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WEY EST ET IER ADVANCED VECTOR SYNTHESIS - WAVE SEQUENCING Reference Guide by Stanley Jungleib KO RG av" AV Synthesis System TABLE OF CONTENTS TABLE OF CONTENTS ABOUT THIS MANUAL.....................=0enrcosnononee enanos eneneeeeeceneeeeae 1 COPY EFFECTS - ALL ............—..-eceseoncereaconsnenoeuesonocancanacrancenaeceneneneee 2 A 3 COPY EFFECTS - PARAMETERS .............esevevanercacncenonceorvensonaesemnn. 4 COPY MODULES.................e.eecenoouunenoocenenconenanenoeca cananea raeacereennaneme 5 COPY PART .................=seraroounrcooceauoocavancanecenea aaron eran reenceneennemenee 6 COPY WAVE SEQUENCE STEPS...............e-ec.eccconcacececacaconaarantecacene 7 EDIT AMP ENVELOPE...............—coccusnceconenecerencen o eeeeeen er necace e necenee 9 EDIT AMP MOD ...............enmecroncones eneanenrnanacrennanetenrenane eno nene nene 12 EDIT BUS A-B PAN..................ceneoncosracaceoeruencece aereo oe eanoane e cenaneeuane 14 EDIT EFFECT 1 (2) eeacan anancene na nea orcas 16 EDIT ENVELOPE 1..................e..asccceuoccevenenevenceraneeonansescananecenenaa enema 32 EDIT ENV MOD ..............enmcocucoonennnacoveracacaraceveen encon acosa rea eueeae aer 35 EDIT FILTER ren na enerea ne nneneee 37 EDIT LFO 1 (2)...............—coccaorrnsacuaraaoo ree neneueaece nene rca enana enenanaceeenna 40 EDIT MIX ENVELOPE (Vector Synthesis) ..................e...1eseecesneeoo 43 EDIT MIX MOD.................emecaoecacnooniorueaaerene a aare nana conte ne entre ne eavenone 46 EDIT PATCH...........e.e...nenmacacccaonenonaoueo raven asen sacan rm eneneenenanenenana e enceneme 47 EDIT PERFORMANCE.................emeoicornrcarnenirecanea aerea e encececene anne. 51 EDIT PITCH neo nena ra enana ra een ae eera nao ena enercenene 53 EDIT SCALE ..........e.ee.eenerenezacouenaaonvenvavecana nmantevara nenancare nan acaraacenan eee. 56 EFFECTS .e.noico.nnconnananenenncarcarocacrrenananene nana an ravcane ne reee aer enne remera avenene 57 EFFECTS MIX ...............eeoncaseraneeneoaacane nera renaanen rana eo ueroaere recaen. 58 FOOT PEDAL ASSIGN..................eesunvornecaccue nene cerene nee no nenan ene. 60 GLOBAL -..........e.enocorneneronaaaoroen een ea eee ne eee eeerarterae enana ranas encenenaraces 61 INITIALIZE (Part, Patch)....................eceecasnccccoconoeiere cena ce eee 63 JUMP rrr tierce sneer e rno nara re er encaacenee arce naana reas 64 KEY AND VELOCITY ZONES ..................aceconencenaron ear neneaceraereeee 65 MARK .....ucrorsesssastonensnenensansassensesmenenanseuneemeraaaceuesesaerecenaa nee casa cu es 68 MIDI ...enreoaacovaconoanoncon canoa near na cananea ne aeera nea re nea rana recanencansene casa nanas sans 69 MIDI RECEIVE ..................e.e.ereeoacecacereaoresoucce reee onoaane e nerenreneeneaencanece. 71 Mi TABLE OF CONTENTS MIDI TRANSMIT............. ueoencovanacoceneninmeneca naaa cenceaame ausuencancancacanannnes 74 MULTIMODE SETUP................conmcaceconeenecona ueeaavenonenencene ae acen anne 77 NAME: (Performance, Patch, Wave Sequence, Card) ....... ее... 80 PATCH BUS ASSIGNMENT ................e..e=. aueooanecanmuaco onneanenancanaunmee 81 PATCH MACROS ....... wann] 00...]...O PRPPRPEEE PEER RER PRE E PRE PE PE PR POPEREERE 82 PERFORMANCE PART DETAIL.................eenzonaao naussamateusenmanese seems 85 PERFORMANCE SELECT ..…..…….…oseseuvscaranmensensmennensacnaensasencnssncuances 88 PERFORMANCE 5Е!МКЕСТ МАР................ eensrantnns ensnooneanooneneacenaee. 90 SYSEX DATA TRANSMIT ................... 00... a0. .....D anennoncananene ene. 91 UTILITIES ..........0c0neccacavoroas ansunsacacoocantaaeaonaneaaasoracauenaovanaaneaconeneaoee 92 VIEW PERFORMANCES... are Re 94 WAVE SEQUENCE ....anssssonconausensenmansenaenanauseasaanaunencensnncanenansansenenrs 95 WAVE SEQUENCE UTILITIES....…...….…....….…ocnassusernsansanessansausosnanuauaons 99 WAVES .annuacacaononaurotoooenenaaacooenacacacaaaoaoacaane ynanacaneaacaonaanocenaneenamen eee 102 WRITE (Performance, Patch, Multi Mode Setup, Scale)............ 104 APPENDIX 1 MIDI RECEIVED DATA..............ecnocccanacuaceneneeceneane 106 APPENDIX 2 MIDI TRANSMITTED DATA............... nanucoaneneoaenane. 108 APPENDIX 3 MIDI SYSTEM EXCLUSIVE FORMAT.............e..... 110 E E bo a iv ABOUT THIS MANUAL ABOUT THIS MANUAL - The Wavestation Reference manual is intended for those who have read the accompanying Player's Guide, or who have some experience with professional synthesizers. It is not organized to be read from cover to cover, but as an extended “Help” system for those occasions when you may need more information about what is displayed on the Wavestation screen. The Wavestation's operating system is organized into over 40 display pages. For easy reference, this manual corresponds as closely as possible to the pages displayed. Each display page has a corresponding section here. The page reference sections are arranged alphabetically by page title. See the figure below. For each page you will find: the path describing how to get there, a picture of the page (except for the simplest pages), an entry for each parameter (in Initial Caps), and an entry for each function switch (in ALL CAPS). Path: EDIT - PATCH - WAVES - MIXEV PAGE TITLE Graphic Display arameters (Initial Caps) COPY EFFECTS - ALL COPY EFFECTS - ALL Source Routing Effect 1 Effect 2 Destination EXECUTE Paths: EDIT - EFFECTS - COPY MIDI - MULTISET - EFFECTS - COPY Use this function to copy all effects programming between Performances. Specifically, this includes the two effects choices for FX1 and FX2, up to 14 parameters for each choice, the Routing, and effects mix (FX MIX) parameters. Source can be either a Performance or a MULTI MODE Setup. The default source is the current Performance or MULTI MODE Setup. Shows the current SERIES or PARALLEL effects routing configuration. Shows the source effect selected for Effect 1. Shows the source effect selected for Effect 2. Destination can be either a Performance or a MULTI MODE Setup. Starts the operation. COPY EFFECTS - MIX COPY EFFECTS - MIX Paths: EDIT - EFFECTS - FX MIX - COPY MIDI - MULTISET - EFFECTS - FX MIX - COPY Use this function to copy the Routing and FX MIX parameters between Performances or MULTI MODE Setups. Source | Source can be either a Performance or a MULTI MODE Setup. The default source is the current Performance or MULTI MODE Setup. From Routing Shows the current SERIES or PARALLEL effects routing configuration. Destination | Destination can be either a Performance or a MULTI MODE Setup. To Routing Shows the current destination routing that will be overwritten. EXECUTE Starts the operation. COPY EFFECTS - PARAMETERS COPY EFFECTS - PARAMETERS Paths: EDIT - EFFECTS - FX1 (2) - COPY MIDI - MULTISET - EFFECTS -FX1 (2) - COPY Use this function to copy the program and all parameters between effects, or between Performances or MULTI MODE Setups. Source Source can be either a Performance or a MULTI MODE Setup. - The default source is the current Performance or MULTI MODE Setup. From Effect 1 or 2 Select the desired source effect number. The default effect is determined by the page from which you came. Destination Destination can be either a Performance or a MULTI MODE Setup. To Effect 1 or 2 Select the desired destination effect number. EXECUTE Starts the operation. ‘COPY MODULES COPY MODULES Path: EDIT - PATCH - MACROS - COPY This function allows you to copy by module any parameters from ALL or any wave from one Patch to another. You can duplicate any user macro you have created. Examples of how to use this function would be to initialize new Patches to a specific modulation configuration of your choice, or to impose a uniform envelope over different percussion waves in a Patch. Source Module Module values are: ALL, PITCH, FILTER, AMP ENV, AMP MOD, PAN, LFO 1, LFO 2, ENV1, ENV1 MOD, MIX ENV, MIX MOD, FX-BUS. Source Wave ALL, A, B, C, D. If the Source wave is ALL, Destination wave must be ALL. Source Patch The Patch to copy from. Destination Module Module values are the same as for the source. The Source selection limits the Destination. For example, if the source is LFO1, then the destination can only be LFO1 or LFO2. Destination Wave The wave(s) to receive the modules. Destination Patch The Patch to receive the modules. EXECUTE Starts the operation. COPY PART COPY PART Path: EDIT - DETAIL - COPY COPY PART allows you to copy one Part's parameters to another. Source Performance / Part The Part to be copied. Destination Performance / Part The Part to be copied over. EXECUTE Starts the operation. COPY WAVE SEQUENCE STEPS COPY WAVE SEQUENCE STEPS Path: EDIT - PATCH - WAVES - WAVSEQ - UTILS - COPY Copying can replace steps in the Destination sequence with new steps. For example, copying From step 1, To step 6 (inclusive) to After step 1, Before step 5 would replace steps 2, 3, and 4 in the Destination Wave Sequence with steps 1-6 from the Source Wave Sequence. COPY - REPLACE From 1 To 6 (inclusive) DESTINATION | RESULT You can also use copying to clear a Wave Sequence, by copying a blank step sequence over its entire range. Copying can also insert multiple steps into a Destination sequence. For example, copying From step 1, To step 6 (which is inclusive) to After step 1, Before step 2 would insert steps 1-6 from the Source Wave Sequence between steps 1 and 2 in the Destination Wave Sequence: COPY WAVE SEQUENCE STEPS COPY - INSERT From 1 OOO анала, J uta veine vite ete RESULT = ENE Source Bank, number, and name of the Wave Sequence containing the range to be copied. Source From First step of range to be copied. Source To Last step of the desired source range to be copied. Destination Selects the Bank, number, and name of the destination. Destination After In the destination sequence, the step that the copied steps will follow. After step is always one less than Before step. If the Destination is an empty Wave Sequence or the Before step is set to END, the After step shows “---". Setting the Destination After step to END appends the Source steps. Destination Before The step that follows the copied steps. EXECUTE Starts the operation. EDIT AMP ENVELOPE EDIT AMP ENVELOPE Wave Mute Macro Path: EDIT - PATCH - MACROS - AMP The amplifier shapes the voice output according to this envelope. The current wave being edited. Selecting ALL allows you to edit all oscillators at once. If A, B, C, or D is selected, the individual oscillator patch is modified. ON or MUTED is displayed next to the Wave selection. To mute or un-mute a wave, select the wave and then press MUTE, or cursor to the field and scroll. If a multi-oscillator Patch is selected and some of the oscillators are muted then “---” will appear. Any edits made to this page change the Macro label to USER. To cancel your edits, just re-select any internal macro. Specific Macro selections are listed under PATCH MACROS. EDIT AMP ENVELOPE Levels 0-3 0 - 99. The levels of the breakpoints in the envelope determine its shape. Level 0 is the initial level initiated by a Key On. Level 1 is the attack level. Level 2 is the decay level. Level 3 is the sustain level. Sustain level Volume until Key Of Key on mes 3 I NT TT ME NN NN NA NN foo TT > Time «——Time +—><Time 2-»<«——Time 3—><—Time 4 —> Times 1-4 The duration of the selected envelope segment. The envelope times adjust the rate at which the note develops. Longer times mean slower envelopes. Time 1 is the attack time. Time 2 is the decay time. Time 3 is the slope time. (The time between Level 2 and Level 3.) Time 4 is the release time. ZOOM When you raise the combined time values sufficiently, the screen will automatically zoom out to maintain the overall view. The ZOOM indicator reminds you that you are viewing a compressed envelope rather than a short one. AMPMOD Goes to EDIT AMP MOD. PITCH Goes to EDIT PITCH. FILTER Goes to EDIT FILTER. 10 EDIT AMP ENVELOPE LFOs Goes to EDIT LFO 1. WAVINC Increments the Wave selection in order: ALL, A, B,C, D, ALL... MUTE Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted.) If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. Amplifier Module Block Diagram SOURCE 1 — —— _ SOURCE 2 — — — CONTROL bo», ATTACK VELOCITY MOD 11 EDIT AMP MOD EDIT AMP MOD Wave Mute Path: EDIT - PATCH - MACROS - AMP - AMPMOD Please see figure under EDIT AMPLIFIER. The current wave being edited. Selecting ALL allows you to edit all oscillators at once. If A, B, C, or D is selected, the individual oscillator patch is modified. ON or MUTED is displayed next to the Wave selection. To mute or un-mute a wave, select the wave and then press MUTE, or cursor to the field and scroll. If a multi-oscillator Patch is selected and some of the oscillators are muted then “-—” will appear. Velocity Env Amount +/- 127. Raising this control from 0 makes the envelope level increasingly dependent on velocity, Positive values convert harder playing into louder notes, as is normal. Negative values soften the Patch as you play harder. By using less than maximum velocity sensitivity, you can achieve a form of compression which can actually make mixing easier. Source / Amount 1, 2 The modulation sources can be any of those listed in the discussion of the PATCH MACRO page. Each modulator can have its own level and a normal or inverted (+/- 127) effect. | For example, when applied to the amp, the LFOs can create a tremolo. 12 EDIT AMP MOD Attack Velocity Modulation +/- 127. Controls the influence of velocity on the envelope Time 1 only. Positive values mean that playing harder speeds up the envelope attack time, and playing more softly slows it. Negative values mean the opposite. Envelope Keyboard Modulation PITCH FILTER ENV1 LFOs WAVINC MUTE +/- 127. Controls the influence of the keyboard (note position) on envelope Times 2 and 4 only. Positive values mean that higher notes have faster envelope times than lower ones. Negative values mean the opposite. Goes to EDIT PITCH. Goes to EDIT FILTER. Goes to EDIT ENVELOPE 1. Goes to EDIT LFO 1. Increments the Wave selection in order: ALL, A, B, C, D, ALL... Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted.) If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. 13 EDIT BUS A-B PAN EDIT BUS A-B PAN Path: EDIT - PATCH - MACROS - PAN The PAN module sets the modulation of the Pan position. The initial Pan position itself is set on the PERFORMANCE PART DETAILS page, with the FX Bus parameter. Pan Block Diagram FrOM____~ [ AMP ‘ PERFORMANCE PART DETAIL FXBus (A/B Only) AMOUNT KEYBOARD ———— 3 AMOUNT VELOCITY Wave The current wave being edited. Selecting ALL allows you to edit all oscillators at once. If A, B, C, or D is selected, the individual oscillator patch is modified. 14 Mute Macro EDIT BUS A-B PAN ON or MUTED is displayed next to the Wave selection. To mute or un-mute a wave, select the wave and then press MUTE, or cursor to the field and scroll. If a multi-oscillator Patch is selected and some of the oscillators are muted then “---” will appear. Any edits made to this page change the Macro label to USER. To cancel your edits, just re-select any internal macro. Specific Macro selections are listed under PATCH MACROS. | Velocity Amount +/- 127. 0 means no velocity effect on pan. Positive values play soft notes to the left and louder notes to the right. Keyboard Amount PITCH FILTER ENV1 LFOs WAVINC MUTE +/- 127. Controls the spread of the keyboard across the stereo image. Positive values play low notes to the left and higher notes to the right. Goes to EDIT PITCH. Goes to EDIT FILTER. Goes to EDIT ENVELOPE 1. Goes to EDIT LFO 1. Increments the Wave selection in order: ALL, A, B, C, D, ALL... Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted.) If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. 15 EDIT EFFECT 1 (2) EDIT EFFECT 1 (2) Title Paths: EDIT - EFFECTS - FX1 EDIT (or FX2 EDIT) MIDI - MULTISET - EFFECTS - FX1 EDIT (or FX2 EDIT) For an introduction to the effects system, please see Chapter 7, “Effects Tour,” in the Player's Guide. NOTE: Performance effects may only be edited when the MIDI mode is set to OMNI or POLY; MULTI MODE Setup effects may only be edited when the MIDI mode is set MULTI or MONO. In the top line, the effects macro currently selected. Parameters per Effect FX MIX FX1/2 EDIT COPY The specific parameters on the page vary with the 21 different effects types. See below. This switch takes you to the Routing EFFECTS MIX page. This switch takes you to the other FX module. Goes to COPY EFFECTS - PARAMETERS. 16 EDIT EFFECT 1 (2) WAVESTATION MDE EFFECTS Here is a descriptive list of the Wavestation's effects programs. There are 46 programs, which are variations upon approximately 21 basic effects types. Each effect type has its own set of parameters. (The effects programs are, in effect, macros for each of the 21 effect types.) Here is a list of the Effect modulation sources. SYMBOL _ Modulation Source NONE No modulation WHEEL Mod wheel AT Channel aftertouch VEL Last Note-On velocity (Not gated by Note-Off) KEY Highest key number; if none down, then last key ENV Summed amplitude envelopes of all buses — KEYDN Key down gate FSW Footswitch momentary, push-on/release-off | (Set FOOT ASSIGN | FSWTOG Footswitch toggle, push-on/ push-off | to EFFECTS SWITCH) ! PEDAL Footpedal (Set FOOT ASSIGN to MODULATION) XMIDI1 MIDI Controller 1 XMIDI2 MIDI Controller 2 WH+AT Sum of mod wheel and chan aftertouch JOY-X Horizontal axis Joystick controller JOY-Y Vertical axis Joystick controller NO EFFECT 00 No Effect Use this setting when no effect is desired for either FX1 or FX2. REVERB - EQ These effects simulate reverberation, adding ambience or spaciousness to a sound. The inputs are summed, equalized, and sent to the reverb. Reverb output mixes with the dry input. In general, use reverb in moderation; excessive wetness tends to blur the sound. 