key Follow), Fixed
Determines whether the oscillator frequency follows the note number or
whether it is fixed
☞
Manual Voice Control
Voice pattern control
Note Fine
Fine adjustment of the oscillator frequency
c
Voice Top
Selects a vowel sound at the top end of control
A, I, U, E, O
d
Voice Center
Selects a vowel sound in the center of control
A, I, U, E, O
e
Voice Bottom
Selects a vowel sound at the bottom end of control
–100...+100
☞
Src
Off...Tempo
Selects the modulation source for the oscillator frequency when OSC
Mode=Fixed
Src
Off...Tempo
Selects the modulation source that controls the voice pattern
LFO Frequency [Hz]
Sets the LFO speed
Envelope Pre LPF
1...100
Sets the upper limit of the frequency range for which very low harmonics are
☞
added
f
–100...+100
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
a: OSC Mode, b: Note Interval, b: Note Fine
The “OSC Mode” parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator’s frequency is determined based on the note
number, allowing you to use it as an octaver. The “Note
Interval” parameter sets the pitch offset from the original
note number by semitone steps. The “Note Fine” parameter allows you to fine-tune in steps of cents.
d: Envelope Pre LPF
This parameter sets the upper limit of the frequency range
to which very low harmonics are added. Adjust this
parameter if you do not want to add lower harmonics to
the higher range.
☞
A, I, U, E, O
☞
0.02...20.00Hz
☞ Fx:009,
Off...Tempo
–20.00...+20.00Hz
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
☞ Fx:009,
tempo and notes
e
Envelope Shape
Sets the oscillator’s volume envelope curve
☞
Src
Selects the modulation source of LFO speed
Amt
Sets the modulation amount of LFO speed
Envelope Sens (Envelope Sensitivity)
0...100
Sets the sensitivity with which very low harmonics are added
f
Bottom, 1...49, Center, 51...99, Top
b
Amt
–80...+80Hz
Sets the oscillator frequency modulation amount when OSC Mode=Fixed
d
Sweep Mode
D-mod, LFO
Switches between modulation source control and LFO control
Note Interval
–48...0
Sets the pitch difference from the note number when OSC Mode=Note (Key
Follow)
☞
Fixed Frequency [Hz]
10.0...80.0Hz
Sets the oscillator frequency when OSC Mode=Fixed
c
Wet / Dry
Voice Top: A
Voice Center: I
Voice Bottom: U
Sweep Mode
D-mod
LFO
BPM
Selects MIDI Clock and assigns tempo
MIDI, 40...240
☞ Fx:009
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
Formant Shift
Sets the frequency to which the effect is applied
h
Resonance
Sets the Level of resonance of the voice pattern
x1...x16
–100...+100
☞
0...100
☞
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
c: Voice Top, d: Voice Center, e: Voice Bottom
These parameters assign vowels to the top, center, and
bottom position of the controller.
E.g.: When “Voice Top”=A, “Voice Center”=I, and “Voice
Bottom”=U:
If “Sweep Mode ”is set to D-mod and Ribbon is selected as
the modulation source, moving your finger from the right
to left of the ribbon controller will change the sound from
“a” to “i,” then “u.”
184
Effects
Filter/Dynamic
If Sweep Mode is set to LFO, the sound will change cyclically from “a” to “i,” “u,” “i,” then “a.”
Talking Modulator Control
Voice Bottom
Voice Center
A
Voice Top
A
I
014: Decimator
(Stereo Decimator)
This effect creates a rough sound like a cheap sampler by lowering the sampling frequency and data bit length. You can
also simulate noise unique to a sampler (aliasing).
U
E
Stereo In - Stereo Out
Left
O
D
-mod
JS X
Ribbon
JS +Y
JS –Y
etc…
Wet / Dry
High Damp Output Level
Pre LPF Resolution
– Max
Zero
+ Max
Decimator
+ Max
D-mod
Zero
Sampling Frequency
LFO
h: Formant Shift
This parameter adjusts the frequency level to which the
effect is applied. If you wish to apply the effect to a
higher-range sound, set this parameter to a higher value;
to apply the effect to a lower-range sound, set this to a
lower value.
h: Resonance
This parameter sets the intensity of resonance for the
voice pattern. A larger value will add more character to
the sound.
Decimator
Pre LPF
Resolution
High Damp Output Level
Right
a
Wet / Dry
Pre LPF
Off, On
Selects whether the harmonic noise caused by a decrease in sampling frequency is generated or not
☞
High Damp [%]
Sets the ratio of cut of the high range
0...100%
Sampling Freq (Sampling Frequency) [Hz]
Sets the sampling frequency
b
1.00k...48.00kHz
Src
Off...Tempo
Selects the modulation source of the sampling frequency
Amt
–48.00k...+48.00kHz
Sets the modulation amount of the sampling frequency
LFO Frequency [Hz]
Sets the LFO speed
c
0.02...20.00Hz
Src
Selects the modulation source of LFO speed
Amt
Sets the modulation amount of LFO speed
Off...Tempo
–20.00...+20.00Hz
Depth
Sets the depth of the sampling frequency LFO modulation
d
0...100
Src
Off...Tempo
Selects the LFO modulation source of the sampling frequency
Amt
–100...+100
Sets the LFO modulation amount of the sampling frequency
e
Resolution
Sets the data bit length
Output Level
Sets the output level
f
4...24
☞
☞,
0...100
Src
Selects the modulation source for the output level
Off...Tempo
Amt
Sets the modulation amount of the output level
–100...+100
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
a: Pre LPF
If a sampler with a very low sampling frequency receives
very high-pitched sound that could not be heard during
playback, it could generate pitch noise that is unrelated to
the original sound. Set “Pre LPF” to ON to prevent this
noise from being generated.
If you set the “Sampling Freq” to about 3kHz and set “Pre
LPF” to OFF, you can create a sound like a ring modulator.
e: Resolution, f: Output Level
If you set a smaller value for the “Resolution” parameter,
the sound may be distorted. The volume level may also be
changed. Use “Output Level” to adjust the level.
185
Effects
Pitch/Phase Mod.
015: Analog Rec
PITCH/PHASE MOD.
(Stereo Analog Record)
This effect simulates the noise caused by scratches and dust
on analog records. It also reproduces some of the modulation
caused by a warped turntable.
Pitch/phase modulation effects
016: Chorus
(Stereo Chorus)
Stereo In - Stereo Out
Left
This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add spread
to the sound by offsetting the phase of the left and right LFOs
from each other.
Wet / Dry
EQ Trim
Pre EQ
EQ Trim
Pre EQ
Analog Record
Simulation
Stereo In - Stereo Out
Left
Right
Wet / Dry
Wet / Dry
LEQ
HEQ
Chorus
EQ Trim
a
Speed [RPM]
Sets the r.p.m. of a record
33 1/3, 45, 78
b
Flutter
Sets the modulation depth
0...100
Noise Density
Sets the noise density
0...100
Noise Tone
Sets the noise tone
0...100
Noise Level
Sets the noise level
0...100
LEQ
Chorus
☞
Right
Wet / Dry
LFO Phase
LFO: Tri / Sine
c
d
Src
Selects the modulation source for the noise level
Off...Tempo
Amt
Sets the modulation amount of the noise level
–100...+100
Click Level
Sets the click noise level
e
f
☞,
0...100
LFO Waveform
Selects LFO Waveform
b
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right ☞ Fx:010
LFO Frequency [Hz]
Sets the LFO speed
c
Triangle, Sine
0.02...20.00Hz
☞ Fx:009,
Src
Selects the modulation source of LFO speed
Off...Tempo
Off...Tempo
Amt
Sets the modulation amount of LFO speed
Amt
Sets the modulation amount of the click noise level
–100...+100
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
☞ Fx:009,
tempo and notes
EQ Trim
Table , “Sets the EQ input level,” on page 176
Q
Sets the EQ band width
Gain [dB]
Sets the EQ gain
0...100
300...10.00kHz
d
0.5...10.0
–18.0...+18.0dB
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
h
a
Src
Selects the modulation source for the click noise level
Pre EQ Cutoff [Hz]
Sets the EQ center frequency
g
HEQ
EQ Trim
–100...+100
BPM
Selects MIDI Clock and assigns tempo
MIDI, 40...240
☞ Fx:009
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
x1...x16
e
L Pre Delay [msec]
Sets the delay time for the left channel
0.0...50.0msec
f
R Pre Delay [msec]
Sets the delay time for the right channel
0.0...50.0msec
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–20.00...+20.00Hz
☞
☞
Depth
Sets the depth of LFO modulation
g
0...100
Src
Off...Tempo
Selects the modulation source of the LFO modulation depth
Amt
–100...+100
Sets the modulation amount of the LFO modulation depth
b: Flutter
This parameter enables you to set the depth of the modulation caused by a warped turntable.
e: Click Level
This parameter enables you to set the level of the click
noise that occurs once every rotation of the turntable.
This simulation reproduces record noise, and the noise
generated after the music on a vinyl record finishes.
h
EQ Trim
Table , “Sets the EQ input level,” on page 176
0...100
Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15.0...+15.0dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15.0...+15.0dB
i
Wet/Dry
–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞ Fx:010,
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
e: L Pre Delay [msec], f: R Pre Delay [msec]
Setting the left and right delay time individually allows
you to control the stereo image.
186
Effects
Pitch/Phase Mod.
017: Harm.Chorus
(Stereo Harmonic Chorus)
This effect applies chorus only to higher frequencies. This
can be used to apply a chorus effect to a bass sound without
making the sound thinner. You can also use this chorus block
with feedback as a flanger.
Low Level
Chorus/Flanger
High Damp
Feedback
High Damp
High/Low Split Point
Wet / Dry
High Level
High Level
Chorus/Flanger
018: MTap Ch/Dly
(Multitap Chorus/Delay)
This effect has four chorus blocks with a different LFO phase.
You can create a complex stereo image by setting each block’s
delay time, depth, output level, and pan individually. You can
also fix some of the chorus blocks to combine the chorus and
delay effects.
Stereo In - Stereo Out
Left
h: Feedback
Sets the feedback amount of the chorus block. Increasing
the feedback will allow you to use the effect as a flanger.
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out
Low Level
Right
Left
Wet / Dry
Feedback
Wet / Dry
Tap1 Delay
LFO Phase
LFO: Tri / Sine
+
Tap2 Delay
Tap3 Delay
Tap4 Delay
a
LFO Waveform
Selects LFO Waveform
b
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right ☞ Fx:010
LFO Frequency [Hz]
Sets the LFO speed
c
Triangle, Sine
Right
e
Off...Tempo
a
BPM
Selects MIDI Clock and assigns tempo
MIDI, 40...240
☞ Fx:009
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
x1...x16
☞ Fx:009
Pre Delay [msec]
Sets the delay time from the original sound
Pan
0 [degree]
180 [degree]
90 [degree]
270 [degree]
Wet / Dry
Depth
Sets the Tap1 chorus depth
0...30
Level
Sets the Tap1 output level
0...30
L6...L1, C, R1...R6
0...570msec
Depth
Sets the Tap2 chorus depth
0...30
Level
Sets the Tap2 output level
0...30
Pan
Sets the Tap2 stereo image
L6...L1, C, R1...R6
Tap3(090) [msec]
Sets the Tap3 (LFO phase=90 degrees) delay time
0...570msec
Depth
Sets the Tap3 chorus depth
0...30
Level
Sets the Tap3 output level
0...30
d
–100...+100
☞
Pan
Sets the Tap3 stereo image
0...100%
Low Level
Sets the low range output level
0...100
High Level
Sets the high range (chorus) output level
0...100
0...570msec
Depth
Sets the Tap4 chorus depth
0...30
Level
Sets the Tap4 output level
0...30
e
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Pan
Sets the Tap4 stereo image
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
L6...L1, C, R1...R6
Tap1 Feedback
Sets the Tap1 feedback amount
–100...+100
g: High/Low Split Point
This parameter sets the frequency that splits the high and
low range. Only the high range will be sent to the chorus
block.
L6...L1, C, R1...R6
Tap4(270) [msec]
Sets the Tap4 (LFO phase=270 degrees) delay time
i
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
0...570msec
c
0...100
High/Low Split Point
1...100
Sets the frequency split point between the low and high range
☞
High Damp [%]
Sets the high range damping amount of the chorus block
0.02...13.00Hz
Tap2(180) [msec]
Sets the Tap2 (LFO phase=180 degrees) delay time
0.0...50.0msec
h
LFO Frequency [Hz]
Sets the LFO speed
Pan
Sets the Tap1 stereo image
Src
Off...Tempo
Selects the modulation source of the LFO modulation depth
Feedback
Sets the feed back amount of the chorus block
j
Level
b
Amt
–100...+100
Sets the modulation amount of the LFO modulation depth
g
Pan
Tap1(000) [msec]
Sets the Tap1 (LFO phase=0 degrees) delay time
–20.00...+20.00Hz
Depth
Sets the depth of LFO modulation
f
Pan
Level
LFO: Triangle
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
d
Pan
Level
0.02...20.00Hz
☞ Fx:009,
Src
Selects the modulation source of LFO speed
Amt
Sets the modulation amount of LFO speed
Level
f
–100...+100
Src
Off...Tempo
Selects the modulation source of Tap1 feedback amount and effect balance
Amt
–100...+100
Sets the Tap1 feedback amount and modulation amount
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
187
Effects
Pitch/Phase Mod.
019: Ensemble
020: Flanger
This Ensemble effect has three chorus blocks that use LFO to
create subtle shimmering, and gives three dimensional depth
and spread to the sound, because the signal is output from
the left, right, and center.
(Stereo Flanger)
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
This effect gives a significant swell and movement of pitch to
the sound. It is more effective when applied to a sound with a
lot of harmonics. This is a stereo flanger. You can add spread
to the sound by offsetting the phase of the left and right LFOs
from each other.
Stereo In - Stereo Out
+
Left
Ensemble
Wet / Dry
Flanger
Feedback
Right
Wet / Dry
High Damp
Shimmer
Flanger
LFO
Right
Wet / Dry
LFO Phase
LFO: Tri / Sine
Speed
Sets the LFO speed
a
1...100
Src
Selects the modulation source of LFO speed
Off...Tempo
Amt
Sets the modulation amount of LFO speed
–100...+100
a
Depth
Sets the depth of LFO modulation
b
0...100
Src
Off...Tempo
Selects the modulation source of the LFO modulation depth
d
Shimmer
Sets the amount of shimmering of the LFO waveform
0.0...50.0msec
Triangle, Sine
b
LFO Shape
Determines how much the LFO waveform is changed
c
d
–100...+100
☞
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right ☞ Fx:010
LFO Frequency [Hz]
Sets the LFO speed
0...100
☞
Delay Time [msec]
Sets the delay time from the original sound
LFO Waveform
Selects LFO Waveform
Amt
–100...+100
Sets the modulation amount of the LFO modulation depth
c
LFO Shape
0.02...20.00Hz
☞ Fx:009,
Src
Selects the modulation source of LFO speed
Off...Tempo
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Amt
Sets the modulation amount of LFO speed
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
☞ Fx:009,
tempo and notes
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
c: Shimmer
This parameter sets the amount of shimmering of the LFO
waveform. Increasing this value adds more shimmering,
making the chorus effect more complex and richer.
e
f
–20.00...+20.00Hz
BPM
Selects MIDI Clock and assigns tempo
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
x1...x16
Depth
Sets the depth of LFO modulation
Feedback
Sets the feedback amount
Ensemble LFO
Level
MIDI, 40...240
☞ Fx:009
0...100
–100...+100
☞
g
High Damp [%]
Sets the feedback damping amount in the high range
Shimmer
0...100%
☞
Wet/Dry
–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞ Fx:010,
Time
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
188
Effects
Pitch/Phase Mod.
b: LFO Shape
Changing the LFO waveform shape controls the peak
sweep of flanging effects.
Feedback
Sets the feedback amount
i
High Damp [%]
Sets the feedback damping amount in the high range
LFO Shape
0...100%
☞ Fx:020
Wet/Dry
–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞ Fx:010, 020,
LFO Shape = 0...–100
LFO Shape = 0...+100
–100...+100
☞ Fx:020
LFO Waveform=Sine
j
g: Feedback, h: Wet/Dry
The peak shape of the positive and negative “Feedback”
value is different. The harmonics will be emphasized
when the effect sound is mixed with the dry sound if you
set a positive value for both “Feedback” and “Wet/Dry”,
and if you set a negative value for both “Feedback” and
“Wet/Dry”.
g: High Damp [%]
This parameter sets the amount of damping of the feedback in the high range. Increasing the value will cut highrange harmonics.
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
022: Envel.Flang
(Stereo Envelope Flanger)
This Flanger uses an envelope generator for modulation. You
will obtain the same pattern of flanging each time you play.
You can also control the Flanger directly using the modulation source.
Stereo In - Stereo Out
Left
Wet / Dry
021: RandomFlang
Flanger
(Stereo Random Flanger)
Feedback
The stereo effect uses a step-shape waveform and random
LFO for modulation, creating a unique flanging effect.
High Damp
Flanger
Right
D-mod
Stereo In - Stereo Out
EG Attack/Decay
Left
Wet / Dry
D-mod
EG
Sweep Mode
Wet / Dry
Flanger
Feedback
a
High Damp
L Dly Bottom [msec] (L Delay Bottom)0.0...50.0msec
Sets the lower limit of the delay time on the left channel☞ Fx:009
L Dly Top [msec] (L Delay Top)0.0...50.0msec
Sets the upper limit of the delay time on the left channel☞ Fx:009
Flanger
Right
Wet / Dry
LFO Phase
LFO: Step-Tri/Random
b
R Dly Bottom [msec] (R Delay Bottom)0.0...50.0msec
Sets the lower limit of the delay time on the right channel☞ Fx:009
R Dly Top [msec] (R Delay Top)0.0...50.0msec
Sets the upper limit of the delay time on the right channel☞ Fx:009
a
Delay Time [msec]
Sets the delay time from the original sound
b
LFO Waveform
Selects LFO Waveform
c
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right ☞ Fx:010
LFO Frequency [Hz]
Sets the LFO speed
d
e
Step-Tri, Random
☞ Fx:010
0.02...20.00Hz
–20.00...+20.00Hz
LFO Step Freq (Frequency) [Hz]
0.05...50.00Hz
Sets the LFO step speed (speed that changes in steps)
☞ Fx:010,
Amt
Sets the modulation amount of LFO step speed
g
BPM
Selects MIDI Clock and assigns tempo
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
x1...x16
Step Base Note
Selects the type of notes to specify the LFO step speed
☞ Fx:010,
Times
Sets the number of notes to specify the LFO step speed
h
MIDI, 40...240
☞ Fx:009, 010
Depth
Sets the depth of LFO modulation
x1...x32
☞ Fx:010
0...100
SrcOff...Tempo
Selects the modulation source that triggers the EG (when EG is
selected for Sweep Mode), or modulation source that causes the
flanger to sweep (when D-mod is selected for Sweep Mode)☞
EG Attack
Sets the EG attack speed
1...100
EG Decay
Sets the EG decay speed
1...100
e
Feedback
Sets the feedback amount
–100...+100
☞ Fx:020
f
High Damp [%]0...100%
Sets the feedback damping amount in the high range☞ Fx:020
☞
d
☞
Wet/Dry–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on
page 175
☞010, 020,
–50.00...+50.00Hz
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
f
c
☞ Fx:010,
Src
Off...Tempo
Selects the modulation source used for both LFO speed and step speed
Amt
Sets the modulation amount of LFO speed
Sweep ModeEG, D-mod
Determines whether the flanger is controlled by the envelope generator or by the modulation source☞,
0.0...50.0msec
g
SrcOff...Tempo
Table , “Selects the modulation source of the effect balance,” on
page 175
Amt
Table , “Sets the modulation amount of the
effect balance,” on page 175
–100...+100
c: Sweep Mode, c: Src
This parameter switches the flanger control mode. With
“Sweep Mode” = EG, the flanger will sweep using the
envelope generator. This envelope generator is included
in the envelope flanger, and not related to the Pitch EG,
Filter EG, or Amp EG.
189
Effects
Pitch/Phase Mod.
The “Src” parameter selects the source that starts the
envelope generator. If you select, for example, Gate, the
envelope generator will start when the note-on message
is received.
When “Sweep Mode” = D-mod, the modulation source
can control the flanger directly. Select the modulation
source using the “Src” parameter.
The effect is off when a value for the modulation source specified for the “Src” parameter is smaller than 64, and the effect is
on when the value is 64 or higher. The Envelope Generator is
triggered when the value changes from 63 or smaller to 64 or
higher.
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
d
e
d: EG Attack, d: EG Decay
Attack and Decay speed are the only adjustable parameters on this EG.
f
023: Phaser
g
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
Depth
Sets the depth of LFO modulation
0...100
Src
Off...Tempo
Selects the modulation source for the LFO modulation depth
–100...+100
☞
0...100%
☞
Wet/Dry
–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞ Fx:010,
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Left
x1...x16
0...100
High Damp [%]
Sets the resonance damping amount in the high range
Stereo In - Stereo Out
Manual
Sets the frequency to which the effect is applied
Resonance
Sets the resonance amount
This effect creates a swell by shifting the phase. It is very
effective on electric piano sounds. You can add spread to the
sound by offsetting the phase of the left and right LFOs from
each other.
–100...+100
Wet / Dry
Phaser
Resonance
High Damp
Phaser
Right
Wet / Dry
LFO Phase
LFO: Tri / Sine
LFO Shape
LFO Waveform
Selects LFO Waveform
Triangle, Sine
a
LFO Shape
Determines how much the LFO waveform is changed
–100...+100
☞ Fx:020
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right ☞ Fx:010
LFO Frequency [Hz]
Sets the LFO speed
c
MIDI, 40...240
☞ Fx:009
Amt
–100...+100
Sets the modulation amount of the LFO modulation depth
(Stereo Phaser)
b
BPM
Selects MIDI Clock and assigns tempo
Src
Selects the modulation source of LFO speed
Amt
Sets the modulation amount of LFO speed
0.02...20.00Hz
☞ Fx:009,
Off...Tempo
–20.00...+20.00Hz
g: Resonance, h: Wet/Dry
The peak shape of the positive and negative Feedback
value is different. The harmonics will be emphasized
when the effect sound is mixed with the dry sound, if you
set a positive value for both “Resonance” and “Wet/Dry”,
and if you set a negative value for both “Resonance” and
“Wet/Dry”.
g: High Damp [%]
This parameter sets the amount of damping of the resonance in the high range. Increasing the value will cut
high-range harmonics.
190
Effects
Pitch/Phase Mod.
024: RandomPhser
025: Envel.Phser
(Stereo Random Phaser)
(Stereo Envelope Phaser)
This is a stereo phaser. The effect uses a step-shape waveform
and random LFO for modulation, creating a unique phasing
effect.
This stereo phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each time
you play. You can also control the Phaser directly using the
modulation source.
