Korg_Recording_Equipment

Style Record mode 3

The Style structure

Style Record mode

By entering the Style Record mode, you can create your own Styles, or edit an existing Style.

The Style structure

The term ???Style??? relates with music sequences automatically played by the arranger of the Pa3X. A Style consists of a pre- defined number of Style Elements (E) (Pa3X features fifteen dif- ferent Style Elements: Variation 1-4, Intro 1-3, Fill 1-4, Break, Ending 1-3). When playing, these Style Elements can be selected directly from the control panel, using the corresponding buttons.

To explain the Style structure, we can use a tree-structure, as shown in the following diagram:

Each Style Element is made up of smaller units, called Chord Variations (CV), but not all of them have the same number of CVs. Variations 1-4 have up to 6 CVs each, while the other Style Elements have only up to 2 CVs.

When you play on the chord recognition area (Lower, Upper or Full, depending on the Chord Scanning section on the control panel), the arranger scans the keyboard and determines which chord you are playing. Then, depending on the selected Style Element, it determines which Chord Variation (CV) should be played for the scanned chord. Which Chord Variation corre- sponds to each scanned chord is a setting of the Style: the Chord Variation Table. Each Style Element contains a Chord Variation Table, whose prototype is the following:

After deciding what CV to play, the arranger triggers the right sequence for each track. Since each sequence is written in a par- ticular key (for example, CMajor, GMajor or Emin), the arranger transposes it according to the scanned chord. Notes in the sequence are carefully transposed, to make them work fine with all recognized chords.

Going deeper into the Style structure, we can see that each Chord Variation is made up of Track Sequences, and the Pa3X supports 8 different tracks. DRUM and PERC are used for drum and percussion sequences, BASS for bass and ACC1-5 are for accompaniment sequences (string, guitar, piano or other accom- paniment instruments).

Advanced

4 Style Record mode

Style/Pad Import/Export

Just to summarize, when you play a chord on the chord recogni- tion area, the arranger determines which Style Element is used, then determines which Chord Variation should be used for the played chord, then Style sequences for every track of that Chord Variation are transposed from the original chord to the recog- nized chord, and so on every time you play a chord.

Ordinary, Guitar and Drum tracks

There are different types of tracks (see ???Track Type??? on page 27), and each of them is treated in a different way by the arranger;

???Acc (Accompaniment) and Bass tracks: When a chord is recognized, the programmed chord notes are transposed to a suitable scale, according to the Note Transposition Tables (NTT) The NTT allows you to record just some Chord Variations, and have all the notes play in the right place, avoiding dissonances and transposing the pattern notes to the notes of the recognized chord.

???Drum & and Perc (Percussion) tracks: No transposition is applied.The original pattern plays always.

???Gtr (Guitar) tracks: When a chord is recognized, the arranger triggers single notes, strumming and arpeggios on a ???virtual guitar???, keeping care of the way notes are played on the guitar keyboard. Note that inside a Guitar track you can also have some parts typical of an Acc track - a useful addition for short ???free-form??? passages.

What to record

Recording a Style is a matter of recording tracks, inside a series of Chord Variations, inside a series of Style Elements, inside the Style itself.

You don???t need to record all Chord Variations for all Style Ele- ments. It is often only needed to record just a Chord Variation for each Style Element. Exceptions are the Intro 1 and Ending 1, where we suggest to record both a Major and minor Chord Vari- ations.

Pattern data vs. track data

While the Style Record mode is where you can create or edit music patterns for the Style, track parameters (like Volume, Pan, Octave Transpose, FX settings???) have to be edited in Style Play mode.

???After creating or editing music patterns in Style Record mode, save them by selecting the Write Style command from the page menu of the Style Record mode (see ???Write Style dialog box??? on page 31 of the User???s Manual).

???After editing track parameters in Style Play mode, save them to the Style Settings by selecting the ???Write Current Style Settings??? command from the page menu of the Style Play mode (see ???Write Style Settings dialog box??? on page 139 of the User???s Manual).

Sounds

There are two ways of assigning Sounds to the Style tracks.