01 Small hall reverb - EQ The tight, well-defined reverberation patterns of a light, spatial hall. 02 Medium hall reverb - EQ Short and emphasized early reflections characteristic of a warm, spatial hall. 03 Large hall reverb - EQ The natural, spacious and dense ambience characteristic of a concert hall. 04 Small room reverb - EQ A light, tight room good for thickening. 05 Large room reverb - EQ A warm, tight room. 17 EDIT EFFECT 1 (2) 06 Live stage - EQ A dense, tight room. 07 Wet plate reverb - EQ A dense, open plate. 08 Dry plate reverb - EQ A light, open plate. 09 Spring reverb - EQ Resonant springs. Parameters Dry/Wet mix Dry/Wet mix mod source Dry/Wet mix mod amount Pre delay Decay time Early reflection level High frequency damping "EQ low EQ high EARLY REFLECTIONS Early Reflection is an effect that allows you to adjust only the early reflections, which are crucial in determining the realism of the reverb sound as it would be heard in an actual room, separate from the reverberant "wash." Adjustment of the Decay Time permits a wide range of effects, such as adding density to the sound or achieving a "live" room sound with more discrete echoes and reflections. DRY, 99/1, . . .1/99, WET Output balance of processed and unprocessed sound. Mod source -15 to +15 0 to 500 ms Time delay between the direct sound and the first early reflections. To lengthen the hall, increase this parameter. 0 to 100 Time before reverberation decays. The lower the value, the shorter the decay time. 0 to 100 Level of early reflections. 0 to 100 0 gives you the “liveliest” room. The larger the value, the faster the high frequencies are damped. (In other words, the deader the room.) -12 to +12 dB Control for cutting or boosting the low frequencies. EQ affects reverb only, not direct signal. -12 to +12 dB Control for cutting or boosting the high frequencies. EQ affects reverb only, not direct signal. Following an Early Reflections program with reverb (in series Routing), gives especially high-quality reverberation. 10 Early reflections - EQ 1 Dense E/R. 11 Early reflections - EQ 2 Modulated E/R. 18 12 Early reflections - EQ 3 EDIT EFFECT 1 (2) This effect uses a reverse envelope on the early reflections. The reverse effect (similar to a tape recorder being played backwards) can be applied to sounds which have strong attack characteristics, such as cymbals, or to produce “new age” drones. Parameters Dry/Wet mix Dry/Wet mix mod source Dry/Wet mix mod amount Pre delay Decay time EQ low EQ high GATED REVERB - EQ DRY, 99/1, . . .1/99, WET Output balance of processed and unprocessed sound. Mod source -15 to +15 0 to 500 ms Time between the direct sound and the first early reflections. 10 - 800 ms Decay time for the early reflections. -12 to +12 dB Control for cutting or boosting the low frequencies. EQ affects effect only, not direct signal. -12 to +12 dB Control for cutting or boosting the high frequencies. EQ affects effect only, not direct signal. In these effects, an early reflections reverb is gated by a modulation source. The gate hold time is adjustable. 13 Forward gated reverb - EQ 14 Reverse gated reverb - EQ Parameters Dry/Wet mix Gate hold time Gate key source Gate threshold Pre delay Decay time DRY, 99/1, . . .1/99, WET Output balance of processed and unprocessed sound. 0 to 500 ms The time the gate will remain open after the modulation source goes below the threshold. Mod source 0-100 The level at which the gate will open. 0 to 500 ms Time between the direct sound and the first early reflections. 10 - 800 ms Decay time for the early reflections. 19 EDIT EFFECT 1 (2) STEREO DELAY A stereo delay where the delay times for the left and right channels are synchronized to fixed ratios. The input level can be modulated for swell-in/out delay effects. All parameters except delay time are set to the same value for the two delays. The relationship between the left and right channel delay times can be set to one of 43 different ratios. 15 Stereo delay A stereo delay effect having two delay systems, each of which has a feedback circuit that sends part of the sound back to the delay again. 16 Ping-pong delay A stereo delay in which the feedback signal of each delay crosses over to the other so that the delayed sound alternates left-right. Parameters Dry/Wet mix DRY, 99/1, . . .1/99, WET Output balance of processed and unprocessed sound. Dry/Wet mix mod source Mod source Dry/Wet mix mod amount -15 to +15 Input level mod source Mod source Positive-going modulation swells effect in; negative- going modulation swells effect out. Input level mod amount -15 to +15 Determines depth of input level modulation. Negative values invert modulation so that positive-going modulation swells effect out. Delay time | 0 to 500 ms Delay time mod source Mod source Delay time mod amount -15 to +15 Left/right delay factor The left/right delay factor sets the ratio of the left side delay to the right side delay. For example, the factor 3:5 equals the fraction 3/5 or .6, so the relationship of the delay times is: left X 0.6, right X 1. Conversely, 5:3 means the relationship is: left X 1, right X 0.6. The 43 ratios are listed below (each ratio has a reciprocal, except 1:1): 1:1,2,3,4,5,6,7, 8 2:3,5,7 3: 4,5,7,8 4: 5,7 5: 6, 7, 8 6: 7 7: 8 Feedback -100 to +100 Amount of feedback (negative values produce inverted phase). 20 . DUAL MONO DELAY 17 Dual mono delay EDIT EFFECT 1 (2) Two separate, parallel delays. Parameters Dry/Wet mix left Delay time left Feedback left Dry/Wet mix right Delay time right Feedback right STEREO MULTI - TAP DELAY - EQ DRY, 9/1, . . .1/9, WET 0 to 500 ms Time between processed and unprocessed sound. -100 to +100 Amount of feedback (negative values produce inverted phase). In effect, this is the number of delay repeats. DRY, 9/1, . . .1/9, WET 0 to 500 ms Time between processed and unprocessed sound. -100 to +100 Each effect input is equalized then delayed by two independent series delays. The output of the second delay is fed-back to the input. The input level can be modulated for swell-in/out delay effects. 18 Multi-tap delay - EQ 1 Two multi-repeat, parallel delays. 19 Multi-tap delay - EQ 2 Two multi-repeat, parallel delays with cross panning. 20 Multi-tap delay - EQ 3 Two multi-repeat, parallel delays with crossover feedback. Parameters Dry/Wet mix Dry/Wet mix mod source Dry/Wet mix mod amount Input level mod source “Input level mod amount Delay time 1 Delay time 2 Feedback EQ low EQ high DRY, 99/1, . . .1/99, WET Output balance of processed and unprocessed sound. Mod source -15 to +15 Mod source -15 to +15 0 to 500 ms 0 to 500 ms -100 to +100 Amount of feedback (negative values produce inverted phase). -12 to +12 dB Control for cutting or boosting the low frequencies. EQ affects both the wet and dry signals. -12 to +12 dB Control for cutting or boosting the high frequencies. EQ affects both the wet and dry signals. 21 EDIT EFFECT 1 (2) STEREO CHORUS - EQ A chorus is a medium-range delay line (20 - 50 ms), with slight modulation of the delay time. This stereo effect combines two chorus circuits and imparts a natural, warm, and "fat" sound to any instrument sound and is particularly effective with piano, strings, and brass. 21 Stereo chorus - EQ A stereo effect that combines two parallel chorus circuits using LFOs which have an inverted phase relationship. 22 Quadrature chorus - EQ Two parallel chorus circuits using quadrature-phased LFOs. Quadrature-phased LFOs can be described as “phase offset” LFOs. 23 Crossover chorus - EQ Two parallel chorus circuits using quadrature-phased LFOs and crossover output mixture. Parameters Footswitch Delay time left Delay time right LFO rate LFO rate mod source LFO rate mod amount LFO depth LFO shape EQ low EQ high STEREO HARMONIC CHORUS 24 Stereo Harmonic chorus On/off Enables or disables use of EFFECTS SWITCH to turn effect on or off. 0 to 500 ms Time between processed and unprocessed sound. 0 to 500 ms Time between processed and unprocessed sound. 0.03-30 Hz Speed of modulation (frequency) Mod source -15 10 +15 0 10 100 | SIN, TRI, -10 to +10 Selection of modulation waveform. Numeric values determine wave symmetry. -12 to +12 dB Control for cutting or boosting the low frequencies. EQ affects the wet signal only. -12 to +12 dB Control for cutting or boosting the high frequencies. EQ affects the wet signal only. The harmonic chorus is a stereo chorus with quadrature-phased LFOs and a special frequency splitter. The splitter routes high frequencies to the chorus. Low frequencies are routed around the effect, thus excluded. This is especially effective for bass and other low frequency sounds. 22 Parameters Footswitch Delay time left Delay time right LFO rate LFO rate mod source LFO rate mod amount LFO depth LFO depth mod source LFO depth mod amount Split point STEREO FLANGER - EQ EDIT EFFECT 1 (2) On/off Enables or disables use of EFFECTS SWITCH to turn effect on or off. 0 to 500 ms Time between processed and unprocessed sound. 0 to 500 ms Time between processed and unprocessed sound. 0.03-30 Hz Speed of modulation (frequency). Mod source -15 to +15 0 to 100 Mod source -15 to +15 100 Hz to 10 kHz This effect is achieved by using shorter delay times and adding feedback and output mix phase inversion to the chorus. Since its pronounced swirling adds color and motion, it is most effective with sounds that have many harmonics, such as lead sounds. 25 Stereo flanger - EQ 1 A stereo effect combining two flanger circuits, with phase-synchronous LFOs. 26 Stereo flanger - EQ 2 The swirling and swishing effect that moves expansively between the stereo outputs is enhanced by phase-inversion of the two flanger circuits. Flanger 2 uses phase-inverted LFOs. 27 Crossover flanger - EQ A flanger effect in which the feedback signal of each flanger circuit crosses over and is routed to the other flanger. Crossover flanger uses phase-synchronous LFOs. Parameters Footswitch Output mix Delay time Range Ramp speed On/Off Enables or disables use of EFFECTS SWITCH to turn effect on or off. -10 to +10 Output balance of direct and delayed sound. Negative values produce inverted phase. 0 to 50 ms 1 to 100 LFO sweep range. Manual, 1 to 100 If set to Manual, the mod source directly controls the flanger. 23 EDIT EFFECT 1 (2) Ramp speed mod source Mod source Ramp speed mod amount -15 to +15 Resonance -100 to +100 Amount of flanger feedback. EQ low -12 to +12 dB Control for cutting or boosting the low frequencies. EQ affects the effect signal only. EQ high -12 to +12 dB Control for cutting or boosting the high frequencies. EQ affects the effect signal only. STEREO ENHANCER - EXCITER - EQ This effect offers two parallel exciters with spatial delays. The exciter increases the clarity of the sound, gives it greater definition and presence, and helps bring the sound to the forefront. 28 Stereo enhancer - exciter - EQ Parameters Dry/Wet mix DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. Harmonic density 1 to 100 Amount of excitation. Hot spot 1 to 20 Central frequency emphasized by exciter Stereo Width 0 to 100 Level of inverted delay crossover. Delay 1 to 100 Crossover delay time. EQ low -12 to +12 dB Control for cutting or boosting the low frequencies. EQ affects both the wet and dry signals EQ high -12 to +12 dB Control for cutting or boosting the high frequencies. EQ affects both the wet and dry signals DISTORTION - FILTER - EQ 29 Distortion - filter - EQ . This effect has a "dirty" sound and “wah” effect. It is effective for solos. 30 Overdrive - filter - EQ This is an effect that simulates the overdrive generally used by guitars, and is particularly effective when applied to organs and electric pianos to create guitar-like lines and solos. Parameters Dry/Wet mix DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. 24 Footswitch Edge Hot spot Hot spot mod source Hot spot mod amount Resonance Level EQ low EQ high STEREO PHASER EDIT EFFECT 1 (2) On/off Enables or disables use of EFFECTS SWITCH to turn effect on or off. 1 to 111 Amount of drive. 1 to 100 Controls the center frequency of the “wah” filter. Mod source "15 10 +15 0 to 100 Filter “Q” factor. This controls the amount of “wah” effect. 1 to 100 Output level of distortion. -12 to +12 dB Control for cutting or boosting the low frequencies. EQ affects the effect output only; the direct signal is unaffected. -12 10 +12 dB Control for cutting or boosting the high frequencies. EQ affects the effect output only; the direct signal is unaffected. The stereo phase shifter programs offer two parallel phasers. These use both time delay and phase shifting to create a more pronounced swirling and swishing sound than either chorus or flanger. They are most effective on electronic piano and guitar sounds. 31 Stereo phaser 1 Phaser 1 uses phase-synchronous LFOs. 32 Stereo phaser 2 Phaser 2 uses phase-inverted LFOs. Parameters Dry/wet mix Footswitch Center LFO rate -WET, -1/9, . . . ,-9/1, DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. Negative values produce inverted phase. On/off Enables or disables use of EFFECTS SWITCH to turn effect on or off. 0 to 99 Center frequency which is affected by the phase shift. FIXED, 0.03-30 Hz Speed of modulation (frequency). When LFO rate is set to FIXED, the LFO depth is disabled (set to zero internally) and the LFO rate mod controls the phaser center. This lets you manually sweep the phase shifter center point. 25 EDIT EFFECT 1 (2) LFO rate mod source Mod source LFO rate mod amount -15 to +15 LFO depth 0 to 100 LFO depth mod source Mod source LFO depth mod amount -15 {0 +15 Feedback -100 to +100 Amount of feedback (negative values produce inverted phase). STEREO ROTARY SPEAKER This effect duplicates the rotational speaker effect popular for organ sounds. 33 Stereo rotary speaker The “speaker” is modulated by a free running LFO. The slow and fast speed switch is chosen by the acceleration mod source. Continuous controllers are filtered by the acceleration amount. In other words, if the controller is moved suddenly, the rotors change their speed to the new setting by the acceleration rate. The footswitch can be set to turn the effect on or off, or it can be used to control the mode of the fast/slow rotor speed select (by selecting the footswitch as the rotor speed mod source). Parameters Dry/Wet mix DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. Footswitch On/off Enables or disables use of EFFECTS SWITCH to turn effect on or off. Depth 1to 15 Depth of vibrato effect. This is equivalent to selecting top rotor horn sizes. Acceleration 1 to 15 The rate of change between two different speeds. Rotor speed mod source Mod source Rotor slow speed 0.03-30 Hz Rotor fast speed 0.03-30 Hz NOTE: Setting Rotor fast speed slower than Rotor slow speed produces a nice distortion similar to FM. MOD - PAN - EQ These effects dynamically pan the inputs in the stereo output mix. The effect output is the mix between the panned outputs and the equalized effect inputs. NOTE: This effect requires different left and right inputs for it to work. 34 Stereo mod - pan - EQ Two parallel dynamic pan effects with phase-inverted LFOs. The two inputs alternate in the stereo mix. 26 35 Quadrature mod - pan - EQ EDIT EFFECT 1 (2) Two parallel dynamic pan effects with quadrature-phased LFOs. The two inputs “chase” each other in the stereo mix. Parameters Dry/Wet mix Dry/Wet mix mod source Dry/Wet mix mod amount LFO rate LFO depth LFO depth mod source LFO depth mod amount EQ low EQ high EQUALIZATION DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. Mod source -15 to +15 0.03-30 Hz Speed of modulation (frequency). 0 to 100 The amount of crossover to the opposite side. Mod source -15 to +15 -12 to +12 dB Control for cutting or boosting the low frequencies. EQ affects both the wet and dry signals. -12 to +12 dB Control for cutting or boosting the high frequencies. EQ affects both the wet and dry signals. This is a three-band parametric equalizer. The midrange frequency can be modulated for “wah” type effects. 36 Stereo parametric equalizer Parameters Low frequency Low level Mid frequency Mid frequency mod source Mid frequency mod amount Mid level Mid width High frequency High level 32 Hz to 1 kHz Low EQ shelving cutoff frequency. -12 to +12 dB Low EQ level. 1 to 100 Midrange filter center frequency. Mod source -15 to +15 -12 to +12 dB 1 - 100 Mid frequency filter resonance. 1 kHz to 16 kHz High shelving cutoff frequency. -12 to +12 dB High EQ level. 27 EDIT EFFECT 1 (2) STEREO COMBINATION MODULATED/FIXED DELAY - EQ In these effects, a mono-in/stereo-out chorus or flanger drives a stereo delay line which includes a sample/hold feature for capturing and recirculating the delay line contents. 37 Chorus - stereo delay - EQ A mono-input/stereo-output chorus with quadrature-phased LFOs drives a stereo delay with a sample/hold feature. 38 Flanger -stereo delay - EQ A mono-input/stereo-output flanger with quadrature-phased LFOs drives a stereo delay with a sample/hold feature. Parameters Flanger/chorus delay time LFO rate LFO depth Flanger Feedback Dry/Wet mix Echo delay time FTSW sample Delay Feedback EQ low EQ high DUAL MONO DELAY - REVERB 39 Delay/hail 0 to 50 ms 0.03-30 Hz Speed of modulation (frequency). 