Stereo In - Stereo Out
Left
Stereo In - Stereo Out
Wet / Dry
Left
Wet / Dry
Phaser
Phaser
Resonance
Resonance
High Damp
Phaser
High Damp
Phaser
Right
Wet / Dry
LFO Phase
Right
LFO: Step-Tri/Random
D-mod
D-mod
EG Attack/Decay
a
LFO Waveform
Selects LFO Waveform
Step-Tri, Step-Sin, Random
☞ Fx:010
b
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right ☞ Fx:010
LFO Frequency [Hz]
Sets the LFO speed
c
a
Src
Off...Tempo
Selects the modulation source commonly used for LFO speed and step
speed
–20.00...+20.00Hz
LFO Step Freq (Frequency) [Hz]
Sets the LFO step speed
0.05...50.00Hz
☞ Fx:010,
Amt
Sets the modulation amount of LFO step speed
–50.00...+50.00Hz
d
b
f
BPM
Selects MIDI Clock and assigns tempo
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
x1...x16
☞ Fx:009
Step Base Note
Selects the type of notes to specify the LFO step speed
☞ Fx:010,
Times
Sets the number of notes to specify the LFO step speed
h
Depth
Sets the depth of LFO modulation
0...100
–100...+100
☞ Fx:023
0...100%
☞ Fx:023
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
☞ Fx:022
EG Decay
Sets the EG decay speed
☞ Fx:022
f
High Damp [%]
Sets the resonance damping amount in the high range
–100...+100
1...100
1...100
–100...+100
☞ Fx:023
0...100%
☞ Fx:023
Wet/Dry
–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞ Fx:010, 023,
g
Wet/Dry
–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞ Fx:010, 023,
j
EG Attack
Sets the EG attack speed
Resonance
Sets the resonance amount
x1...x32
0...100
High Damp [%]
Sets the resonance damping amount in the high range
Src
Off...Tempo
Selects the modulation source that triggers the EG (when EG is selected for
Sweep Mode), or modulation source that causes the flanger to sweep
(when D-mod is selected for Sweep Mode)
e
☞ Fx:010
Manual
Sets the frequency to which the effect is applied
i
c
d
g
Resonance
Sets the resonance amount
R Manu Bottom (R Manual Bottom)
0...100
Sets the lower limit of the frequency range for the effect on the right channel
☞ Fx:009
Sweep Mode
EG, D-mod
Determines whether the flanger is controlled by the envelope generator or
by the modulation source
☞ Fx:022,
MIDI, 40...240
☞009, 010
Base Note
Selects the type of notes that specify the LFO speed
L Manu Bottom (L Manual Bottom)
0...100
Sets the lower limit of the frequency range for the effect on the left channel
☞ Fx:009
R Manu Top (R Manual Top)
0...100
Sets the upper limit of the frequency range for the effect on the right channel
☞ Fx:009
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
e
EG
L Manu Top (L Manual Top)
0...100
Sets the upper limit of the frequency range for the effect on the left channel
☞ Fx:009
0.02...20.00Hz
☞ Fx:010,
Amt
Sets the modulation amount of LFO speed
Wet / Dry
Sweep Mode
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
191
Effects
Pitch/Phase Mod.
026: BiphaseMod.
027: Vibrato
(Stereo Biphase Modulation)
(Stereo Vibrato)
This stereo chorus effect adds two different LFOs together.
You can set the Frequency and Depth parameters for each
LFO individually. Depending on the setting of these LFOs,
very complex waveforms will create an analog-type, unstable
modulated sound.
This effect causes the pitch of the input signal to shimmer.
Using the AutoFade allows you to increase or decrease the
shimmering speed.
Stereo In - Stereo Out
Left
Wet / Dry
Vibrato
Stereo In - Stereo Out
Left
Wet / Dry
Chorus/Flanger
High Damp
Vibrato
Feedback
Right
High Damp
Chorus/Flanger
Wet / Dry
LFO: Tri / Sine
AutoFade
Right
LFO Shape
Fade-In Delay
LFO Frequency
Wet / Dry
180 [degree]
LFO1: Tri / Sine
LFO2: Tri / Sine
AUTOFADE Src
Selects the modulation source that starts AutoFade
Off...Tempo
☞,
a
LFO1 Waveform
Selects LFO1 waveform
Triangle, Sine
Fade-In Rate
Sets the rate of fade-in
Triangle, Sine
Fade-In Delay [msec]
Sets the fade-in delay time
a
LFO2 Waveform
Selects LFO2 waveform
b
c
Amt
Sets the modulation amount of LFO1 speed
LFO2 Frequency [Hz]
Sets the LFO2 speed
Off...Tempo
d
e
–30.00...+30.00
Depth2
Sets the depth of LFO2 modulation
f
0...100
f
Amt
–100...+100
Sets the modulation amount of LFO2 modulation depth
g
L Pre Delay [msec]
Sets the delay time for the left channel
0.0...50.0msec
☞ Fx:016
h
R Pre Delay [msec]
Sets the delay time for the right channel
0.0...50.0msec
☞ Fx:016
Feedback
Sets the feedback amount
High Damp [%]
Sets the damping amount in the high range
j
g
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Bi-Phase Modulation LFO
LFO1
Depth1
LFO2
Depth2
+
BPM
Selects MIDI Clock and assigns tempo
MIDI, 40...240
☞ Fx:009
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
x1...x16
0...100
Src
Off...Tempo
Selects the modulation source of the LFO modulation depth
Amt
–100...+100
Sets the modulation amount of the LFO modulation depth
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
0...100%
Wet/Dry
–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞ Fx:010,
–20.00...+20.00Hz
Depth
Sets the depth of LFO modulation
–100...+100
☞ Fx:017
i
Off...Tempo
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
Src
Off...Tempo
Selects the modulation source of LFO1&2 modulation depth
Amt
–100...+100
Sets the modulation amount of LFO1 modulation depth
0.02...20.00Hz
☞ Fx:009,
Src
Selects the modulation source of LFO speed
Amt
Sets the modulation amount of LFO speed
0...100
–100...+100
☞ Fx:020
LFO Frequency Mod
D-mod, AUTOFADE
Switches between D-mod and AUTOFADE for the LFO frequency modulation
☞
LFO Frequency [Hz]
Sets the LFO speed
0.02...30.00Hz
Depth1
Sets the depth of LFO1 modulation
e
LFO Shape
Determines how much the LFO waveform is changed
–30.00...+30.00
d
Amt
Sets the modulation amount of LFO2 speed
☞
Triangle, Sine
c
0.02...30.00Hz
Src
Selects the modulation source of LFO1&2 speed
☞
00...2000msec
LFO Waveform
Selects LFO Waveform
LFO Phase Sw
0 degree, 180 degree
Switches the LFO phase difference between left and right
LFO1 Frequency [Hz]
Sets the LFO1 speed
b
1...100
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
–100...+100
d: LFO Frequency Mod, a: AUTOFADE Src, a: Fade-In Rate
b: Fade-In Delay [msec]
When “LFO Frequency Mod” is set to AUTOFADE, you can
use the modulation source selected in “AUTO FADE Src”
as a trigger to automatically fade in the modulation
amount. When “BPM/MIDI Sync” is set to On, you cannot
use this.
The “Fade-in Rate” parameter specifies the rate of fadein. The “Fade-in Delay” parameter determines the time
from AutoFade modulation source ON until the fade-in
starts.
192
Effects
Pitch/Phase Mod.
The following is an example of fade-in where the LFO
speed is increased from “1.0Hz” to “4.0Hz” when a noteon message is received.
“AUTOFADE Src”=Gate1, “LFO Frequency [Hz]”=1.0
“LFO Frequency Mod”=AUTOFADE, “Amt”=3.0
The effect is off when a value for the dynamic modulation
source specified for the “AUTOFADE Src” parameter is smaller
than 64, and the effect is on when the value is 64 or higher. The
AutoFade function is triggered when the value changes from 63
or smaller to 64 or higher.
AUTOFADE
AUTOFADE
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
This effect resonates the input signal at a specified pitch. You
can set the pitch, output level, and pan settings for two resonators individually. You can control the resonance intensity
via an LFO.
LFO Frequency
=1.0+3.0=4.0Hz
Fade-In Rate
Fade-In Dealy
Wet/Dry
–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞ Fx:010, 020,
029: 2Voice Res
All Note Off
Note On
Wet/Dry Mod
D-mod, AUTOFADE
Switches between D-mod and AUTOFADE for the effect balance modulation
☞ Fx:027
AutoFade
AUTOFADE Src=Gate1
LFO Frequency[Hz]=1.0
LFO Freq. Mod=AUTOFADE
Amt=+3.0
Gate1 Signal
i
LFO Frequency
=1.0Hz
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
028: AutoFadeMod.
Wet / Dry
High Damp
Resonator
Trim
(Stereo Auto Fade Modulation)
+
This stereo chorus/flanger effect enables you to control the
LFO speed and effect balance using auto fade, and you can
spread the sound by offsetting the phase of the left and right
LFOs from each other.
Level
Pan
Level
Pan
Resonance
Resonator
Trim
High Damp
Right
Wet / Dry
D-mod
Invert: On/Off
Pitch, Fine [cent]
LFO
Control Mode
Stereo In - Stereo Out
Manual
Left
Wet / Dry
Delay
Control Mode
Switches the controls of resonance intensity
Feedback
a
High Damp
Delay
Right
☞
LFO Frequency [Hz]
Sets the LFO speed
LFO Shape
AutoFade
D-mod Src
Off...Tempo
Selects the modulation source that controls resonance intensity
AUTOFADE Src
Selects the modulation source that starts AutoFade
Rate
Sets the rate of fade-in
Mod. Depth
–100...+100
Sets the amount of resonance intensity control via LFO/D-mod
Off...Tempo
c
☞ Fx:027,
1...100
☞ Fx:027
Fade-In Dly (Fade-In Delay) [msec]
Sets the fade-in delay time
LFO Waveform
Selects LFO Waveform
d
e
e
–100...+100
☞ Fx:020
0.02...20.00Hz
–50...+50
Voice1: Resonance
–100...+100
Sets the intensity of resonance when Control Mode = Manual
☞
Voice1: Level
Sets the Voice1 output level
0...100
Pan
Sets the Voice1 stereo image
L6...R6
Voice2: Pitch
Sets the Voice2 Pitch for resonance
C0...B8
g
Src
Selects the modulation source of LFO speed
Fine [cent]
Fine-adjusts the voice 2 pitch for resonance
Off...Tempo
–20.00...+20.00Hz
h
L Delay Time [msec]
Sets the left channel delay time
0.0...500.0msec
R Delay Time [msec]
Sets the right channel delay time
0.0...500.0msec
h
High Damp [%]
Sets the feedback damping amount in the high range
Voice2: Resonance
–100...+100
☞
Sets the intensity of resonance when Control Mode = Manual
Voice2: Level
Sets the Voice2 output level
0...100
Pan
Sets the Voice2 stereo image
L6...R6
i
Depth
Sets the depth of LFO modulation
Feedback
Sets the feedback amount
–50...+50
High Damp [%]
0...100%
Sets the damping amount of resonant sound in the high range
☞
f
g
C0...B8
f
LFO Frequency Mod
D-mod, AUTOFADE
Switches between D-mod and AUTOFADE for the LFO frequency modulation
☞ Fx:027
Amt
Sets the modulation amount of LFO speed
Voice1: Pitch
Sets the voice1 Pitch for resonance
High Damp [%]
0...100%
Sets the damping amount of resonant sound in the high range
☞
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right ☞ Fx:010
LFO Frequency [Hz]
Sets the LFO speed
0...100
Fine [cent]
Fine-adjusts the voice 1 pitch for resonance
Triangle, Sine
LFO Shape
Determines how much the LFO waveform is changed
Trim
Sets the input level at the resonator
d
00...2000msec
☞ Fx:027
b
c
0.02...20.00Hz
b
LFO Frequency
Wet / Dry
a
LFO/D-mod Invert
Off, On
Reverses the Voice 1 and 2 control when LFO/D-mod is selected
Wet / Dry
LFO Phase
LFO: Tri / Sine
Manual, LFO, D-mod
☞,
0...200
–100...+100
☞ Fx:020
0...100%
☞ Fx:020
193
Effects
Pitch/Phase Mod.
LFO Frequency [Hz]
Sets the LFO speed
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
This effect simulates the “Doppler effect” of a moving sound
with a changing pitch, similar to the siren of an passing
ambulance. Mixing the effect sound with the dry sound will
create a unique chorus effect.
Doppler
Right
Wet / Dry
Pan Depth
Wet / Dry
LFO
D
-mod
Trigger
LFO Mode = 1-Shot
LFO Mode
Switches LFO operation mode
a
Loop, 1-Shot
☞,
Src
Off...Tempo
When LFO Mode is set to 1-Shot, this modulation source triggers the LFO
☞
b
–20.00...+20.00Hz
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
☞ Fx:009,
tempo and notes
030: Doppler
+
Off...Tempo
Amt
Sets the modulation amount of LFO speed
–100...+100
a: Control Mode, e: Voice1: Resonance, h: Voice2:
Resonance
This parameter determines the resonance intensity.
When “Control Mode” = Manual, the “Resonance”
parameter sets the intensity of resonance. If the “Resonance” parameter has a negative value, harmonics will be
changed, and resonance will occur at a pitch one octave
lower.
When “Control Mode” = LFO, the intensity of resonance
varies according to the LFO. The LFO sways between positive and negative values, causing resonance to occur
between specified pitches an octave apart in turn.
When “Control Mode” = D-mod, the resonance is controlled by the dynamic modulation source. If JS X or Ribbon is assigned as the modulation source, the pitch an
octave higher and lower can be controlled, similar to
when LFO is selected for Control Mode.
a: LFO/D-mod Invert
When “Control Mode” = LFO or D-mod, the controlled
phase of either Voice 1 or 2 will be reversed. When the
resonance pitch is set for Voice 1 (Resonance has a positive
value), Voice 2 will resonate at a pitch an octave below
(Resonance has a negative value).
d: Voice1: Pitch, d: Fine [cent], g: Voice2: Pitch, g: Fine
[cent]
The Pitch parameter specifies the pitch of resonance by
note name. The “Fine” parameter allows for fine adjustment in steps of cents.
e: High Damp [%], h: High Damp [%]
This parameter sets the damping amount of resonant
sound in the high range. Lower values will make a metallic sound with a higher range of harmonics.
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Src
Selects the modulation source of LFO speed
LFO Sync
Off, On
Switches between LFO reset on and off when LFO Mode is set to Loop☞
d
BPM
Selects MIDI Clock and assigns tempo
MIDI, 40...240
☞ Fx:009
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
Pitch Depth
Sets the pitch variation of the moving sound
e
f
x1...x16
☞,
0...100
Src
Selects the modulation source of pitch variation
Off...Tempo
Amt
Sets the modulation amount of pitch variation
–100...+100
Pan Depth
Sets the panning of the moving sound
–100...+100
☞,
Src
Selects the modulation source of panning
Off...Tempo
Amt
Sets the modulation amount of panning
–100...+100
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
a: LFO Mode, a: Src, b: LFO Sync
The “LFO Mode” parameter switches LFO operation
mode. When Loop is selected, the Doppler effect will be
created repeatedly. If “LFO Sync” is set to On, the LFO will
be reset when the modulation source specified with the
“Src” parameter is turned on.
When “LFO Mode” is set to 1-Shot, the Doppler effect is
created only once when the modulation source specified
in the “Src” field is turned on. At this time if you do not
set the “Src” parameter, the Doppler effect will not be
created, and no effect sound will be output.
The effect is off when a value for the modulation source specified for the “Src” parameter is smaller than 64, and the effect is
on when the value is 64 or higher. The Doppler effect is triggered when the value changes from 63 or smaller to 64 or
higher.
e: Pitch Depth
With the Doppler effect, the pitch is raised when the
sound approaches, and the pitch is lowered when the
sound goes away. This parameter sets this pitch variation.
f: Pan Depth
This parameter sets the width of the stereo image of the
effect sound. With larger values, the sound seems to come
and go from much further away. With positive values, the
sound moves from left to right; with negative values, the
sound moves from right to left.
Doppler - Pitch / Pan Depth
Pitch
Higher
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
c
Pan Depth
= (+) value
Pan Depth
= (–) value
Pitch Depth
Original Pitch
Lower
j
0.02...20.00Hz
☞ Fx:009,
Center
Left
Right
Pan Depth
<
<
<
Louder
< < <<<<<< >>>>>> > >
Volume
>
>
Louder
>
194
Effects
Pitch/Phase Mod.
031: Scratch
This effect is applied by recording the input signal and moving the modulation source. It simulates the sound of
scratches you can make using a turntable.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
a: Scratch Source, b: Response
The Scratch Source parameter enables you to select the
modulation source that controls simulation. The value of
the modulation source corresponds to the playback position. The Response parameter enables you to set the
speed of the response to the modulation source.
Scratch Source
Wet / Dry
Start
+
Scratch
Rec Control
Direct
Mix
Scratch
Wet / Dry
D-mod
Envelope Control
Input
Envelope Select
D
a
Scratch Source
Selects the modulation source for simulation control
b
Response
Sets the speed of the response to the Scratch Source
Off...Tempo
☞,
0...100
☞
Envelope Select
D-mod, Input
Selects whether the start and end of recording is controlled via the modulation source or the input signal level
☞,
Src
Off...Tempo
Selects the modulation source that controls recording when Envelope
Select is set to D-mod
☞
d
Threshold
0...100
Sets the recording start level when Envelope Select is set to Input
☞
e
Response
Sets the speed of the response to the end of recording
f
Direct Mix
Always On, Always Off, Cross Fade
Selects how a dry sound is mixed
☞
0...100
☞
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Scratch Source
D-mod
JS X
Ribbon
JS+Y
JS–Y
etc…
-mod
c
End
Recorded Sound
Right
D-mod
Playback Position
–100...+100
Scratch!
– Max
Zero
Zero
+ Max
+ Max
c: Envelope Select, c: Src, d: Threshold
When “Envelope Select” is set to D-mod, the input signal
will be recorded only when the modulation source value is
64 or higher.
When “Envelope Select” is set to Input, the input signal
will be recorded only when its level is over the Threshold
value.
The maximum recording time is 1365msec. If this is
exceeded, the recorded data will start being erased from
the top.
e: Response
This parameter enables you to set the speed of the
response to the end of recording. Set a smaller value
when you are recording a phrase or rhythm pattern, and
set a higher value if you are recording only one note.
f: Direct Mix
With Always On, a dry sound is usually output. With
Always Off, dry sounds are not output. With Cross Fade, a
dry sound is usually output, and it is muted only when
scratching.
Set Wet/Dry to Wet to use this parameter effectively.
195
Effects
Mod./P.Shift
b: LFO Phase [degree]
This parameter determines the difference between the
left and right LFO phases. A higher value will simulate the
auto-pan effect in which the sound is panned between
left and right.
MOD./P.SHIFT
Other modulation and pitch shift effects
032: Tremolo
(Stereo Tremolo)
033: EnvelTremol
This effect modulates the volume level of the input signal.
The effect is stereo, and offsetting the LFO of the left and
right phases from each other produces a tremolo effect
between left and right.
(Stereo Envelope Tremolo)
This effect uses the input signal level to modulate a stereo
tremolo. You can simulate a tremolo effect that becomes
deeper as it fades out while the level gets lower.
Stereo In - Stereo Out
Stereo In - Stereo Out
Left
Left
Wet / Dry
Wet / Dry
Tremolo
Tremolo
Tremolo
Tremolo
Right
Right
Wet / Dry
LFO Phase
LFO Phase
LFO: Tri/Sin/Vintage/Up/Down
LFO: Tri/Sin/Vintage
LFO Shape
+
LFO Waveform
Selects LFO Waveform
Envelope Sens (Envelope Sensitivity)
Sets the envelope sensitivity of the input signal
–100...+100
☞ Fx:020
Envelope Shape
Sets the envelope curve shape of the input signal
LFO Waveform
Selects LFO Waveform
0.02...20.00Hz
☞ Fx:009,
–20.00...+20.00Hz
c
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
Depth
Sets the depth of LFO modulation
e
x1...x16
f
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
–100...+100
a:LFO Waveform
This parameter selects the LFO waveform. Vintage wave
simulates the characteristics of the tremolo created on a
guitar amplifier. Combining this effect with the Amp Simulation will make a realistic, vintage tremolo amplifier
sound.
Triangle
Sine
Vintage
Up
Down
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Tremolo - LFO Waveform
☞
Envelope Amount
–100...+100
Sets the changes of the modulation depth according to the input signal level
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Src
Off...Tempo
Selects the modulation source of the depth of modulation
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
0...100
☞
0...100
Amt
–100...+100
Sets the modulation amount of the depth of modulation
f
☞
Envelope Amount [Hz]
–20.00...+20.00Hz
Sets the changes of the LFO speed according to the input signal level☞
Depth
Sets the depth of LFO modulation
0.02...20.00Hz
d
MIDI, 40...240
☞ Fx:009
Base Note
Selects the type of notes that specify the LFO speed
–100...+100
☞ Fx:020
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right ☞ Fx:032
LFO Frequency [Hz]
Sets the LFO speed
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
e
Triangle, Sine, Vintage
LFO Shape
Determines how much the LFO waveform is changed
Off...Tempo
BPM
Selects MIDI Clock and assigns tempo
–100...+100
b
Src
Selects the modulation source of LFO speed
Amt
Sets the modulation amount of LFO speed
0...100
a
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right
☞
LFO Frequency [Hz]
Sets the LFO speed
d
Envelope Shape
Envelope Sens
☞
LFO Shape
Determines how much the LFO waveform is changed
c
Envelope
Triangle, Sine, Vintage, Up, Down
a
b
Wet / Dry
LFO Shape
–100...+100
d: LFO Frequency [Hz], d: Envelope Amount [Hz],
e: Depth, e: Envelope Amount
These parameters set the modulation via an envelope
(input signal level).
The “LFO speed” is obtained by adding the “LFO Frequency” value to the “Envelope Amount” value multiplied by the input signal. The LFO modulation depth is
obtained by adding the Depth value to the “Envelope
Amount” value multiplied by the input signal level.
•
The following example indicates that the “Depth” is 0
with an LFO Frequency of 1.0Hz and the maximum
input, and that the “Depth” is 100 with a Frequency of
8.0Hz with zero input.
“LFO Frequency [Hz]”=8.0, “Envelope Amount [Hz]”=–7.0
196
Effects
Mod./P.Shift
“Depth”=100, “Envelope Amount”=–100
Depth
Sets the depth of LFO modulation
Shimmer
Level
Louder
Dry Envelope
LFO Frequency[Hz]=8.0
Envelope Amount[Hz]= –7.0Hz
Depth=100
Envelope Amount= –100
e
0...100
Src
Off...Tempo
Selects the modulation source of the depth of modulation
Amt
Sets the modulation amount of the depth of modulation
–100...+100
Time
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
034: Auto-Pan
f
(Stereo Auto Pan)
This Auto Pan effect pans sound between left and right. It is
stereo, and shifting the left and right LFO phases from each
other will simulate the sound of the left and right channels
crossing over each other by turns, or chasing each other.
Stereo In - Stereo Out
Left
Wet / Dry
Pan
Depth
Pan
Right
Wet / Dry
LFO Phase
LFO: Tri / Sin
LFO Shape
LFO Waveform
Selects LFO Waveform
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
a: LFO Shape
You can change the panning curve by modifying the LFO
waveform.
b: LFO Phase
This parameter determines the difference in the left and
right LFO phases. When you change the value gradually
from 0, the sound from the left and right channels will
chase each other around. If you set the parameter to +180
or –180, the sound from each channel will cross over each
other.
You need to input different sounds to each channel in
order for this parameter to be effective.