???While in Style Record mode you can assign different Sounds to each Style Element (see ???Sounds area??? on page 9 of the User???s Manual).

???While in Style Play mode, you can assign a single Sound to the Style Settings (together with the other track parame- ters), that remains the same for all Style Elements.

Which Sounds are used depends on the status of the ???Original Style Sounds??? parameter (see page 114 of the User???s Manual).

Note: When assigning a Sound in Style Play mode, the ???Original Style Sounds??? is automatically turned off.

Style/Pad Import/Export

As an alternative to creating Styles on the Pa3X, you can import a Standard MIDI Files (SMF) from your computer to a Pa3X???s Style. See ???Import: Import SMF??? on page 28 and ???Export SMF??? on page 30.

Entering the Style Record mode

While in the Style Play operating mode, press the RECORD but- ton. The following page will appear in the display:

???Select Record/Edit Current Style to edit the current Style. If it is a Factory Style, you may not be able to save it at the original location (depending on the status of the ???Factory Style and Pad Protect??? parameter, see page 236 of the User???s Manual); you will select a User Style instead.

???Select Record New Style to start from a new, empty Style. A default Style Performance will be recalled. When finished recording, you will save the new Style onto a User Style location. (Styles can be saved onto Factory Style locations only when the ???Factory Style and Pad Protect??? parameter is set to Off ??? see page 236 of the User???s Manual).

After editing the Style or Pad, please save it (see ???Exit by saving or deleting changes??? below) and exit the Style/Pad Record mode.

Then, edit the Style track settings. Go to the Style Play mode, edit the Style Settings to adjust track settings (Tempo, Volume, Pan, FX Send??? see page 119 and following in the ???Style Play operating mode??? chapter of the User???s Manual) and save it by selecting the ???Write Current Style Settings??? from the page menu (see ???Write Style Settings dialog box??? on page 139 of the User???s Manual).

Note: After a record or edit operation, the memory is automati- cally reorganized. Therefore, when you press START/STOP there is a delay before you can actually listen to the Style. This delay is higher with a Style containing more MIDI events.

Note: While in Record mode, the footswitch and EC5 pedals are disabled. On the contrary, volume/expression-type pedals can be used.

Exit by saving or deleting changes

When finished editing, you can save your Style or Pad in mem- ory, or abort any change.

???To save changes, select the ???Write Style??? command from the page menu (see ???Write Style dialog box??? on page 31).

???To abort all changes, select the ???Exit from Record??? command from the page menu, or press the RECORD button, to exit from record and return to the main page of the Style Record mode.

Hint: Save often while recording, to avoid accidentally losing your changes to the Style.

Listening to the Style while in Edit mode

While you are in Style/Pad Record mode, you can listen to the selected Chord Variation or to the whole Style or Pad, depending on the page you are in.

To select a Chord Variation, go to the Main page of the Record/ Edit mode (see ???Element (Style Element)??? and ???Chord Var (Chord Variation)??? on page 6).

???When you are in the Main, Event Edit, Quantize, Trans- pose, Velocity, or Delete pages, you can listen to the selected Chord Variation. Press START/STOP to check how it works. Press START/STOP again to stop the play- back.

???When you are in the Sounds/Expression, Keyboard Range, Chord Table, Trigger/Tension, Delete All, Copy, Style/Pad Element Controls or Style/Pad Control pages, you can lis- ten to the whole Style or Pad. Press START/STOP and play some chords to do your tests. Select any Style/Pad Element using the control panel buttons (VARIATION 1-4, INTRO 1-3, FILL 1-4, BREAK, ENDING 1-3). Press START/STOP again to stop the playback.

???When you are in the Guitar Mode page, you can listen to the pattern you are programming, played in the selected Key.

Note: While in Style Record mode, the Fingered 3 Chord Recogni- tion mode is automatically selected.

Style Record mode 5

Exit by saving or deleting changes

List of recorded events

The Style/Pad Record mode filters out some events that may cause wrong operation of the Style or Pad. Here are the recorded events, and the most important filtered-out events.