0 to 100 -100 to +100 Amount of feedback (negative values produce inverted phase). DRY, 99/1, . . .1/99, WET Output balance of processed and unprocessed sound. 0 to 450 ms On/off Enables use of EFFECTS SWITCH to sample and recirculate the delay line. À crossfade sample technique is used to minimize glitches. -100 to +100 Amount of feedback (negative values produce inverted phase). -12 to +12 dB Control for cutting or boosting the low frequencies. EQ affects wet signal only, the direct signal is unaffected. -12 to +12 dB Control for cutting or boosting the high frequencies. EQ affects wet signal only, the direct signal is unaffected. A monophonic delay in parallel with a monophonic hall reverb. 40 Delay/room A monophonic delay in parallel with a monophonic room reverb. 28 Parameters ChA Dry/Wet mix Delay time Delay Feedback ChB Dry/Wet mix Pre delay Decay time High frequency damping DUAL MONO FIXED/MOD DELAY 41 Delay/chorus 42 Delay/flanger EDIT EFFECT 1 (2) DRY, 9/1, .. .1/9, WET Output balance of processed and unprocessed sound. 0 to 500 ms -100 to +100 Amount of feedback (negative values produce inverted phase). DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. 0 to 500 ms Time between the direct sound and the first early reflections. 100 - 800 ms Reverb decay time after pre delay. 0 to 100 The larger the value set, the faster the high frequencies are damped. A monophonic delay in parallel with a monophonic chorus. A monophonic delay in parallel with a monophonic flanger. Parameters ChA - Dry/Wet mix Delay time Delay feedback ChB Delay time LFO rate LFO depth Feedback DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. 0 to 500 ms -100 to +100 Amount of feedback (negative values produce inverted phase). 0 to 500 ms 0.03-30 Hz Speed of modulation (frequency). 0 to 100 -100 to +100 Amount of feedback (negative values produce inverted phase). 29 EDIT EFFECT 1 (2) DUAL MONO DELAY - OVERDRIVE - DISTORTION 43 Delay/distortion-filter A monophonic delay in parallel with a distorted “wah” effect. 44 Delay/overdrive-filter A monophonic delay in parallel with an overdrive “wah” effect. Parameters Ch A Dry/Wet mix Delay time Delay feedback ChB Edge Hot spot Resonance Level DUAL MONO DELAY - PHASER 45 Delay/phaser DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. 0 to 500 ms -100 to +100 Amount of feedback (negative values produce inverted phase). 1 to 111 Distortion drive amount. 1 - 100 “Wah” filter frequency. 0 to 100 “Wah” effect depth. 1 to 100 Distortion output level. A monophonic delay in parallel with a monophonic phaser. This phaser has more phase shift than the stereo phaser. Parameters Ch A Dry/Wet mix Delay time Dela y feedback High trequency damping ChB Center LFO rate DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. 0 to 500 ms -100 to +100 Amount of feedback (negative values produce inverted phase). 0 to 100 The larger the value set, the faster the high frequencies are damped. 0 to 99 Center frequency which phase shift affects. 0.03-30 Hz Speed of modulation (frequency). 30 LFO depth Feedback DUAL MONO DELAY - ROTARY 46 Delay/rotary EDIT EFFECT 1 (2) 0 to 100 -100 to +100 Amount of feedback (negative values produce inverted phase). A monophonic delay in parallel with a monophonic rotary speaker simulator. This rotary speaker has more tremolo than the stereo rotary speaker. Parameters Ch A Dry/Wet mix Delay time Delay feedback ChB Slow rotor speed Fast rotor speed Acceleration Acceleration mod source STEREO PITCH SHIFTER/DELAY 47 Pitch Shifter DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. 0 to 500 ms -100 to +100 Amount of feedback (negative values produce inverted phase). 0.03-30 Hz 0.03-30 Hz 1 to 15 Mod source À stereo pitch shifter with the left channel shifted up and the right channel shifted down. The shifted signals can also be delayed with respect to the original signal. This effect makes an excellent stereo chorus when used with small amounts of shift, and is especially useful on strings and ensemble sounds when placed after a reverb. Parameters Dry/Wet mix Dry/Wet mix mod source Dry/Wet mix mod amount Delay left Delay right Shift DRY, 9/1, . . .1/9, WET Output balance of processed and unprocessed sound. Mod source -15 to +15 0 to 500 ms 0 to 500 ms 1 to 100 31 EDIT ENVELOPE 1 EDIT ENVELOPE 1 Wave Mute Macro Levels 0-4 Path: EDIT - PATCH - MACROS - (Module) - ENV1 The modulation sources are more or less distributed and available from menus under their destinations. For example, ENV1 and the LFOs can only be reached through their destinations. This envelope is exactly like the AMP ENV, except that Level 4 is adjustable (rather than always 0). The current wave being edited. Selecting ALL allows you to edit all oscillators at once. If A, B, C, or D is selected, the individual oscillator patch is modified. ON or MUTED is displayed next to the Wave selection. To mute or un-mute a wave, select the wave and then press MUTE, or cursor to the field and scroll. If a multi-oscillator Patch is selected and some of the oscillators are muted then “---” will appear. Any edits made to this page change the Macro label to USER. To cancel your edits, just re-select any internal macro. Specific Macro selections are listed under PATCH MACROS. 0 - 99. The levels of the breakpoints in the envelope determine its shape. Level 0 is the initial level initiated by a Key On. Level 1 is the attack level. Level 2 is the decay level. 32 EDIT ENVELOPE Level 3 is the sustain level. Level 4 is the release level. Note that Envelope 1 differs slightly from the Amp Envelope by having an adjustable Level 4. Sustain level + until Key Off Key On E -— Time 1—=<Time 2=——Time 3——e<—Time 4—> — me Times 1-4 The duration of the selected envelope segment. The envelope times adjust the rate at which the note develops. Longer times mean slower envelopes. Time 1 is the attack time. Time 2 is the decay time. Time 3 is the slope time. (The time between Level 2 and Level 3.) Time 4 is the release time. Envelope 1 Block Diagram TIME 1-4 ENVELOPE CONTROL LEVEL 0-3 ENVELOPE KEYBOARD MOD KEYBOARD Va ATTACK VELOCITY MOD VELOCITY ENV AMOUNT VELOCITY 7 33 EDIT ENVELOPE 1 ZOOM 1 When you raise the combined time values sufficiently, the screen will automatically zoom out to maintain the overall view. The ZOOM indicator reminds you that you are viewing a compressed envelope rather than a short one. ENVMOD Goes to EDIT ENV MOD. LFO1 / LFO2 Goes to EDIT LFO 1 or EDIT LFO 2. WAVINC Increments the Wave selection in order: ALL, A, B, C, D, ALL... MUTE Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted.) If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. 34 EDIT ENV_MOD EDIT ENV MOD Path: EDIT - PATCH - MACROS - (Module) - ENV1 - ENV MOD Please see figure under EDIT ENVELOPE 1. Wave The current wave being edited. Selecting ALL allows you to edit all oscillators at once. If A, B, C, or D is selected, the individual oscillator patch is modified. Mute ON or MUTED is displayed next to the Wave selection. To mute or un-mute a wave, select the wave and then press MUTE, or cursor to the field and scroll. If a multi-oscillator Patch is selected and some of the oscillators are muted then “---” will appear. Velocity Env Amount +/- 127. Raising or lowering this control from 0 makes the envelope level increasingly dependent on velocity. Positive values convert harder playing into deeper modulation. Negative values do the opposite. Attack Velocity Modulation +/- 127. Controls the influence of velocity on the envelope Time 1 only. Positive values mean that playing harder speeds up the envelope attack times, and playing more softly slows it. Negative values mean the opposite. Envelope Keyboard Modulation +/- 127. Controls the influence of the keyboard (note position) on envelope Times 2 and 4 only. 35 EDIT ENV MOD WAVINC MUTE Positive values mean that higher notes have faster envelope times than lower ones. Negative values mean the opposite. Increments the Wave selection in order: ALL, A, B,C, D, ALL... Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted.) If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. EDIT FILTER EDIT FILTER Wave Mute Macro Initial Cutoff Path: EDIT - PATCH - MACROS - FILT The classic 24 db/octave low-pass filter sets the basic Patch timbre or shapes it over time in response to physical or electrical controllers. For many instrumental sounds, you will usually use ENVELOPE 1 for Source 1. The current wave being edited. Selecting ALL allows you to edit all oscillators at once. If A, B, C, or D is selected, the individual oscillator patch is modified. ~ ON or MUTED is displayed next to the Wave selection. To mute or un-mute a wave, select the wave and then press MUTE, or cursor to the field and scroll. If a multi-oscillator Patch is selected and some of the oscillators are muted then “---” will appear. Any edits made to this page change the Macro label to USER. To cancel your edits, just re-select any internal macro. Specific Macro selections are listed under PATCH MACROS. The basic tone control for subtractive synthesis. 0 - 99. Higher values set a higher cutoff, therefore a brighter timbre. 37 EDIT FILTER Filter Block Diagram FROM WAVE(S) KEYBOARD AMOUNT SOURCE 1 AMOUNT SOURCE 2 Keyboard Tracking This controls how key position affects the filter cutoff. +/- 127. You often want the cutoff frequency to track the keyboard so that the timbre remains consistent. Positive values cause the Patch to get brighter as you play higher. This is a good effect to make use of in solo Patches. If you are attempting to simulate acoustic instruments, you may find negative settings to be more useful. These make the lower pitches have a brighter timbre than the higher pitches. The Keyboard Tracking is centered around C4. (This is the same as selecting CENTERED KEYBOARD as a modulation source.) 38 EDIT FILTER Cutoff Frequency Keyboard Tracking > 0 Keyboard Tracking = 0 init Cutoff Keyboard Tracking < 0 C4 Key Exciter Amount 0-99 Increasing the exciter amount extends and clarifies the higher frequencies. Source / Amount 1, 2 The modulation sources can be any of those listed in the discussion of the PATCH MACRO page. Each modulator can have its own level and a normal or inverted (+/- 127) — effect. PITCH Goes to EDIT PITCH. AMP Goes to EDIT AMPLIFIER ENVELOPE. ENV1 Goes to EDIT ENVELOPE 1. LFOs Goes to EDIT LFO 1. WAVINC Increments the Wave selection in order: ALL, A, B, C, D, ALL... MUTE Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted.) If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. 39 EDIT LFO 1 (2) EDIT LFO 1 (2) Path: EDIT - PATCH - MACROS - (Module) - LFO1 Wave The current wave being edited. Selecting ALL allows you to edit all oscillators at once. If A, B, C, or D is selected, the individual oscillator patch is modified. Mute ON or MUTED is displayed next to the Wave selection. To mute or un-mute a wave, select the wave and then press MUTE, or cursor to the field and scroll. If a multi-oscillator Patch is selected and some of the oscillators are muted then “---" will appear. Rate 0-99. Speed of LFO. Initial Amount 0-127. Basic depth of LFO. Shape LFO shapes are TRIANGLE, SQUARE, SAWTOOTH and RAMP. Sync | DISABLE. LFOs are free-running. ENABLE. The LFOs can be synchronized to start at Key On. This way, the modulation always starts on a positive phase. This is useful for preventing the attack of note from being swallowed by the negative modulation phase. EDIT LFO 1 (2) LFO Block Diagram SHAPE DEPTH CONTROL INITIAL AMOUNT RATE CONTROL SOURCE Delay Time from key down to start of LFO fade-in. Fade-in After initial delay, the duration of the LFO fade-in. The time it takes the LFO to fade in to the initial amount. Depth Mod Amt +/- 127. Source control for modulation of the LFOs output. Rate Mod Amt +/- 127. Source control for modulation of the LFOs rate. ENVT Goes to EDIT ENVELOPE 1. LFO1 / LFO2 Goes to EDIT LFO 1 or EDIT LFO 2. 41 EDIT LFO 1 (2) WAVINC MUTE Increments the Wave selection in order: ALL, A, B, C, D, ALL... Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted.) If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. 42 EDIT MIX ENVELOPE (Vector Synthesis) EDIT MIX ENVELOPE (Vector Synthesis) Wave “Path: EDIT - PATCH - WAVES - MIXEV If the Patch is in 2 oscillator mode, the B-D axis (Y-AXIS) disappears. You are left with a one-dimensional dynamic synthesis. If you have selected a 1-oscillator Structure, you can’t access this page. All three envelopes in the Wavestation (Amplifier, Mix, and Envelope 1) have four segments. The Mix envelope can be set to loop over a range of points (which is, in effect, a miniature form of Wave Sequencing). Waves 0-31 in each bank are Wave Sequences. Waves 32 and up are ROM waves -- single cycles, multi-samples, attack transients. PCM ROM cards hold waves numbered from 32 up. Mix Percentages Point Times Loop Use the joystick to adjust the mix percentages of the currently selected point. The total is always 100%. The current point number. Pressing the POINT switch repeatedly increments the point number. On the envelope graph, the current point is marked with a square. The duration of the selected envelope segment. The envelope times adjust the rate at which the note develops. Normally, when the key is held, the oscillator mix stays at point 3. However, you can set a loop so that while the key is held, the mixture moves between point 3 and any of the previous points. 43 EDIT MIX ENVELOPE (Vector Synthesis) OFF is the default. Forward 0-->3 1->3 2 --> 3 Bidirectional 0 <--> 3 1<->3 2 <-> 3 BIDIRECTIONAL 1 <--> 3 example: 1 <--> 3 LOOP KEY OFF Repeats POINT This parameter only matters if envelope looping is on. OFF means the loop does not repeat. 1 - 126 limit the looping to a specific number. INF repeats continue through the amp envelope release phase. Increments the Point parameter. On the envelope graph, a small square indicates the current point. 44 EDIT MIX ENVELOPE (Vector Synthesis) Mix Block Diagram X-AXIS Y-AXIS MODULATORS MODULATORS AMOUNT SOURCE 1 7, SOURCE 2 SOURCE 1 SOURCE 2 MIXMOD Goes to EDIT MIX MODULATION. CENTER Centers the current point. In other words, sets all mix percentages equal. 45 EDIT MIX MOD EDIT MIX MOD Path: EDIT - PATCH - WAVES - MIXEV - MIXMOD Either of the two mixer dimensions can have two modulating sources in addition to the mixer envelope (and joystick). Patch The Y-Axis source lines appear only when the Structure is four oscillators. If Structure is 1 oscillator, you can’t get here. Please see the Mix Block Diagram in the EDIT MIX ENVELOPE section. The current Patch being edited. Source / Amount 1, 2 ENV1 LFOS The modulation sources can be any of those listed in the discussion of the PERFORMANCE MACRO page. Each modulator can have its own level and a normal or Inverted (+/- 127) effect. Goes to EDIT ENVELOPE 1. Goes to EDIT LFO 1 or EDIT LFO 2. 46 EDIT PATCH EDIT PATCH Patch Structure Path: EDIT - PATCH For an introduction to Patches, please see Chapter 8, “Patch Tour,” in the Player's Guide. Patches are the sonic backbone of the Wavestation. There can be up to eight Patches in a Performance. You can draw these from 35 Patches per bank. Desired Bank and Patch Number/ Name. - NOTE: Selecting a different Patch changes the Patch pointed to by the currently selected Part. This causes the current Performance to be edited. There are 32 oscillators, and this parameter is how you allocate them to Patches. Four, two, or one oscillator Structures may be selected. 47 EDIT PATCH 4-Oscillator Structure Four-oscillator Patches have the richest sound. They also qualify for Vector > e < 5 É ‚© E с с > "С p— Га» с © A A * ES Te 2X 2 » y Le “= „= bp = ~ © 2 8 Si EZ vu ES ое ES = 5 uv Q = q == 5% No WAVE EDIT PATCH -Oscillator Structure Two-oscillator Patches allow one-dimensional, linear mixing. naa A 1-Oscillator Structure Single-oscillator Patches do not offer any dynamic mixing or hard sync. But since the oscillator can use Wave Sequences, single-oscillator Patches are still capable of interesting sounds. EDIT PATCH Hard Sync The "hard sync" function is only available if the Patch has a Structure of two or more oscillators. OFF is the default. The oscillators are free-running. ON means that oscillator C (and B/D, if four-oscillator) is synced to A. Hard sync means that whenever oscillator A starts a new cycle, all the other oscillators start their cycles as well. But since the periods of the “slave” oscillators are usually different than the master's (because they are playing different pitches), the waves of the slave oscillators are re-shaped “in sync” with the master. The abrupt cutoff of the slave waves creates a new, harmonically-rich timbre. Master Slave Since the overall timbre depends upon the pitch relationship between the slaves and the master oscillator, you can vary the timbre by modulating the pitch of the slaves. The pitch shift can be subtle (usually by. LFO) or extreme (usually by envelope), as in the case of the classic “swept-sync” patch. WAVES Goes to WAVES. MACROS Goes to PATCH MACROS. FX-BUS Goes to PATCH BUS ASSIGNMENT. NAME Goes to NAME PATCH. INIT Goes to INITIALIZE PATCH. WRITE Goes to WRITE PATCH. 