Stereo Auto Pan - LFO Phase
Triangle, Sine
LFO Phase = 90 degrees
LFO Phase = 0 degrees
a
LFO Shape
Determines how much the LFO waveform is changed
L-In
L-In
–100...+100
☞
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right
☞
LFO Frequency [Hz]
Sets the LFO speed
c
0.02...20.00Hz
☞ Fx:009,
Src
Selects the modulation source of LFO speed
Amt
Sets the modulation amount of LFO speed
Off...Tempo
d
L-In
BPM
Selects MIDI Clock and assigns tempo
MIDI, 40...240
☞ Fx:009
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
x1...x16
R-In
R-In
L-In
L-In
L-In
R-In
R-In
R-In
L-In
L-In
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
R-In
R-In
L-In
R-In
R-In
Left
R-In
L-In
L-In
R-In
L-In
–20.00...+20.00Hz
LFO Phase = 180 degrees
L-In
R-In
R-In
L-In
b
–100...+100
Right
Center
Output Stereo Image
R-In
L-In
R-In
Effects
Mod./P.Shift
035: Phaser/Trem
(Stereo Phaser + Tremolo)
This effect has a stereo phaser and tremolo LFOs linked
together. Swelling phaser modulation and tremolo effects
synchronize with each other, creating a soothing modulation
effect. It is suitable for electric piano type sounds.
197
enables you to offset the timing of the phaser peak and
control a subtle movement and rotation of the sound.
f: Phaser WetDry, i: Wet/Dry
The “Phaser Wet/Dry” parameter sets the balance
between the phaser output and the dry sound. The “Wet/
Dry” parameter sets the balance between the final phaser
and tremolo output level and the dry sound.
Stereo In - Stereo Out
Left
036: RingModulat
Wet / Dry
Phaser
(Stereo Ring Modulator)
Tremolo
Phaser Wet / Dry
This effect creates a metallic sound by applying the oscillators
to the input signal. Use the LFO or Dynamic Modulation to
modulate the oscillator to create a radical modulation.
Matching the oscillator frequency with a note number will
produce a ring modulation effect in specific key ranges.
Resonance
Phaser Wet / Dry
Tremolo
Phaser
Right
Wet / Dry
LFO Type
LFO
LFO Shape
LFO Phase
Stereo In - Stereo Out
Left
Type:
Phs - Trml...Phs LR - Trml LR
Selects the type of the tremolo and phaser LFOs
☞
a
b
Ring Modulator
LFO Phase [degree]
–180...+180
Sets the phase difference between the tremolo and phaser LFOs
LFO Frequency [Hz]
Sets the LFO speed
Amt
Sets the modulation amount of LFO speed
☞
Ring Modulator
Right
Note No.
Fixed
Sine Oscillator
OSC Mode Pitch
Note Offset, Fine
Note (Key Follow)
LFO
–20.00...+20.00Hz
BPM
Selects MIDI Clock and assigns tempo
MIDI, 40...240
☞ Fx:009
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
x1...x16
☞ Fx:009
a
Pre LPF
0...100
Sets the damping amount of the high range input to the ring modulator☞
b
OSC Mode
Fixed, Note (Key Follow)
Switching between specifying the oscillator frequency and using a note
number
☞
Phaser Manual
Sets the phaser frequency range
Fixed Frequency [Hz]
0...12.00kHz
Sets the oscillator frequency when OSC Mode is set to Fixed
☞,
0...100
c
d
Resonance
Sets the phaser resonance amount
–100...+100
Phaser Depth
Sets the phaser modulation depth
e
Wet / Dry
Fixed Frequency
Off...Tempo
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
c
Pre LPF
0.02...20.00Hz
☞ Fx:009,
Src
Selects the modulation source of LFO speed
Wet / Dry
Pre LPF
Amt
–12.00...+12.00kHz
Sets the modulation amount of the oscillator frequency when OSC Mode is
set to Fixed
0...100
Src
Off...Tempo
Selects the modulation source for the phaser modulation depth
Src
Off...Tempo
Selects the modulation source for the oscillator frequency when OSC Mode
is set to Fixed
d
Note Offset
–48...+48
Sets the pitch difference from the original note when OSC Mode is set to
Note (Key Follow)
☞
Amt
–100...+100
Sets the modulation amount for the phaser modulation depth
Note Fine
Fine-adjusts the oscillator frequency
f
Phaser Wet/Dry
–Wet...–2:99, Dry, 2:99...Wet
Sets the balance between the phaser effect and dry sounds
☞
g
Tremolo Shape
Sets the degree of the tremolo LFO shaping
LFO Frequency [Hz]
0.02...20.00Hz
Sets the LFO speed of the oscillator frequency modulation
☞ Fx:009,
–100...+100
☞ Fx:020
Tremolo Depth
Sets the tremolo modulation depth
h
e
Src
Selects the modulation source of LFO speed
Amt
Sets the modulation amount of LFO speed
Src
Off...Tempo
Selects the modulation source for the tremolo modulation depth
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞,
Off...Tempo
f
–100...+100
a: Type, a: LFO Phase [degree]
Select the type of phaser LFO and tremolo LFO for the
“Type” parameter. How the effect sound moves or rotates
depends on the type of LFO. Selecting “LFO Phase”
–20.00...+20.00Hz
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
☞
0...100
Amt
–100...+100
Sets the modulation amount of the tremolo modulation depth
i
–100...+100
BPM
Selects MIDI Clock and assigns tempo
MIDI, 40...240
☞ Fx:009
Base Note
Selects the type of notes that specify the LFO speed
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
x1...x16
LFO Depth
0...100
Sets the depth of LFO modulation for the oscillator frequency
g
Src
Off...Tempo
Selects the modulation source of the depth of modulation
Amt
–100...+100
Sets the modulation amount of the depth of modulation
198
Effects
Mod./P.Shift
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
037: Detune
Using this effect, you can obtain a detune effect that offsets
the pitch of the effect sound slightly from the pitch of the
input signal. Compared to the chorus effect, a more natural
sound thickness will be created.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Input Level
High Damp
+
Detune
Delay
Feedback
Input Level
Right
Wet / Dry
Pitch Shift [cent]
Sets the pitch difference from the input signal
a
–100...+100cent
Src
Selects the modulation source of the pitch shift
Off...Tempo
Amt
Sets the modulation amount of the pitch shift
b
–100...+100cent
Delay Time [msec]
Sets the delay time
0...1000msec
Feedback
Sets the feedback amount
–100...+100
c
High Damp [%]
Sets the damping amount in the high range
0...100%
Input Level Dmod [%]
Sets the modulation amount of the input level
–100...+100
☞,
Src
Selects the modulation source for the input level
Off...Tempo
d
☞
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
e
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
d: Input Level Dmod [%], d: Src
This parameter sets the dynamic modulation of the input
level.
Input Level D-mod
Input Level
Input Level
x1.0
x1.0
Amt= +50
Amt= –50
Amt= –100
Louder
Amt= +100
Louder
a: Pre LPF
This parameter enables you to set the damping amount of
the high range sound input to the ring modulator. If the
input sound contains lots of harmonics, the effect may
sound dirty. In this case, cut a certain amount of high
range.
b: OSC Mode
This parameter determines whether or not the oscillator
frequency follows the note number.
c: Fixed Frequency [Hz]
This parameter sets the oscillator frequency when “OSC
Mode” is set to Fixed.
d: Note Offset, d: Note Fine
These parameters for the oscillator are used when “OSC
Mode” is set to Note (Key Follow). The “Note Offset” sets
the pitch difference from the original note in semitone
steps. The “Note Fine” parameter fine-adjusts the pitch in
cent steps. Matching the oscillator frequency with the
note number produces a ring modulation effect in the
correct key.
x0.5
D-mod
Higher
Zero
x0.5
Max
D-mod
Higher
Zero
Max
Effects
Mod./P.Shift
038: PitchShift
Input Level Dmod [%]
Sets the modulation amount of the input level
(Pitch Shifter)
g
This effect changes the pitch of the input signal. You can
select from three types: Fast (quick response), Medium, and
Slow (preserves tonal quality). You can also create an effect in
which the pitch is gradually raised (or dropped) using the
delay with feedback.
Left
Wet / Dry
–100...+100
☞ Fx:037,
Src
Selects the modulation source for the input level
Off...Tempo
☞ Fx:037
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
199
–100...+100
Input Level
High Damp
+
Pitch Shifter
Delay
Pre
Input Level
Post
Feedback Position
Feedback
Right
a
b
Mode
Switches Pitch Shifter mode
Wet / Dry
Slow, Medium, Fast
☞
Pitch Shift [1/2tone]
Sets the pitch shift amount by steps of a semitone
–24...+24
☞,
Src
Selects the modulation source of pitch shift amount
Off...Tempo
Amt
Sets the modulation amount of pitch shift amount
☞
–24...+24
☞
Fine [cent]
Sets the pitch shift amount by steps of a cent
–100...+100cent
☞,
Amt
Sets the modulation amount of pitch shift amount
–100...+100cent
c
d
Delay Time [msec]
Sets the delay time
e
Feedback Position
Switches the feedback connection.
Feedback
Sets the feedback amount
f
High Damp [%]
Sets the damping amount in the high range
☞
0...1000msec
Pre, Post
☞
–100...+100
☞
0...100%
a: Mode
This parameter switches the pitch shifter operating mode.
With Slow, tonal quality will not be changed too much.
With Fast, the effect becomes a Pitch Shifter that has a
quick response, but may change the tone. Medium is in
between these two. If you do not need to set too much
pitch shift amount, set this parameter to Slow. If you wish
to change the pitch significantly, use Fast.
b: Pitch Shift [1/2tone], b: Src, b: Amt, c: Fine [cent], c: Amt
The amount of pitch shift will use the value of the “Pitch
Shift” plus the “Fine” value. The amount of modulation
will use the c: Amt value plus d: “Amt.”
Modulation Source is used both for “Pitch Shift” and
“Fine.”
e: Feedback Position, f: Feedback
When “Feedback Position” is set to Pre, the pitch shifter
output is again input to the pitch shifter. Therefore, if you
specify a higher value for the Feedback parameter, the
pitch will be raised (or lowered) more and more each time
feedback is repeated.
If “Feedback Position” is set to Post, the feedback signal
will not pass through the pitch shifter again. Even if you
specify a higher value for the Feedback parameter, the
pitch-shifted sound will be repeated at the same pitch.
200
Effects
Mod./P.Shift
039: PitShiftMod.
040: RotarySpeak
(Pitch Shift Modulation)
(Rotary Speaker)
This effect modulates the detuned pitch shift amount using
an LFO, adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right.
This is especially effective when the effect sound and dry
sound output from stereo speakers are mixed.
This effect simulates a rotary speaker, and obtains a more
realistic sound by simulating the rotor in the low range and
the horn in the high range separately. The effect also simulates the stereo microphone settings.
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Horn
Wet / Dry
+
+
Rotary Speaker
Pitch Shifter
Horn/Rotor
Balance
Mic Distance
Mic Spread
Rotor
Speaker Simulation
Right
Pan
Right
Wet / Dry
LFO: Tri / Sqr
a
Pitch Shift [cent]
Sets the pitch difference from the input signal
–100...+100cent
b
LFO Waveform
Selects LFO Waveform
Triangle, Square
0.02...20.00Hz
Amt
Sets the modulation amount of LFO speed
Off...Tempo
d
e
BPM
Selects MIDI Clock and assigns tempo
b
☞ Fx:009
Times
Sets the number of notes that specify the LFO speed
☞ Fx:009
Depth
Sets the LFO modulation depth for pitch shift amount
–100...+100
☞,
c
g
–100...+100
a: Pitch Shift [cent], e: Depth
These parameters set the amount of pitch shift and
amount of modulation by means of the LFO.
Pitch Shift Mod - Pitch Shift / Depth
Higher
Pitch
Lower
Original Pitch
LFO Waveform=Triangle
Depth (+value)
Pitch Shift (+ value)
LFO Waveform=Square
Depth (–value)
f: Pan, g: Wet/Dry
The Pan parameter pans the effect sound and dry sound
to the left and right. With L, the effect sound is panned
left, and the dry sound is panned right. With a Wet/Dry =
Wet setting, the effect and dry sound will be output in a
proportion of 1:1.
☞
Rotor Acceleration
0...100
Determines how quickly the rotor rotation speed in the low range is switched
e
☞
Rotor Ratio
Stop, 0.50...2.00
Adjusts the (low-range side) rotor rotation speed. Standard value is 1.00.
Selecting “Stop” will stop the rotation
f
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Manual Speed Ctrl (Manual Speed Control)
Off...Tempo
Selects the modulation source in case the rotation speed is changed
directly
☞,
Horn Ratio
Stop, 0.50...2.00
Adjusts the (high-range side) horn rotation speed. Standard value is 1.00.
Selecting “Stop” will stop the rotation
Src
Off...Tempo
Selects the modulation source of the depth of modulation
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞,
Src
Off...Tempo
Selects the modulation source that toggles between slow and fast
d
Amt
–100...+100
Sets the modulation amount of the depth of modulation
f
Src
Off...Tempo
Selects the modulation source that toggles between rotation and stop
Horn Acceleration
0...100
How quickly the horn rotation speed in the high range is switched
x1...x16
Pan
L, 1:99...99:1, R
Sets the panning effect sound and dry sound separately
☞
Rotate, Stop
Sw
Toggle, Moment
Selects switching mode of the modulation source that toggles between slow
and fast
☞
MIDI, 40...240
☞ Fx:009
Base Note
Selects the type of notes that specify the LFO speed
Manual Speed Control
Speed Switch
Slow, Fast
Switches the speaker rotation speed between slow and fast
–20.00...+20.00Hz
BPM/MIDI Sync
Off, On
Switches between using the frequency of the LFO speed and using the
tempo and notes
☞ Fx:009,
Speed Switch: Slow/Fast
Sw
Toggle, Moment
Selects switching mode of the modulation source that toggles between rotation and stop
☞
☞ Fx:009,
Src
Selects the modulation source of LFO speed
Mode Switch: Rotate/Stop
Mode Switch
Switches between speaker rotation and stop
☞
a
LFO Frequency [Hz]
Sets the LFO speed
c
Wet / Dry
D
D-mod
D-mod
-mod
g
Horn/Rotor Balance
Rotor, 1...99, Horn
Sets the level balance between the high-range horn and low-range rotor
Mic Distance
0...100
Sets the distance between the microphone and rotary speaker
☞
Mic Spread
Sets the angle of left and right microphones
0...100
☞
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
a: Sw
This parameter sets how the modulation source switches
between rotation and stop.
When “Sw” = Toggle, the speaker rotates or stops alternately each time you press the pedal or operate the joystick.
Each time the value for the modulation source exceeds 64, the
speaker rotates or stops alternately.
Effects
Mod./P.Shift
When “Sw” = Moment, the speaker is rotating. It stops
only when you press the pedal or operate the joystick.
Rotation will occur when the value of the modulation source is
less than 64, and will stop when the value is 64 or greater.
b: Sw
This parameter sets how the rotation speed (slow and
fast) is switched via the modulation source.
When “Sw” = Toggle, the speed is switched between slow
and fast each time you press the pedal or operate the joystick.
Slow/fast will alternate each time the value of the modulation
source exceeds 64.
When “Sw” = Moment, the speed is usually slow. It
becomes fast only when you press the pedal or operate
the joystick.
201
c: Manual Speed Ctrl
If you wish to control the speaker rotation speed manually, not switching between Slow and Fast, select the modulation source in the “Manual Speed Ctrl” field. If manual
control is not necessary, set this field to Off.
d: Horn Acceleration, e: Rotor Acceleration
On a real rotary speaker, the rotation speed is accelerated
or decelerated gradually after you switch the speed. The
“Horn Acceleration” parameter sets the speed at which
the rotation is accelerated or decelerated.
g: Mic Distance, g: Mic Spread
This is a simulation of stereo microphone settings.
Rotary Speaker - Mic Placement
Mic Spread
Microphone
Mic Distance
Microphone
Mic Distance
When a value for the modulation source is less than 64, “slow”
speed is selected, and when the value is 64 or higher, “fast” is
selected.
Rotary Speaker (Top View)
202
Effects
ER/Delay
042: AutoReverse
ER/DELAY
(Auto Reverse)
This effect records the input signal and automatically plays it
in reverse (the effect is similar to a tape reverse sound).
Early reflection and delay effects
041: Early Refl
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
(Early Reflections)
This effect is only the early reflection part of a reverberation
sound, and adds presence to the sound. You can select one of
the four decay curves.
Wet / Dry
+
Direct
Mix
Auto Reverse
Rec/Reverse Play
Control
Right
D-mod
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Wet / Dry
D-mod
Envelope Control
Input
Envelope Select
EQ Trim
LEQ
HEQ
+
Pre Delay
Early Reflections
a
Rec Mode
Sets the recording mode
Single, Multi
b
Reverse Time [msec]
Sets the maximum duration of the reverse playback
☞
EQ Trim
Right
Wet / Dry
a
Type
Sharp, Loose, Modulated, Reverse
Selects the decay curve for the early reflection
☞
b
ER Time [msec]
Sets the time length of early reflection
c
Pre Delay [msec]
0...200msec
Sets the time taken from the original sound to the first early reflection
d
EQ Trim
Sets the input level of EQ applied to the effect sound
c
d
0...100
–15.0...+15.0dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15.0...+15.0dB
f
Direct Mix
Always On, Always Off, Cross Fade
Selects how a dry sound is mixed
☞ Fx:031
–100...+100
a: Type
This parameter selects the decay curve for the early reflection.
Early Reflections - Type
Sharp
Loose
Modulated
0...100
☞ Fx:031
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
☞
e
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Threshold
0...100
Sets the recording start level when Envelope Select is set to Input
Response
Sets the speed of the response to the end of recording
e
f
☞
Envelope Select
D-mod, Input
Selects whether the start and end of recording is controlled via the modulation source or the input signal level
☞,
Src
Off...Tempo
Selects the modulation source that controls recording when Envelope
Select is set to D-mod
☞
10...800msec
Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
20...1320msec
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
a: Rec Mode, b: Reverse Time
When ”Rec Mode“ is set to Single, you can set up to
1320msec for “Reverse Time. ”If recording starts during
the reverse playback, the playback will be interrupted.
When “Rec Mode” is set to Multi, you can make another
recording during the reverse playback. However, the maximum Reverse Time is limited to 660msec.
If you wish to record a phrase or rhythm pattern, set “Rec
Mode” to Single. If you record only one note, set “Rec
Mode” to Multi.
The “Reverse Time” parameter specifies the maximum
duration of the reverse playback. The part in excess of this
limit will not be played in reverse. If you wish to add short
pieces of the reverse playback of single notes, make the
“Reverse Time” shorter.
Reverse
Rec Mode/Reverse Time
Rec
Dry
Pre Delay
–100...+100
Reverse Rec
Reverse Envelope Select = Input
ER Time
Input
Time
Rec Mode = Single
Rec Mode = Multi
Reverse Time
Reverse Time
Effects
ER/Delay
c: Envelope Select, c: Src, d: Threshold
These parameters select the source to control the start
and end of recording.
When “Envelope Select” is set to D-mod, the input signal
will be recorded only when the value of the modulation
source selected by the Src parameter is 64 or higher.
When “Envelope Select” is set to Input, the input signal
will be recorded only when its level exceeds the Threshold
level.
When recording is completed, reverse playback starts
immediately.
203
e: High Damp [%], e: Low Damp [%]
These parameters set the damping amount of high range
and low range. The tone of the delayed sound becomes
darker and lighter as it feeds back.
g: Spread
This parameter sets the pan width of the effect sound.
The stereo image is widest with a value of 50, and the
effect sound of both channels is output from the center
with a value of 0.
044: Cross Delay
(Stereo/Cross Delay)
043: L/C/R Delay
This multitap delay outputs three Tap signals to the left,
right, and center respectively. You can also adjust the left and
right spread of the delay sound.
This is a stereo delay, and can by used as a cross-feedback
delay effect in which the delay sounds cross over between the
left and right by changing the feedback routing.
Stereo In - Stereo Out
Left
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out
Wet / Dry
High Damp Low Damp
Left
Wet / Dry
Input Level D-mod
+
High Damp Low Damp
Input Level D-mod
L Delay
Level
C Delay
Delay
Stereo/Cross
Spread
Feedback
Level
Delay
Feedback
Input Level D-mod
R Delay
Spread
High Damp Low Damp
Input Level D-mod
Stereo/Cross
Right
Level
Wet / Dry
Right
Wet / Dry
L Delay Time [msec]
Sets the delay time of TapL
a
Stereo/Cross
Stereo, Cross
Switches between stereo delay and cross-feedback delay
b
L Delay Time [msec]
Sets the delay time for the left channel
0.0...680.0msec
c
R Delay Time [msec]
Sets the delay time for the right channel
0.0...680.0msec
0...1360msec
a
Level
Sets the output level of TapL
0...50
C Delay Time [msec]
Sets the delay time of TapC
0...1360msec
L Feedback
Sets the feedback amount for the left channel
b
Level
Sets the output level of TapC
0...50
d
R Delay Time [msec]
Sets the delay time of TapR
0...1360msec
0...50
Feedback (C Delay)
Sets the feedback amountof TapC
d
–100...+100
Amt R
–100...+100
Sets the modulation amount of the right channel feedback
f
High Damp [%]
Sets the damping amount in the high range
☞ Fx:043
g
☞ Fx:043
High Damp [%]
Sets the damping amount in the high range
0...100%
Low Damp [%]
Sets the damping amount in the low range
Low Damp [%]
Sets the damping amount in the low range
0...100%
Input Level Dmod [%]
Sets the modulation amount of the input level
Input Level Dmod [%]
Sets the modulation amount of the input level
f
☞
☞
–100...+100
☞ Fx:037,
Src
Selects the modulation source for the input level
Spread
Sets the width of the stereo image of the effect sound
0...100%
0...100%
i
–100...+100
☞ Fx:037,
Src
Selects the modulation source for the input level
Spread
Sets the width of the stereo image of the effect sound
Off...Tempo
☞ Fx:037
–50...+50
☞ Fx:043
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
0...50
☞
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
h
Off...Tempo
☞ Fx:037
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
h
–100...+100
e
Src
Off...Tempo
Selects the modulation source of the TapC feedback amount
e
Off...Tempo
R Feedback
Sets the feedback amount for the right channel
Amt
–100...+100
Sets the modulation amount of the TapC feedback amount
g
Src
Selects the modulation source of feedback amount
Amt L
–100...+100
Sets the modulation amount of the left channel feedback
c
Level
Sets the output level of TapR
–100...+100
–100...+100
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
204
Effects
ER/Delay
045: M.Tap Delay
046: Modul.Delay
(Stereo Multitap Delay)
(Stereo Modulation Delay)
The left and right Multitap Delays have two taps respectively.
Changing the routing of feedback and tap output allows you
to create various patterns of complex effect sounds.
This stereo delay uses an LFO to sweep the delay time. The
pitch also varies. You will obtain a delay sound with swell and
shimmering. You can also control the delay time using a
modulation source.