Note: Some Control Change messages cannot be recorded directly by using Pa3X integrated controls (like the Ribbon Controller).

All allowed controllers can be assigned to an Assignable Pedal/ Slider/Switch.

MIDI Control Change messaged inserted by using a software on an external computer are imported when using the import func- tion (???Import: Import SMF??? on page 28).

Some controllers are reset at the end of the pattern.

Advanced

6 Style Record mode

Main page - Record 1

After having pressed the RECORD button, and having chosen whether you want to edit an existing Style or create a new one, the main page of the Style Record mode appears, with the tab ???Record 1??? selected.

Recording parameters

area

Selected track info area

Track volume/status area

Page header

This line shows the current operating mode and transposition.

Operating mode name

Name of the current operating mode.

Master transpose

Master transpose value in semitones. This value can be changed using the TRANSPOSE buttons on the control panel.

Page menu icon

Touch this icon to open the page menu. See ???Page menu??? on page 31.

Page sub-header

This area shows some performing info on the Style/Pad.

Style in record/edit

Name of the Style currently in edit or record.

Beat counter

This indicator shows the current beat inside the current mea- sure.

Measure number

Current measure you are recording.

Recording parameters area

Element (Style Element)

This parameter lets you select a Style Element for editing. Each Style Element corresponds to a button on the control panel car- rying the same name. After selecting a Style Element, select a Chord Variation for actual editing (see below).

Var1???End3 This is the selected Style Element

Chord Var (Chord Variation)

This parameter lets you select a Chord Variation for editing, after selecting the Style Element this Chord Variation belongs to.

Note: When this parameter and the assigned value is in small let- ters (cv1???cv6), the Chord Variation is empty; when it is in capi- tals (CV1???CV6), it is already recorded.

???If the Style Element is Var1, Var2, Var 3 or Var4, you can select one of 6 Chord Variations to edit.

???If the Style Element is Intro1, Intro2, Intro3, Fill1, Fill2, Fill3, Fill4, Ending1, Ending2 or Ending3, you can select one of 2 Chord Variations to edit.

Resolution

Use this parameter to set the quantization during recording. Quantization is a way of correcting timing errors; notes played too soon or too later are moved to the nearest axis of a rhythmic ???grid???, set with this parameter, thus playing perfectly in time.

Note: To quantize after recording, use the Quantize function in the

Edit section (see ???Style Edit: Quantize??? on page 19).

(1/32)??? (1/8)

Grid resolution, in musical values. For example, when you select 1/16, all notes are moved to the nearest 1/16 division. When you select 1/8, all notes are moved to the nearest 1/8 division. A ???3??? after the quantization value means triplet.

No quantiza- tion

1/16

1/8

Rec Length (Recording Length)

This parameter sets the recording length (in measures) of the selected track. Its value is always equal to, or a divider of, the Chord Variation Length (see next parameter).

This is not the total length of the Chord Variation, but just of the current track. For example, you may have a Chord Variation eight measures long, with a drum pattern repeating each two measures. If so, set the CV Length parameter to ???8???, and the Rec Length parameter to ???2??? before starting recording the Drum track. When playing back the Style, saving it or executing any edit operation on the Style, the 2-measures pattern will be extended to the full 8-measures length of the Chord Variation.

Warning: If you assign CV Length a value lower than Rec Length, the value of Rec Length is not immediately updated in the display. Therefore, you are still free of changing the value of CV Length, before the measures exceeding its value are deleted (see warning in ???CV Length (Chord Variation Length)??? below).

However, if you press START/STOP to begin recording, the real Rec Length value is changed to the new one, even if the display still shows the old value.

For example, you may have CV Length = 4 and Rec Length = 4. If you set CV Length to 2, and press START/STOP to begin record- ing, Rec Length is still shown as 4, but it is in reality set to 2, and recording will cycle for just 2 measures. After you press START/ STOP to stop recording, Rec Length is updated to 2, and all mea- sures after the second measure are deleted.

CV Length (Chord Variation Length)

This parameter sets the total length (up to 32 measures) for the selected Chord Variation. When playing a Style, this will be the length of the accompaniment pattern, when the chord corre- sponding to the Chord Variation is recognized on the keyboard.