50 EDIT PERFORMANCE EDIT PERFORMANCE Performance Part Patch DETAIL Path: EDIT RFORMANC For an introduction to Performances, please see Chapter 6, “Performance Tour,” in the Player's Guide. Performances have no sound of their own. Instead, Performances "point to" Patches which are the basic instrumental unit of sound, and organize them in various ways. Each of eight Parts in a Performance contain a Patch. In addition, Parts can customize Patches in a variety of ways, through the KEY and VELOCITY ZONES and PERFORMANCE PART DETAILS pages (and EFFECTS). Changing the Patches which are assigned to its Parts is one way to change the sound of a Performance. The other way is to edit the Patches themselves. The number and name of the Performance being edited. There are eight Parts in a Performance. Unused Parts can be assigned an “empty” Patch (--). You can add or change a Part's Patch simply by scrolling the desired Number or Bank. If no Patch is desired, select “--”, by dialing the Patch number field fully counter-clockwise. Hu ” To add a Patch, cursor to keypad. and press INC, dial, or enter the number from the Goes to PERFORMANCE PART DETAIL. 51 EDIT PERFORMANCE PATCH SOLO NAME EFFECTS WRITE Goes to EDIT PATCH and allows editing of the Patch in the currently selected Part. SOLO allows the current Part to be heard by itself. Goes to NAME PERFORMANCE. Goes to EFFECTS. Goes to WRITE PERFORMANCE. EDIT PITCH EDIT PITCH Wave Mute Macro Path: EDIT - PATCH - MACROS - PITCH The Pitch module controls the frequency modulation of the Patch waves. A Pitch Ramp is included, which lets you start the note a bit flat or sharp, at an amount controlled by velocity. Subtle nuance and inflections such as these contribute expressiveness to synthesized sounds. The current wave being edited. Selecting ALL allows you to edit all oscillators at once. If A, B, C, or D is selected, the individual oscillator patch is modified. ON or MUTED is displayed next to the Wave selection. To mute or un-mute a wave, select the wave and then press MUTE, or cursor to the field and scroll. If a multi-oscillator Patch is selected and some of the oscillators are muted then “---” will appear. Any edits made to this page change the Macro label to USER. To cancel your edits, just re-select any internal macro. Specific Macro selections are listed under PATCH MACROS. Pitch Wheel Range GLOBAL means that the Patch’s bend range will be set by the Pitch Wheel Range parameter on the GLOBAL page. (See the Player's Guide.) OFF, SEMITONE, WHOLETONE, MINOR 3RD, MAJOR 3RD, PERFECT 4TH, DIMINISHED 5TH, PERFECT 5TH, MINOR 6TH, MAJOR 6TH, MINOR 7TH, MAJOR 7TH, OCTAVE. These values override the GLOBAL settings. EDIT PITCH Pitch Ramp Amt +/- 127. The difference between initial and base pitch. Pitch Ramp Time 0 - 99, ON. Time for pitch to change from initial pitch to base pitch. ON keeps the pitch at the initial pitch value infinitely. Pitch Ramp Vel Amt +/- 127. This controls the sensitivity of the pitch ramp time to velocity. 0 means there is no effect. Positive values convert harder playing into faster ramps. Negative values create slower ramps from harder playing. Source / Amount 1, 2 The modulation sources can be any of those listed in the discussion of the PATCH MACRO page. Each modulator can have its own level and a normal or inverted (+/- 127) effect. FILTER Goes to EDIT FILTER. AMP Goes to EDIT AMPLIFIER ENVELOPE. ENV1 Goes to EDIT ENVELOPE 1. LFOs | Goes to EDIT LFO 1. WAVINC Increments the Wave selection in order: ALL, A, B, C, D, ALL... MUTE Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted.) If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. 54 Pitch Block Diagram EDIT PITCH KEYBOARD VELOCITY TO FILTERS A-D 55 EDIT SCALE EDIT SCALE Scale Type Path: GLOBAL - SCALE The PERFORMANCE PART DETAIL page includes a Scale field which allows you to select a different intonation for each Part. There are 16 tuning tables; four in ROM and 12 user-defined in RAM. Scales are in non-volatile internal RAM only. They cannot be saved on cards. The ROM tables are: EQUAL TEMPERAMENT 1. Normal Default. Widely used keyboard tuning. EQUAL TEMPERAMENT 2. This includes random detuning good for acoustic simulations. PURE MAJOR and PURE MINOR, both of which produce justly intoned diatonic chords relative to a specific tonic key. If Scale Type is Pure Major or Pure Minor, a Tonic key also needs to be selected on the PERFORMANCE PART DETAIL page. (To the extent you play in keys unrelated to this tonic, the keyboard may sound out of tune.) There are also USER 1 - 12. Step Adjustment WRITE The fine-tuning parameters for each of the twelve keys in an octave are laid out on the page somewhat like a keyboard. Cursor to the desired “key” and adjust its tuning offset. This offset is repeated for all octaves of that step. For each USER scale you can offset each step by +/- 99 cents. There is a “USER SCALE is EDITED” notice in the top line. Goes to WRITE SCALE. 56 EFFECTS EFFECTS Paths: EDIT - EFFECTS MIDI - MULTISET - EFFECTS For a general discussion of the effects system, please see Chapter 7, “Effects Tour,” in the Player's Guide. NOTE: Performance effects may only be edited when the MIDI mode is set to OMNI or POLY; MULTI MODE Setup effects may only be edited when the MIDI mode is set MULTI or MONO. Performance The current Performance (or MULTI MODE Setup) to which the effects parameters belong. Routing PARALLEL or SERIES, as explained in the Player's Guide. FX 1/2 These are the effects program selectors for each FX. A complete list of the effects programs is under EDIT EFFECTS 1/2. FX MIX Goes to EFFECTS MIX. FX1 / 2 EDIT Goes to EDIT EFFECTS 1/2. COPY Goes to COPY EFFECTS - ALL. 37 EFFECTS MIX EFFECTS MIX Performance Routing Mix 3/4 Mod 3/4 Paths: EDIT - EFFECTS - FX MIX MIDI - MULTISET - EFFECTS - FX MIX NOTE: Performance effects may only be edited when the MIDI mode is set to OMNI or POLY; MULTI MODE Setup effects may only be edited when the MIDI mode is set MULTI or MONO. The current Performance (or MULTI-MODE Setup), to which the effects parameters belong. SERIES or PARALLEL operation. Both configurations include Mix 3/4 parameters. In both cases, the Mix 3 and Mix 4 parameters control the initial mixture levels. The parallel mix is a stereo pan. The series mix is a wet/dry assignment to effect 2 with Bus C panned hard left, and Bus D hard right. The configuration diagrams (in the Player's Guide) show how the mixture function changes with the configuration. The Mod parameters allow you to achieve dynamic control over the MDE mix in the configuration. For example, you can easily control reverb or flanging depth from a footpedal. Mod 3 and 4 allow you to pick a controller for varying the initial levels set by Mix 3 and Mix 4. The controller choices include: 58 EFFECTS MIX SYMBOL Modulation Source NONE No modulation WHEEL Mod wheel AT Channel aftertouch VEL Last Note-On velocity (Not gated by Note-Off) KEY Highest key number; if none down, then last key ENV Summed amplitude envelopes of all buses KEYDN + Key down gate FSW Footswitch momentary, push-on/release-off | (Set FOOT ASSIGN | FSWTOG Footswitch toggle, push-on/ push-off | to EFFECTS SWITCH) | PEDAL Footpedal (Set FOOT ASSIGN to MODULATION) XMIDI1 MIDI Controller 1 XMIDI2 MIDI Controller 2 WH+AT Sum of mod wheel and chan aftertouch JOY-X Horizontal axis Joystick controller JOY-Y Vertical axis Joystick controller Amt 3/4 FX1 / 2 EDIT COPY These are the depth of the modulation controller (Mod 3 or 4). Positive amounts move the mix from left to right or from dry to wet. Negative amounts do the opposite. This switch takes you to the EDIT EFFECT 1(2) parameter pages. Goes to COPY EFFECTS - MIX. 59 FOOT PEDAL ASSIGN FOOT PEDAL ASSIGN Function Polarity Path: GLOBAL - FOOT Here is where you program the three foot control inputs. For the desired input, set the function and polarity, as follows. The DAMPER input is a switch, and any switch function can be selected. The ASSIGNABLE jacks accept either a switch or a pedal. VOLUME allows the pedal to control the Part volume level as well as transmit MIDI Controller 7. MOD PEDAL allows the pedal to be a modulation source transmitting as MIDI Controller 4 (Foot Controller). This is the “PEDAL” mod source on the EFFECTS MIX and EDIT EFFECT 1 (2) pages. SUSTAIN is the default choice for the Damper footswitch, simulating a piano pedal (and transmitted as MIDI Controller 64). EFFECTS SWITCH transfers the pedal for use by the Effects section. This is the FSW and FSWTOG Mod sources on the EFFECTS MIX and EDIT EFFECT 1/2 pages. PERF ADVANCE means that stepping on the footswitch selects the next Performance. DISABLE ignores the input. This field changes the polarity of the switch or pedal. 60 GLOBAL GLOBAL Path: GLOBAL The specific parameters are explained below. In general, to adjust any of these parameters: Master Tuning Effects For a discussion of this parameter, please see section 4.12 in the Player’s Guide. This Effects setting overrides all Performance Effect programming by disabling the Multi Digital Effect (MDE) processor. ENABLE, the default, means that the effects are programmed by the Performance. This is the normal mode of operation. DISABLE means that the MDE effects are disabled. (Routing is disabled as well; Buses A - D go to outputs 1 - 4.) Two examples of why you might to use this mode are 1) during programming, to ensure that effects aren't added to Performances under construction, and 2) in performance in reverberant rooms or with large groups, you might want to quickly strip out your processing in favor of a “dry” sound, without having to edit and save Performances. Memory Protect Internal ON, the default, means that protection is enabled; therefore, saving is prohibited. When learning your way around, or if a stranger passes through, this setting will allow any parameter changes without fear that you will lose the factory settings. OFF means that saving is allowed. Another way to arrange for memory protection, in the form of back-up, is to send MIDI System Exclusive data dumps to an external device. For convenience, this parameter is also available on the WRITE page. ( GLOBAL Memory Protect Card This protection applies only to Performance RAM cards. (ROM cards don’t need it.) ON, the default, means that protection is on; therefore, saving is prohibited. OFF means that saving is allowed. In addition, RAM cards have their own Protect On/Off switches. To preserve card battery life, leave this hardware protection switch on when not saving. For convenience, this parameter is also available on the WRITE page. Wave Sequence Sync INTERNAL is normal. This means that Wave Sequences sync to an internal clock. MIDI clocks are ignored. MIDI means that Wave Sequences sync to MIDI clocks. The number of MIDI clocks for each step is taken from the Step Duration parameter. Global Pitch Bend Range Each Patch can select this global setting or use its own bend depth parameter. The Range is OFF, SEMITONE, WHOLETONE, MINOR 3RD, MAJOR 3RD, PERFECT 4TH, DIMINISHED 5TH, PERFECT 5TH, MINOR 6TH, MAJOR 6TH, MINOR 7TH, MAJOR 7TH, OCTAVE. Set the Pitch bend range for the maximum depth you like. Velocity Response Curve UTIL SCALE FOOT Velocity Response Curve matches your playing style to the keyboard. Eight curves can be selected. (MIDI input to the Wavestation is unaffected by this setting.) Start with curve 4 and adjust up or down to achieve the desired feel, as well as to match the response of other sound sources which may be MIDI'd together. Experiment with different settings for a few days before deciding which one works best. Goes to UTILITIES. Goes to EDIT SCALE Goes to FOOT PEDAL ASSIGN. 62 INITIALIZE INITIALIZE (Part, Patch) Paths: Part EDIT - DETAIL - INIT Patch EDIT - PATCH - INIT The INITIALIZE function operates similarly on both Parts and Patches. It sets neutral, default parameters for building an object from scratch. If INIT is selected, an “Are you sure. . .?” warning message appears. Pressing YES confirms the operation. Type and Item YES NO The Data Type field depends on what object was selected when you pressed INIT. Exiting the INIT page returns to the page active prior to entering INIT. Data Type cannot be edited from this page. Starts the operation. Stops the operation and exits. 63 JUMP JUMP Path: Click the JUMP/MARK switch. This page shows the current assignment of each MARK key. To immediately go to the page listed, press the desired key. Double clicking the JUMP/MARK switch goes to the MARK page. EXIT returns to the previous page. 64 KEY AND VELOCITY ZONES KEY AND VELOCITY ZONES Part Path: EDIT - DETAIL - ZONES E = rt 4 KeyloA*2 НЕС SOLO E LAYER (ia ET] Tim TTT) - For an introduction to Performances, please see Chapter 6, “Performance Tour,” in the Player’s Guide. Dial the selected Part here. The double arrow moves up and down to show you which line contains the current settings. Key Low - High The note range defaults to the extremes of C-1 and G9. The key limits can be entered by the keyboard or with the scroll knob. Velocity Low - High SOLO LAYER SPLIT The velocity range defaults to the extremes of 0 and 127. The velocity limits can be entered by the keyboard or with the scroll knob. SOLO allows the current Part to be heard by itself. This switch sets the key and velocity ranges for each Part to their limits. The SPLIT function creates zones of equal ranges, depending on how many Parts aren’t empty. For example, if there are four non-empty Parts, each gets a quarter of the keyboard. The lowest Part number is the bass-most range, and the highest Part number is the treble-most range. SPLIT assumes a five-octave keyboard. 65 KEY AND VELOCITY ZONES VEL SW VEL LYR If Velocity Switch is pressed, the current Parts will be distributed over the velocity range of 0-127. If there are only two active Parts, the Velocity Switch point defaults to 100. This is similar to VEL SW, except that instead of forming discrete velocity zones, the zones overlap.The PERFORMANCE PART DETAIL page sets the sound of the Part. But the ZONE page determines where and how the Part plays from the controller. Automatic adjustments for layer, velocity switch, etc., are also done on the ZONES page. This page has a double-arrow pointer that is moved vertically by the up/down cursors or by scrolling the Part field, selecting the current part for editing. The key and velocity limits can be entered by the keyboard, or with the scroll knob. The traditional keyboard modes of single, layered, split, and the sampler- inspired velocity-controlled modes have evolved into a general-purpose system that permits any combination of key and velocity voicings. For example, the former single mode is now a Performance with one Part, whose Key Limits are at the extremes C-1 and G9, with a Velocity Range of 0- 127. Double, Dual, or Layer mode is now a two-Patch Performance with similar zoning. Split mode would be a two-Part Performance, with one Part zoned C-1 to B4 and the other zoned C5 - G9. In addition you might use the Transpose parameter (Part Detail) to move both Patches into the center of their playable ranges. Since eight layers are available, though, virtually any arrangement of layering and splitting is possible. The same is true of Velocity. You can arrange for complex velocity switching by thinking of each Part in velocity “splits,” or for velocity layering by overlapping zones. 66 KEY AND VELOCITY ZONES A ZONE EXAMPLE For example, the following figure is an example of a Performance in which the player can alter the instrumental mixture by range and by touch. To make sure we understand this, let's look at the example from the point of view of each Part. The Bass Patch plays on the bottom quarter of the keyboard, with a soft to medium touch. The Piano plays across the middle half of the keyboard, also with a soft to medium touch. Sax plays at the high end of the keyboard, with low velocity. As you play medium-loud in the bass end, the Brass part is layered with bass and piano, and with the Trumpet Part next to it. The Trumpet Part takes over on loud notes played from the center and upwards. Velocity A a a e Na e y a a! e aaa PEC * а - " “ * - = = т Tags "tr," "a "a "a - Key Assuming the Trumpet is Part 1 and the Bass is Part 5, setting up this example on the KEY AND VELOCITY ZONES page would produce a zone chart resembling this: : Pare, Key Lo: C3 Hi: GS a = SOLO АД LAYER 67 MARK MARK Path: Double-click the JUMP/MARK switch. You can use the MARK switch to set “bookmarks” on a display page. The name of the marked page appears on the top parameter line. The page names are taken from the top line of each page. Pressing one of USER 1 - 6 assigns the marked page to that function switch. (No warning is given if you overwrite a location with a new one.) JUMP/MARK goes to the JUMP page (toggles). EXIT returns to the previous page, without marking. 68 MIDI MIDI Path: MIDI 4 CONTROLLER. :[ STATUS TR la CCA Lid Гол к нал инь а паи аа жа ашан) LE For basic information on the MIDI page, please see Chapter 5, “Using MIDI,” of the Player's Guide. See also MIDI RECEIVE and MIDI TRANSMIT. Mode OMNI, POLY, MONO, MULTI. If Multi-Mode is selected, playback will be determined by the current MULTI MODE Setup (MULTISET). Basic Channel Key# Offset This is the main channel select parameter. If the Mode is MONO, an additional “Number of MONO Mode Channels” field appears. If using a guitar controller, you might set this to 6. The Channels reserved begin with the current Base Channel, up to the number of mono channels requested, to the limit of 16. For example, if 6 channels are requested and the base channel is set to 13, only channels 13, 14, 15, and 16 could be used. In other words, to use six MONO channels, you must set a Base Channel no higher than 11 (11, 12, 13, 14, 15, 16). If Mode is MULTI, the basic channel is ignored in favor of the Multi-Mode Setups. The basic channel is the channel number used to transmit and receive System Exclusive messages. MIDI key numbers received or transmitted by the Wavestation will be transposed by this amount. This has no effect on the local keyboard. 