Stereo In - Stereo Out
Left
Wet / Dry
Stereo In - Stereo Out
Feedback
Left
Delay
Input Level D-mod
Input Level D-mod
High Damp Low Damp (1)
Mode
Tap1 Level
High Damp Low Damp
Mode
(1)
Delay
Wet / Dry
(2)
Spread
Delay
Tap1=(1)
Tap2=(2)
(2)
Feedback
Delay
Feedback
Right
Wet / Dry
Right
Mode: Normal
Mode: Cross Feedback
Mode: Cross Pan1
Wet / Dry
Mode: Cross Pan2
D
-mod
LFO Sync
Response
LFO: Tri / Sine
D-mod
L/R: +/+ +/–
LFO Shape
LFO
LFO Phase Modulation Mode
a
Mode
Normal, Cross Feedback, Cross Pan1, Cross Pan2
Switches the left and right delay routing
☞
Tap1 Time [msec]
Sets the Tap1 delay time
0.0...680.0msec
Modulation Mode
LFO, D-mod
Switches between LFO modulation control and modulation source control
b
Tap2 Time [msec]
Sets the Tap2 delay time
0.0...680.0msec
D-mod Modulation
Reversed L/R control by modulation source
c
d
Tap1 Level
Sets the Tap1 output level
b
0...100
☞
Feedback (Tap2)
Sets the Tap2 feedback amount
e
a
Amt
–100...+100
Sets the modulation amount of the Tap2 feedback amount
f
High Damp [%]
Sets the damping amount in the high range
0...100%
☞ Fx:043
g
Low Damp [%]
Sets the damping amount in the low range
0...100%
☞ Fx:043
Input Level Dmod [%]
Sets the modulation amount of the input level
h
Response
Sets the rate of response to the modulation source
–100...+100
Src
Off...Tempo
Selects the modulation source of the Tap2 feedback amount
LFO Waveform
Selects LFO Waveform
Off...Tempo
☞ Fx:037
LFO Shape
Determines how much the LFO waveform is changed
d
Src
Off...Tempo
Selects the modulation source of the effect sound’s stereo image width
LFO Sync
Switches LFO reset off/on
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Triangle, Sine
–100...+100
☞ Fx:020
0.02...20.00Hz
☞,
Off, On
Off...Tempo
L LFO Phase [degree]
Sets the phase obtained when the left LFO is reset
–180...+180
R LFO Phase [degree]
Sets the phase obtained when the right LFO is reset
–180...+180
☞
☞
L Depth
Sets the depth of the left LFO modulation
0...200
R Depth
Sets the depth of the right LFO modulation
0...200
g
L Delay Time [msec]
Sets the left delay time
0.0...500.0
R Delay Time [msec]
Sets the right delay time
0.0...500.0
h
L Feedback
Sets the feedback amount of left delay
–100...+100
R Feedback
Sets the feedback amount of right delay
–100...+100
i
–100...+100
a: Mode
You can change how the left and right delay signals are
panned by modifying the routing of the left and right
delay as shown in the figure above. You need to input different sounds to each channel in order for this parameter
to be effective.
d: Tap1 Level
This parameter sets the output level of Tap1. Setting a different level from Tap2 will add a unique touch to a
monotonous delay and feedback.
0...30
Src
Selects the modulation source that resets the LFO
f
Amt
–100...+100
Sets the modulation amount of the effect sound’s stereo image width
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
LFO Frequency [Hz]
Sets the LFO speed
e
Spread
–100...+100
Sets the width of the stereo image of the effect sound
☞ Fx:043,
i
Off...Tempo
c
–100...+100
☞ Fx:037,
Src
Selects the modulation source for the input level
Src
Selects the modulation source that controls delay time
L/R:+/+, L/R:+/–
☞,
Wet/Dry
–Wet...–1:99, Dry, 1:99...Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
☞ Fx:010,
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
b: D-mod Modulation
When the modulation source is used for control, this
parameter reverses the left and right modulation direction.
e: LFO Sync, e: Src,
f: L LFO Phase [degree], f: R LFO Phase [degree]
The LFO can be reset via a modulation source.
Effects
ER/Delay
The “Src” parameter sets the modulation source that
resets the LFO. For example, you can assign Gate as a modulation source so that the sweep always starts from the
specified point.
“L LFO Phase” and “R LFO Phase” set the phase obtained
when the left and right LFOs are reset. In this way, you can
create changes in pitch sweep for the left and right channels individually.
The effect is off when a value of the modulation source specified in the “Src” parameter is 63 or smaller, and the effect is on
when the value is 64 or higher. The LFO is triggered and reset to
the “L LFO Phase” and “R LFO Phase” settings when the value
changes from 63 or smaller to 64 or higher.
047: Dynam.Delay
(Stereo Dynamic Delay)
This stereo delay controls the level of delay according to the
input signal level. You can use this as a ducking delay that
applies delay to the sound only when you play keys at a high
velocity or only when the volume level is low.
Stereo In - Stereo Out
Left
Wet / Dry
High Damp Low Damp
Delay
Feedback
Spread
High Damp Low Damp
Delay
Right
FB
+
Out
Attack, Release
Envelope
Wet / Dry
Control Target
Threshold
Control Target
Selects from no control, output, and feedback
a
Polarity
Reverses level control
d
☞
☞ Fx:043
Low Damp [%]
Sets the damping amount in the low range
☞ Fx:043
☞
0...100
Offset
Sets the offset of level control
0...100
Attack
Sets the attack time of level control
1...100
Release
Sets the release time of level control
1...100
0...100%
0...100%
Spread
Sets the width of the stereo image of the effect sound
–100...+100
☞ Fx:043
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
a: Control Target
This parameter selects no level control, delay output control (effect balance), or feedback amount control.
a: Polarity, b: Threshold, b: Offset, c: Attack, d: Release
The “Offset” parameter specifies the value for the “Control Target” parameter (that is set to None), expressed as
the ratio relative to the parameter value (the “Wet/Dry”
value with “Control Target”=Out, or the “Feedback”
value with “Control Target”=FB).
When “Polarity” is positive, the “Control Target” value is
obtained by multiplying the parameter value by the “Offset” value (if the input level is below the threshold), or
equals the parameter value if the input level exceeds the
threshold.
When “Polarity” is negative, Control Target value equals
the parameter value if the input level is below the threshold, or is obtained by multiplying the parameter value by
the “Offset” value if the level exceeds the threshold.
The “Attack” and “Release” parameters specify attack
time and release time of delay level control.
Dynamic Delay
Level
+, –
Threshold
Sets the level to which the effect is applied
b
c
None, Out, FB
High Damp [%]
Sets the damping amount in the high range
h
i
Dry
Threshold
☞
Envelope
Release
Attack
☞
☞
☞
e
L Delay Time [msec]
Sets the delay time for the left channel
0.0...680.0msec
f
R Delay Time [msec]
Sets the delay time for the right channel
0.0...680.0msec
g
Feedback
Sets the feedback amount
Wet
(Ducking Delay)
Control Target=Out
Polarity= (–)
Delay Time
Wet
Control Target=Out
Polarity= (+)
Time
–100...+100
205
206
Effects
ER/Delay
048: AutoPan Dly
L Delay Time [msec]
Sets the delay time for the left channel
(Stereo Auto Panning Delay)
a
L Feedback
Sets the feedback amount for the left channel
This stereo delay effect pans the delay sound left and right
using the LFO.
R Delay Time [msec]
Sets the delay time for the right channel
–100...+100
0.0...680.0msec
b
Stereo In - Stereo Out
Left
R Feedback
Sets the feedback amount for the right channel
Wet / Dry
High Damp Low Damp
Pan
Delay
Depth
Feedback
High Damp Low Damp
Right
LFO Phase
☞ Fx:043
Low Damp [%]
Sets the damping amount in the low range
☞ Fx:043
LFO Waveform
Selects LFO Waveform
Wet / Dry
–100...+100
High Damp [%]
Sets the damping amount in the high range
c
Pan
Delay
LFO: Tri / Sin
0.0...680.0msec
0...100%
0...100%
Triangle, Sine
d
LFO Shape
Determines how much the LFO waveform is changed
LFO Shape
–100...+100
☞ Fx:020
e
LFO Phase [degree]
–180...+180
Sets the LFO phase difference between the left and right ☞ Fx:034
f
Panning Frequency [Hz]
Sets the panning speed
0.02...20.00Hz
Panning Depth
Sets the panning width
g
Src
Selects the modulation source for the panning width
Amt
Set the modulation amount of the panning width
0...100
Off...Tempo
–100...+100
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
Effects
ER/Delay
049: LCR BPM Dly
The L/C/R delay enables you to match the delay time with the
song tempo. You can also synchronize the delay time with the
arpeggiator or sequencer. If you program the tempo before
performance, you can achieve a delay effect that synchronizes
with the song in real-time. Delay time is set by notes.
Note: With extreme values, the sync may be lost.
Left
(Stereo BPM Delay)
Wet / Dry
L Delay
This stereo delay enables you to set the delay time to match
the song tempo.
Note: With extreme values, the sync may be lost.
Level
+
High Damp Low Damp
C Delay
Spread
Level
Feedback
Input Level D-mod
a: BPM, b: L Delay Base Note, b: Times, c: C Delay Base
Note,
c: Times, d: R Delay Base Note, d: Times
The delay time is the length of the note obtained by multiplying the “Base Note” parameter by the Times value, in
relation to the tempo specified by the “BPM” parameter
(or the MIDI Clock tempo if “BPM” is set to MIDI).
050: BPM Delay
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out
Input Level D-mod
207
R Delay
Level
Stereo In - Stereo Out
Right
Wet / Dry
Left
Wet / Dry
Tempo
BPM
BPM
High Damp Low Damp
Base Note x Times
Delay
Input Level D-mod
Base Note x Times
Base Note x Times
Feedback
High Damp Low Damp
Input Level D-mod
Delay
a
BPM
Selects MIDI Clock and assigns tempo
MIDI, 40...240
☞,
L Delay Base Note
Selects the type of notes to specify the delay time for TapL
☞,
b
0...50
c
Times
x1...x16
Sets the number of notes to specify the right channel delay time
☞ Fx:049
Adjust [%]
Fine-adjust the right channel delay time
Amt
Sets the modulation amount of the TapC feedback
–100...+100
L Feedback
Sets the feedback amount for the left channel
☞ Fx:043
0...100%
Low Damp [%]
Sets the damping amount in the low range
☞ Fx:043
d
Src
Selects the modulation source for the input level
–2.50...+2.50%
–100...+100
Src
Selects the modulation source of feedback amount
Off...Tempo
Amt L
–100...+100
Sets the modulation amount of the left channel feedback
0...100%
R Feedback
Sets the feedback amount for the right channel
–100...+100
☞ Fx:037,
–2.50...+2.50%
R Delay Base Note
Selects the type of notes to specify the right channel delay time
☞ Fx:049,
–100...+100
High Damp [%]
Sets the damping amount in the high range
Times
x1...x16
Sets the number of notes to specify the left channel delay time
☞ Fx:049
Off...Tempo
g
MIDI, 40...240
☞ Fx:049,
R>
----, OVER!!
Display the error message if the right channel delay time exceeds the upper
limit
☞
Src
Selects the modulation source for the TapC feedback
Input Level Dmod [%]
Sets the modulation amount of the input level
i
Adjust [%]
Adjust [%]
Fine-adjust the left channel delay time
0...50
f
h
b
Times
x1...x16
Sets the number of notes to specify the delay time for TapR
☞
Feedback (C Delay)
Sets the feedback amount of TapC
Adjust [%]
Base Note x Times
L Delay Base Note
Selects the type of notes to specify the left channel delay time
☞ Fx:049,
Times
x1...x16
Sets the number of notes to specify the delay time for TapC
☞
Level
Sets the output level of TapR
Base Note x Times
BPM
Selects MIDI Clock and assigns tempo
a
R Delay Base Note
Selects the type of notes to specify the delay time for TapR
☞,
e
BPM
0...50
Level
Sets the output level of TapC
d
BPM
Times
x1...x16
Sets the number of notes to specify the delay time for TapL
☞
C Delay Base Note
Selects the type of notes to specify the delay time for TapC
☞,
Wet / Dry
Tempo
Level
Sets the output level of TapL
c
Right
–100...+100
e
Amt R
–100...+100
Sets the modulation amount of the right channel feedback
Off...Tempo
☞ Fx:037
f
High Damp [%]
Sets the damping amount in the high range
☞ Fx:043
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
Low Damp [%]
Sets the damping amount in the low range
☞ Fx:043
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
h
Spread
Sets the width of the stereo image of the effect sound
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
0...50
☞ Fx:043
Input Level Dmod [%]
Sets the modulation amount of the input level
0...100%
0...100%
Src
Selects the modulation source for the input level
–100...+100
–100...+100
☞ Fx:037,
Off...Tempo
☞ Fx:037
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
208
Effects
Reverb
051: Seq. Delay
REVERB
(Sequential Delay)
This four-tap delay enables you to select a tempo and rhythm
pattern to set up each tap.
Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out
Left
Reverb effects
These effects simulate the ambience of reverberation in concert halls.
Wet / Dry
Pan
052: Rev. Hall
Input Level D-mod
+
This hall-type reverb simulates the reverberation of mid-size
concert halls or ensemble halls.
Delay
High Damp Low Damp
Feedback
Input Level D-mod
053: RevSmthHall
Right
Wet / Dry
Tempo
BPM
BPM
(Smooth Hall)
This hall-type reverb simulates the reverberation of larger
halls and stadiums, and creates a smooth release.
Rythm Pattern
054: RevWetPlate
a
BPM
Selects MIDI Clock and assigns tempo
MIDI, 44...240
☞,
b
Rhythm Pattern
Selects a rhythm pattern
– – – ... 3
☞,
Tap1 Pan
Sets the panning of Tap1
L, 1...99, R
055: RevDryPlate
Tap2 Pan
Sets the panning of Tap2
L, 1...99, R
This plate reverb simulates dry (light) reverberation.
Tap3 Pan
Sets the panning of Tap3
L, 1...99, R
Tap4 Pan
Sets the panning of Tap4
L, 1...99, R
Feedback
Sets the feedback amount
–100...+100
This plate reverb simulates warm (dense) reverberation.
c
d
HEQ
Pre Delay
Reverb
EQ Trim
Off...Tempo
Right
Wet / Dry
–100...+100
High Damp [%]
Sets the damping amount in the high range
☞ Fx:043
Low Damp [%]
Sets the damping amount in the low range
☞ Fx:043
Reverb Time [sec]
Sets the reverberation time
0...100%
e
High Damp [%]
Sets the damping amount in the high range
Pre Delay [msec]
Sets the delay time from the dry sound
–100...+100
☞ Fx:037,
b
Pre Delay Thru [%]
Sets the mix ratio of non-delay sound
Off...Tempo
☞ Fx:037
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
c
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
d
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
a: BPM, b: Rhythm Pattern
With the tempo specified by the “BPM” parameter (or the
MIDI Clock tempo if “BPM” is set to MIDI), the length of
one beat equals the feedback delay time, and the interval
between taps becomes equal. Selecting a rhythm pattern
will automatically turn the tap outputs on and off. When
“BPM” is set to MIDI, the lower limit of the “BPM” is 44.
0.1...10.0sec
a
0...100%
Src
Selects the modulation source for the input level
g
Wet / Dry
Pre Delay Thru
EQ Trim
LEQ
Amt
Sets the modulation amount of the feedback
f
Left
+
Src
Selects the modulation source of feedback amount
Input Level Dmod [%]
Sets the modulation amount of the input level
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
EQ Trim
Table , “Sets the EQ input level,” on page 176
0...100%
0...200msec
☞
0...100%
☞
0...100
Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
e
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
209
Effects
Reverb
b: Pre Delay [msec], b: Pre Delay Thru [%]
The “Pre Delay” sets the delay time to the reverb input,
allowing you to control spaciousness.
Using the “Pre Delay Thru” parameter, you can mix the
dry sound without delay, emphasizing the attack of the
sound.
057: R.BriteRoom
This room-type reverb emphasizes the early reflections that
make the sound brighter. See 056: Reverb Room.
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
ER Level
Reverb - Hall / Plate Type
Level
ERs
EQ Trim
Dry
LEQ
Pre Delay Thru
HEQ
Reverb
Pre Delay
EQ Trim
ER Level
Right
Time
Pre Delay
Reverb Level
ERs
Reverb
Pre Delay Thru
Wet / Dry
Reverb Time
056: Rev. Room
This room-type reverb emphasizes the early reflections that
make the sound tighter. Changing the balance between the
early reflections and reverb sound allows you to simulate
nuances, such as the type of walls of a room.
Reverb Time [sec]
Sets the reverberation time
0.1...3.0sec
a
High Damp [%]
Sets the damping amount in the high range
0...100%
Pre Delay [msec]
Sets the delay time from the dry sound
0...200msec
☞ Fx:052
b
Pre Delay Thru [%]
Sets the mix ratio of non-delay sound
0...100%
☞ Fx:052
c
ER Level
Sets the level of early reflections
0...100
d
Reverb Level
Sets the reverberation level
0...100
e
EQ Trim
Table , “Sets the EQ input level,” on page 176
0...100
☞
☞
Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
f
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
c: ER Level, d: Reverb Level
These parameters set the early reflection level and reverb
level.
Changing these parameter values allows you to simulate
the type of walls in the room. That is, a larger “ER Level”
simulates a hard wall, and a larger “Reverb Level” simulates a soft wall.
Reverb - Room Type
Level
Dry
ER
(Early Reflections)
Louder
Louder
+
Reverb
Time
Pre Delay Thru
Pre Delay
Reverb Time
210
Effects
Mono – Mono Chain
059: Par4Eq-Wah
MONO – MONO CHAIN
(Parametric 4-Band EQ – Wah/Auto Wah)
This effect combines a mono-type four-band parametric
equalizer and a wah. You can change the order of the connection.
Effects that combine two mono effects connected in series
058: Par4Eq-Exc
(Parametric 4-Band EQ – Exciter)
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
This effect combines a mono-type four-band parametric
equalizer and an exciter.
Wet / Dry
Routing
Parametric 4Band EQ
Wah/Auto Wah
+
Wah
Trim
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Parametric 4Band EQ
Exciter
Right
Sweep Mode
Envelope
+
Exciter
D
-mod
Trim
Wet / Dry
Auto
D-mod
LFO
LFO
Right
Wet / Dry
a
a
[E] Trim
Sets the parametric EQ input level
[E] Band1 Cutoff [Hz]
Sets the center frequency of Band 1
b
c
Q
Sets the bandwidth of Band 1
[E] Band2 Cutoff [Hz]
Sets the center frequency of Band 2
50...5.00kHz
[E] Band3 Cutoff [Hz]
Sets the center frequency for Band 3
d
Q
Sets the bandwidth of Band 3
Gain [dB]
Sets the gain of Band 3
[E] Band4 Cutoff [Hz]
Sets the center frequency for Band 4
e
0.5...10.0
–18...+18dB
Gain [dB]
Sets the gain of Band 2
Q
Sets the bandwidth of Band 4
c
d
500...20.00kHz
e
–18...+18dB
f
[X] Exciter Blend
Sets the intensity (depth) of the Exciter effect
–100...+100
☞ Fx:011
g
[X] Emphatic Point
Sets the frequency range to be emphasized
Q
Sets the bandwidth of Band 2
Q
Sets the bandwidth of Band 3
Q
Sets the bandwidth of Band 4
0...70
☞ Fx:011
g
–18...+18dB
300...10.00kHz
0.5...10.0
☞ Fx:006
–18...+18dB
500...20.00kHz
0.5...10.0
☞ Fx:006
–18...+18dB
☞ Fx:009
0...100
Frequency Top
Sets the upper limit of the wah center frequency
☞ Fx:009
0...100
[W] Sweep Mode
Auto, D-mod, LFO
Selects the control from auto-wah, modulation source, and LFO
☞ Fx:009,
Src
Off...Tempo
Selects the modulation source for the wah when Sweep Mode=D-mod
[W] LFO Frequency [Hz]
Sets the LFO speed
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
–100...+100
0.5...10.0
☞ Fx:006
[W] Frequency Bottom
Sets the lower limit of the wah center frequency
f
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
50...5.00kHz
Gain [dB]
Sets the gain of Band 4
0.5...10.0
☞ Fx:006
0.5...10.0
☞ Fx:006
[E] Band2 Cutoff [Hz]
Sets the center frequency of Band 2
[E] Band4 Cutoff [Hz]
Sets the center frequency for Band 4
–18...+18dB
20...1.00kHz
–18...+18dB
Gain [dB]
Sets the gain of Band 3
0.5...10.0
☞ Fx:006
0...100
Gain [dB]
Sets the gain of Band 1
[E] Band3 Cutoff [Hz]
Sets the center frequency for Band 3
–18...+18dB
300...10.00kHz
Q
Sets the bandwidth of Band 1
Gain [dB]
Sets the gain of Band 2
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Band 4
h
b
☞ Fx:006
Gain [dB]
Sets the gain of Band 1
Q
Sets the bandwidth of Band 2
[E] Band1 Cutoff [Hz]
Sets the center frequency of Band 1
0...100
20...1.00kHz
[E] Trim
Sets the parametric EQ input level
h
i
0.02...20.00Hz
Resonance
Sets the resonance amount
0...100
LPF
Switches the wah low pass filter on and off
Off, On
Routing
PEQ → WAH, WAH → PEQ
Changes the order of the parametric equalizer and wah connection
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
211
Effects
Mono – Mono Chain
060: 4EqPhsrChFl
(Parametric 4-Band EQ – Chorus/Flanger)
This effect combines a mono-type four-band parametric
equalizer and a chorus/flanger.
Left
Wet / Dry
Chorus/Flanger
+
061: Par4Eq-Phsr
(Parametric 4-Band EQ – Phaser)
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Parametric 4Band EQ
However, if a mono-input type effect is connected after
this effect, the left and right sounds may cancel each
other, eliminating the chorus/flanger effects.
This effect combines a mono-type four-band parametric
equalizer and a phaser.
Chorus/Flanger
Trim
+
–
Feedback
Normal
Output Mode
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Wet Invert
Cho/Flng Wet / Dry
Left
Wet / Dry
Parametric 4Band EQ
Right
Phaser
Wet / Dry
LFO: Tri / Sine
+
Phaser
Trim
a
[E] Trim
Sets the parametric EQ input level
0...100
c
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Band 1
–18...+18dB
[E] Band2 Cutoff [Hz]
Sets the center frequency of Band 2
50...5.00kHz
Q
Sets the bandwidth of Band 2
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Band 2
Q
Sets the bandwidth of Band 3
0.5...10.0
☞ Fx:006
c
Q
Sets the bandwidth of Band 4
0.5...10.0
☞ Fx:006
0.0...50.0msec
[F] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
LFO Waveform
Selects LFO Waveform
Triangle, Sine
d
0...100
i
–100...+100
☞ Fx:020
[F] Cho/Flng Wet/Dry
–Wet...–2:98, Dry, 2:98...Wet
Sets the effect balance of the chorus/flanger
☞ Fx:010, 020
Output Mode
Selects the output mode for the chorus/flanger
Normal, Wet Invert
☞
e
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
g
–18...+18dB
[E] Band2 Cutoff [Hz]
Sets the center frequency of Band 2
50...5.00kHz
Q
Sets the bandwidth of Band 2
0.5...10.0
☞ Fx:006
–18...+18dB
300...10.00kHz
Q
Sets the bandwidth of Band 3
0.5...10.0
☞ Fx:006
–18...+18dB
500...20.00kHz
Q
Sets the bandwidth of Band 4
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Band 4
–18...+18dB
[P] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
LFO Waveform
Selects LFO Waveform
Triangle, Sine
[P] Manual
Sets the frequency to which the effect is applied
0...100
[P] Depth
Sets the depth of LFO modulation
0...100
h
Resonance
Sets the resonance amount
[P] Phaser Wet/Dry
Sets the phaser effect balance
i
Output Mode
Selects the phaser output mode
–100...+100
i: Output Mode
When Wet Invert is selected, the right channel phase of
the chorus/flanger effect sound is inverted. This creates
pseudo-stereo effects and adds spread.