Warning: If you reduce the Chord Variation Length after record- ing, any measure after the selected length will be deleted. Be very careful when setting the CV Length to a lower value after record- ing! If it happens, we suggest to exit from record without saving (see ???Exit from Record??? on page 31).

Metro (Metronome)

This is where you can set the metronome.

Tempo

Select this parameter to use TEMPO controls to set the tempo.

Hint: You can always change the Tempo, when other parameters are selected, by keeping the SHIFT button pressed, and rotating the DIAL.

Note: When recording Tempo, old data is always replaced by the new data.

Note: The actual Tempo of the Style will be the one shown when saving the Style Performance in Style Play mode (see ???Current Tempo??? on page 112 of the User???s Manual).

Meter

This is the meter (time signature) of the Style Element. You can edit this parameter only when the Style Element is empty, i.e. before you begin recording anything.

Style Record mode 7

Main page - Record 1

Selected track info area

This line lets you see the Sound assigned to the selected track.

Track name

Name of the selected track.

Drum???Acc5 Style track.

Sound name

Sound assigned to the selected track. The triangle means you can touch the name to open the Sound Select window, and select a different Sound.

Sound bank

Bank the selected Sound belongs to.

Program Change

Program Change number sequence (Bank Select MSB, Bank Select LSB, Program Change).

Key/Chord area

Key/Chord

This parameter pair allows you to define the track???s original key and chord type, for the current Chord Variation. When in Style Play mode, this chord will be played back exactly as it was recorded, without any NTT processing (see above).

To record just one Chord Variation for a Style Element, the sug- gested original key/chord is ???maj7??? (with NTT = i-Series). Be very careful to play the 7th+ note (i.e., with a ???Cmaj7th??? key/ chord, the B), to avoid the lack of notes, or a bad NTT conver- sion when playing different chords.

Note: To conform to Korg specifications, it is advisable to record both the ???Major??? and ???minor??? Chord Variations for the Intro 1 and Ending 1 Style Elements.

When you select a track, the original key/chord assigned to the selected track will be shown. All recorded tracks will play back on that key/chord. For example, if the original key/chord for the Acc1 track is A7th, when selecting the Acc1 track all the remain- ing tracks will play on the A7th key/chord.

In the example above, you will record the Acc1 track in the AMajor key, with notes pertaining to the A7th scale. This exact pattern will be recalled, when an A7th chord will be recognized.

Note: This does not apply to Guitar Mode, relying on a different rule. See ???Main page - Guitar Mode??? on page 10 for more infoma- tion.

Advanced

8 Style Record mode

Main page - Record 1

NTT Area

NTT Type/Table

NTTs (Note Transposition Tables) are the sophisticated algo- rithms that allow Korg arrangers to convert recognized chords into musical patterns. The Note Transposition Table (NTT) determines how the arranger will transpose pattern notes, when a chord is recognized that does not exactly match the original chord of a Chord Variation. For example, if you only recorded a Chord Variation for the CMaj chord, when a CMaj7 is recog- nized on the keyboard the arranger must transpose some notes to create the missing 7th.

Note: These parameters cannot be selected with Drum or Percus- sion tracks, and are therefore greyed out.

Note: NTT parameters are separately programmed for each track of the Style Element.

There are two general types of NTTs:

??? When Parallel types are selected, notes are transposed inside the area set by the Wrap Around parameter. These tables are ide- ally suited to melody parts.

??? When Fixed types are selected, the arranger moves as few notes as possible, making legato lines and chord changes more natural. They are ideally suited to chord tracks (strings, piano etc???).

Note: To conform to Korg specifications, it is advisable to set the NTT to ???No Transpose??? on the Intro 1 and Ending 1.

Parallel/Root The root note (in CMaj = C) is transposed to the missing notes.

Parallel/Fifth The 5th note (in CMaj = G) is transposed to the missing notes.

Parallel/i-Series

All original patterns must be programmed on the ???Maj7??? or ???min7??? chords. When loading old Korg i-Series Styles, this option is automatically selected.