69 MIDI Parameters DISABLE. The Wavestation's parameters are not transmitted nor received. This is the default. RECOGNIZE, TRANSMIT, RECOG & TRANS are options. MIDI Controllers 1 and 2 As explained in the Player's Guide, these parameters define the MIDI controllers available for the modulation matrix and effects modulation. STATUS Goes to MIDI STATUS, an input indicator page. Please see section 5.4 in the Player's Guide. TRANS Goes to MIDI TRANSMIT. RECEIVE | Goes to MIDI RECEIVE. PERFMAP Goes to PERFORMANCE SELECT MAP. Please see section 5.11 in the Player's Guide. MULTISET Goes to MULTI-MODE SETUP. SYSEX Goes to SYSEX DATA TRANSMIT. MIDI RECEIVE MIDI RECEIVE Path: MIDI - RECEIVE The first four parameters all have the same possible values: DISABLE or ENABLE. DISABLE means that the message type is ignored. ENABLE means that the message type is recognized. Program Change Aftertouch Pitch Bend Controllers Note This parameter controls the reception of Program Change messages. This parameter controls the reception of key or polyphonic aftertouch. This parameter controls the reception of Pitch Bend messages. This parameter controls the reception of MIDI controller messages. ‚This parameter allows you to use two Wavestations side-by-side with the resulting doubled voice capacity. You simply set one to respond to even numbered notes, and set the other to respond to odd-numbered notes. In such applications the two Wavestations would typically be programmed identically. (A MIDI bulk data dump command allows you to easily copy an entire machine’s memory.) However, interesting results could be obtained by programming them differently. 71 MIDI RECEIVE ALL is normal. It means that the Wavestation recognizes all Note messages. EVEN means that only the even note numbers are played. ODD means that only the odd note numbers are played. All Notes Off This parameter allows you to ignore the All Notes Off message, which is sent by some controllers to prevent undesired release of notes. RESPOND means that when an All Notes Off message is received, all voices are immediately turned off (with release, just as if a Note Off was received). IGNORE means that key events will be uninterrupted by All Notes Off messages. MIDI RECEIVING The figure on the next page shows how you might use the Wavestation in a sequencer environment. In this setup, the Wavestation is programmed Multi- “timbrally to simultaneously play several parts from the sequencer. In addition, you can play along with the sequence live from the keyboard. To create the sequence, you switched Local Control off, and routed Wavestation MIDI output through the sequencer. When recording, you selected each of the multiple timbres on the bus either by changing the Wavestation's Basic Channel setting, or letting the sequencer do it for you (if it is so equipped). MIDI IN functions just like the local keyboard: it only plays Performances which have a Play mode of LOCAL or BOTH. Specifically, MIDI IN is not re- transmitted from Parts whose Play mode is MIDI. (Otherwise MIDI feedback could be created in the system.) In the figure, Local Control is on, so the Wavestation plays whatever Performance is on the Performance Select page in addition to sequencer data. Since you do not want to pass keyboard data to the Multi-timbral input, you either switch the seguencer's THRU function off, or make sure that the Wavestation’s Basic Channel is set to a channel other than one being played by the sequencer. Since the local keyboard is functioning normally, all MIDI TRANSMIT functions are available, which means that local playing can still control an external sound rack. (See MIDI TRANSMIT.) 72 MULTI-TIMBRAL EXAMPLE MIDI RECEIVE VESTATION Xmit Mode MID OUT Control ON OFF SEQUENCER | DETALS 1 Play Mode: BOTH | Xmit Chan: 1 Prog Change Xmit: 2 Play Mode: LOCAL ! Xmit Chan: 2 ¡ Prog Change Xmit: 43 I Play Mode: BOTH ' Xmit Chan: 3 og Change Xmit: OFF ‘ Play Mode: MIDI Xmit Chan: 4 J Prog Change Xmit: OFF A Ea aaa nd MIDI TRANSMIT MIDI TRANSMIT Xmit Mode Local Control Path: MIDI - TRANSMIT Except for Xmit Mode, the parameters all have the same parameter values: ENABLE, DISABLE. DISABLE means that the message type is not transmitted. ENABLE means that the message type is transmitted. This parameter controls normal or multi-channel output. BASIC CHANNEL is normal and means that the same channel number is used as set above (under receive mode). This is the normal mode. PART CHANNEL means that instead of the Basic Channel, the Part channel numbers in the current Performance are used. The keyboard output from the Wavestation is then zoned and channeled according to the Part definitions contained in the Performance. This makes it possible to use external modules to reinforce any specific Part. ENABLE - Internal voices are played from the keyboard. DISABLE - The keyboard does not play internal voices. Program Change Aftertouch This parameter controls the transmission of Performance selections as MIDI Program Changes. This parameter controls the transmission of aftertouch from the Wavestation's keyboard. 74 MIDI TRANSMIT Pitch Bend This parameter controls the transmission of Pitch Bend data from the Wavestation's pitch wheel. | Controllers This parameter controls the transmission of all controller data from the Wavestation. MASTER KEYBOARD EXAMPLE WAVESTATIO = Part 1: WAVSEG Plano 51 | ZONES 4 DETAILS A |v ! Play Mode: BOTH ' Xmit Chan: 1 ! Prog Change Xmit: 2 TE TT Ln A] ZONES a DETAILS + | Vv ! Play Mode: LOCAL ЗЕ 1 Xmit Chan: 2 Ty A Ee a Te BE EHRE Me PAC er Tet [Part 6: Program Change |. | | | | | | MIDI IN : | | | | | KORG M1 rack COMBINATION 20 Global Channel 16 Xmit Chan: 16 pe Prog Change Xmit: 20 FT“ Tae eT eT tT TT TT Ta a ht ete “4 Part 7: Vector String Pad 1% ZONES a DETAILS y , Рау Mode: BOTH cg I Xmit Chan: 3 III II Ta | Part 8: Fanfare Brass 17 ZONES | DETAILS ВЕ ' Play Mode: MIDI nn V y ВЫ: Xmit Chan: 4 Local Control y E: K Prog Change Xmit: OFF ом LA WAVESTATION KEYBOARD The figure shows the general features of the MIDI transmit section and an example of how someone might use the Wavestation as a master MIDI controller. The most important setting is Xmit Mode (on the MIDI TRANSMIT page). It determines the source of MIDI output. The simpler choice is Basic Channel, which means that the keyboard plays out on the Basic Channel (as set on the MIDI page). 75 МЮ! TRANSMIT Instead, since this is a multi-timbral example, you select Part Channel. This lets you use a Part's zone and MIDI parameters to process the Wavestation's MIDI output. As shown on the diagram, the Local Control parameter must be on, otherwise the Performance gets nothing to process. In this system setup the Wavestation provides the basic sounds, but these are accented and enhanced by external modules. Part 1 of this Performance holds a modern Piano Patch based on Wave Sequences, and is doubled by an external sampled piano module. How is this done? The Part's key and velocity zones are wide open and its Play Mode is BOTH. So it plays all notes played from the Wavestation keyboard, and sends them all out channel 1 (the Xmit Chan). Also, when the Performance is selected, this Part sends a MIDI Program Change message 2 which selects preset #2 on the P3 module. Part 2 has a corresponding external partner prepared on MIDI channel 2. But notice that this particular Performance switches Part 2's Play Mode to LOCAL. So, no notes transmit from this part. To easily switch the external octave doubling on and off while playing, you can copy this Performance and change this parameter to BOTH (or MIDI only). The third piece of gear is an M1 rack set up to operate multi-timbrally. From Part 6 on the Wavestation a MIDI program change on the M1's global channel of 16 selects its Combination 20. (Program changes can be used on external effects devices as well.) The M1 combination in turn selects the programs for its Timbres 1 and 2. Since it is not necessary for the Wavestation to send program changes from Parts 7 and 8, their Prog Change Xmits are OFF. Notice the zoning of Part 7. It kicks- in with louder velocities, and above the mid-point of the keyboard. Only notes that meet this criteria are sent out channel 3 to Timbre 1, the backing choir. Part 8 does not play locally, but the loudest velocities and lower notes play its external mate, Timbre 2. 76 MULTIMODE SETUP | MULTIMODE SETUP Path: MIDI - MULTISET NOTE: To use this mode you must first, on the MIDI page, set MIDI Mode to MULTI. MULTI mode enables the Wavestation to receive multi-timbrally, one Performance per channel. And the MULTIMODE SETUP page provides a table assigning any Performance to any MIDI channel. (And any channel can be ignored). Normally, each Performance has its own Effects programming. However, in MULTIMODE you can have 16 Performances — but you can’t have 32 effects! So, the Wavestation ignores all of its Performance Effect programming, and instead each of 16 Setups can have its own Effects assignments. These effects have exactly the same power as the Performance Effects Selections, Effects Parameters, and Routing. The MULTIMODE SETUP serves to select an initial set of Performances, with effects settings. These setups allow you to try various sound combinations without having to specifically program those selections from the sequencer. It is not always necessary to switch Setups via MIDI because they do not prevent you from using program change messages within each channel. In MULTI mode the Wavestation responds to Performance selections in each channel. It functions as up to 16 independent synthesizers. MULTISETS are stored in internal nonvolatile RAM and can be dumped via MIDI System Exclusive. Multimode Setup This displays the number of the current MULTIMODE Setup (0-15). Changing this number sends a MIDI System Exclusive command, which may be recorded and played back to the Wavestation by an external sequencer. This enables you to automate the selection of different MULTIMODE Setups for different songs, to change effects, MIDI channel on/off configurations, and so on. FX Control Channel This is the MIDI channel that will receive controller data for effects modulation sources. 77 MULTIMODE SETUP MIDI Channel Level If set to KBD, the local keyboard controls effects modulation. MIDI Channel number. Note that this channel list scrolls downwards. Ignore or recognize the channel. To allow you to easily balance the set, this parameter is a relative level scaling. Its function is equivalent to a MIDI Volume Control (7). Performance Bank, Number STATUS XMIT EFFECTS PERFMAP WRITE Performance assigned to the channel. Please see section 5.4 in the Player's Guide. Dumps Multi-Mode setup data over MIDI System Exclusive Goes to EDIT EFFECTS. Each MULTI setup has its own Effects section, which overrides all PERFORMANCE Effects. Please see section 5.11 in the Player's Guide. WRITE goes to WRITE MULTI MODE SETUP. 78 NAME NAME (Performance, Patch, Wave Sequence, Card) Paths: Performance EDIT - NAME Patch EDIT - PATCH - NAME Wave Sequence EDIT - PATCH - WAVES - WAVSEQ - UTILS - NAME Card GLOBAL - UTIL - NAME CANCEL ) The NAME page functions identically in all places it is used. The table of characters always displays your current character selection. Type and Item The first line tells you what you are naming. This will be either a Performance, Patch, Wave Sequence, or Card, depending on what you were editing when you pressed NAME. Character Position The left/right cursor highlights the character position in the item’s name. “e To select the character position, use the left/right cursor keys. Each name can have 15 characters (seven for Wave Sequences). On some pages, the full name may be abbreviated to allow for data. Character Field (Value) WRITE “e To select a character value use the dial, or cursor up/down. w To select a number character you can also use the keypad. You can use the scroll knob to move through all three lines in the table continuously. Or, you can jump from line to line by using the up/down cursors. As you scroll, the current character position in the name field duplicates the current character selected by the scroll knob. Goes to the WRITE page, if naming a Patch or Performance. 79 NAME CLEAR This sets the name to all spaces, which is especially useful before naming something for the first time. SPACE This is a shortcut for writing a space. RESET This clears your edits, restoring the original name, without leaving the page. CANCEL Exits the page, leaving the name unchanged. This is the same as pressing RESET, then EXIT. The EXIT switch Exiting leaves the edited name in the edit buffer. 80 PATCH BUS ASSIGNMENT PATCH BUS ASSIGNMENT Path: EDIT - PATCH - FXBUS For an introduction to Patches, please see Chapter 8, “Patch Tour,” in the Player's Guide. Patch The Patch to which these waves selections belong. Wave Waves are ROM or CARD only. (There is no RAM for waveshapes.) In each bank, waves 0-31 are actually Wave Sequences. Waves 32 -and up are ROM waves - cycles, multi-samples, attack transients. FXBUS A, B, C, D ON means that the wave is routed to this effects bus. OFF menas that the wave is not routed to this effects bus. WAVES | Goes to WAVES. MACROS Goes to PATCH MACROS. a 81 PATCH MACROS PATCH MACROS Patch Wave Mute Path: EDIT - PATCH - MACROS For an introduction to Patches, please see Chapter 8, “Patch Tour,” in the Player's Guide. The Patch has a sub-level of Macros that give you a quick and easy grasp of the parameters in each of its synthesis modules (oscillators, filter, amp, and pan). The macros are a great way to quickly try different processing ideas. For the hard-core sound editor, they also serve to initialize all of the parameters in the module to useful combinations which serve as starting points for custom editing. To see what specific parameters comprise each macro, select one of the four modules (PITCH, FILTER, AMP, PAN). This will show the current parameter values which comprise the macros. For example, in the case of the amplifier envelope, you'll see a graph of the current envelope shape. When you edit a macro at the parameter level, the macro description for that module becomes "USER". The current Patch being edited. The current wave being edited. Selecting ALL allows you to edit all oscillators at once. If A, B, C, or D is selected, the individual oscillator patch is modified. ON or MUTED is displayed next to the Wave selection. To mute or un-mute a wave, select the wave and then press MUTE, or cursor to the field and scroll. 82 Structure Pitch Filter Amp Pan PITCH FILTER AMP PATCH MACROS If a multi-oscillator Patch is selected and some of the oscillators are muted then “-—” will appear. If Structure is 2 oscillator, Wave is either A , C, or ALL (no B or D). If Structure is 1 oscillator, Wave is A only, and can not be edited. The number of oscillators is determined by the Structure setting, as explained under EDIT PATCH. If the structure is two oscillators, oscillators B and D aren’t available. The Pitch macros perform various modulations on the oscillators. Choices include: DEFAULT, ENV1 BEND, DESCENDING SWEEP, ASCENDING SWEEP, AFTERTOUCH BEND, MIDI BEND, AFT + MIDI BEND. The filter macro sets a basic tone and may include modulation. You can select: BYPASS, LOWPASS, LOWPASS/LFO, AFTERTOUCH SWEEP. The Amp Macro is generally the first place to turn when beginning to edit a Patch. You can quickly hear what any preset sounds like with different instrumental envelopes. Amp Macros are: DEFAULT, PIANO, ORGAN, ORGAN RELEASE, BRASS, STRING, CLAY, DRUM, RAMP, ON, OFF (can serve as a programmable mute). Remember that this macro can only do its work if the filter output contains enough sound material in the first place. For example, if the sound has a slow attack, the percussive amplifier macros won't be very effective. The Pan Macros control the modulation of the initial Pan position, which is set using the PERF PART DETAIL FXBus parameter. Pan Macros include: KEYBOARD-PAN, VELOCITY PAN, KEY + VELOCITY, OFF. Goes to EDIT PITCH. Goes to EDIT FILTER. Goes to EDIT AMPLIFIER ENVELOPE. 83 PATCH MACROS PAN COPY MUTE Goes to EDIT PAN. Goes to COPY MODULES. Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted.) If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. Modulation Sources In addition to the basic “analog” patch resources mentioned above, the Patch has an extensive modulation system. Each oscillator voice contains ENV 1, LFO 1 and LFO 2, which are only reached by moving down to the level of | individual Patch details. NOTE: Since the three modulators (ENV1, LFO 1/2) are separate from the Pitch, Filter, Amp and Pan modules, they are not controlled by Macros. For example, you might choose a tremolo or vibrato macro which uses an LFO. But the speed of the modulation is not controlled by the macro. Instead, it depends on which LFO 1 (or 2) happens to be set. Modulation sources include: LINEAR KEYBOARD CENTERED KEYBOARD (centered around middle C (C4)) LINEAR VELOCITY EXPONENTIAL VELOCITY AFTERTOUCH MOD WHEEL LFO 1, LFO 2 ENV 1 AFTERTOUCH + MOD WHEEL (aftertouch/mod wheel combination) MOD PEDAL MIDI 1 and 2 There are also a number of traditional fixed modulation paths, such as keyboard to pitch and velocity to envelope amount. 