Gain [dB]
Sets the gain of Band 1
f
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
0.5...10.0
☞ Fx:006
[E] Band4 Cutoff [Hz]
Sets the center frequency for Band 4
h
Feedback
Sets the feedback amount
Q
Sets the bandwidth of Band 1
Gain [dB]
Sets the gain of Band 3
g
[F] Depth
Sets the depth of LFO modulation
20...1.00kHz
[E] Band3 Cutoff [Hz]
Sets the center frequency for Band 3
–18...+18dB
[F] Delay Time [msec]
Sets the delay time
0...100
Gain [dB]
Sets the gain of Band 2
500...20.00kHz
Gain [dB]
Sets the gain of Band 4
f
b
–18...+18dB
[E] Band4 Cutoff [Hz]
Sets the center frequency for Band 4
[E] Trim
Sets the parametric EQ input level
[E] Band1 Cutoff [Hz]
Sets the center frequency of Band 1
300...10.00kHz
Gain [dB]
Sets the gain of Band 3
e
a
–18...+18dB
[E] Band3 Cutoff [Hz]
Sets the center frequency for Band 3
d
Wet / Dry
LFO: Tri / Sine
20...1.00kHz
Q
Sets the bandwidth of Band 1
Normal
Output Mode
Wet Invert
Phaser Wet / Dry
Right
[E] Band1 Cutoff [Hz]
Sets the center frequency of Band 1
b
+
–
Resonance
–100...+100
☞ Fx:023
–Wet...–2:98, Dry, 2:98...Wet
☞ Fx:010, 023
Normal, Wet Invert
☞ Fx:060
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
212
Effects
Mono – Mono Chain
062: P4Eq-TapDly
063: Cmp-AutoWah
(Parametric 4-Band EQ – Multitap Delay)
(Compressor – Wah/Auto Wah)
This effect combines a mono-type four-band parametric
equalizer and a multitap delay.
This effect combines a mono-type compressor and a wah.
You can change the order of the connection.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Left
Wet / Dry
Parametric 4Band EQ
Compressor
Delay
Trim
High Damp (1)
Wah/Auto Wah
EQ Trim LEQ HEQ
Feedback
+
Wet / Dry
Routing
Multitap Delay
+
Comp
(2)
Wah
Output Level
Mt.Dly Wet / Dry
Right
Right
Wet / Dry
Envelope - Control
Sweep Mode
Envelope
Auto
D-mod
D-mod
Wet / Dry
LFO
LFO
a
[E] Trim
Sets the parametric EQ input level
[E] Band1 Cutoff [Hz]
Sets the center frequency of Band 1
b
c
Q
Sets the bandwidth of Band 1
0.5...10.0
[E] Band2 Cutoff [Hz]
Sets the center frequency of Band 2
50...5.00kHz
Q
Sets the bandwidth of Band 2
Q
Sets the bandwidth of Band 3
Gain [dB]
Sets the gain of Band 3
[E] Band4 Cutoff [Hz]
Sets the center frequency for Band 4
Q
Sets the bandwidth of Band 4
a
☞ Fx:006
–18...+18dB
[E] Band3 Cutoff [Hz]
Sets the center frequency for Band 3
e
20...1.00kHz
Gain [dB]
Sets the gain of Band 1
Gain [dB]
Sets the gain of Band 2
d
0...100
c
0.5...10.0
–18...+18dB
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Band 4
–18...+18dB
[D] Tap1 Time [msec]
Sets the Tap1 delay time
0...680msec
f
0...100
☞ Fx:045
[D] Tap2 Time [msec]
Sets the Tap2 delay time
0...680msec
Feedback
Sets the Tap2 feedback amount
–100...+100
g
i
High Damp [%]
Sets the damping amount in the high range
0...100%
☞ Fx:043
Wet/DryDry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on
page 175
i
SrcOff...Tempo
Table , “Selects the modulation source of the effect balance,” on
page 175
Amt
Table , “Sets the modulation amount of the
effect balance,” on page 175
–100...+100
☞ Fx:002
0...100
[C] EQ Trim
Table , “Sets the EQ input level,” on page 176
0...100
[C] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
[W] Frequency Bottom
Sets the lower limit of the wah center frequency
☞ Fx:009
0...100
Frequency Top
Sets the upper limit of the wah center frequency
☞ Fx:009
0...100
[W] Sweep Mode
Auto, D-mod, LFO
Selects the control from auto-wah, modulation source, and LFO
☞ Fx:009,
[W] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
[W] Resonance
Sets the resonance amount
0...100
Low Pass Filter
Switches the wah low pass filter on and off
Off, On
Routing
CMP → WAH, WAH → CMP
Switches the order of the compressor and wah connection
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
h
Output Level
Sets the compressor output level
1...100
h
g
[D] Mt.Delay Wet/DryDry, 2:98...98:2, Wet
Sets the multitap delay effect balance
☞ Fx:002
Src
Off...Tempo
Selects the modulation source for the wah when Sweep Mode=D-mod
f
Tap1 Level
Sets the Tap1 output level
[C] Attack
Table , “Sets the attack level,” on page 176
e
☞ Fx:006
500...20.00kHz
1...100
d
300...10.00kHz
0.5...10.0
☞ Fx:002
b
☞ Fx:006
–18...+18dB
[C] Sensitivity
Sets the sensitivity
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
213
Effects
Mono – Mono Chain
064: Cmp-AmpSim
065: Cmp-OD/HiG
(Compressor – Amp Simulation)
(Compressor – Overdrive/Hi.Gain)
This effect combines a mono-type compressor and an amp
simulation. You can change the order of the effect connection.
This effect combines a mono-type compressor and an overdrive/high-gain distortion. You can change the order of the
effect connection.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Routing
Compressor
EQ Trim LEQ
Left
Wet / Dry
Wet / Dry
Routing
Amp Simulation
Compressor
Overdrive / Hi-Gain
HEQ
+
3 Band PEQ
Comp
+
Amp Simulation Filter
Comp
Output Level
Driver
Output Level
Output Level
Mode: Overdrive / Hi-Gain
Drive
Right
Envelope - Control
a
☞ Fx:002
[C] Attack
Table , “Sets the attack level,” on page 176
☞ Fx:002
Output Level
Sets the compressor output level
c
[C] EQ Trim
Table , “Sets the EQ input level,” on page 176
Wet / Dry
Envelope - Control
[C] Sensitivity
Sets the sensitivity
b
Right
Wet / Dry
1...100
a
1...100
0...100
0...100
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
[A] Amplifier Type
Selects the type of guitar amplifier
SS, EL84, 6L6
f
Routing
CMP → AMP, AMP → CMP
Switches the order of the compressor and amp simulation connection
1...100
[C] Attack
Table , “Sets the attack level,” on page 176
☞ Fx:002
Output Level
Sets the compressor output level
☞ Fx:002
1...100
0...100
[O] Drive Mode
Overdrive, Hi-Gain
Switches between overdrive and high-gain distortion
c
Drive
Sets the degree of distortion
d
e
☞ Fx:002
b
☞ Fx:002
[C] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
[C] Sensitivity
Sets the sensitivity
[O] Output Level
Sets the overdrive output level
d
1...100
☞ Fx:006
☞ Fx:006,
Src
Off...Tempo
Selects the modulation source for the overdrive output level
Amt
Sets the modulation amount of the overdrive output level
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
0...50
[O] Low Cutoff [Hz]
Sets the center frequency for Low EQ (shelving type)
–50...+50
20...1.00kHz
e
g
Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–18...+18dB
[O] Mid1 Cutoff [Hz]
300...10.00kHz
Sets the center frequency for Mid/High EQ 1 (peaking type)
–100...+100
f
Q
Sets the band width of Mid/High EQ 1
Gain [dB]
Sets the gain of Mid/High EQ 1
0.5...10.0
☞ Fx:006
–18...+18dB
[O] Mid2 Cutoff [Hz]
500...20.00kHz
Sets the center frequency for Mid/High EQ 2 (peaking type)
g
Q
Sets the band width of Mid/High EQ 2
Gain [dB]
Sets the gain of Mid/High EQ 2
h
0.5...10.0
☞ Fx:006
–18...+18dB
Routing
CMP → OD, OD → CMP
Switches the order of the compressor and overdrive connection
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
214
Effects
Mono – Mono Chain
066: Cmp-Par.4Eq
067: Cmp-ChorFlg
(Compressor – Parametric 4-Band EQ)
(Compressor – Chorus/Flanger)
This effect combines a mono-type compressor and a fourband parametric equalizer. You can change the order of the
effect connection.
This effect combines a mono-type compressor and a chorus/
flanger. You can change the order of the effect connection.
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Routing
Compressor
EQ Trim LEQ HEQ
Comp
Chorus/Flanger
+
–
Output Level
Comp
Output Level
Chorus/Flanger
Wet / Dry
Parametric 4Band EQ
+
+
Wet / Dry
Routing
Compressor
Left
Feedback
Trim
Right
Envelope - Control
Right
Envelope - Control
[C] Sensitivity
Sets the sensitivity
1...100
☞ Fx:002
[C] Attack
Table , “Sets the attack level,” on page 176
1...100
☞ Fx:002
Output Level
Sets the compressor output level
0...100
☞ Fx:002
b
c
[E] Trim
Sets the parametric EQ input level
[E] Band1 Cutoff [Hz]
Sets the center frequency of Band 1
d
e
Q
Sets the bandwidth of Band 1
[E] Band2 Cutoff [Hz]
Sets the center frequency of Band 2
50...5.00kHz
[E] Band3 Cutoff [Hz]
Sets the center frequency for Band 3
Q
Sets the bandwidth of Band 3
Gain [dB]
Sets the gain of Band 3
[E] Band4 Cutoff [Hz]
Sets the center frequency for Band 4
g
Q
Sets the bandwidth of Band 4
Gain [dB]
Sets the gain of Band 4
h
0.5...10.0
☞ Fx:006
–18...+18dB
Gain [dB]
Sets the gain of Band 2
f
20...1.00kHz
0.5...10.0
☞ Fx:006
☞ Fx:002
Output Level
Sets the compressor output level
☞ Fx:002
1...100
0...100
[C] EQ Trim
Table , “Sets the EQ input level,” on page 176
0...100
[C] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
[F] Delay Time [msec]
Sets the delay time
0.0...50.0msec
[F] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
LFO Waveform
Selects LFO Waveform
Triangle, Sine
[F] Depth
Sets the depth of LFO modulation
0...100
Feedback
Sets the feedback amount
h
i
–100...+100
☞ Fx:020
[F] Cho/Flng Wet/Dry
–Wet...–2:98, Dry, 2:98...Wet
Sets the effect balance of the chorus/flanger
☞ Fx:010, 020
Output Mode
Selects the output mode for the chorus/flanger
Normal, Wet Invert
☞
Routing
CMP → FLNG, FLNG → CMP
Switches the order of the compressor and chorus/flanger connection
☞
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
–18...+18dB
j
–100...+100
[C] Attack
Table , “Sets the attack level,” on page 176
g
0.5...10.0
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
1...100
f
☞ Fx:006
Routing
CMP → PEQ, PEQ → CMP
Switches the order of the compressor and parametric EQ connection
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
e
–18...+18dB
500...20.00kHz
☞ Fx:002
d
300...10.00kHz
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
c
0.5...10.0
☞ Fx:006
–18...+18dB
[C] Sensitivity
Sets the sensitivity
b
0...100
Gain [dB]
Sets the gain of Band 1
Q
Sets the bandwidth of Band 2
Wet / Dry
LFO: Tri / Sine
Wet / Dry
a
a
Normal
Output Mode
Wet Invert
Cho/Flng Wet / Dry
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
h: Output Mode, i: Routing
When Wet Invert is selected, the right channel phase of
the chorus/flanger effect sound is inverted. This creates
pseudo-stereo effects and adds spread.
However, if a mono-input type effect is connected after
this effect, the left and right sounds may cancel each
other, eliminating the chorus/flanger effects.
When “Routing” is set to FLNG→CMP, “Output Mode”
will be set to Normal.
215
Effects
Mono – Mono Chain
068: Cmp-Phaser
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
(Compressor – Phaser)
This effect combines a mono-type compressor and a phaser.
You can change the order of the effect connection.
j
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
EQ Trim LEQ
Phaser
069: Cmp-MTapDly
HEQ
+
–100...+100
Wet / Dry
Routing
Compressor
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Comp
Phaser
Output Level
Normal
+
Output Mode
–
Wet Invert
Resonance
Phaser Wet / Dry
Right
Envelope - Control
LFO: Tri / Sine
Wet / Dry
(Compressor – Multitap Delay)
This effect combines a mono-type compressor and a multitap delay. You can change the order of the effect connection.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Routing
a
[C] Sensitivity
Sets the sensitivity
1...100
☞ Fx:002
[C] Attack
Table , “Sets the attack level,” on page 176
1...100
☞ Fx:002
Output Level
Sets the compressor output level
☞ Fx:002
b
c
Compressor
EQ Trim LEQ HEQ
+
Delay
High Damp (1)
Output Level
[C] EQ Trim
Table , “Sets the EQ input level,” on page 176
Right
Envelope - Control
0...100
[C] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
a
[P] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
(2)
Mt.Dly Wet / Dry
LFO Waveform
Selects LFO Waveform
Triangle, Sine
Wet / Dry
[C] Sensitivity
Sets the sensitivity
☞ Fx:002
[C] Attack
Table , “Sets the attack level,” on page 176
☞ Fx:002
Output Level
Sets the compressor output level
☞ Fx:002
b
e
1...100
1...100
0...100
[P] Manual
Sets the frequency to which the effect is applied
0...100
[C] EQ Trim
Table , “Sets the EQ input level,” on page 176
0...100
[C] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
[P] Depth
Sets the depth of LFO modulation
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
[D] Tap1 Time [msec]
Sets the Tap1 delay time
0...680msec
c
Resonance
Sets the resonance amount
[P] Phaser Wet/Dry
Sets the phaser effect balance
h
Output Mode
Selects the phaser output mode
–100...+100
☞ Fx:023
–Wet...–2:98, Dry, 2:98...Wet
☞ Fx:010, 023
e
Tap1 Level
Sets the Tap1 output level
Normal, Wet Invert
☞ Fx:067
Routing
CMP→PHS, PHS→CMP
Switches the order of the compressor and phaser connection
☞ Fx:067
0...100
d
g
i
Feedback
Comp
0...100
d
f
Multitap Delay
0...100
☞ Fx:045
[D] Tap2 Time [msec]
Sets the Tap2 delay time
0...680msec
Feedback
Sets the Tap2 feedback amount
–100...+100
f
g
[D] High Damp [%]
Sets the damping amount in the high range
0...100%
h
[D] Mt.Delay Wet/Dry
Sets the multitap delay effect balance
i
Routing
CMP→DLY, DLY→CMP
Switches the order of the compressor and multitap delay connection
☞ Fx:043
Dry, 1:99...99:1, Wet
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
216
Effects
Mono – Mono Chain
070: Lim-Par.4Eq
071: Lim-ChorFlg
(Limiter – Parametric 4-Band EQ)
(Limiter – Chorus/Flanger)
This effect combines a mono-type limiter and a four-band
parametric equalizer. You can change the order of the effect
connection.
This effect combines a mono-type limiter and a chorus/
flanger. You can change the order of the effect connection.
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Chorus/Flanger
Wet / Dry
Routing
Limiter
Wet / Dry
Routing
Limiter
Left
Parametric 4Band EQ
+
Chorus/Flanger
Limiter
EQ Trim LEQ HEQ
+
Limiter
Gain Adjust
Feedback
Trim
Gain Adjust
+
–
Right
Envelope - Control
Right
a
Release
Sets the release time
1...100
☞ Fx:003
d
[E] Trim
Sets the parametric EQ input level
[E] Band1 Cutoff [Hz]
Sets the center frequency of Band 1
Q
Sets the bandwidth of Band 1
50...5.00kHz
Q
Sets the bandwidth of Band 3
Gain [dB]
Sets the gain of Band 3
[E] Band4 Cutoff [Hz]
Sets the center frequency for Band 4
h
Q
Sets the bandwidth of Band 4
Gain [dB]
Sets the gain of Band 4
i
0.5...10.0
☞ Fx:006
i
–18...+18dB
j
–100...+100
1...100
[L] Gain Adjust [dB]
Sets the limiter output gain
–Inf, –38...+24dB
☞ Fx:003
[F] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
LFO Waveform
Selects LFO Waveform
Triangle, Sine
[F] Delay Time [msec]
Sets the delay time
0.0...50.0msec
Depth
Sets the depth of LFO modulation
0...100
–100...+100
☞ Fx:020
[F] EQ Trim
Table , “Sets the EQ input level,” on page 176
0...100
[F] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
[F] Cho/Flng Wet/Dry
–Wet...–2:98, Dry, 2:98...Wet
Sets the effect balance of the chorus/flanger
☞ Fx:010, 020
Normal, Wet Invert
☞ Fx:067
Routing
LMT→FLNG, FLNG→LMT
Switches the order of the limiter and chorus/flanger connection
☞ Fx:067
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
0.5...10.0
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
☞ Fx:003
Output Mode
Selects the output mode for the chorus/flanger
☞ Fx:006
Routing
LMT→PEQ, PEQ→LMT
Switches the order of the limiter and parametric EQ connection
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
h
–18...+18dB
500...20.00kHz
Release
Sets the release time
g
300...10.00kHz
0.5...10.0
☞ Fx:006
1...100
Feedback
Sets the feedback amount
f
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
e
0.5...10.0
☞ Fx:006
–18...+18dB
☞ Fx:003
d
20...1.00kHz
[E] Band2 Cutoff [Hz]
Sets the center frequency of Band 2
[E] Band3 Cutoff [Hz]
Sets the center frequency for Band 3
g
0...100
–18...+18dB
Gain [dB]
Sets the gain of Band 2
c
–40...0dB
☞ Fx:003
[L] Attack
Sets the attack time
b
–Inf, –38...+24dB
☞ Fx:003
Gain [dB]
Sets the gain of Band 1
Q
Sets the bandwidth of Band 2
1.0:1...50.0:1, Inf:1
☞ Fx:003
Threshold [dB]
Sets the level above which the compressor is applied
–40...0dB
☞ Fx:003
1...100
☞ Fx:003
c
f
a
[L] Attack
Sets the attack time
b
e
[L] Ratio
Sets the signal compression ratio
1.0:1...50.0:1, Inf:1
☞ Fx:003
Threshold [dB]
Sets the level above which the compressor is applied
[L] Gain Adjust [dB]
Sets the limiter output gain
Wet / Dry
LFO: Tri / Sine
Wet / Dry
Envelope - Control
[L] Ratio
Sets the signal compression ratio
Normal
Output Mode
Wet Invert
Cho/Flng Wet / Dry
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
217
Effects
Mono – Mono Chain
072: Lim-Phaser
This effect combines a mono-type limiter and a phaser. You
can change the order of the effect connection.
Left
Wet / Dry
Routing
Limiter
☞ Fx:003
1...100
Release
Sets the release time
☞ Fx:003
b
c
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
[L] Attack
Sets the attack time
1...100
[L] Gain Adjust [dB]
Sets the limiter output gain
–Inf, –38...+24dB
☞ Fx:003
[D] Tap1 Time [msec]
Sets the Tap1 delay time
Phaser
0...680msec
d
+
Tap1 Level
Sets the Tap1 output level
Phaser
Limiter
Normal
+
Output Mode
–
Wet Invert
Gain Adjust
Resonance
Phaser Wet / Dry
Right
Wet / Dry
LFO: Tri / Sine
Envelope - Control
0...100
☞ Fx:045
[D] Tap2 Time [msec]
Sets the Tap2 delay time
0...680msec
Feedback (Tap2)
Sets the Tap2 feedback amount
–100...+100
e
[D] Mt.Delay Wet/Dry
Sets the multitap delay effect balance
[L] Ratio
Sets the signal compression ratio
Threshold [dB]
Sets the level above which the compressor is applied
High Damp [%]
Sets the damping amount in the high range
–40...0dB
☞ Fx:003
g
[L] Attack
Sets the attack time
☞ Fx:003
1...100
Release
Sets the release time
☞ Fx:003
b
c
f
1.0:1...50.0:1, Inf:1
☞ Fx:003
a
Dry, 1:99...99:1, Wet
0...100%
☞ Fx:043
Routing
LMT→DLY, DLY→LMT
Switches the order of the limiter and multitap delay connection
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
1...100
[L] Gain Adjust [dB]
Sets the limiter output gain
–Inf, –38...+24dB
☞ Fx:003
[P] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
LFO Waveform
Selects LFO Waveform
Triangle, Sine
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
d
e
074: Exc-Compr
[P] Manual
Sets the frequency to which the effect is applied
0...100
(Exciter – Compressor)
[P] Depth
Sets the depth of LFO modulation
0...100
This effect combines a mono-type exciter and a compressor.
You can change the order of the effect connection.
f
Resonance
Sets the resonance amount
–100...+100
☞ Fx:023
[P] Phaser Wet/Dry
Sets the phaser effect balance
g
Output Mode
Selects the phaser output mode
h
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
–Wet...–2:98, Dry, 2:98...Wet
☞ Fx:010, 023
Left
Normal, Wet Invert
☞ Fx:067
Compressor
EQ Trim LEQ HEQ
+
Comp
Exciter
Output Level
Routing
LMT→PHS, PHS→LMT
Switches the order of the limiter and phaser connection ☞ Fx:067
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
Right
Envelope - Control
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
073: Lim-MTapDly
a
[X] Exciter Blend
Sets the intensity (depth) of the Exciter effect
b
[X] Emphatic Point
Sets the frequency range to be emphasized
c
[X] EQ Trim
Table , “Sets the EQ input level,” on page 176
(Limiter – Multitap Delay)
This effect combines a mono-type limiter and a multitap
delay. You can change the order of the effect connection.
Left
Wet / Dry
Routing
Multitap Delay
Limiter
Limiter
Delay
Gain Adjust High Damp (1)
(2)
Mt.Dly Wet / Dry
g
Right
h
[L] Ratio
Sets the signal compression ratio
a
1.0:1...50.0:1, Inf:1
☞ Fx:003
Threshold [dB]
Sets the level above which the compressor is applied
–40...0dB
☞ Fx:003
0...70
☞ Fx:011
0...100
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
[C] Sensitivity
Sets the sensitivity
☞ Fx:002
1...100
[C] Attack
Table , “Sets the attack level,” on page 176
☞ Fx:002
Output Level
Sets the compressor output level
☞ Fx:002
1...100
0...100
Routing
XCT→CMP, CMP→XCT
Switches the order of the exciter and compressor connection
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Wet / Dry
Envelope - Control
–100...+100
☞ Fx:011
[X] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
f
Feedback
+
Wet / Dry
d
e
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Wet / Dry
Routing
Exciter
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
218
Effects
Mono – Mono Chain
075: Exc-Limiter
076: Exc-ChorFlg
(Exciter – Limiter)
(Exciter – Chorus/Flanger)
This effect combines a mono-type exciter and a limiter. You
can change the order of the effect connection.