Parallel/No Transpose

The chord is not modified, and is moved to the new key unchanged. The pattern plays exactly the recorded notes, and is moved to the new key as is. This is the standard setting of Intro 1 and Ending 1 in Korg???s original Styles (where a chord progres- sion is usually recorded, and should remain unchanged in any key).

Fixed/Chord This table moves as few notes as possible, making legato lines and chord changes more natural. It is ideally suited to chord tracks (strings, piano etc???). Contrary to the Parallel mode, the pro- grammed chord is not transposed according to the Wrap Around parameter, but always stays around its original position, looking for common notes between the chords.

Fixed/No Transpose

The programmed notes can only be transposed by the Master Transpose. They are never trans- posed when chords are changed.

Delete Note button

Use this command to delete a single note or a single percussive instrument from a track. For example, to delete a snare, keep the D2 note (corresponding to the snare) pressed.

1.Select a track.

2.Touch the ???Delete Note??? button, and keep it pressed.

3.Press START/STOP to start the Style.

4.When you reach the passage containing the note to be deleted, play the note on the keyboard. Keep it pressed, up to the last note to be deleted.

5.When finished, release the Delete button and the note to be deleted, and press START/STOP again to stop the Style.

Note: If the note is at the beginning of the pattern, press the note before starting the Style.

Tracks volume/status area

Virtual sliders

Each virtual slider in the display corresponds to an Assignable Slider on the control panel. Use the Assignable Sliders to change each value, provided the VOLUME LED (over the SLIDER MODE button) is turned on. This LED status depends on the last selected Performance, but can be changed anytime by using the SLIDER MODE button.

Style Record mode 9

Main page - Record 2/Cue

While in the main page, touch the ???Record 2/Cue??? tab to see this page. Most parameters in this page are the same as in ???Main page - Record 1???. In addition, here you can see and select Sounds for each Style track, and the Cue mode for the Style Element.

Sounds area

Cue area

Sounds area

This area lets you see Sounds and octave transposition for the eight Style tracks.

Octave transpose icon

Sound bank???s icon

As an alternative, touch the track???s area to select a track, and use VALUE controls to change the value (or touch and drag it in the display).

Status of tracks. Touch this icon to change the status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

Record status. After starting recording, the track will receive notes from the keyboard and the MIDI IN connector.

Track names

Under the sliders, a label for each track is shown.

Drum???Acc5 Shown Style tracks.

Octave transpose icon

Non editable. This indicator shows the track???s octave transposi- tion. Tracks will be recorded with the selected octave transposi- tion. To change this value, use the UPPER OCTAVE buttons, or go to the ???Mixer/Tuning: Tuning??? edit page in the Style Play mode (see page 123 of the User???s Manual). Save this value to the Style Settings.

Sound bank???s icon

This picture illustrates the bank the current Sound belongs to. Touch an icon a first time to select the corresponding track (detailed information are shown on the Selected Track Info area, see the ???Record 1??? page above). Touch it a second time to open the Sound Select window.

Note: These Sounds can be replaced by Sounds selected by a Per- formance, provided the ???Original Style Sounds??? parameter is left unchecked in Style Play mode (see page 114 of the User???s Manual).

Advanced

10 Style Record mode

Main page - Guitar Mode

Cue area

Cue mode for [Style element]

This parameter lets you decide how the current Style Element will enter after it has been selected. This setting is only available for the ???Variation??? and ???Fill??? Style Elements.

Immediate, first measure

The Style Element enters immediately, and begins from the first measure. Only available on Fills.

Immediate, current measure

The Style Element enters immediately, and begins from the current measure. Only available on Fills.

Next measure, first measure

The Style Element enters at the beginning of the next measure, and begins from the first measure of the new pattern. Available on both Fills and Variations.

Next measure, current measure

The Style Element enters at the beginning of the next measure, and begins from the current mea- sure. Only available on Variations.