84 PERFORMANCE PART DETAIL PERFORMANCE PART DETAIL Part Patch Level FX Bus Path: EDIT - DETAIL a For an introduction to Performances, please see Chapter 6, “Performance Tour,” in the Player’s Guide. After assigning a Patch to a Part, you can further customize it by way of this page, and KEY AND VELOCITY ZONES. As you can see, a Part has a lot to it. One basic Patch can produce a variety of effects within a Part, without your having to keep separate, slightly different versions of the Patch. The Part number, 1-8. Adjust with the PART + or PART - switches. The Patch currently assigned to the Part. Volume level of the Part. This parameter controls the routing of the Patch to the MDE. (The MDE controls the routing to the back panel.) See EDIT EFFECTS. FX (Effects) Bus values are: BUS-A, 99/1 ~ 1/99, BUS-B, BUS-C, C+D, BUS-D, ALL, and PATCH. Note that the actual pan amount is set on the EDIT BUS A-B PAN page. Panning is also affected by modulators which can be found under EDIT PAN. If PATCH is selected, the mix envelope and the joystick can affect the pan position. 85 PERFORMANCE Delay Xpose Detune Sustain Play Mode Scale Xmit Chan PART DETAIL Time from Key on to the voicing of the Part. Semitone transposition of the Part, with a range of +/- 24 steps. Fine tuning of the Part in cents. DISABLE/ENABLE. Chooses whether the Part responds to the Sustain. This parameter allows the Part to determine what plays it. LOCAL means that the Part responds to keyboard or MIDI input only. The Part does not transmit notes. MIDI means that the Part transmits notes fitting within the Part’s zone parameters. Only local keyboard playing is transmitted: MIDI input is not re- transmitted. BOTH mode is normal. Normally, this will be equal-tempered. If the selection is pure major or minor, an additional field for the tonic key appears. See the EDIT SCALE page. Transmit channel applying to the sending of MIDI data when the Play mode is MIDI or BOTH. Prog Change Xmit Mode 86 Prog Change Transmit concerns the sending of MIDI data when Play mode is MIDI or BOTH. In addition, to enable multi-timbral output, on the MIDI TRANSMIT page, Xmit Mode must be set to PART CHANNEL. If you are in either of those modes, selecting a Performance transmits this Program Change on the Xmit Channel set above. This is useful when using the Wavestation to control a multi-channel sound module array. The Part Mode controls the voice response from the keyboard. POLYPHONIC mode plays voices up to the maximum number of voices. UNISON LEGATO: All voices in this Part are stacked on one key. If you play legato, notes are not re-triggered. This is good for imitating the phrasings of wind instruments, for example. Key Priority PART -/+ SOLO INIT ZONES COPY PERFORMANCE PART DETAIL UNISON RETRIG: All available voices are stacked on one key. Each new note re-triggers the envelopes. This only appears when Mode is either UNISON LEGATO or UNISON RETRIG. These modes mean that you can only play one key at a time. The Priority parameter tells the keyboard what to do when more than one key is held down. LAST means play the most recent key. LOW means play the lowest key. HIGH means play the highest key. PART - and PART + inc /decrement the current Part number. SOLO allows the current Part to be heard by itself. Goes to INITIALIZE PART. Goes to KEY AND VELOCITY ZONES. Goes to COPY PART. 87 PERFORMANCE SELECT PERFORMANCE SELECT Path: None -- this is the starting point of all paths. The PERFORMANCE SELECT page is the highest menu. It appears when you switch power on or after you press the EXIT switch a sufficient number of times. | Using this page is the subject of Chapter 4, “Basic Operation,” in the Player's Guide, so we won't repeat that information here. Memory Bank The current memory Bank is the first field on the page. You can press the BANK function switch to cycle through the banks. Switching the bank selects a new Performance. The current number in the new bank is heard immediately. A Performance in RAM1 can simultaneously use Patches from ROM, RAM2, and a card. Likewise, a RAM2 Patch can use ROM or card waves. ROM There has to be a place were you can get some known sounds to start with. The ROM bank fills this role. ROM Performances use only ROM Patches and ROM waves. RAM1/RAM2 These banks are the user's work area, although they are initially filled with additional Factory Performances, Patches, and Wave Sequences. CARD This selection uses the PROG DATA card slot. This can be a RAM or ROM card. 88 PERFORMANCE SELECT Current Performance Each bank contains 50 performances. Select them with dial or keypad, or the INC/DEC switches. BANK BANK cycles through the four bank choices (ROM, RAM1, RAM2, and CARD- if inserted). EDIT Goes to EDIT PERFORMANCE. MIDI Goes to MIDI. See Chapter 5, “USING MIDI,” of the Player's Guide. GLOBAL Goes to GLOBAL Settings. See Section 4.11 of the Player's Guide. VIEW Goes to VIEW PERFORMANCES. 89 PERFORMANCE SELECT MAP PERFORMANCE SELECT MAP 90° Path: MIDI - PERFMAP {BAR Please see the Player's Guide section 5.11, which discusses this page in depth. SYSEX DATA TRANSMIT SYSEX DATA TRANSMIT All Patch Performance Path: MIDI - SYSEX The System Exclusive data is transmitted on the Basic Channel. The System Exclusive (SysEx) page is generally used for sending Wavestation data to another Wavestation or to a MIDI bulk storage device. The Wavestation also responds to dump requests. A complete System Exclusive implementation allows convenient remote operation with a computer-based editor. NOTE: For more details please refer to Appendix 3, “MIDI System Exclusive Format.” The following transferable data types are available. Everything. (In other words, all data -- except card information -- needed to duplicate your Wavestation environment on another Wavestation.) Bank, number 00 - 34 or ALL. Bank, number 00 - 49 or ALL. Wave Sequences Global Data Scales Bank only. There is one set of global data. There is one set of twelve user scales. Multi-Mode Setups EXECUTE There is one set of 16 Multi-Mode Setups. Starts the dump operation. Success, or any problem with the SysEx transfer, is reported. 91 UTILITIES UTILITIES From TO Path: GLOBAL - UTIL This page lets you quickly transfer complete sets of Performances, Patches, and Wave Sequences between cards and internal memory. (For transferring individual Performances and Patches, use WRITE.) If the COPY, MOVE, and NAME functions disappear, then the card is unformatted. ROM, RAM1, RAM2, or CARD are possible. RAM1, RAM2, or CARD are possible. Data to Transfer COPY MOVE All, Performances, Patches, or Wave Sequences are possible. Starts the transfer. Makes an identical copy of the “From” bank and puts it in the “To” bank. Copies the Bank. However, MOVE also changes all source Bank references to the Bank destination, as well. For example, suppose that in RAM1 you have Performances which call for Patches and Wave Sequences in various banks. If you then MOVE RAMI to CARD, all references to RAM1 Patches and Wave Sequences are converted to CARD Patches and Wave Sequences (because these Patches and Wave Sequences have indeed been copied to the card). This way, to the extent a bank of Performances is self-contained, you can just take the card to another Wavestation and have it sound exactly right. You won't have to worry about first installing Performances into RAMI. NAME FORMAT HEADER UTILITIES Goes to NAME CARD. If inserting a card, invokes one of the following messages: CARD IS NOT FORMATTED KORG CARD FORMAT MISMATCH then to use the card in the Wavestation you must first format it. Pressing FORMAT formats the card (after an “Are you sure?” page) and then goes to the NAME page, which allows you to name the card. Occasionally, RAM cards which are improperly handled or lose power momentarily during a battery change may lose data. This causes the CARD IS NOT FORMATTED or KORG CARD FORMAT MISMATCH messages to appear when the card is inserted. The card may be unrecognizable but still usable. Use this function to rewrite the card header only. It does not erase or interfere with the card data in any way. 93 VIEW PERFORMANCES VIEW PERFORMANCES Path: VIEW EE A NN Rt EL OL CA MS RAC) View Bank Select Bank to be viewed by pressing BANK. Current Performance Shows the Performance that is currently selected. Performance Set The numbers and names of the 10 Performances in this decade. BANK BANK cycles through the four bank choices (ROM, RAM1, RAM2, and CARD- if used). DECADE (00 - 40) Selects the group of ten Performances to be viewed. WAVE SEQUENCE WAVE SEQUENCE Wave Path: EDIT - PATCH - WAVES - WAVSEQ ts OF For an introduction to Wave Sequences, please see Chapter 9, “Wave Sequence Tour,” in the Players Guide. There is a special type of source material called Wave Sequences. These are a series of waves linked together and are capable of creating very sophisticated dynamic harmonic textures. Take four waves. Now, besides mixing them, switch them each in succession so that each oscillator plays virtually any transient or tone that you like. There is no separate buffer for Wave Sequence edits. All Wave Sequence edits are always saved. Therefore WRITE and COMPARE do not apply. Wave Sequence Step memory is 500 steps per bank. One sequence can be 255 steps maximum. Typically a sequence will have 10 - 20 steps. To make more efficient use of step memory, you can set loops over any range of steps. | To clear a Wave Sequence, copy a blank one over it using the COPY WAVE SEQUENCE function which can be selected from the UTILS (WAVE SEQUENCE UTILITIES) page. Oscillator to which this wave sequence is assigned. This field cannot be ALL. Wave Sequence Bank and number. If the Wave Sequence bank is ROM, no editing is allowed. Wave Sequences are always selected from the first 32 "wave locations" in each bank. 95 WAVE SEQUENCE Wave Sequence Diagram LEVEL A DURATION 2 — STEP 1 = Jl fa iL A и 7 nf < ? START END CROSSFADE 1 FORWARD x BACK-FORWARD | zehn $ |= |) Step Wave Semi Fine Level Duration The number of steps per Wave Sequence is variable; the last step in each Wave Sequence is the END. The number of steps available per sequence is 256 (to a total of 517 per bank). The wave to be played during this step. +/- 24. The oscillator base pitch in semitones. 0 = A-440 tuning 12 = one octave up, and so on. Offsets the base pitch in cents (1/100 semitone). The step loudness. The length of time for the step to play. 1 - 499, or GATE. (GATE means “while the key is held.”) If the duration exceeds the actual length of a sampled transient, there will be silence during the end. 96 WAVE SEQUENCE If the duration is set to Gate, sequence does not proceed beyond that step until key-off occurs. | If (GLOBAL page) Wave Sequence Sync is set to MIDI, the duration is controlled by MIDI clocking. In other words, this parameter sets the number of MIDI clocks per step. Xfade (Crossfade) 0 - 999. The amount of overlap between the end of this step and the start of the next step. DURATION 1 DURATION 2 DURATION 3 — > | << >| « > | | | | | | | | | | | | Wave | Crossfade 1 | | Crossfade 2 | | Crossfade 3 Sequence | | | | | Start These points cannot touch or overiap. Loop Dir You can set a loop over a range of steps so that it plays continuously while the note is held. FOR means that the loop restarts from its start point for the set number of repeats. In this case, the first step crossfades with the end of the loop. В/Е ог Backward /Forward looping starts when loop end step is reached and goes in the reverse direction through the steps. Start The loop start cannot be past the loop end. End The last step of the Wave Sequence loop cannot exceed the number of steps in sequence. Repeats If repeats are OFF, the sequence plays as programmed. 1-126. If there is a set number of repeats, the loop repeats until count is finished and then plays as programmed, even if the key has been released. If repeats are INF, the sequence loops throughout the amp envelope's release phase. WAVE SEQUENCE UTILS SOLO INSERT DELETE WAVINC MUTE Goes to WAVE SEQUENCE UTILITIES. Pressing SOLO allows playing of only the highlighted step, if any. To add a step, press INSERT. The default Wave for the new step is same as the last highlighted step. A special feature is included to make it easy to insert waves that have consecutive numbers. This is useful for the sets of “time-sliced” ROM waves that are included. Cursoring to the END and pressing INSERT increments the number of the wave as it is inserted. | If there is no more step memory, a message appears, "no more step memory available”. Deletes the highlighted step. Increments the Wave selection in order: ALL, A, B, C, D, ALL... Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted). If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. WAVE SEQUENCE UTILITIES WAVE SEQUENCE UTILITIES Patch Wave Path: EDIT - PATCH - WAVES - WAVSEQ - UTILS Dynamic modulation of the Wave Sequences is possible. This means that increased modulation varies the start step of the sequence, around any desired step. (Gee below.) Bank and number. Wave sequence to be modulated. Wave Sequence Mod Source Bank and number. If the Wave Sequence bank is ROM, no editing is allowed. Wave Sequences are always selected from the first 32 "wave locations” in each bank. Any normal modulation source. (See PATCH MACROS). Your choice of modulation sources affects the way in which the Wave Sequence is actually modulated. | Looking more closely at the modulation sources, we should first distinguish between static and dynamic controllers. The static controllers are Keyboard Note and Velocity. These are specific values which describe the beginning of the note and do not change through the duration of the note. For these modulation sources, the actual start step with each Note On jumps around the set Start Step according to the depth and polarity of the Modulation Amount. Once started, the Wave Sequence then plays normally until its end or Note Off. In contrast, dynamic controllers do change values through the duration of the note: ENV1, the LFOs, MIDI Controller 1 and 2, Foot Mod, and Mod wheel. 99 WAVE SEQUENCE UTILITIES Mod Amt When using these controllers the normal progress of the Wave Sequence (as set by its step Durations), is suspended. Instead, the Wave Sequence stays at the Start Step until it is moved by the modulation controller. You control the durations at each step by how fast and in what direction you move the controller. For example, assume that the Start Step is 13 and you have selected the Mod wheel for modulation. The Mod wheel is fully lowered (off). You play a key and hear the wave assigned to step 13 for as long as you hold the key. (If step 13 happened to be a transient, you would hear only that single event.) Raise the Mod wheel, and the first change message detected causes the wave sequence to go to step 12 (assuming negative modulation — see below). The next changes increment or decrement the step number. So that you can spontaneously adjust the start step for each note, controller movement before a Note On is recognized. For example, with notes off you can move the mod wheel up all the way and the next Note On starts the sequence from either its first or last step, again, depending on the polarity of the modulation amount. Depth of modulation. In other words the distance from the original step. Positive modulation increments the step number while negative modulation decrements it. In practice you may most often use negative modulation. The idea is similar to the Sample Start Point Modulation feature found on some samplers. Normal playing occupies the middle, more-or-less stable range of the sample or wave sequence. Increased expression moves the playing range towards the beginning of the Wave Sequence, where the loud and bright attacks are. This technique is an efficient way to achieve realistic expression. Wave Sequence Time Scaling Illustration 100 WAVE SEQUENCE UTILITIES Start Step | Initial location in sequence of modulation effect. Compress/Expand | | Scales all time values by 0 - 200%. The overall time adjustment is much easier to use than having to individually adjust all of the times. Values below 100% compress all times. Values above 100% expand them. Press COMPAND to apply this function. Note that the compression or expansion applies only to Wave Sequence time parameters. It has no affect on the envelope of any sampled transients in use. COMPAND Starts the operation. NAME Goes to NAME. COPY Goes to COPY WAVE SEQUENCE STEPS. WAVINC Increments the Wave selection in order: ALL, A, B, C, D, ALL... MUTE Pressing MUTE silences the current Wave selection and displays the word MUTED next to the current Wave. (For example, if Wave is set to ALL and you press MUTE, all are muted.) If you leave the EDIT PATCH level either by EXITing or by using a JUMP, the mutes are automatically disabled. o WAVES Patch Structure Wave Semi WAVES Path: EDIT - PATCH - WAVES Waves are the source material for instruments created by Patches. There can be up to four Waves in a Patch. Waves can be short transients, multi- sampled sounds, single (or several) cycle waveshapes, or even Wave Sequences. All complex sounds are made of simple tones. Rather than synthesize all those sine waves directly, the Wavestation uses four oscillators, to which a variety of harmonically-rich timbres can be assigned. Each oscillator contributes a complex sound, be it a sawtooth, or PCM sample. The Patch to which these waves selections belong. The number of oscillators is determined by the Structure setting, as explained under EDIT PATCH. If the structure is two oscillators, oscillators B and D aren't available. Waves are ROM or CARD only. (There is no RAM for waveshapes.) In each bank, waves 0-31 are actually Wave Sequences. Waves 32 -and up are ROM waves - cycles, multi-samples, attack transients. +/- 24. The oscillator base pitch in semitones. 