This effect combines a mono-type limiter and a chorus/
flanger.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Left
Wet / Dry
Routing
Wet / Dry
Limiter
Exciter
EQ Trim LEQ HEQ
+
EQ Trim LEQ
HEQ
+
Limiter
Exciter
Chorus/Flanger
Exciter
Chorus/Flanger
Exciter
Gain Adjust
Feedback
Right
a
[X] Exciter Blend
Sets the intensity (depth) of the Exciter effect
b
[X] Emphatic Point
Sets the frequency range to be emphasized
c
[X] EQ Trim
Table , “Sets the EQ input level,” on page 176
0...70
☞ Fx:011
0...100
[X] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
d
e
[L] Ratio
Sets the signal compression ratio
f
[L] Threshold [dB]
Sets the level above which the compressor is applied
1.0:1...50.0:1, Inf:1
☞ Fx:003
a
[X] Exciter Blend
Sets the intensity (depth) of the Exciter effect
b
[X] Emphatic Point
Sets the frequency range to be emphasized
c
[X] EQ Trim
Table , “Sets the EQ input level,” on page 176
–40...0dB
☞ Fx:003
☞ Fx:003
1...100
Release
Sets the release time
☞ Fx:003
[L] Gain Adjust [dB]
Sets the limiter output gain
–Inf, –38...+24dB
☞ Fx:003
i
Routin
XCT→LMT, LMT→XCT
Switches the order of the exciter and limiter connection
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
–100...+100
0...100
[X] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
[F] Delay Time [msec]
Sets the delay time
0.0...50.0msec
[F] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
LFO Waveform
Selects LFO Waveform
Triangle, Sine
[F] Depth
Sets the depth of LFO modulation
0...100
g
Feedback
Sets the feedback amount
h
–100...+100
☞ Fx:020
[F] Cho/Flng Wet/Dry
–Wet...–2:98, Dry, 2:98...Wet
Sets the effect balance of the chorus/flanger
☞ Fx:010, 020
Output Mode
Selects the output mode for the chorus/flanger
Normal, Wet Invert
☞ Fx:060
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
0...70
☞ Fx:011
f
1...100
h
–100...+100
☞ Fx:011
d
e
[L] Attack
Sets the attack time
g
j
Wet / Dry
LFO: Tri / Sine
–100...+100
☞ Fx:011
Normal
Output Mode
Wet Invert
Cho/Flng Wet / Dry
Right
Wet / Dry
Envelope - Control
+
–
i
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
219
Effects
Mono – Mono Chain
077: Exc-Phaser
078: Exc-MTapDly
(Exciter – Phaser)
(Exciter – Multitap Delay)
This effect combines a mono-type limiter and a phaser.
This effect combines a mono-type exciter and a multitap
delay.
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Exciter
EQ Trim LEQ
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Phaser
Left
Wet / Dry
+
Multitap Delay
Exciter
HEQ
Phaser
Exciter
+
–
Resonance
EQ Trim LEQ HEQ
Normal
Output Mode
+
Feedback
Delay
Exciter
Wet Invert
High Damp (1)
Phaser Wet / Dry
Right
(2)
Mt.Dly Wet / Dry
Wet / Dry
LFO: Tri / Sine
Right
Wet / Dry
a
[X] Exciter Blend
Sets the intensity (depth) of the Exciter effect
b
[X] Emphatic Point
Sets the frequency range to be emphasized
c
[X] EQ Trim
Table , “Sets the EQ input level,” on page 176
–100...+100
☞ Fx:011
[X] Exciter Blend
Sets the intensity (depth) of the Exciter effect
b
[X] Emphatic Point
Sets the frequency range to be emphasized
c
[X] EQ Trim
Table , “Sets the EQ input level,” on page 176
0...70
☞ Fx:011
0...100
[X] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
d
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
[P] LFO Frequency [Hz]
Sets the LFO speed
LFO Waveform
Selects LFO Waveform
Triangle, Sine
[P] Manual
Sets the frequency to which the effect is applied
[P] Phaser Wet/Dry
Sets the phaser effect balance
h
Output Mode
Selects the phaser output mode
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
[D] Tap1 Time [msec]
Sets the Tap1 delay time
0...680msec
0...100
☞ Fx:045
[D] Tap2 Time [msec]
Sets the Tap2 delay time
0...680msec
Feedback (Tap2)
Sets the Tap2 feedback amount
–100...+100
–100...+100
☞ Fx:023
g
[D] High Damp [%]
Sets the damping amount in the high range
h
[D] Mt.Delay Wet/Dry
Sets the multitap delay effect balance
Normal, Wet Invert
☞ Fx:060
0...100%
☞ Fx:043
Dry, 1:99...99:1, Wet
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–15...+15dB
0...100
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
[X] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
f
–Wet...–2:98, Dry, 2:98...Wet
☞ Fx:010, 023
0...100
Tap1 Level
Sets the Tap1 output level
g
Resonance
Sets the resonance amount
0...70
☞ Fx:011
e
0...100
[P] Depth
Sets the depth of LFO modulation
–100...+100
☞ Fx:011
d
0.02...20.00Hz
e
f
a
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
–100...+100
079: OD/HG-Amp S
(Overdrive/Hi.Gain – Amp Simulation)
This effect combines a mono-type overdrive/high-gain distortion and an amp simulation. You can change the order of
the effect connection.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Routing
Overdrive / Hi-Gain
Wet / Dry
Amp Simulation
3 Band PEQ
+
Amp Simulation Filter
Driver
Output Level
Mode: Overdrive / Hi-Gain
Drive
Right
Wet / Dry
[O] Drive Mode
Overdrive, Hi-Gain
Switches between overdrive and high-gain distortion
a
Drive
Sets the degree of distortion
1...100
☞ Fx:006
220
Effects
Mono – Mono Chain
[O] Output Level
Sets the overdrive output level
b
☞ Fx:006,
0...50
[O] Output Level
Sets the overdrive output level
Src
Off...Tempo
Selects the modulation source for the overdrive output level
Amt
Sets the modulation amount of the overdrive output level
[O] Low Cutoff [Hz]
Sets the center frequency for Low EQ (shelving type)
b
–50...+50
20...1.00kHz
[O] Low Cutoff [Hz]
Sets the center frequency for Low EQ (shelving type)
–50...+50
20...1.00kHz
c
Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–18...+18dB
Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
[O] Mid1 Cutoff [Hz]
300...10.00kHz
Sets the center frequency for Mid/High EQ 1 (peaking type)
Q
Sets the band width of Mid/High EQ 1
0.5...10.0
d
–18...+18dB
0.5...10.0
e
–18...+18dB
f
[A] Amplifier Type
Selects the type of guitar amplifier
g
0.5...10.0
☞ Fx:006
–18...+18dB
[O] Mid2 Cutoff [Hz]
500...20.00kHz
Sets the center frequency for Mid/High EQ 2 (peaking type)
☞ Fx:006
Gain [dB]
Sets the gain of Mid/High EQ 2
Q
Sets the band width of Mid/High EQ 1
Gain [dB]
Sets the gain of Mid/High EQ 1
[O] Mid2 Cutoff [Hz]
500...20.00kHz
Sets the center frequency for Mid/High EQ 2 (peaking type)
Q
Sets the band width of Mid/High EQ 2
–18...+18dB
[O] Mid1 Cutoff [Hz]
300...10.00kHz
Sets the center frequency for Mid/High EQ 1 (peaking type)
☞ Fx:006
Gain [dB]
Sets the gain of Mid/High EQ 1
e
0...50
Src
Off...Tempo
Selects the modulation source for the overdrive output level
Amt
Sets the modulation amount of the overdrive output level
c
d
☞ Fx:006,
Q
Sets the band width of Mid/High EQ 2
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Mid/High EQ 2
SS, EL84, 6L6
–18...+18dB
[F] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
Routing
OD→AMP, AMP→OD
Switches the order of the overdrive and amp simulation connection
LFO Waveform
Selects LFO Waveform
Triangle, Sine
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
[F] Delay Time [msec]
Sets the delay time
0.0...50.0msec
f
h
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
g
h
(Overdrive/Hi.Gain – Chorus/Flanger)
i
This effect combines a mono-type overdrive/high-gain distortion and a chorus/flanger. You can change the order of the
effect connection.
Wet / Dry
Routing
Chorus/Flanger
3 Band PEQ
+
Driver
Chorus/Flanger
Output Level
Mode: Overdrive / Hi-Gain
Drive
+
–
Feedback
Right
Normal
Output Mode
Wet Invert
Cho/Flng Wet / Dry
Wet / Dry
LFO: Tri / Sine
[O] Drive Mode
Overdrive, Hi-Gain
Switches between overdrive and high-gain distortion
a
Drive
Sets the degree of distortion
1...100
☞ Fx:006
Normal, Wet Invert
☞ Fx:067
Routing
OD → FLNG, FLNG → OD
Switches the order of the overdrive and chorus/flanger connection
☞ Fx:067
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
Left
–100...+100
☞ Fx:020
[F] Cho/Flng Wet/Dry
–Wet...–2:98, Dry, 2:98...Wet
Sets the effect balance of the chorus/flanger
☞ Fx:010, 020
Output Mode
Selects the output mode for the chorus/flanger
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
0...100
Feedback
Sets the feedback amount
–100...+100
080: OD/HG-ChoFl
Overdrive / Hi-Gain
Depth
Sets the depth of LFO modulation
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
221
Effects
Mono – Mono Chain
081: OD/HG-Phser
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
(Overdrive/Hi.Gain – Phaser)
This effect combines a mono-type overdrive/high-gain distortion and a phaser. You can change the order of the effect
connection.
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Routing
Overdrive / Hi-Gain
Phaser
(Overdrive/Hi.Gain – Multitap Delay)
3 Band PEQ
+
082: OD/HG-MTDly
Phaser
Driver
Output Level
+
–
Resonance
Mode: Overdrive / Hi-Gain
Drive
Normal
Output Mode
Wet Invert
Phaser Wet / Dry
Right
This effect combines a mono-type overdrive/high-gain distortion and a multitap delay.
Wet / Dry
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
LFO: Tri / Sine
Left
Wet / Dry
Multitap Delay
Overdrive / Hi-Gain
3 Band PEQ
[O] Drive Mode
Overdrive, Hi-Gain
Switches between overdrive and high-gain distortion
+
Output Level
a
Drive
Sets the degree of distortion
b
☞ Fx:006,
[O] Low Cutoff [Hz]
Sets the center frequency for Low EQ (shelving type)
Right
0...50
a
Drive
Sets the degree of distortion
20...1.00kHz
[O] Output Level
Sets the overdrive output level
–18...+18dB
b
[O] Mid1 Cutoff [Hz]
300...10.00kHz
Sets the center frequency for Mid/High EQ 1 (peaking type)
d
Q
Sets the band width of Mid/High EQ 1
–18...+18dB
e
Gain [dB]
Sets the gain of Mid/High EQ 2
0.02...20.00Hz
LFO Waveform
Selects LFO Waveform
Triangle, Sine
–18...+18dB
d
Q
Sets the band width of Mid/High EQ 1
Gain [dB]
Sets the gain of Mid/High EQ 1
0.5...10.0
☞ Fx:006
–18...+18dB
[O] Mid2 Cutoff [Hz]
500...20.00kHz
Sets the center frequency for Mid/High EQ 2 (peaking type)
[P] Manual
Sets the frequency to which the effect is applied
0...100
Q
Sets the band width of Mid/High EQ 2
0...100
Gain [dB]
Sets the gain of Mid/High EQ 2
–18...+18dB
Depth
Sets the depth of LFO modulation
[D] Tap1 Time [msec]
Sets the Tap1 delay time
0...680msec
Resonance
Sets the resonance amount
[P] Phaser Wet/Dry
Sets the phaser effect balance
h
Output Mode
Selects the phaser output mode
i
20...1.00kHz
[O] Mid1 Cutoff [Hz]
300...10.00kHz
Sets the center frequency for Mid/High EQ 1 (peaking type)
f
g
–50...+50
c
–18...+18dB
[P] LFO Frequency [Hz]
Sets the LFO speed
0...50
Src
Off...Tempo
Selects the modulation source for the overdrive output level
Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
0.5...10.0
☞ Fx:006
☞ Fx:006,
[O] Low Cutoff [Hz]
Sets the center frequency for Low EQ (shelving type)
[O] Mid2 Cutoff [Hz]
500...20.00kHz
Sets the center frequency for Mid/High EQ 2 (peaking type)
Q
Sets the band width of Mid/High EQ 2
1...100
☞ Fx:006
Amt
Sets the modulation amount of the overdrive output level
0.5...10.0
☞ Fx:006
Gain [dB]
Sets the gain of Mid/High EQ 1
Wet / Dry
[O] Drive Mode
Overdrive, Hi-Gain
Switches between overdrive and high-gain distortion
–50...+50
c
Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
(2)
Mode: Overdrive / Hi-Gain
Drive
Src
Off...Tempo
Selects the modulation source for the overdrive output level
Amt
Sets the modulation amount of the overdrive output level
High Damp (1)
Mt.Dly Wet / Dry
1...100
☞ Fx:006
[O] Output Level
Sets the overdrive output level
Feedback
Delay
Driver
e
–100...+100
☞ Fx:023
f
Tap1 Level
Sets the Tap1 output level
–Wet...–2:98, Dry, 2:98...Wet
☞ Fx:010, 023
Normal, Wet Invert
☞ Fx:067
0.5...10.0
☞ Fx:006
0...100
☞ Fx:045
[D] Tap2 Time [msec]
Sets the Tap2 delay time
0...680msec
Feedback
Sets the Tap2 feedback amount
–100...+100
g
Routing
OD → PHS, PHS → OD
Switches the order of the overdrive and phaser connection
☞ Fx:067
[D] Mt.Delay Wet/Dry
Sets the multitap delay effect balance
Dry, 2:98...98:2, Wet
h
High Damp [%]
Sets the damping amount in the high range
0...100%
☞ Fx:043
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
222
Effects
Mono – Mono Chain
083: Wah-AmpSim
084: Decim-Amp S
(Wah/Auto Wah – Amp Simulation)
(Decimator – Amp Simulation)
This effect combines a mono-type wah and an amp simulation. You can change the order of the effect connection.
This effect combines a mono-type decimator and an amp
simulation. You can change the order of the effect connection.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Routing
Wah/Auto Wah
+
Wah
Amp Simulation
a
Amp Simulation Filter
[D] Pre LPFOff, On
Turn the harmonic noise caused by lowered sampling on and off
☞ Fx:014
High Damp [%]
Sets the ratio of high-range damping
Right
Sweep Mode
Envelope
Auto
-mod D-mod
D
[D] Sampling Freq [Hz] (Sampling Frequency)
Sets the sampling frequency
Wet / Dry
b
Resolution
Sets the data bit length
☞ Fx:014
c
[D] Output Level
Sets the decimator output level
☞ Fx:014
d
[A] Amplifier Type
Selects the type of guitar amplifier
e
RoutingDECI→AMP, AMP→DECI
Switches the order of the wah and amp simulation connection
LFO
[W] Frequency Bottom
Sets the lower limit of the wah center frequency
☞ Fx:009
0...100
Frequency Top
Sets the upper limit of the wah center frequency
☞ Fx:009
0...100
[W] Sweep Mode
Auto, D-mod, LFO
Selects the control from auto-wah, modulation source, and LFO
☞ Fx:009,
[W] LFO Frequency [Hz]
Sets the LFO speed
4...24
0...100
SS, EL84, 6L6
Wet/DryDry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on
page 175
Src
Off...Tempo
Selects the modulation source for the wah when Sweep Mode=D-mod
c
1.00k...48.00kH
z
b
LFO
a
0...100%
f
0.02...20.00Hz
[W] Resonance
Sets the resonance amount
0...100
Low Pass Filter
Switches the wah low pass filter on and off
Off, On
SrcOff...Tempo
Table , “Selects the modulation source of the effect balance,” on
page 175
Amt
Table , “Sets the modulation amount of the
effect balance,” on page 175
–100...+100
d
085: Decim-Cmp
e
[A] Amplifier Type
Selects the type of guitar amplifier
SS, EL84, 6L6
f
Routing
WAH → AMP, AMP → WAH
Switches the order of the wah and amp simulation connection
(Decimator – Compressor)
This effect combines a mono-type decimator and a compressor. You can change the order of the effect connection.
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Routing
g
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Compressor
Decimator
Output Level
Resolution
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
+
–100...+100
Comp
Decimator
Pre LPF
High Damp
Output Level
Right
Wet / Dry
Envelope - Control
[D] Pre LPF
Off, On
Turn the harmonic noise caused by lowered sampling on and off
☞ Fx:014
a
High Damp [%]
Sets the ratio of high-range damping
[D] Sampling Freq [Hz] (Sampling Frequency)
Sets the sampling frequency
0...100%
1.00k...48.00kHz
b
Resolution
Sets the data bit length
☞ Fx:014
c
[D] Output Level
Sets the decimator output level
☞ Fx:014
d
[C] Sensitivity
Sets the sensitivity
☞ Fx:002
[C] Attack
Table , “Sets the attack level,” on page 176
☞ Fx:002
Output Level
Sets the compressor output level
☞ Fx:002
e
f
4...24
0...100
1...100
1...100
Routing
DECI→CMP, CMP→DECI
Switches the order of the decimator and compressor connection
0...100
223
Effects
Mono – Mono Chain
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
g
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
087: Ch/Fl-MTDly
(Chorus/Flanger – Multitap Delay)
This effect combines a mono-type chorus/flanger and a multitap delay.
–100...+100
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Multitap Delay
Chorus/Flanger
086: AmpS-Tremol
Feedback
+
(Amp Simulation – Tremolo)
Chorus/Flanger
EQ LEQ HEQ
Trim
This effect combines a mono-type amp simulation and a
tremolo.
Delay (2)
(1)
Cho/Flng
Wet / Dry High Damp
Mt.Dly
Wet / Dry
Feedback
Right
Wet / Dry
LFO: Tri / Sine
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
Amp Simulation
+
Tremolo
Amp Simulation Filter
a
Tremolo
[F] Delay Time [msec]
Sets the delay time
0.0...50.0msec
[F] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
LFO Waveform
Selects LFO Waveform
Triangle, Sine
b
Right
Wet / Dry
LFO: Tri/Sin/Vintage/Up/Down
LFO Shape
[F] Depth
Sets the depth of LFO modulation
0...100
c
a
[A] Amplifier Type
Selects the type of guitar amplifier
[T] LFO Waveform
Selects LFO Waveform
b
[T] LFO Frequency [Hz]
Sets the LFO speed
d
[T] Depth
Sets the depth of LFO modulation
d
Triangle, Sine, Vintage, Up, Down
☞ Fx:032
LFO Shape
Determines how much the LFO waveform is changed
c
–100...+100
☞ Fx:020
0.02...20.00Hz
0...100
f
[F] EQ Trim
Table , “Sets the EQ input level,” on page 176
0...100
[F] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
–100...+100
[F] Cho/Flng Wet/Dry
–Wet...–2:98, Dry, 2:98...Wet
Sets the effect balance of the chorus/flanger
☞ Fx:010, 020
[D] Tap1 Time [msec]
Sets the Tap1 delay time
0...680msec
g
Tap1 Level
Sets the Tap1 output level
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
☞ Fx:020
e
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
e
Feedback
Sets the feedback amount
SS, EL84, 6L6
0...100
☞ Fx:045
[D] Tap2 Time [msec]
Sets the Tap2 delay time
0...680msec
Feedback (Tap2)
Sets the Tap2 feedback amount
–100...+100
h
[D] Mt.Delay Wet/Dry
Sets the multitap delay effect balance
Dry, 1:99...99:1, Wet
i
High Damp [%]
Sets the damping amount in the high range
0...100%
☞ Fx:043
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
224
Effects
Mono – Mono Chain
088: Phser-ChoFl
089: Rev-Gate
(Phaser – Chorus/Flanger)
(Reverb – Gate)
This effect combines a mono-type phaser and a chorus/
flanger.
This effect combines a mono-type reverb and a gate.
Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out
Left
Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Wet / Dry
Phaser
Wet / Dry
Reverb
Left
EQ Trim
Chorus/Flanger
+
Pre Delay
Reverb
Gate
Reverb
Balance
LEQ HEQ
+
Phaser
Resonance
Chorus/Flanger
EQ LEQ HEQ
Trim
Phaser
Feedback
Wet / Dry
Normal
+
Output Mode
–
Wet Invert
Cho/Flng
Wet / Dry
Right
LFO: Tri / Sine
Wet / Dry
[P] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
LFO Waveform
Selects LFO Waveform
Triangle, Sine
[P] Manual
Sets the frequency to which the effect is applied
0...100
Depth
Sets the depth of LFO modulation
0...100
Resonance
Sets the resonance amount
c
[P] Phaser Wet/Dry
Sets the phaser effect balance
[R] Reverb Time [sec]
Sets the reverberation time
f
[F] LFO Frequency [Hz]
Sets the LFO speed
0.02...20.00Hz
b
[R] Pre Delay [msec]
0...200msec
Sets the delay time of the reverb sound and gate control signal
c
[R] EQ Trim
Table , “Sets the EQ input level,” on page 176
LFO Waveform
Selects LFO Waveform
Triangle, Sine
[F] Delay Time [msec]
Sets the delay time
0.0...50.0msec
e
0...100
[F] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
–15...+15dB
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
–15...+15dB
g
–15...+15dB
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
–100...+100
[R] Reverb Balance
Sets the reverb effect balance
Dry, 1:99...99:1, Wet
☞
[G] Input Reverb Mix
Dry, 1:99...99:1, Wet
Sets the balance between the dry and reverb sounds of the gate control signal.
☞
0...100
☞
[G] Polarity
+, –
Switches between non-invert and invert of the gate on/off state
☞ Fx:005
[G] Attack
Sets the attack time
☞ Fx:005
Release
Sets the release time
☞ Fx:005
i
Normal, Wet Invert
☞ Fx:060
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
Pre HEQ Gain [dB]
Table , “Sets the gain of High EQ,” on page 176
Threshold
Sets the gate threshold level
1...100
1...100
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
Wet/Dry
Dry, 1:99...99:1, Wet
Table , “Sets the balance between the effect and dry sounds,” on page 175
i
–15...+15dB
Src
Off...Gate2+Dmpr
Selects the modulation source that controls the gate when Envelope Select
is set to D-mod
☞
h
[F] Cho/Flng Wet/Dry
–Wet...–2:98, Dry, 2:98...Wet
Sets the effect balance of the chorus/flanger
☞ Fx:010, 020
Output Mode
Selects the output mode for the chorus/flanger
[R] Pre LEQ Gain [dB]
Table , “Sets the gain of Low EQ,” on page 176
f
–100...+100
☞ Fx:020
g
h
0...100
[G] Envelope Select
D-mod, Input
Switches between modulation source control and input signal control
0...100
[F] EQ Trim
Table , “Sets the EQ input level,” on page 176
0...100%
d
–Wet...–2:98, Dry, 2:98...Wet
☞ Fx:010, 023
Feedback
Sets the feedback amount
0.1...10.0sec
High Damp [%]
Sets the damping amount in the high range
–100...+100
☞ Fx:023
Depth
Sets the depth of LFO modulation
Gate
a
d
e
Wet / Dry
Input Reverb Mix
Input
Envelope - Control
Gate+Dmpr
D-mod Envelope Select
LFO: Tri / Sine
a
b
Right
j
Src
Off...Tempo
Table , “Selects the modulation source of the effect balance,” on page 175
Amt
Table , “Sets the modulation amount of the effect balance,” on page 175
–100...+100
f: Envelope Select, f: Src, g: Input Reverb Mix, g: Threshold
The “Envelope Select” parameter enables you to select
whether turning the gate on and off is triggered by the
input signal level or controlled directly by the modulation
source. You can select from Off to Gate2+Dmpr for the Src
parameter to specify the modulation source.