Main page - Guitar Mode

While in the main page, and a Guitar track has been selected, touch the ???Guitar Mode??? tab to see this page. This is where you can access Guitar Mode programming:

Note: To access this page, a Guitar track must first be selected (see ???Track Type??? on page 27 of the User???s Manual). Otherwise, the Guitar Mode tab will remain grey (not selectable).

Note: When programming a Guitar track from an external sequencer, you must be sure the Guitar tracks is associated to the right channel. Go to the Global > MIDI > MIDI IN Channels page, and assign the corresponding Style track (usually Acc1 ~ Acc5) to the same channel of the Guitar track on the external sequencer. Then, go to the Style Record > Style Track Controls > Type/Ten- sion/Trigger page, and set the track as a track of type ???Gtr??? (see ???Track Type??? on page 27 of the User???s Manual).

Guitar Mode allows to easily create realistic rhythm guitar parts, without the artificial, unmusical playing typical of MIDI pro- gramming of guitar parts. Just record a few measures, and you will end up with realistic rhythm guitar tracks, where each chord is played according to its real position on the guitar, and not gen- erated by simply transposing a written pattern.

Recording overview

Recording a Guitar track is unlike recording the other tracks, where you play exactly all the notes of a melody line or all the chords of an accompaniment part. With Guitar tracks you can:

a)play the keys corresponding to the strumming modes,

b)play an arpeggio using the six keys corresponding to the six guitar strings (and the special keys corresponding to the root and fifth notes),

c)play RX Noises to add realism to the pattern,

d)add regular patterns, for short melodic passages without wast- ing an Acc track,

e)use the finest MIDI programing to select Chord Shapes, and recreate any nuance of a guitar performance.

The following sections describe the various control keys avail- able for this guitar simulation.

Recording strumming types

The octave from C1 to B1 is devoted to selecting a strumming type. By pressing these keys, you play fast strumming samples:

Pa3X 76

Pa3X 61

Full Down Slow Mute

Recording single strings

The octave from C2 to B2 is devoted to selecting a single string (or more than one) for playing arpeggios or power chords. You can either play a free arpeggio with the six guitar chords assigned to the C~A keys, or play one of the faster sampled arpeggios on the higher keys. The root note is always available on the C# key, while the fifth note is always assigned to the D#

Style Record mode 11

Main page - Guitar Mode

key; with them, you can always play the lowest notes of an arpeg- gio. This octave also includes an ???all mute??? key (F#):

Pa3X 76

Pa3X 61

Recording RX Noises

Further on, the upper octaves are used to trigger RX Noises:

Pa3X 76

Pa3X 61

RX Noises

Selecting a Capo

Together with strumming types, single strings and RX Noises, you can choose a Capo (capotasto). Note that this might prevent some single strings to sound, depending on the composed chord. You can always see with strings are playing and which are not, as described in the ???Diagram??? section below.

Recording a regular pattern

Choosing a Key/Chord for Intro 1 and Ending 1

The pattern is recorded in the key indicated by the Key/Chord pair of parameters. However, this parameter is only used for playback by the Intro 1 and Ending 1 Style Elements. All other Style Elements will be played back according to the recognized chord.

With Intro 1 and Ending 1 (both Chord Variation 1 and 2) you can also prefer to enter a chord progression, to be played on the lowest MIDI octave (C-1 ~ B-1). Chord types are inserted by using velocity values, as shown in the following table:

Style Record mode 13

Main page - Guitar Mode

Capo - Fret

A capo (from the Italian ???capotasto???, ???head of fingerboard???) is a movable bar attached to the fingerboard of the guitar, to uni- formly raise the pitch of all the strings. Its use makes the strings shorter, therefore changing the timbre and position of the chords (but not its shape).

0Open string ??? no capo.

Strings - High/Low

Use this pair of parameters to choose the strings the pattern will be played on.

Diagram

The diagram shows how a chord would be composed on the fin- gerboard. Here is the meaning of the various symbols:

XNon played or muted note.

Light grey bar Barr?? (a finger crossing all the strings, like a mobile capo).

Dark grey bar Capo.

Playing back the pattern

When in Stye Play mode, the recorded Guitar pattern is trans- posed according to the chord recognized on the keyboard. The way it is transposed depends on the programmed pattern, with the chosen positions, strumming mods, etc???