0 = A-440 tuning 12 = one octave up, and so on. 102 WAVES Fine Offsets the base pitch in cents (1/100 semitone). Slope A slope of +1.00 is the standard octave intonation. 2.00 means the pitch changes two octaves over a range of one octave of keyboard or MIDI input. A 0.00 slope plays all notes at middle C (C4). - A negative slope inverts the keyboard. MUTEA-D These allow you to selectively disable each oscillator so that you can easily hear the one(s) you are working on. MUTE switches do not appear for any oscillator that is unused by the current Structure. WAVSEQ Goes to EDIT WAVE SEQUENCE. (Only appears if Wave Sequences are selected for at least one oscillator.) | MIXEV Goes to EDIT MIX ENVELOPE. 103 WRITE WRITE (Performance, Patch, Multi Mode Setup, Scale) Path: Performance EDIT - WRITE Patch EDIT - PATCH - WRITE Scale GLOBAL -- SCALE - WRITE Multi-Setup MIDI -- MULTISET - WRITE So that a new destination can be auditioned, you can select through other Performances or Patches without losing edited data. Type and Item The Data Type field is the same type as was being edited prior to entering the WRITE page. (WAVE SEQUENCES are not written.) Exiting the WRITE page returns to the page active prior to entering WRITE. Data Type cannot be edited from this page. Source Source fields cannot be edited from this page. Destination The default destination is the same number as the source. After writing, this destination becomes the new SOURCE. Memory Protection Located here for convenience. Currently Playing Initially this is set to SOURCE. Changing it to DESTINATION allows you to audition different destinations to write over. WRITE EXECUTE Starts the operation. NAME Goes to NAME (data type) for Performances or Patches only. 105 AT MIDI RECEIVED DATA APPENDIX 1: MIDI RECEIVED DATA 1. Channel Messages 1.1. Key off Status 1000nnnn (8n) n=channel number Note No. Okkkkkkk k=0 ~ 127 Velocity Ovvvvvvv Ignored 1.2. Key on/off Status 1001nnnn (9n) n=channel number Note No. Okkkkkkk k=0 ~ 127 Velocity Ovvvvvvv (vx0) Key on 00000000 (v=0) Key off 1.3. Control Change Status 101innnn (Bn) n=channel number Controller no. Оссссссс Controller Value Ovvvvvvvy c=1 Modulation Wheel v= 0 ~ 127 c=4 Foot Control v= 0 ~ 127 c=6 Data Entry (msb) v= 0 ~ 127 Note 1, 2 c=7 Volume v= 0 ~ 127 c=16 Joy stick (X-axis) v= 0 - 127 c=17 Joy stick (Y-axis) v= 0 ~ 127 c=38 Data Entry (1sb) v= 0 ~ 127 Note 1, 2 c=64 Sustain Switch v= 0 - 63: off, 64 - 127: on c=100 Registered Parameter # lsb v= 0 - 1 Note 2, 3 c=101 Registered Parameter # msb v= 0 Note 2, 3 Note 1: Only received with registered parameter select Note 2: Only received on the basic channel if in MULTI mode. Note 3: Pitch bend range, Master fine tune. 1.4. Program Change Status 1100nnnn (Cn) n=Channel no Patch Number OpPPPPPPP p= 0 ~ 127 Program number within current bank. 1.5. 1.6. 1.7. 1.8. 1.9. 1.10. 2.1. Program Bank Select Status Controller no. Controller Value l0ilnnnn 20H 0 - 1 (Bn) Channel (mono) Pressure (After Touch) Status Value Polyphonic Key Pressure / After Touch Status Note No. Value Pitch Bend Change Status Value LSB Value MSB All notes off Status Note: 1101nnnn Ovvvvvvv 1010nnnn Okkkkkkk Ovvvvvvv 1110nnnn Ouuuuuuu Ovvvvvvvy 1011nnnn 01111011 00000000 parameter is enabled. Reset All Controllers Status Note: Only recognized if not in OMNI 1011nnnn 01111001 00000000 parameter is enabled. 2. System Messages Real Time Messages Real time messages T3 » Cl ] Status Used for Wave Sequence Sync function. A | в S в Status If active sense is ever received, 11111000 (Dn) (An) (En) (Bn) (7B) Only recognized if not in OMNI (Bn) (79) (F8) 1111110 (FE) AT MIDI RECEIVED DATA n=Channel no. Bank Select LSB 0 = RAM1/RAM2 1 = ROM/CARD n=Channel number v=0 -127 n=Channel Number k=0-127 n=channel number All notes off mode and the All Notes Off n=channel number Reset All Controllers mode and the All Notes Off then a data byte must be received every 300 ms. Otherwise all voices will be turned off. 2.2. System Exclusive Messages Please refer to SYSEX DATA TRANSMIT section. 107 A2 MIDI TRANSMITTED DATA APPENDIX 2: MIDI TRANSMITTED DATA Note that messages are transmitted using running status whenever possible. If the status has not changed within 500 milliseconds then the next message that is transmitted will be sent with a status byte. 1. Channel Information Note that messages may be sent on multiple channels concurrently depending on the MIDI TRANSMIT MODE parameter and the current Performance. 1.1. Key on/off Status Note No. Velocity 1.2. Control Change Status Controller Controller Controller c=1 c=4 c=6 e=7 1001nnnn Okkkkkkk Ovvvvvvvy 00000000 1011nnnn no. Оссссссс Value Ovvvvvvv no. Modulation Wheel Foot Control Data Entry (msb) Volume (9n) (VEO) (v=0) (Bn) c=16 Joy stick (X-axis) c=17 Joy stick (Y-axis) c=38 Data Entry (1sb) c=64 Sustain Switch c=100 Registered Parameter # lsb c=101 Registered Parameter # msb v= 0 n=channel number k= 0 ~ 127 Key on Key off n=channel number v= 0 ~ 127 v= 0 ~ 127 v= 0 ~ 127 Note 1, 2 v= 0 - 127 v= 0 - 127 v= 0 - 127 v= 0 ~ 127 Note 1, 2 v= O:off, 127: on v= 0 + 1 Note 2, 3 Note 2, 3 Note 1: Only sent with registered parameter select Note 2: Only sent on the basic channel Note 3: Pitch bend. range, Master fine tune. 1.3. Program Change Status Program Number 1100nnnn Oppppppp (Cn) =Channel no. p= 0 ~ 127 Program number within current bank. 1.4. Program Bank Select Status Controller no. Controller Value Controller no. Controller Value 1011nnnn (Bn) 0 0 20H 0-1 1.5. Channel Pressure/After Touch Status | Value 1.6. Pitch Bend Change Status Value LSB Value MSB 2. System Messages 1101nnnn (Dn) QOvvvvvvv 1110nnnn (En) Quuuuuuu Ovvvvvvv 2.1. System Real Time Messages Act i 5 , Status 11111110 (FE) 2.2. System Exclusive Messages A2 MIDI TRANSMITTED DATA n=Channel no. Bank Select MSB Always 0 Bank Select LSB 0 RAM1 /RAM2 1 ROM/CARD I n=Channel number v=0 ~ 127 Sent when idle every 300 ms Please refer to SYSEX DATA TRANSMIT page. A3 MIDI SYSTEM EXCLUSIVE FORMAT APPENDIX 7: SYSTEM EXCLUSIVE FORMAT 1.0 Header Format The following is a description of the Wavestation system exclusive header. This format is common for all Wavestation system exclusive messages. 11110000 (FO) System Exclusive Status byte 01000010 (42) Korg Id 00llnnnn (3N) Format Id N = Channel Number. 00101000 (28) Wavestation Device Id Ommmmmmm Message type 1.1 Message Type Codes The following table contains a list of the message types in hex. 41 49 40 ac 4D 50 54 51 55 5A 23 24 1A 11 21 22 5B OE OF 10 19 1C 1D OC Parameter change message Single Performance Data Dump Single Patch Data Dump All Patch Data Dump (within bank) All Performance Data Dump (within Bank) All Data (system, patch, perf, wave seq) Dump All Wave Sequence Data Dump System and Setup Data Dump Multi-Mode Setup Data Dump Micro~Tune Tables Data Load Completed Data Load Error Performance Write Command Patch Write Command Write Complete Message Write Error Message Multi Mode setup select System and Setup Data Dump Request All Data Dump Request Single Patch Data Dump Request Single Performance Dump Request All Patch Data Dump Request All Performance Data Dump Request Wave Sequence Dump Request 1.2 Binary data format All 8 bit binary data is transmitted as two bytes in the following format: O000LLLL Low 4 bits of the data OOOOHHHH High 4 bits of the data So that a byte is reconstructed as follows: HEHHLLLL This is referred to as nybble data. A3 MIDI SYSTEM EXCLUSIVE FORMAT 2.0 Transmit and Receive Messages The following messages are both transmitted from the Wavestation and received by the Wavestation. 2.1 Data Messages 2.1.1 Single Patch Data The following message contains a dump of a single patch. On reception the patch is placed in the edit buffer. To transfer a patch to a RAM location use the patch write command. Wavestation Sysex Header 01000000 (40) Single Patch Dump 000000xx Bank Number OXXXXXXX Patch number. OOOOLLLL Least significant nybble of byte data 0000mmmm Most significant nybble of byte Byte data for entire patch Refer to section 5.2. Оссссссс Checksum of patch not including header. 11110111 (F7) End of exclusive, 2.1.2 Single Performance Data The following message contains a dump of a single performance. On reception the performance is placed in the edit buffer. To place the performance in memory use the performance write command. Wavestation Sysex Header 01001001 (49) Single Performance Dump 000000xx Bank Number OXXXXXXX Performance number. Nybble Data Refer to section 5.1 Ocececec Checksum of patch not including header. 11110111 (F7) End of exclusive. 2.1.3 All Patch Data This message contains all 35 patches within the bank specified. Wavestation Sysex Header 01001100 (4C) All Patch Dump 000000xx Bank Number 'bble Data 35 * the patch data structure refer to section 5.2 Occccceccc Checksum 11110111 (F7) End of exclusive. 2.1.4 All Performance Data This message contains all 50 performances within the bank specified. Wavestation Sysex Header 01001101 (4D) All Performance Dump 000000xx Bank Number Nybble Data 50 * the performance data structure refer to section 5.1 Ocecceccc Checksum 11110111 (F7) End of exclusive. A3 MIDI SYSTEM EXCLUSIVE FORMAT 2.1.5 System and Setup Parameter Data Wavestation Sysex Header 01010001 (51) System Data Dump Nybble Data Refer to section 5.6 Оссссссс Checksum of patch not including header. 11110111 (F7) End of exclusive. 2.1.6 Wave Sequence Data Wavestation Sysex Header 01010100 (54) Wave Sequence Data dump 000000xx Bank number Nybble data Refer to section 5.4 Oececcec Check sum 11110111 (F7) End of exclusive 2.1.7 Multi-Mode Setup Data Wavestation Sysex Header 01010101 (55) Multi mode setup data Nybble data Refer to section 5.3 Ocececcc Checksum 11110111 (F7) End of Exclusive 2.1.8 Micro Tune Tables Wavestation Sysex Header 01011010 (SA) Micro Tune Tables Nybble data Refer to section 5.5 Oceccecc Checksum 11110111 (F7) End of exclusive 2.1.9 All Data Wavestation Sysex Header 01010000 (50) All data Nybble data Refer to section 5.7 Ocececec Checksum 11110111 (F7) End Of Exclusive 2.10 Parameter Change Messages Wavestation Sysex Header 01000001 (41) Parameter change message OLLLLLLL LSB of Parameter number (Ref. section 5.8) Ommmmmmm MSB of parameter number 00000000 (00) 11110111 (F7) 2.11 Multi-Mode Setup Select Parameter value in ASCII ASCII Null termination. End of exclusive (Max of 16 characters.) Sent whenever the current multi set is changed. On reception it will change the current multi setup. Wavestation Sysex Header 01011011 (5B) Multi setup select OXXXXXXX Multi mode setup number 11110111 (F7) End of Exclusive A3 MIDI SYSTEM EXCLUSIVE FORMAT 2.2 Status messages Status messages are transmitted after reception of data messages. They indicate the recive status of the data. When received they will display an appropriate message. 2.2.1 Data Load Error This message is transmitted whenever a message is received and the checksum failed. Wavestation Sysex header 00100100 (24) Data load error message type 11110111 (F7) End of exclusive 2.2.2 Data Load Complete This message is transmitted whenever a data message is received successfully. Wavestation Sysex header 00100011 (23) Data load complete message type 11110111 (РТ) End of exclusive 3.0 Transmit Only Messages 3.1 Status messages Status messages are transmitted after reception of data messages. They indicate the receive status of the data. 3.1.1 Write Complete Wavestation Sysex Header 00100001 (21) Write complete status message 11130111 (F7) End of exclusive 3.1.2 Write Error Wavestation Sysex Header 00100010 (22) Write error message 11110111 (F7) End of exclusive 3.2 Device ID Message 11110000 (FO) System Exclusive 01111110 (7E) Non Real Time Message 0000xxxx (0X) Channel Number 00000110 (06) Inquiry Message 00000010 (02) Id Reply 01000010 (42) KORG ID 00101000 (28) Wavestation Family Code (LSB) 00000000 (00) (MSB) 00000000 (00) Member code (LSB) 00000000 (00) (MSB) Оххххххх (Ox) Minor Software version (LSB) Оххххххх (Ox) (MSB) Оххххххх (0x) Major Software version(LSB) Оххххххх (0x) (MSB) 11110111 (F7) End of exclusive 113 A3 MIDI SYSTEM EXCLUSIVE FORMAT 4.0 Receive Only Messages 4.1 Request Messages 4.1.1 Single Patch Dump Request Wavestation Sysex header 00010000 (10) Single Patch Dump Request 000000xx (Ox) Bank Number OXXXXXXX Patch Number 11110111 (F7) End of exclusive 4.1.2 Single Performance Dump Request Wavestation Sysex Header 00011001 (19) Single Performance Dump Request 000000xx (0x) Bank Number OXXXXXXX Performance Number 11110111 (F7) End of Exclusive 4.1.3 All Patch Dump Request Wavestation Sysex Header 00011100 (lec) 000000xx (Ox) Bank Number 11110111 (F7) 4.1.4 All Performance Dump Request Wavestation Sysex Header 00011101 (14d) Perf dump request 000000xx Bank number 11110111 (F7) End of Exclusive 4.1.5 All Data Request Wavestation Sysex Header 00001111 (OF) All data request 11110111 (F7) End of Exclusive 4.1.6 System Dump Request Wavestation Sysex header 00001210 (Oe) System dump request 11110111 (F7) End of exclusive 4.1.7 Wave Sequence Dump Request Wavestation Sysex Header 00001100 (OC) Wave sequence dump request O000000xx (Ox) Bank number 11110111 (F7) End of Exclusive 4.2 Commands 4.2.1 Patch Write Command Wavestation Sysex Header 00010001 (11) (pateh Write Command) 000000xx (Ox) Bank Number Oppppppp (PP) Patch Number 0-34 11110111 (F7) End of Exclusive 4.2.2 Performance Write Command Wavestation Sysex header 00011010 (la) Performance write request 000000xx (0x) Bank number Oppppppp (pp) Performance number 11110111 (F7) End of exclusive 4.3 Device Inquiry Message 11110000 (FO) 01111110 (7E) Oxxxxxxx (0x) 00000110 (06) 00000001 (01) 11110111 (F7) 5.0 Data Structure Tables A3 MIDI SYSTEM EXCLUSIVE FORMAT System Exclusive Non Real Time Channel number Inquiry message Inquiry Request End of Exclusive typedef char byte; /*8 bits, signed. */ typedef short word; /* 16 bits, signed. */ typedef unsigned char ubyte; /* 8 bits, unsigned. */ typedef unsigned short uword; /* 16 bits, unsigned. */ typedef unsigned long ulong; /* 32 bits, unsigned. */ typedef unsigned char boolean; /* Boolean TRUE or FALSE. */ 5.1 Performance Data Structure typedef struct { char Prerf Name{NAME SIZE]; /* Performance name - up to 16 a characters */ byte Fx_Perf Block[21]; part Parts[8]; } perf; typedef struct { byte byte ubyte byte Bank Num; Patch Num; Level; Output; ubyte Part Mode; /*Leave space for effects parameters*/ /* This is where the PART blocks start, of which 8 can be appended to the performance */ /* Bank Number this PART is playing */ /* Patch number this PART is playing */ /* Volume for this part */ /* OUTPUT CHAN FOR THIS Part (-1 = stereo) */ /* KEYBOARD ASSIGN MODE (Polyphonic, UNI) */ bit 5-4 */ /* /* 00= **** x/ /* 01= Local play mode*/ /* 10= MIDI play mode*/ /* 11 = Both */ /* bit 3-2 */ /* 00= **** * / /* 01= polyphonic*/ /* 10= unison re-trigger*/ /* 1ll= unison legato*/ /* bit 1-0 */ /* 00= low note*/ /* Ol= high note*/ /* 10= last note*/ /* 11 = **** */ A3 MIDI SYSTEM EXCLUSIVE FORMAT } ubyte ubyte ubyte ubyte byte byte ubyte ubyte ubyte byte uword uword part; Lo Key; Hi Key; Lo Vel; Hi Vel; Trans; Detune; Tunetab; Micro Tune Key; Midi Out_Chan; Midi_Prog_Num; Sus_Enable; Delay; 5.2 Patch Data Structure /* /* 1, 2, /* /* 7 /* /* /* /* /* /* /* /* /* Lower Upper Lower Upper Trans note of keyboard range*/ note of keyboard range*/ limit of velocity range*/ limit of velocity range */ pose value in semitones */ Detune value in cents*/ Micro Root MIDI MIDI 1 =of tuning table for this PART */ key for pure major/minor scales */ transmit channel for this PART */ prog# to xmit when PART selected Е) */ Sustain Pedal Enable/disable */ Delay value in milliseconds */ Individual Patch data Structure */ /* This is the structure for data that is individual to the */ or 4 oscillators that make up a Patch. */ /* Four of these structures are included in a Patch, */ typedef struct { byte Wave Coarse; /* Wave detuning in Semitones*/ byte Wave Fine; /* Wave detuning in cents */ ubyte Wave Bank; /* Wave Bank */ uword Wave Num; /* Wave number*/ byte Wave_Scale; /* Wave pitch scaling slope */ ubyte Lfol Rate; /* LFO 1 Rate */ ubyte Lfol Amt; /* LFO 1 Amount*/ ubyte Lfol Delay; /* LFO 1 Delay*/ ubyte Lfol Fade; /* LFO 1 Fade in*/ ubyte Lfol Shape; /* LFO 1 Shape (bits 0-6)1-127*/ /* LFO 1 Sync (bit 7) */ /*1 = Sync on */ /*0 = Sync off*/ byte S1 Lfol R; /* Mod Source to LFO 1 Rate pointer*/ byte 5$S1_Lfol_R Amt; /* Mod Source to LFO 1 Rate amount*/ byte S1 Lfol A; /* Mod Source to LFO 1 Amt pointer*/ byte Si Lfol A Ant; /* Mod Source to LFO 1 Amt amount*/ ubyte Lfo2 Rate; /* LFO 2 Rate*/ ubyte Lfo2 Amt; /* LFO 2 Amount*/ ubyte Lfo2 Delay; /* LFO 2-Delay*/ ubyte Lfo2 Fade; /* LFO 2-Fade in*/ ubyte Lfo2 Shape; /* LFO 2-Shape (bits 0-6)1-127*/ /* LFO 2 Sync (bit 7) */ /* 1 = Sync on */ /* 0 = Sync off*/ byte S1_Lfo2 R; /* Mod Source to LFO 1 Rate pointer*/ byte S1_Lfo2 R Amt; /* Mod Source to LFO 2 Rate amount*/ byte 51_Lfo2 A; /* Mod Source to LFO 2 Amt pointer*/ byte 51 _Lfo2 A Amt; /* Mod Source to LFO 1 Amt amount*/ ubyte EG Ratel; /* Envelope 1 Rate 1 */ ubyte EG Rate2; /* Envelope 1 Rate 2 */ ubyte EG Rate3; /* Envelope 1 Rate 3 */ ubyte EG Rate4; /* Envelope 1 Rate 4 */ ubyte EG Level0; /* Envelope 1 Level O */ ubyte EG Levell; /* Envelope 1 Level 1 */ ubyte EG Level2; /* Envelope 1 Level 2 */ /* /* /* /* /* /* /* /* /* /* /* /* /* /* /* /* / * /* /* /* /* /* /* /* / * /* / * /* /* /* /* /* /* 1* /* /* /* /* /* /* /* /* /* /* /% /* A3 MIDI SYSTEM EXCLUSIVE FORMAT Envelope 1 Level 3 */ Envelope 1 Level 4 */ Velocity to Envl Amount Amt */ Amplitude Envelope Rate 1 */ Amplitude Envelope Rate 2 */ Amplitude Envelope Rate 3 */ Amplitude Envelope Rate 4 */ Amplitude Envelope Level */ Amplitude Envelope Level */ Amplitude Envelope Level * / Amplitude Envelope Level */ Piteh Macro Number*/ Filter Macro Number*/ Amplitude Envelope Macro Number*/ Pan Macro Number*/ Envelope 1 macro number*/ Pitchwheel Range */ Modulation Source 1 to Modulation Source 1 to Modulation Source 2 to Pitch pointer*/ Modulation Source 2 to Pitch Amount*/ Keyboard to Filter Cutoff Amount*/ Modulation Source 1 to Filter pointer*/ Modulation Source 1 to Filter Amount*/ Modulation Source 2 to Filter pointer*/ Modulation Source 2 to Filter Amount*/ Velocity to Amp Env Amount Amount*/ Velocity To Amp Env Attack Rate Amt*/ Keyboard to Amp Env Decay Rate Amt*/ Modulation Source 1 to Amp pointer*/ Modulation Source 1 to Amp Amount*/ Modulation Source 2 to Amp pointer*/ Modulation Source 2 to Amp Amount*/ Keyboard to Pan Amount*/ Velocity to Pan Amount*/ Filter Cutoff value */ Filter exciter value */ Velocity to ENV1 rate amount*/ Keyboard to ENV1 rate amount*/ Pitch Ramp amount*/ Pitch Ramp rate*/ Velocity to pitch ramp amount amount*/ Velocity to pitch ramp rate amount*/ Lfo fade in amount increment*/ Uo fade-n amount increment*/ Reserved for future use */ U NH O0 Pitch Pitch pointer*/ Amount * / Patch data structure */ ubyte EG_Level3; ubyte EG Level4; byte Vel EG A; ubyte AEG Ratel; ubyte AEG Rate2; ubyte AEG_Rate3; ubyte AEG Rated4; ubyte AEG Level0; ubyte AEG Levell; ubyte AEG Level2; ubyte AEG _Level3; byte Pitch Mac; byte Fil Mac; byte Amp Mac; byte Pan Mac; byte Env Mac; byte Pw Range; byte 51 Pitch; byte S1 Pitch Amt; byte S2 Pitch; byte S2 Pitch Amt; byte Key Filter; byte $s1 Filter; byte S1 Filter Amt; byte 52 Filter; byte =s2 Filter Amt; byte Vel AEG A; ubyte Vel AEG_R; ubyte Key AEG_R; byte 51 Апр; byte S1 Amp Amt; byte S52 Amp; byte S52 Amp Amt; byte Key Pan Amt; byte «vel Pan Amt; ubyte Cutoff; ubyte Filter Exciter; byte vel EG R; byte Key EG _R; byte PEG Amt; ubyte PEG Rate; byte Vel PEG_A; byte Indiv Level; long Lfol Inc; long Lfo2 Inc; byte Dummyl44; byte Dummy145; } indiv; 1, typedef struct { char Patch Name [NAME ubyte Mix_Ratel; ubyte Mix_Rate2; ubyte Mix Rate3; ubyte Mix Rate4; uword Mix Counti; uword Mix Count2; SIZE] ; /* /* /* /* /* ns /* Patch name up to 16 characters*/ envelope rate for segment 1 */ envelope rate for segment 2 */ Mix envelope rate for segment 3 */ Mix envelope rate for segment 4 */ Number of update cycles for env seg*/ Number of update cycles for env seg*/ Mix Mix 117 A3 MIDI SYSTEM EXCLUSIVE FORMAT uword Mix Count3; /* Number of update cycles for env seg*/ uword Mix Count3B; /* Number of update cycles for env seg*/ uword Mix Count2B; /* Number of update cycles for env seg*/ uword Mix CountlB; /* Number of update cycles for env seg*/ uword Mix Count4; /* Number of update cycles for env seg*/ long Mix XSlopel; /* Increment size for env seg 1 */ long Mix XSlope2; /* Increment size for env seq 2 */ long Mix XSlope3; /* Increment size for env seg 3 */ long Mix XSlope4; /* Increment size for env seg 4 */ long — Mix YSlopel; /* Increment size for env seg 1 */ long Mix YSlope2; /* Increment size for env seg 2 */] long Mix YSlope3; /* Increment size for env seg 3 ~/ long Mix YSloped; /* Increment size for env seg 4 */ ubyte Mix XO; /* Mix Envelope Point O level */ ubyte Mix X1; /* Mix Envelope Point 1 level */ ubyte Mix X2; /* Mix Envelope Point 2 level */ ubyte Mix ХЗ; /* Mix Envelope Point 3 level */ ubyte Mix X4; /* Mix Envelope Point 4 level */ ubyte Mix YO; /* Mix Envelope Point O level */ ubyte Mix Yl; /* Mix Envelope Point 1 level */ ubyte Mix Y2; /* Mix Envelope Point 2 level */ ubyte Mix Y3; /* Mix Envelope Point 3 level */ ubyte Mix Y4; /* Mix Envelope Point 4 level */ _ ubyte Mix Repeats; /* Number of repeats of mix envelope*/ ubyte Mix Env Loop; /* Start segment of Mix Envelope loops*/ ubyte S1 MixAC; /* Modulation Source 1 to MixAC pointer*/ byte 5$S1 MixAC Amt; /* Modulation Source 1 to MixAC Amount*/ ubyte 52 MixAC; /* Modulation Source 2 to MixAC pointer*/ byte S2 MixAC Amt; /* Modulation Source 2 to MixAC Amount*/ ubyte S1 MixBD; /* Modulation Source 1 to MixBD pointer*/ byte S1 MixBD Amt; /* Modulation Source 1 to MixBD Amount*/ ubyte 5S2 MixBD; /* Modulation Source 2 to MixBD pointer*/ byte 532 MixBD Amt; /* Modulation Source 2 to MixBD Amount*/ byte Number Of Waves; /* Number of WAVES/WAVESEQS in Patch*/ ubyte Hard Sync; /* Hard Sync Flag*/ byte Dummy140; /* Extra for future use */ byte Dummy141; /* Extra for future use */ indiv waveA; /* Individual parameters for WAVE A */ indiv waveB; /* Individual parameters for WAVE B */ indiv waveC; /* Individual parameters for WAVE C */ indiv waveD; /* Individual parameters for WAVE D */ } patch; Multi Mode Setup Data Structure /* Data structures of the multi-set map which */ /* specifies the initial program on each track. */ / * There are 16 setups. Each one holds bank/prog */ /* numbers for each MIDI channel. */ typedef struct { | ubyte Multimap Chan Enable; /* MIDI channel enable/disable */ ubyte Multimap Bank; /* Bank number of this program */ ubyte Multimap Prog; /* Program number of this program */ ) multimap; typedef struct { ubyte Multiset FX Chan; /* Effects control channel number*/ 5.4 ubyte Fx Multi Block[21]; multimap Multiset Map[16]; } multiset; Wave Sequence Data Structure A3 MIDI SYSTEM EXCLUSIVE FORMAT /* Space for effects parameters*/ /* Bank and program numbers */ /* This is repeated for the number of wave sequences in the bank. */ typedef struct { uword WS Link; /* Pointer to Wave Sequence Start Step */ uword WS _Slink; /* Pointer to Startmod Start Step */ ubyte WS Loop Start; /* Step number of WAVESEQ Loop Start Point step*/ ubyte WS Loop End; /* Step number of WAVESEQ Loop End Point step*/ ubyte WS Loop Count; /* - Loop repeat count (bits 0-6)1-127*/ /* O=OFF */ /~ 127=1NF */ /*Loop Direction (bit 7)*/ /* O = FOR */ /* 1 = B/F */ ubyte WS_Start Step, /* Startmod starting step number*/ ubyte WS Mod Src; /* Controller number to use for startmod */ byte WS Mod Amt; /* Startmod sensitivity */ byte ÑWs_ Dyno Mod; /* (Total Time * Mod Amt) /255 */ ulong WS_Start Time; /* Cumulative time up to start step */ uword WS Time; /* Total time of Wave Sequence */ } wavesequence; /* WAVE SEQUENCE STEP data structures */ / Data structure of the STEP in a WAVE SEQUENCE */ typedef struct { uword WS Flink; uword WS Blink; /* uword WS_Llink; /* Pointer to loop start uword WS Wave Num; /* byte WS Coarse /* byte WS Fine; /* uword WS Xfade; /* uword WS Duration; Их uword WS Level; /* uword WS Mod Index; /* ) wavestep; typedef struct ( char Wave Seg Name[(8); ) ws name; /* Step number of step in WAVSEQ after this one */ Step number of step in WAVSEQ before this one */ (OXFFFF except last step) */ Wave number of this step in wave sequence */ Coarse tuning of wave */ Fine tuning of wave */ Crossfade time of wave */ Duration of wave */ Level of wave */ Modulation Index */ /* This is the entire structure which 1s transmitted */ typedef struct { waveseq waveseq block [32]; wavstep wavstep block[501]; ws_name ws name block{32]; } ws block; /* 32 wavseq locations */ /* 501 wave seg steps */ ./* 32 wave seg names */ A3 MIDI SYSTEM EXCLUSIVE FORMAT 5.5 Micro Tune Data Structure typedef struct { byte byte byte byte byte byte byte byte byte byte byte ‘byte } mtune; c key; /* cs key; /* d key; /* ds key; /* e key; /* f key; /* fs key; /* g key; /* gs key; /* a key; /* as key; /* b key; /* Offset Offset Offset Offset Offset Offset Offset Offset Offset Offset Offset Offset from from from from from from from from from from from from 5.6 System Setup Data Structure 120 typedef { } ubyte ubyte byte byte ubyte ubyte byte ubyte ubyte byte byte byte byte byte byte byte byte byte byte byte byte byte byte byte byte byte ubyte ubyte ubyte ubyte ubyte ubyte ubyte system; struct current multi; current tune; master tune; effects enable; pitch bend range; /* /* /* /* /* velocity response; midi mode; midi base; num_mono_chans; key_num_offset; param_enable; midi 1; midi 2; xmit mode; local kd; xmit_program enable; xmit pressure enable; xmit_pitch_enable; Xxmit control enable; rec_program enable; rec_pressure enable; rec_pitch_ enable rec_control enable; note enable; alloff enable; progmap_enable; foot_damper function; foot damper polarity; foot _assign 1_ function; foot assign 1 polarity; foot _assign 2 function; foot assign 2 polarity; ws_midi clock; equal equal equal equal equal equal equal equal equal equal equal equal tempered tempered tempered tempered tempered tempered tempered tempered tempered tempered tempered tempered for for for for for for for for for for for for C note */ C# note */ D note */ D# note */ E note */ F note */ F# note */ G note */ Gt note */ A note */ At note */ B note */ CURRENT MULTISET */ CURRENT MULTISET* MASTER TUNE */ EFFECTS ENABLE * / / PITCH BEND RANGE */ /* /* /* /* /* /* /* /* /* /* /* /* /* /* /* /* /* /* /* /* /* REC REC REC REC REC REC VELOC1TY RESPONSE*/ MIDI MODE */ MIDI BASE CHAN */ NUM MONO CHANS KEY NUM OFFSET MIDI PARAM ENABLE CONTROLLER 1 CONTROLLER XMIT MODE */ LOCAL KBD XM1T PROG CHANGE */ XMIT AFTERTOUCH */ XM1T PITCH BEND */ XM1T CONTROLLERS*/ PROG CHANGE */ AFTERTOUCH PITCH BEND */ CONTROLLERS */ NOTE ON OFF*/ ALL NOTES OFF*/ PROGMAP ENABLE */ */ */ */ 2*/ */ */ */ 5.7 All Data Data Structure typedef struct { system multiset mtune perf perf patch patch ws block ws block }all data; A3 MIDI SYSTEM EXCLUSIVE FORMAT system all; multiset all; mtune all; perf raml; perf ram2; patch _raml; patch ram2; ws _raml; Ws _ramZ; / A3 MIDI SYSTEM EXCLUSIVE FORMAT о - о се ны юн о UN ON UN aL SSP ESAS BB SS о о о ОО ДН НН НН НН FPP N BP OW Oe J Uv Ww NEP OWwWOoWw_0008 WN HOW JAN BUN з © © 00 — су с о Ш Юн О D 5.8 enum Parameter Number Table /* Parameter numbers. */ /* parameter numbers shown for convenience */ 122 CURRENT BANK, CARD NAME, CURRENT PROG, PROG_NAME, MIDI MODE, MIDI ‘BASE CHAN, NUM MONO CHANS, KEY NUM OFFSET, MIDI PARAM ENABLE, CONTROLLER 1, CONTROLLER 2, XMIT MODE, LOCAL KBD, XMIT PROG CHANGE, XMIT AFTERTOUCH, XMIT PITCH BEND, XMIT CONTROLLERS, REC_PROG CHANGE, REC_AFTERTOUCH, REC_PITCH_ BEND, REC CONTROLLERS, REC NOTE ON OFF, REC _ALL NOTES OFF, PROGMAP ENABLE, PROGMAP CHANGE NUM, PROGMAP_PROG_ BANK, PROGMAP_PROG_NUM, PROGMAP_ PROG NAME, CURRENT MULTISET, MULTISET FX CONTROL CHAN, MULTISET CHAN, MULTISET CHAN ENABLE, MULTISET LEVEL, MULTISET_ PROG BANK, MULTISET PROG NUM, MULTISET PROG NAME, SYSEX PATCH BANK, SYSEX PATCH NUM, SYSEX_ ALL BANK, SYSEX_WAVESEO BANK, SYSEX_PROG_BANK, SYSEX_PROG_NUM, MASTER_TUNE, EFFECTS ENABLE, MEM_PROTECT_ INTERNAL, MEM_PROTECT CARD, PITCH_BEND_RANGE, VELOCITY RESPONSE, SAVE_DATA TYPE, SAVE_SOURCE_BANK, SAVE_SOURCE_NUM, SAVE SOURCE NAME, SAVE_DEST BANK, 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 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 103 110 111 112 113 SAVE DEST NUM, SAVE _DEST NAME, SAVE PLAY, CURRENT PART, PART PATCH BANK, PART PATCH NUM, PART PATCH NAME, PART MODE, PART VOLUME, PART OUTPUT, PART KEY LIMIT LOW, PART KEY LIMIT HIGH, PART VEL LIMIT LOW, PART VEL LIMIT HIGH, PART TRANSPOSE, PART DETUNE, PART SUS ENABLE, PART DELAY, PART UNI NOTE PRIORITY, PART MTUNE TAB, PART MTUNE KEY, PART MIDI XMIT CHAN, PART PLAY MODE, PART PROG CHANGE XMIT, PATCH STRUCTURE, | PATCH HARD SYNC, CURRENT WAVE, PATCH PITCH MACRO, PATCH FILTER MACRO, PATCH AMP MACRO, PATCH PAN MACRO, PATCH ENV MACRO, PATCH PITCH BEND RANGE, PATCH PITCH RAMP AMT, PATCH PITCH RAMP RATE, PATCH PITCH VEL AMT, PITCH SOURCE 1, PITCH SOURCE 1 AMOUNT, PITCH SOURCE 2, PITCH SOURCE 2 AMOUNT, FILTER MOD CUTOFF, FILTER MOD TRACKING, FILTER EXCITER AMOUNT, FILTER MOD SOURCE1, FILTER MOD SOURCE1 AMT, FILTER MOD SOURCE2, FILTER MOD SOURCE2 AMT, GP_ ENV LEVEL O, GP ENV LEVEL 1, GP_ ENV LEVEL 2, GP_ENV LEVEL 3, GP_ENV LEVEL 4, GP ENV RATE 1, GP_ENV RATE 2, GP_ENV RATE 3, GP ENV RATE 4, GP _VEL ENV AMT, AMP ENV LEVEL O, AMP ENV LEVEL 1, AMP ENV LEVEL 2, AMP ENV LEVEL 3, 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 AMP_ENV_RATE_1, AMP_ENV_RATE_2, AMP_ENV_RATE_3, AMP_ENV_RATE_4, AMP_MOD_VEL_ENV_AMOUNT, AMP_MOD_SOURCE_1, AMP_MOD_SOURCE_1_AMOUNT, AMP_MOD_SOURCE_2, AMP_MOD_SOURCE_2_AMOUNT, AMP_MOD_VEL_ATTACK_RATE, AMP_MOD_KBD_DECAY_RATE, LFO1_RATE, LFO1 INITIAL AMOUNT, LFO1_SHAPE, LFO1 SYNC, LFO1 DELAY, LFO1 FADE IN, LFO1 DEPTH MOD SOURCE, LFO1_DEPTH_MOD_SRC_AMT, LFO1_RATE_MOD_SOURCE, LFO1_RATE_MOD_SRC_AMT, LFO2 RATE, LFO2 INITIAL AMOUNT, LFO2 SHAPE, LFO2 SYNC, LFO2 DELAY, LFO2 FADE_IN, LFO2 DEPTH MOD SOURCE, LFO2 DEPTH MOD SRC AMT, LFO2 RATE MOD SOURCE, LFO2 RATE MOD SRC AMT, PAN VELOCITY AMOUNT, PAN KEYBOARD AMOUNT, WAVEA BANK, WAVEA NUM, WAVEA NAME, WAVEA_ LEVEL, WAVEA_TUNE COARSE, WAVEA TUNE FINE, WAVEA TUNE SLOPE, WAVEB_BANK, WAVEB NUM, WAVEB NAME, WAVEB_ LEVEL, WAVEB TUNE COARSE, WAVEB TUNE FINE, WAVEB TUNE SLOPE, WAVEC BANK, WAVEC_ NUM, WAVEC NAME, WAVEC LEVEL, WAVEC TUNE COARSE, WAVEC _TUNE FINE, WAVEC TUNE SLOPE, WAVED BANK, WAVED NUM, WAVED NAME, WAVED LEVEL, WAVED TUNE COARSE, WAVED TUNE FINE, WAVED TUNE SLOPE, 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 A3 MIDI SYSTEM EXCLUSIVE FORMAT WAVE_SEQ_NUM, WAVE SEQ BANK, WAVE SEQ _ NAME, WAVE _SEQ STEP, WAVE SEQ_WAVE BANK, WAVE SEQ WAVE NUM, WAVE SEQ WAVE NAME, WAVE _SEQ COARSE, WAVE SEQ_ FINE, WAVE _SEQ LEVEL, WAVE SEQO DURATION, WAVE _SEQ_XFADE, WAVE SEQ LOOP START, WAVE SEQ LOOP END, WAVE SEO REPFATS, WAVE SEQ START STEP, WAVE SEQ MOD _SRC, WAVE _SEQ MOD _AMT, MIX ENV POINT, MIX ENV RATE, MIX ENV Хх, MIX ENV Y, MIX PERCENT A, MIX PERCENT_B, MIX PERCENT_C, MIX PERCENT D, MIX ENV LOOP, MIX ENV REPEATS, MIX MOD X SOURCE1, MIX MOD X SRC1 AMT, MIX MOD_X SOURCE2, MIX MOD _X_SRC2_AMT, MIX MOD Y SOURCEI, MIX MOD Y SRC1_AMT, MIX MOD Y SOURCE2, MIX MOD Y SRC2 AMT, COPY MACRO MODULE, COPY MACRO SOURCE WAVE, COPY MACRO SOURCE BANK, COPY MACRO SOURCE NUM, COPY MACRO SOURCE NAME, COPY MACRO DEST MODULE, COPY MACRO DEST WAVE, COPY MACRO DEST BANK, COPY MACRO DEST NUM, COPY MACRO DEST NAME, COPY DEST PART, COPY _DEST PART PATCH BLANK, COPY DEST PART _PATCH_NUM, COPY DEST PART PATCH NAME, COPY WS SOURCE _ FROM STEP, COPY WS SOURCE _FROM BANK, COPY WS SOURCE FROM NUM, COPY WS SOURCE FROM NAME, COPY WS SOURCE _TO STEP, COPY WS SOURCE_TO BANK, COPY WS_ SOURCE TO NUM, COPY WS SOURCE TO NAME, COPY WS DEST_BANK, COPY WS DEST_NUM, COPY WS DEST NAME, 123 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 A3 MIDI SYSTEM EXCLUSIVE FORMAT COPY_WS_DEST_AFTER_STEP, COPY_WS_DEST_AFTER_BANK, COPY WS_DEST AFTER NUM, COPY_WS DEST AFTER NAME, COPY WS_DEST BEFORE STEP, COPY WS_DEST_BEFORE_BANK, COPY WS_DEST_BEFORE_NUM, COPY WS_DEST_BEFORE_NAME, MTUNE_C, | MTUNE_CS, MTUNE_D, MTUNE_DS, MTUNE_E, MTUNE_F, MTUNE_FS, MTUNE_G, MTUNE_GS, MTUNE_A, MTUNE_AS, MTUNE_B, CURRENT MTUNE, FX _ PLACEMENT, FX1_PROG, FX2_PROG, FX _MIX_3, FX MIX _4, FX_MOD_3, FX_MOD_4, FX_MOD_AMT_3, FX_MOD_AMT_4, CURRENT_FX, FX_PROG, FX_FOOTSWITCH_ENABLEL, FX_FOOTSWITCH_ ENABLES, FX_LFO_SHAPE, FX_MOD1, FX_MOD2, FX_MOD4, FX_MODS5, FX_MODS6, FX_MOD7, FX_MODS, FX_MOD10, FX_LFO RATE1, FX_LFO RATE3, FX_LFO RATE4, FX_LFO RATES, FX_LFO RATES, FX_LFO RATE7, FX SPLIT POINT2, FX SPLIT POINT3, FX SPLIT POINT10, FX_DELAY FACTOR7, FX_TOP DELAY3, FX_WG_JUCT MIX10, FX_EQ_ FREQ LOWO, FX_EQ_FREQ_MID2, FX_EQ FREQ HIGH7, FX_EQ WIDTH6, FX_100_WET_DRYO, FX_100_WET_DRY3, 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 FX_100 WET DRY4, FX_10 WET DRYO, FX_10 WET DRY3, FX_10 WET DRY4, FX_UPARAMO, FX_UPARAMI1, FX_UPARAM2, FX_UPARAM3, FX _UPARAM4, FX_UPARAMS, FX_UPARAMS, FX_UPARAM7, FX_UPARAMS, FX_UPARAM9, FX_UPARAMIO, FX UPARAMI11, FX UPARAM12, FX UPARAMI13, FX_PARAMO, FX_PARAM1, FX_PARAM2, FX_PARAM3, FX PARAMA, FX PARAMS, FX PARAM6, FX _PARAM7, FX_PARAMS, FX _PARAM9, FX _PARAMI1O, FX_PARAM11, FX_PARAM12, FX_PARAM13, FX DEST_TYPE, FX DEST_PROG, FX DEST FX NUM, FX DEST_ PLACEMENT, FX DEST_FX1, FX _DEST_FX2, WAVE_MUTE, WAVESEQ_WAVE, WAVE_SEQ_LOOP_DIR, WAVESEQ COMPAND SCALE, FOOT DAMPER FUNCTION, FOOT DAMPER POLARITY, FOOT ASSIGN 1 FUNCTION, FOOT ASSIGN 1 POLARITY, FOOT ASSIGN 2 FUNCTION, FOOT ASSIGN 2 POLARITY, BANK COPY TYPE, RESERVED, ENV1_MOD_VEL_RATE, ENV1_MOD_KBD_RATE, WS_MIDI_CLOCK, VIEW_BANK, VIEW PERF NUM, VIEW PERF NAME, PARAM END /* Must be last */ у; 124 OKORG INC. NOTICE 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. “KORG INC. 15-12, Shimotakaido 1 - chome, Suginami- ku, Tokyo, Japan. Printed in Japan 1990 0205 ETH
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