When “Envelope Select” is set to Input, the gate is controlled by the level of signals that are the combination of
the dry sound and the reverb sound. When the signal level
exceeds the threshold, the gate opens and the reverb
sound is output.
Normally, set “Input Reverb Mix” to Dry (the gate is controlled only by the dry sound). If you wish to extend the
gate time, set the “Input Reverb Mix” value higher and
adjust the “Threshold” value.
Assignable parameters
List of functions assignable to the Footswitch
225
19. ASSIGNABLE PARAMETERS
LIST OF FUNCTIONS ASSIGNABLE TO THE
FOOTSWITCH
The following functions can be assigned to a footswitch.
Function
Meaning
Style Up
Selects the next Style
Style Down
Selects the previous Style
Perform. Up
Selects the next Performance
Function
Meaning
Perform. Down
Selects the previous Performance
Off
No function assigned
Program Up
Selects the next Program
Start/stop
Program Down
Selects the previous Program
Play/Stop Seq1
STS Up
Selects the next STS
Play Stop Seq2
STS Down
Selects the previous STS
Synchro
STS1
Selects the STS #1
Tap tempo/Rst
STS2
Selects the STS #2
Tempo lock
STS3
Selects the STS #3
Intro 1
STS4
Selects the STS #4
Ending 1
Punch In/Out
Turns the Punch Recording on/off
Intro 2
FX CC12 Sw.
Ending 2
FX CC13 Sw.
Standard FX controllers
Fx A mute
Mute of the Internal FX A
Fx B mute
Mute of the Internal FX B
C.In / Break
Fx C mute
Mute of the Internal FX C
Variation 1
Fx D mute
Mute of the Internal FX D
Variation 2
All Fx mute
Mute of all Internal FXs
Variation 3
Drum mute
Mute of the Drum track
Variation 4
Perc mute
Mute of the Percussion track
Variation up
Bass mute
Mute of the Bass track
Variation down
Acc1 mute
Mute of the Acc1 track
Fade in/out
Acc2 mute
Mute of the Acc2 track
Memory
Acc3 mute
Mute of the Acc3 track
Bass inversion
Acc4 mute
Mute of the Acc4 track
Manual Bass
Acc5 mute
Mute of the Acc5 track
Mute of the Upper 1 track
Acc 1/5 mute
Mute of all Acc tracks
Upper 2 Mute
Mute of the Upper 2 track
Ens. on/off
Ensemble on/off
Upper 3 Mute
Mute of the Upper 3 track
Quarter tone
Quarter Tone on/off
Lower Mute
Mute of the Lower track
Chord Latch
Song Melody Mute
Mute of the Song’s track 4 (usually,
the Melody track)
Holds the recognized chord until the
pedal is released
Chord Latch+Damper
Holds the recognized chord until the
pedal is released, and sustains tracks
where the Damper has been turned
on
Fill 1
Fill 2
Upper 1 Mute
Same functions of the control panel
buttons with the same name
Song Drum&Bass
Mute of all tracks, apart for track 2
(usually Bass) and 10 (usually Drum)
Style Change
Same functions of the control panel
buttons with the same name
Single Touch
226
Assignable parameters
List of functions assignable to the Pedal or Assignable Slider
LIST OF FUNCTIONS ASSIGNABLE TO THE
PEDAL OR ASSIGNABLE SLIDER
The following functions can be assigned to a continuous
pedal or to the Assignable Slider.
Function
Meaning
Joystick +X
Joystick right
Joystick -X
Joystick left
Joystick +Y
Joystick forward
Joystick -Y
Joystick backward
Vdf cutoff (RT tracks)
Filter cutoff (on the Programs
assigned to the Realtime tracks)
Function
Meaning
Master volume
Master Volume
Accomp.Volume
Accopaniment Volume
FX CC12 Ctl
Kb Expression
Keyboard Expression
FX CC13 Ctl
Standard FX controllers
LIST OF SOUNDS ASSIGNABLE TO THE PADS
You can assign the following sounds to the Pads.
SOUND NAME
SOUND NAME
SOUND NAME
71
Darbuka1
SOUND NAME
1
ChinaGong
36
DistSlid2
106
HeartBeat
2
Crash 1
37
Sticks
72
Darbuka2
107
Footstep1
3
Crash 2
38
Cowbell
73
Darbuka3
108
Footstep2
4
88 Crash
39
Agogo 1
74
Darbuka4
109
Stadium
5
Ride 1
40
Agogo 2
75
Darbuka5
110
DoorCreak
6
Ride 2
41
Whistle 1
76
Darbuka6
111
DoorSlam
7
China
42
Whistle 2
77
Darbuka7
112
CarEngine
8
Ride Bell
43
Sh. Guiro
78
Darbuka8
113
Car Stop
9
Splash
44
LongGuiro
79
DoufRimAk
114
Car Pass
10
RevCymbal
45
Cuica 1
80
Tef 1
115
Car Crash
11
DragonGng
46
Cuica 2
81
Tef 2
116
Crickets
12
OrchCymb1
47
Triangle1
82
Tef 3
117
Train
13
OrchCymb2
48
Triangle2
83
Tef 4
118
Helicopt
14
OrcSdRoll
49
88Cowbell
84
Tef 5
119
Gun Shot
15
OrchSnare
50
TimbLow
85
Tef 6
120
MachinGun
16
Timpani 1
51
TimbHi
86
Rik 1
121
Laser Gun
17
Timpani 2
52
TimbRim1
87
Rik 2
122
Explosion
18
Timpani 3
53
TimbRim2
88
Rik 3
123
Dog
19
Timpani 4
54
CongaLow
89
RekDomAk
124
H. Gallop
20
Orch. Hit
55
CongaHi
90
OpenBells
125
Birds 1
21
BrassFall
56
CongaSlap
91
Sagat 1
126
Birds 2
22
Ch. Bell
57
CongaMute
92
Sagat 2
127
Thunder
23
JingleBel
58
Tamb.Acc1
93
Davul
128
Sea Shore
24
WindChim1
59
Tamb.Acc2
94
Ramazan 1
129
River
25
WindChim2
60
Tamb.Push
95
Ramazan 2
130
Bubble
26
WindChim3
61
TambOpen
96
Ramazan 3
131
Cat
27
VibraSlap
62
Castanet1
97
Kup 1
132
Lion
28
RainStick
63
Castanet2
98
Kup 2
133
PhoneRing
29
Scratch 1
64
Aah !
99
Kup 3
134
Applause
30
Scratch 2
65
Uuh !
100
Kup 4
135
Wind
31
Scratch 3
66
Yeah ! 1
101
Baya 1
136
Starship
32
Scratch 4
67
Yeah ! 2
102
Baya 2
137
Jetplane
33
Scratch 5
68
Hit It !
103
Laughing
138
Siren
34
Scratch 6
69
Hollo 1
104
Scream
139
Cosmic
35
DistSlid1
70
Hollo 2
105
Punch
Assignable parameters
List of functions assignable to the Pads
LIST OF FUNCTIONS ASSIGNABLE TO THE
PADS
You can assign the following functions to the Pads, and use
them as switch controls.
Function
Meaning
StyleUp
Selects the next Style
StylDown
Selects the previous Style
PerfUp
Selects the next Performance
PerfDown
Selects the previous Performance
ProgUp
Selects the next Program
ProgDown
Selects the previous Program
PunchI/O
Turns the Punch Recording on/off
FxA Mute
Mute of the Internal FX A
FxB Mute
Mute of the Internal FX B
FxC Mute
Mute of the Internal FX C
FxD Mute
Mute of the Internal FX D
Fx Mute
Mute of all Internal FXs
Upp1Mute
Mute of the Upper 1 track
Upp2Mute
Mute of the Upper 2 track
Upp3Mute
Mute of the Upper 3 track
Low Mute
Mute of the Lower track
DrumMute
Mute of the Drum track
PercMute
Mute of the Percussion track
BassMute
Mute of the Bass track
Acc1Mute
Mute of the Acc1 track
Acc2Mute
Mute of the Acc2 track
Acc3Mute
Mute of the Acc3 track
Acc4Mute
Mute of the Acc4 track
Acc5Mute
Mute of the Acc5 track
Acc Mute
Mute of all Acc tracks
Mel.Mute
Mute of the Song’s track 4 (usually,
the Melody track)
Drum&Bas
Mute of all tracks, apart for track 2
(usually Bass) and 10 (usually Drum)
QuarterT
Quarter Tone on/off
Fx CC12
Fx CC13
Standard FX controllers
227
SCALES
The following is a list of scales (or tunings) you can select in
Style Play (“Scale” on page 44) and Global (“Scale” on
page 125) modes.
Equal
Equal tuning, the standard scale for modern
Western music. It is made of 12 identical semitones.
Pure Major Major chords in the selected key are perfectly
tuned.
Pure Minor Minor chords in the selected key are perfected
tuned.
Arabic
An arabic scale, using quarters of tone. Set the
Key parameter as follow:
C - for the “rast C/bayati D” scale
D - for the “rast D/bayati E” scale
F - for the “rast F/bayati G” scale
G - for the “rast G/bayati A” scale
A# - for the “rast Bb/bayati C” scale
Pythagorean Pythagorean scale, based on the music theories
of the great Greek philosopher and matematician. It is most suitable for melodies.
Werckmeister
Late Baroque/Classic Age scale. Very suitable
for XVIII Century music.
Kirnberger Harpsichord scale, very common during the
XVIII Century.
Slendro
Scale of the Indonesian Gamelan. The octave is
divided in 5 notes (C, D, F, G, A). The remaining notes are tuned as in the Equal tuning.
Pelog
Scale of the Indonesian Gamelan. The octave is
divided in 7 notes (all white keys, when Key is
= C). The black keys are tuned as in the Equal
tuning.
Stretch
Simulates the “stretched” tuning of an acoustic
piano. Basically an equal tuning, the lowest
notes are slightly lower, while the highest notes
are slightly higher than the standard.
User
User scale, i.e. scale programmed by the user
for the Style Play, Backing Sequence and Song
Play modes. The user scale can be saved to a
Performance, Style Performance, STS or Song.
You can’t select a User scale in Global mode.
228
MIDI Controllers
20. MIDI CONTROLLERS
The following is a table including all Control Change messages, and their effect on various Pa50 functions.
CC#
0
CC Name
Pa50 Function
Bank Select
Program selection
1
Mod1 (Y+)
Joystick forward
2
Mod2 (Y-)
Joystick backward
3
Undef. ctl
4
Foot ctl
5
Port.time
6
Data ent.
7
Volume
8
Balance
9
Undef. ctl
10
Pan Pot
11
Expression
12
Fx Ctl 1
13
14-15
Track panning
Expression
Fx Ctl 2
Undef. ctl
16
Gen.pc.1
17
Gen.pc.2
18
Slider
19
Gen.pc.4
20-31
Track volume
Undef. ctl
Control Change #32-63 are the LSB (Least Significant Bytet) of
Control Change #0-31, i.e. the MSB (Most Significant Byte), and
are changed according to their MSB counterparts.
64
Damper
Damper pedal
65
Portamento
66
Sostenuto
Sostenuto pedal
67
Soft pedal
Soft pedal
68
Legato
69
CC#
CC Name
Pa50 Function
73
Attack
Attack time
74
F.CutOff
Filter cutoff (Brilliance)
75
Decay T.
Decay time
76
Lfo1 Sp.
Vibrato speed
77
Lfo1 Dpt
Vibrato depth
78
Lfo1 Dly
Vibrato initial delay
79
FilterEg
80
Gen.pc.5
81
Gen.pc.6
82
Gen.pc.7
83
Gen.pc.8
84
Port.ctl
85-90
Undef. ctl
91
Fx A/C
92
Fx 2 ctl
93
Fx B/D
94
Fx 4 ctl
95
Fx 5 ctl
96
Data Inc
97
Data Dec
98
NRPN Lsb
99
NRPN Msb
100
RPN Lsb
101
RPN Msb
102-119
A/C (reverb) send level
B/D (modul.) send level
Undefined ctl
120
AllSOff
121
Res Ctl
122
LocalCt
123
NoteOff
124
OmniOff
Hold 2
125
Omni On
70
Sustin level
126
Mono On
71
F.Res.Hp
Filter resonance
127
Poly On
72
Release
Release time
Reset All Controllers
MIDI Controllers
MIDI Implementation Chart
KORG Pa50
OS Version 1.0 - Mar. 15, 2003
MIDI IMPLEMENTATION CHART
Function
Basic Channel
Transmitted
Recognized
Default
1–16
1–16
Changed
1–16
1–16
X
X
Default
Mode
Note
Number:
Note On
Velocity
Aftertouch
Note Off
O
9n, V=1–127
X
Aux
Messages
Notes
Mode 1:OMNI ON, POLY
Mode 3:OMNI OFF, POLY
V=64
X
O
O
Sequencer data only
*A
O
O
Sequencer data only
*A
O
O
O
O
Bank Select (MSB, LSB)
*A
1, 2
O
O
Modulations
*A
64
O
O
Damper
*A
6
O
O
Data Entry MSB
*A
38
X
O
Data Entry LSB
*A
7, 11
O
O
Volume, Expression
*A
10, 91, 93
O
O
Panpot, A/B or C/D FX Block Send
*A
71, 72, 73
O
O
Harmonic Content, EG time (Release, Attack)
*A
74, 75
O
O
Brightness, Decay Time
*A
76, 77, 78
O
O
Vibrato Rate, Depth, Delay
*A
98, 99
O
O
NRPN (LSB, MSB)
100, 101
O
O
RPN (LSB, MSB)
O
All sounds off, Reset all controllers
X
O
True #
0–127
****************
O
System Exclusive
System
Real Time
9n, V=1–127
Mono (Channel)
120, 121
System
Common
0–127
O
Poly (Key)
0, 32
Program
Change
0–127
****************
Pitch Bend
Control
Change
Memorized
****************
0–127
True Voice
Remarks
3
Messages
Altered
229
O
0–127
*A,
*A, 1
*A
*A
0–127
O
*2
Song Position
X
X
Song Select
X
X
Tune
X
X
Clock
O
O
*3
Commands
O
O
*3
Local On/Off
X
X
All Notes Off
X
O (123–127)
Active Sense
O
O
Reset
X
X
*A: Sent and received when MIDI Filters In and Out are set to Off in Global mode.
*1: LSB, MSB = 00,00: Pitch Bend range, =01,00: Fine Tune, =02,00: Course Tune.
*2: Includes Inquiry and Master Volume messages.
*3: Transmitted only when the Clock Send parameter (Global page 6) is set to Midi.
Mode 2:OMNI ON, MONO
Mode 4:OMNI OFF, MONO
O: Yes
X: No
230
Parameters
21. PARAMETERS
Control panel and operating modes parameters
The following table shows the parameters you can save to memory when pressing the WRITE button in the various operating
modes and edit environments.
Page Parameter
Control Panel
–
Master Volume (Slider)
Acc./Seq Volume (Slider)
Assignable Slider
Selected Mode
Memory
Bass Inversion
Manual Bass
Split Point
Groove Quantize
Tempo Lock
Single Touch
Selected Style Number
Synchro Start/Stop
Fade In/Out
Style Element
(V1, V2, V3, V4, Fill 1/2,
Count In, Intro 1/2, Ending 1/2)
Ensemble On/Off
Chord Scanning
Keyboard Mode
Style Change
Perf./Program
Program Change
Octave Transpose
Master Transpose
Tempo
Display Hold
Style Play Mode
Main Program
Play/Mute status
1
Volume
2
Pan
3
FX Send Level
4
Detune
5
Scale
Key
Note
Detune
6
Pitchbend Sensitivity
7-8 FX Select (A, B, C, D)
Modulating Track
B>A (or D>C) Send
9-12 FX Parameters (A, B, C, D)
13 Easy Program Edit
14 Track Mode
15 Track Internal/External
16 Damper
Expression
17 Joystick X
Joystick Y
18 Dynamic Range
19 Ensemble Track
Ensemble Type
Dynamic
Tempo
Feedback
20 V1-V4 Drum Map
Kick Designation
Snare Designation
Fill 1/2
21 Program (Original/On)
Wrap Around
Keyboard Range (Original/Off)
Performance
Single Touch
Setting (STS)
Style
Performance
Global
Seq1+Seq2
Setup
–
–
–
–
–
–
–
–
–
–
–
√
–
–
√
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
–
–
√ (function)
–
–
–
–
√
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
√
√
–
–
√
√
√
√
–
√
√
√
–
–
√
√
–
–
–
–
–
–
–
–
√
√
√
√
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
√
√
√
√
√
√
√
√
√
√
√ (A, B, C, D)
√ (A/B, C/D)
√ (A/B, C/D)
√ (A/B, C/D)
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√
√ (C, D)
√ (C/D)
√ (C/D)
√ (C/D)
√
√
√
√
√
√
√
√
√
√
√
√
√
–
–
–
–
–
√
√
√
√
√
√
–
–
–
–
√
√ (A, B)
√ (A/B)
√ (A/B)
√ (A/B)
√
√
√
√
–
–
–
–
–
–
–
–
–
√
√
√
√
√
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
√
–
–
√
√
–
–
–
–
Note
Not saved to disk
General parameter
General parameters
Separate tracks
General parameters
Separate tracks
General parameters
Separate tracks
General parameters
Separate tracks
Only Realtime tracks
General parameters
Only Style tracks,
globally
Only Style tracks
Parameters
Page Parameter
22
Pad 1-4
Volume
Pan
C Send Level
D Send Level
23 Pad Lock
Scale Lock
Auto Octave Lock
Master Transpose Lock
24 Chord Recognition Mode
Scale Mode
Memory Mode
Velocity Control
Song Play Mode
Main Program
Play/Mute status
1
Volume
2
Pan
3
FX Send Level
4
FX Select (A, B, C, D)
Modulating Track
B>A (or D>C) Send
5-6 FX Parameters (A, B, C, D)
7
Track Mode
8
Track Internal/External
9
Jukebox
10 Link Mode
S2 FX Mode
Performance FX Mode
Song Mode
Song data
Global Edit Environment
1
Velocity Curve
Master Tune
Scale
Key
Speakers On/Off
Metronome Volume
2
Master Transpose on …
…Style/Realtime tracks
…Seq 1/2
…Midi In
Scale Transpose Position
3
Pedal/Switch Function
Assignable Slider Function
Damper Polarity
Footswitch Polarity
4
MIDI Setup Preset
5
Local On/Off
Clock
Clock Send
6
Midi In Channels (1…16)
7
Chord 1 Channel
Chord 2 Channel
Velocity Input
8
Upper Octave
Lower Octave
Octave Transp. on the Midi In
Mute In
9
Midi In Filters (1…8)
10 Midi Out Channels (1…16)
11 Midi Out Filters (1…8)
Disk Edit Environment
Global Protect
Factory Styles Protect
–
–
–
–
–
√
√
√
√
√
√
√
√
Seq1+Seq2
Setup
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
√
√
–
√
–
–
–
√
√
√
√
–
√
–
–
–
–
√
√
√
√
√
–
–
–
–
–
–
–
–
Single Touch
Setting (STS)
√
√
√
√
√
–
–
–
–
–
–
–
–
Style
Performance
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
Performance
Global
Note
General parameters
Separate tracks
General parameters
Separate tracks
List saved to disk
General parameters
See table “Style and Song parameters”
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
√
√
√
–
√
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
√
√
√
√
√
√
√
–
–
–
√
√
√
√
√
√
√
√
√
√
√
√
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
Separate tracks
General parameters
–
–
–
–
–
–
√
–
–
–
Not saved to disk
Set to “On” at startup
General parameters
Set to “On” at startup
General parameters
Set to “On” at startup
Set to “Int” at startup
General parameters
Separate tracks
General parameters
231
232
Parameters
Style and Song parameters
The following table is a list of data saved (to memory or disk) when editing a Style or a Song.
Note: When saving a Song to disk as a Standard MIDI File (SMF), all parameters are converted to ordinary track parameters. Pa80
exclusive data are converted to SysEx or Meta-Events, that will be ignored when reading the SMF on a different keyboard or sequencer.
Header
–
Style
Tracks
–
Master Track
–
Header
√
Song
Tracks
–
Master Track
√
–
√
√
–
–
–
–
–
–
√
√
√
–
–
√
√
√
–
–
–
–
–
√
√
–
√
–
–
–
–
–
–
–
–
√
√
√
√
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
√
√
√
√
√
√
√
√
√
–
–
–
–
√
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
–
–
–
–
√
–
–
–
√
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
–
–
–
–
–
–
–
–
–
–
–
√
√
√
√
√
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
√
√
√
√
√
√
√
√
–
–
–
–
–
–
√
√
√
√
–
–
–
√
–
–
FX Select (A, B, C, D)(a)
–
–
–
–
–
–
√
√
√
–
–
√
Modulation Track(a)
–
–
–
√
–
–
FX Feedback Send (B>A or D>C)(a)
FX Parameters (A, B, C, D)
Easy Program Edit
–
–
–
√
–
√
–
–
–
–
–
–
–
–
–
√
√
√
–
√
–
–
–
–
–
–
–
–
–
–
Parameter
Volume (GM Master Volume)(a)
Tempo
Meter (Time Signature)
Programs(b)
Note On/Off
Pitch Bend
After Touch
Control Change(c)
Quarter Tone(a)
Quarter Tone Reset(a)
Chord Variation Length
Original Key/Chord
NTT
Expression
Keyboard Range
Chord Variation Table
Retrigger Mode
Tension
Play/Mute status(a)
Master Transpose(a)
Volume
Pan
FX Block(a)
FX Send
Detune
Scale(a)
Key
Note
Detune
Scale Yes/No(a)
Pitch Bend Range
Track Mode(a)
Internal/External Mode
(a) Saved as SysEx data.
(b) For this Program to be used in a Style, the “Prog” parameter should be set to “Orig” in the Style Play mode. See “Prog (Program)” on
page 49.
(c) Not all Control Change messages are allowed in Styles. Please see “List of recorded events” on page 54 for more information.
Recognized chords
233
22. RECOGNIZED CHORDS
The following pages show the most important chords recognized by the Korg Pa80, when the selected Chord Recognition mode
is Fingered 2 (see “Chord Recognition Mode” on page 50). Recognized chords may vary with a different Chord Recognition
modes.
Major 6th
Major
3-note
T
2-note
T
T
T
T
T
T
2-note
4-note
T
T
T
T
Major 7th
4-note
3-note
2-note
T
T
T
T
Sus 2
Sus 4
3-note
2-note
3-note
3-note
2-note
T
T
Dominant 7th
4-note
T
T
T
T
T
T
T
T
T
T
Dominant 7th Sus 4
4-note
T
4-note
4-note
T
T
T
Major 7th 5
T
Dominant 7th 5
3-note
T
T
T
T
T
Major 7th Sus 4
4-note
T
T
T
= constituent notes of the chord
T = can be used as tension
234
Recognized chords
Minor
Minor 6th
3-note
2-note
T
T
4-note
T
T
Minor 7th
Minor-Major 7th
4-note
T
T
3-note
T
T
Diminished
3-note
4-note
T
T
Diminished Major 7th
3-note
4-note
T
T
T
T
Minor 7th 5
4-note
T
T
Augmented
3-note
T
T
No 3rd
2-note
T
Augmented 7th
4-note
T
T
Augmented Major 7th
4-note
T
T
T
T
T
T
No 3rd, no 5th
1-note
= constituent notes of the chord
T = can be used as tension
T
Error messages & Troubleshooting
Error messages
235
23. ERROR MESSAGES & TROUBLESHOOTING
ERROR MESSAGES
Backing Sequence Mode
Your Pa50 can communicate with you using various messages. Here is the list of these messages.
Messages can be of two different types:
•
Waiting for your confirmation (Yes – No). Press
ENTER/YES to go on, EXIT/NO to stop.
•
Revealing an error or failure. Press any button on the
front panel.
Too Many Styles! (Press Exit)
General
Juke Box List Empty! (Press Exit)
Another Command Is Running (Press Exit)
You are trying to start playing back a Jukebox list, but the list
is empty. Please add some Songs to the list.
You can’t execute a command until the one that is running is
completed.
Are you sure? (Enter/Exit)
This is a confirmation request before many operations. Press
ENTER/YES to confirm, EXIT/NO to abort.
You have recorded the maximum number of Styles allowed
(depending on the memory, 10 to 15 Style changes).
Song Play
Cannot Load JBX File to Seq 2 (Press Exit)
You can’t load a Jukebox (JBX) file to Sequencer 2. Jukebox
files can only be loaded to Sequencer 1.
Juke Box List Full! (Press Exit)
A Jukebox list may contain up to 127 Songs. You were trying
to add one Song more.
Save Song List: Insert Disk and Press Enter
Some undefined error has happened.
You are saving a list of Songs. Please insert a disk and press
ENTER.
Record Aborted
Save JBX List: Insert Disk and Press Enter
There is not enough memory to enter the Style Record, Song
Record, or Backing Sequencer Record mode.
You are saving a list of Songs as a JBX file. Please insert a disk
and press ENTER.
Generic error
Wait Please
Style Play
Corrupted Style Perform. – Save It Again
You were trying to load a file, while Pa50 is still loading
another one.
The Style Performance was damaged. Press WRITE, and
select the Current Style option, to save it to memory again.
Song
Style Select Fails
Too Many Events
Pa50 was not able to complete the operation.
You have tried to copy too many events on the same tick.
Out of Memory!
Style Record
The memory limit for a Song (300KB) has been reached.
Arranger is Running! (Press Exit)
Incompatible Meter
While in Style Record mode, this message may appear when
you try to select a different track, or execute an edit operation, while the Arranger is running.
You were trying to copy a track on a track with a different
meter.
Low memory!
While in Song Record mode, this message may appear when
you try to select a different track, or execute an edit operation, while the Sequencer is running.
The space in the SSD (the space where User Styles are stored)
is going low. Exit Record, then load some banks of smaller
Styles before entering Record again.
Sequencer is Running! (Press Exit)
Style Copy Failed (Press Exit)
Song Play and Song mode
Pa50 was not able to complete the Copy operation.
Cannot load Jukebox file on Seq.2
Style Delete Failed (Press Exit)
You can load a Jukebox file only on Sequencer 1.
Pa50 was not able to complete the Delete operation.
Damaged Standard Midi File
Style Save Failed (Press Exit)
Pa50 was not able to complete the Save operation.
The Standard MIDI File you are trying to load is damaged,
and cannot be played back.
Style Select Failed (Press Exit)
Jukebox list is empty
Pa50 was not able to complete the selection.
You tried to delete a Song in an empty Jukebox list, or to save
an empty Jukebox list.
SMF Import Failed! (Press Exit)
There was an error while reading the Standard MIDI File
with the Import SMF function. The file may be corrupted.
Jukebox list is full
The Jukebox list already contains 127 Songs.
Not a Standard Midi File
The selected file is not a Standard MIDI File, and cannot be
played back. Select a “.MID” or “.KAR” file. Pa50 can play
back Standard MIDI Files in 0- and 1-format.
236
Error messages & Troubleshooting
Error messages
Standard Midi File format 2
Disk not empty! (Sh+Enter to Format)
You have tried to read a Format 2 Standard MIDI File. Pa50
can’t play this kind of file. Select a Standard MIDI Files in 0and 1-format.
During a Backup, you inserted a disk containing some data.
Please replace it with an empty one, or press SHIFT+ENTER
to start formatting the disk.
Disk write-protected
Program
Overwrite Program? (Enter/Exit)
You are trying to store a Program to a memory location
already occupied by a Program. Press ENTER to overwrite it,
or EXIT to abort.
The floppy disk is write-protected. Move the protection tab
to close the hole, and try again. Be sure there aren’t data you
don’t want to overwrite. Otherwise, replace the disk with an
empty one.
Erase Failed! (Press Exit)
An error occurred during Erase. Erase operation aborted.
Disk mode
Can’t Erase Old Korg Resource (Press Exit)
You can’t erase a single Style from a Korg i-series disk. You
can only delete a whole file.
Can’t Read Disk! (Press Exit)
The disk is probably damaged. Try again. If the message
appears again, try with a different disk.
Can't Read File! (Press Exit)
The file you are trying to load, copy, erase or rename is damaged, or has a null size (0 kb), thus can’t be read. This message during a New Dir operation means there are problems
on the disk. Try loading the file from a different disk.
Copy Failed! (Press Exit)
An error occurred during Copy. Copy operation aborted.
Copy: Invalid Destination (Press Exit)
You tried to copy an ordinary file or folder into a “.SET”
folder.
Corrupted Style Perf. Save it again
The Style Performance is damaged. Save it again by pressing
WRITE, and selecting the “Current Style” option.
Delete all data. Continue? (Enter/Exit)
Formatting will delete all data on the disk you are ready to
format. Be sure you have a copy of all data you wish to preserve.
Error while converting (Press Exit)
While trying to load Korg i-series data, some errors occurred.
The original file is probably corrupted, or its structure is too
different from Pa-series data.
Error while formatting medium
An error was reported when formatting the medium (disk).
The format procedure has been aborted. Try again. If formatting a floppy disk, replace the disk and try again.
Error while Writing! (Press Exit)
An error was reported while writing on the medium (disk).
The procedure has been canceled. Select a different medium,
and try again.
Existing Files Not Copied (Press Exit)
After a Copy procedure (no Overwrite selected), all files sharing the same name have not been copied.
Factory Styles Protected! (Press Exit)
The “.SET” file you just loaded included some banks of Factory Styles. Since the Factory Style Protect flag was switched
on, Factory Style banks were not loaded. (See “Factory Style
Protect” on page 142).
Fast Format Failed. Full Format? (Enter/Exit)
The Fast Format procedure failed. Press ENTER to go on
with a Full Format procedure (slower).
File is protected
The file you are trying to copy already exists on target.
You have tried to write over a read-only or system file. Pa50
can’t write over this kind of files. Should you need to write
over one of these file, use a personal computer to change the
file’s properties, then try again. Read your computer’s user’s
manual.
Directory Full (Press Exit)
File/Dir Already Existing (Press Exit)
You reached the maximum folder number for the root of the
selected medium:
• 720 kb floppy disk: max 112 folders
• 1.44 Mb floppy disk: max 224 folders
Delete some files, or replace the disk.
During a Rename or New Dir operation, you were trying to
use an existing name. Use a different name.
Directory Not Empty (Press Exit)
Files in Use Not Deleted (Press Exit)
You were trying to delete a directory still containing files.
Delete these files, then delete the directory.
This message may appear during an Erase operation. Files
used by other procedures have not been erased.
Directory not found (Press Exit)
Files in use have not been overwritten
The directory is not in the current medium. The disk has
probably been replaced before finishing the disk operation.
Insert the disk again, and try again.
This message may appear during a Copy with Overwrite
operation. Files used by other procedures have not been copied.
Disk Full (Press Exit)
File Is Protected (Press Exit)
The selected medium (disk) is full. Delete files you are not
interested to keep, or replace the disk with an empty one.
Then, try again.
You were trying to overwrite a protected file.
Delete Destin. Files Failed! (Press Exit)
The file you were trying to overwrite could not be deleted.
Destination File Exists (Press Exit)
File in Use (Press Exit)
The file you tried to delete is in use by another procedure.
Wait for the procedure to be completed, then try again.
Error messages & Troubleshooting
Error messages
237
File Not Found (Press Exit)
Not Enough Space on Media
The file is not in the current medium. The disk has probably
been replaced before finishing the disk operation. Insert the
disk again, and try again.
Formatting has been successfully completed.
There is no more space to load, save or copy data. The disk
operation will be aborted. Replace the disk, and use an empty
disk to save your data. Should this message appear during
loading, the SSD (Solid State Disk)-based internal memory is
full.
Format aborted (Press Exit)
Nothing to Rename (Press Exit)
Format operation aborted.
There are no items to rename.
Format failed! (Press Exit)
Overwrite Existing File? (Yes/No)
An error occurred during Format. Format operation aborted.
You are writing data on an existing “.SET” folder, or on a file
of type “.MID” or “.JBX”.
Format Completed (Press Exit)
Illegal name (Press Exit)
The name is not allowed on Pa-series instruments.
Insert 1.4MB FD and press Enter
While saving the operating system, Pa50 asks for a floppy disk
(1.44 Mbyte, High Density).
Insert 1.4MB FD #[n] and press Enter
While executing a Backup procedure (see “Backup Data” on
page 141), Pa50 asks for the first floppy disk (1.44 Mbyte,
High Density). After filling this disk, the following disks will
be asked for.
Place the label on the disks, and write their progressive number on it. You will use these numbers when restoring data (see
“Restore Data” on page 142).
Overwrite on Backup? (Enter/Exit)
Press ENTER/YES to overwrite files carrying the same name
on the target device, or EXIT/NO to avoid overwriting any
file.
Overwrite on Copy? (Enter/Exit)
Press ENTER/YES to overwrite files carrying the same name
on the target device (Press Exit)/NO to avoid overwriting any
file. File that are not yet on disk are always copied.
Overwrite Protected Files? (Enter/Exit)
Protected files cannot usually be overwritten. By pressing
ENTER, you can overwrite them during the current operation.
Insert Backup FD n.[n] and Press Enter
Rename: Invalid Name (Press Exit)
During a Restore operation (see “Restore Data” on page 142),
you are prompted to insert Backup disks. Insert the disk with
the shown number.
You can’t use the name you entered. Please retry and select a
different name.
Rename: New Name Must Be a \".SET\
Invalid Copy Parameter (Press Exit)
You can’t modify a “.SET” folder extension.
The copy operation was not possible. Maybe you were trying
to copy a file over itself, or copying nested folders.
Rename Failed! (Press Exit)
Load Failed! (Press Exit)
An error occurred during Rename. Rename operation
aborted.
The Load procedure has not been executed. Try again, or try
with different files.
Save Failed! (Press Exit)
Make New Dir Failed! (Press Exit)
Some Files Missing (Press Exit)
While trying to create a new directory, an error occurred.
This message may appear at the end of a Restore operation.
Some User file may be missing. This is not a problem for the
Factory Data integrity.
Media Write-Protected (Press Exit)
The disk is physically protected. Remove the protection, and
try again.
Memory full
This message appears in Backing Sequence mode, when the
memory for recording a Song is full.
An error occurred during Save. Save operation aborted.
Unit Not Found (Press Exit)
You were trying to access a storage device not available on
your instrument.
Unformatted medium
Either there is no floppy disk in the drive, or the disk is
unformatted. Insert a disk, and try again, or press
SHIFT+ENTER to start formatting the disk.
You have selected a medium (disk) that is not yet formatted,
or is in a format that Pa50 can’t recognize. Format the
medium using the Format procedure (see “Page 5 - Format”
on page 140).
Not a Pa-series or Corrupted File
Wait
No Disk/Unformatted. (Sh+Enter to Format)
The file you are trying to load is not compatible with Paseries instruments.
Pa50 is busy with a disk operation.
238
Error messages & Troubleshooting
Troubleshooting
TROUBLESHOOTING
Problem
Solution
Page
General problems
Power does not turn on
Make sure that (1) the power cable is plugged into the outlet, (2) the cable is plugged
into the connector on the back of the instrument, (3) and is not damaged, (4) there are
no problems with the mains.
Is the power switch turned ON?
If the power still does not turn on, contact your dealer or the nearest KORG Service Center.
No sound
Is a jack connected to the HEADPHONES connector? This would disable the internal
speakers.
22
Check the connections of your amp or mixer.
22
Make sure that all the components of the amplifying system are turned on.
Are the MASTER VOLUME or ASSIGN.SLIDER sliders of the Pa50 set to a position other
than “0”?
13
Is the Local parameter set to Off? Turn it On.
127
Is the Speaker parameter set to Off? Turn it On.
125
Is the Attack parameter value too high? Set it to a lower value, to let the sound start
faster. Is the Volume parameter too low? Set it to a higher value.
43
45
Lowest note are not played
When the SPLIT button is lit up, the keyboard will be divided into the Lower part (low
notes, below the split point) and the Upper part (high notes, above the split point). Is the
Lower track muted? Unmute it.
24
Wrong sounds
Do the USER banks contain modified data? Load the appropriate data for the Song or the
Style you wish to playback.
133
Has one of the USER Drum Kits been modified? Load the appropriate Drum Kits.
133
Have the Styles or Performances been modified? Load the appropriate data (Styles or Performances).
133
Sound does not stop
Make sure that the damper switch polarity parameter is set correctly.
126
The selected Style or Song cannot start
Make sure that the Clock parameter is set to Int. If you are using the MIDI Clock of
another device, you must set the MIDI Clock parameter to MIDI, and make sure that the
external device transmits MIDI Clock data.
127
Does not respond to MIDI messages
Make sure that all MIDI cables are connected correctly.
22
Make sure that the external device is transmitting through MIDI channels enabled to
receive in the Pa50.
46
78
Make sure that the MIDI IN Filters of the Pa50 do not prevent the reception of messages.
Percussive instruments are not
played correctly
Make sure that the Percussion and Drum Track is set to Drum Mode and the
external device has not transposition applied.
Some “clicks” can be heard
when playing a percussive
instrument
This is part of the sound, and not a problem.
A background noise can be
heard after selecting a Performance, Style or STS
The selected Performance, Style or STS recalled the effect “15 Analog Record”, simulating
the noise of a old vinyl recording.
129
46
78
Disk related problems
Cannot format a floppy disk
Cannot save data to a floppy
disk
Cannot load data from a floppy
disk
Are you using a 3.5 inch 2DD or 2HD floppy disk? You must use one of these types.
Is the disk inserted correctly?
130
Is the write protect tab of the disk in the protect position?
130
Is the disk formatted?
140
Is the disk inserted correctly?
130
Is the write protect tab of the disk in the protect position?
130
Is the disk inserted correctly?
130
Does the disk contain data compatible with the Pa50?
132
Technical specifications
239
24. TECHNICAL SPECIFICATIONS
Model: KORG Pa50
Keyboard
61 keys, with velocity.
Operating System
KORG OPOS (Objective Portable Operating System). Multitasking, Load-While-Play feature. SSD
(Solid State Disk)-resident. Upgradable from floppy disk.
Display
Backlit custom LCD
Data storage
8MB (>20MB equivalent) Internal Solid State Disk (SSD), 1.44MB Floppy Disk Driver (MS-DOS® compatible).
Sound generation system
KORG HI - Hyper Integrated.
Polyphony
62 voices, 62 oscillators. Filters with resonance.
Multitimbricity
40 tracks (2 x 16 Sequencer, 4 Realtime, 4 Pads)
Sound memory
32 Mbyte of PCM ROM, with Stereo Piano.
Programs
>660 (Single Oscillator, Double Oscillator), including a Stereo Piano and GM Level 2-compatible Programs. 32 Drum Kits, 128 User Programs, 64 User Drum Kits. Easy and Full Program Editing.
Effects
4 stereo digital multi-effect systems (with 89 effect types each).
Performances
160 Realtime Performance memories. Up to 304 Styles Performances with 4 Single Touch Setting
each.
Styles
Up to 304 Styles, Solid State Disk-resident, freely reconfigurable. 8 Style tracks, 4 Single Touch Settings per-Style, 48 User Styles, programmable Style Performances and Single Touch Settings. Direct
Disk reading feature. Compatible with old i-Series Styles. Style Record with Edit functions, Step Edit,
Event Edit.
Single Touch Settings (STS)
4 × 304 (memorize Realtime tracks)
Style controls
4 Variations, 2 Fills, 2 Intros, 2 Endings, Counter In/ Break, Synchro Start/Stop,
Tap Tempo/Reset, Fade In/Out, Bass Inversion, Manual Bass, Tempo Lock, Memory, Accompaniment
Volume, Accompaniment Mute, Drum Mapping, Snare & Kick Designation, Single Touch.
General controls
Master Volume, Ensemble, Octave Transpose, Master Transpose, Split Point, Style Change, Tracks Volume, Quarter of Tone, Assignable Slider, Joystick, Dial.
Pads
4 Assignable Pads + Stop button
Song Play
XDS* Crossfade Dual Sequencer player - 2 Sequencers with separate
Start/Stop, Pause, << (Rewind) and >> (Fast Forward) controls. Balance control.
Lyrics data are displayed on-screen. Jukebox function. SMF Direct Player (formats 0 and 1).
Song / Backing Sequence
Easy Record function. Full featured sequencer. 16 tracks. SMF native format.
Pedals
Damper, Assignable (continuous, footswitch)
Realtime controllers
Joystick (pitch + modulation), Assignable slider, Pads
MIDI
IN, OUT, THRU. Individual track assignement. Auto-setup functions (MIDI Setup)
Audio Inputs
2 × In, Line impedance
Audio Outputs
2 Main (Left/Mono, Right)
Main Amplifier
2 × 15 Watt Amplifier
Speakers
2 × 10 double-cone speakers (bass-reflex box).
Power Consumption
26 Watt
Dimensions
W: 41.5” / 1054mm, D: 15.5” / 393mm, H: 5.9” / 150mm (without music stand)
Weight
24.8 lbs (11.25 kg)
Accessories
User’s Manual, AC Power Adapter, Music Stand
Options
EXP-2 (Foot Controller), XVP-10 (Exp/Volume Pedal), PS-1 (Footswitch), DS-1H (Damper Pedal)
* Patent Pending
240
Alphabetical Index
25. ALPHABETICAL INDEX
A
Acc/Seq Volume 10, 13
AMS(Alternate Modulation Source)
Resonance 112
Arabic Scale 34
Assignable Slider 126
Attack 119
Attack Level
Amp EG 119
Attack Time
Filter EG 116
Audio Inputs 10, 22
Audio Outputs 10, 22
B
Backing Sequence mode 31, 82–87
Backup 8, 141
Balance 10, 18, 27, 30
Bank Select 37
BPM
MIDI/Tempo Sync., LFO 121
Chord Recognition Mode 50
Chord Scanning 17
Cutoff Frequency 113
Edit Environment 21
F1-F4 buttons 16, 19
Fade
LFO 120
Fill 14
Filter
Cutoff Frequency 113
Filter Type 112
Low Pass & High Pass 112
Low Pass Resonance 112
Footswitch 126
Polarity 126
Format 140
G
I
D
E
F
General MIDI 35
Global 125–129
Global channel 35
Groove Quantize 71
C
Damper 11, 47
Polarity 126
Decay Time
Filter EG 116
Delay
LFO 120
Demo 11
Direct FD 40
Disk 130–142
Backup 141
Format 140
Write protection 130
Display 19–21
F1-F4 buttons 16, 19
Page buttons 19
Volume/Value buttons 16,
Display Hold 17
Double Sequencer 27, 70
Drum mode 78
Drum tracks 45, 99
Effects
Song mode 96, 97
Song Play mode 71, 76
Style Play mode 43, 44
Ending 14
Ensemble 47
Inputs 10,
Intro 15
22
J
Joystick 47
Jukebox 74,
79
K
Keyboard Mode 17
Keyboard settings 24
L
19
Level
Program
Trim 112
LFO
Waveform, LFO waveform 120
Local Off 37, 127
Lock 49
Low Pass & High Pass 112
Low Pass Resonance 112
Lyrics 73, 74
Alphabetical Index
M
S
Master Transpose 18, 126
Master Tune 125
Master Volume 10, 13
Menu 15
Message window 21
MIDI
Chord channels 128
Clock 70, 127
General MIDI 35
Global channel 35
IN channels 127
Interface 22, 37
OUT channels 129
Setting a track for MIDI 78,
Setup 36, 126
Standard MIDI File 70, 88
MIDI interface 22, 37
MIDI Setup 36, 126
Midifile 35, 70, 88
Mode
Backing Sequence 82–87
Program 105–124
Song Play 70–81
Style Play 40–51
Mute 16, 24
Scale
Lock 50
Main scale 125
Selecting in realtime 34
Select
MFX Effect Select 121
Selecting Windows 21
Sequencer
Link mode 79
Selecting and switching 73
Sequencer 1 73
Sequencer 2 73
Sequencer 2 effects mode 80
Transport controls 18
Shift 16
Single Touch 14, 16, 26
Single Touch Settings (STS) 16
Selecting 27
Song
Editing 32
Playback from disk 27, 28, 73,
Recording 31, 82
Selecting 73, 84, 89
Standard MIDI File 35
Song Play mode 70–81
Speakers On/Off 125
Split Point 14, 36
Standard MIDI File 35, 70, 88
Style
Ending 14
Fill 14
Intro 15
Recording 52–69
Selecting 14, 26
Style Performance 40
Variation 14
Style Change 25
Style Play mode 40–51
Sync.
Key Sync., LFO 120
MIDI/Tempo, LFO 121
Synchro Start/Stop 15
O
Octave Transpose 18
Offset
Offset, LFO 120
Operating Modes 13, 20
OS (Operating System)
Backup 8, 141
Update 9
Outputs 10, 22
P
Pads 18, 49
Lock 49
Page 15, 19
Pedal 126
Performance 40
Selecting 17, 25
Pitch Bend 44, 97
Portamento
AMS 123
Program
Editing 45, 98
Selecting 17, 26
Program Change 37
Program mode 105–124
R
Resonance 112
99
84, 89
T
Tap Tempo 15
Tempo 40
Tempo/Value section 16
Track Select 16, 73
Tracks
Drum mode 78
Drum/Percussion 45, 99
Keyboard/Realtime tracks 24,
Octave Transpose 18
Programs 17
Selecting 16, 24, 73
Volume 19, 43
Transpose 18
40, 70
241
242
Alphabetical Index
Tune
Tune, Program 108
U
User Interface 20
Edit Environments 21
Operating Modes 20
Selecting Windows 21
V
VALUE slider
AMS 123
Variation 14
Velocity
AMS 123
Velocity Intensity, Amp Mod. 118
Velocity, Filter EG 114
Velocity Curve 125
Volume
Acc/Seq 10, 13, 71, 88
Balance 10
Individual tracks (Song Play) 75
Individual tracks (Song) 95
Individual tracks (Style Play) 43
Master 10, 13, 71, 88
Volume/Value section 16, 19
W
Write 15
Global 125
Style Play mode 42
Address
KORG ITALY Spa
Via Cagiata, 85
I-60027 Osimo (An)
Italy
Web servers
www.korg.co.jp
www.korg.com
www.korg.co.uk
www.jam-ind.com
www.korgfr.net
www.korg.de
www.korg.it
www.letusa.es
PART
©
KORG
NUMBER:
Italy 2003.
MAN000xxxx
All rights reserved