Guitar mode parameters

Here is a detailed description of the parameters of the Guitar Mode page.

Key/Chord

This parameter pair allows you to define the track???s original key and chord type. This parameter works in a different way than the other tracks. While with other tracks this is always the reference key used for NTT transposition, with Guitar tracks there is a dif- ference, whether you are recording a Chord Variation contained in an Intro 1 or Ending 1 Style Element, or any other Chord Variation:

???With Intro 1 and Ending 1, this chord will be used as the reference key for the chord progression.

???With all the other Chord Variations, this chord will be used only for listening during recording. During playback in Style Play mode, the chord will follow chord recognition.

Advanced

14 Style Record mode

Style Record procedure

There are two different methods for recording a Style: Realtime and Step.

???Realtime Recording allows you to record Style patterns in realtime.

???Step Recording allows you to create a new Style by entering single notes or chords in each track. This is very useful when transcribing an existing score, or needing a higher grade of detail, and is particularly suitable to create drum and percussion tracks.

In addition, you can program a Style on a personal computer, and then import it via the Import function (see ???Import: Import SMF??? on page 28).

Preparing to record

1.If you like to edit an existing Style, select that Style.

2.Press the RECORD button to enter the Style Record mode. You are prompted to select either the Current Style, or a New Style.

Select ???Record/Edit Current Style??? if you want to edit the current Style, or make a new Style starting from an existing one. Select ???Record New Style??? if you want to start from scratch with an empty Style.

3.After you select your preferred option, the main page of the Style Record mode will appear.

4.Select the Element (Style Element) and Chord Var (Chord Variation) parameters, to select the Chord Variation to be recorded/edited.

Note: For more information on the Style Elements and Chord Variations, and the Style structure in general, see ???The Style structure??? on page 3.

5.Use the Rec Length (Recording Length) parameter to set the length (in measures) of the pattern to record.

6.Use the Meter parameter to set the Style Element???s meter (time signature).

Note: You can edit this parameter only if you selected the ???Record New Style??? option when entering the Record mode, or when editing an empty Style Element.

7.Select the Tempo parameter and set the tempo.

8.Touch the Record 2 tab to see the Sounds area. Here you can assign the right Sound to each Style track. You cannot select Digital Drawbars Sounds. (For more details, see ???Sounds area??? on page 9).

9.If needed, set the Octave Transpose for each track. Note:

The Octave Transpose will affect only the notes coming from the keyboard, and not from the arranger.

10.At this point, if you want to do a Realtime Recording go on reading ???Realtime Record procedure??? below. Otherwise, if you prefer to do a Step Record, jump to ???Step Record pro- cedure??? on page 15.

Realtime Record procedure

1.Select the track to record. Its status icon will turn to ???Record???. (For more details, see ???Tracks volume/status area??? on page 9).

Note: When entering the Record mode, a track is already in Record status. When you press START/STOP after entering the Record mode, you can immediately start recording.

If you like, you can try your part before recording:

???Mute the track, by repeatedly touching its icon status, until the (Mute) status icon appears.

???Press START/STOP to let any recorded track play back, and practice on the keyboard.

???When you have finished practicing, press START/STOP to stop the arranger, and unmute the track by repeatedly

touching its icon status, until the (Record) status icon appears again.

2.While the shown status icon is Record, press START/STOP to begin recording. Depending on the ???Metro??? (metro- nome) option you selected, a 1- or 2-bars precount may play before the recording actually begins. When it begins, play freely. The pattern will last for some measures, accord- ing to the Rec Length value, then restart.

Since the recording will happen in overdub, you can add notes on any following passage. This is very useful to record different percussive instruments at any cycle on a Drum or Percussion track.

Note: While recording, track???s Keyboard Range (see page 26) is ignored, and the track can play over the whole keyboard range. The Local parameter (see ???Local Control On??? on page 209 of the User???s Manual) is also automatically set to On, to allow playing on the keyboard.

3.When finished recording, press START/STOP to stop the arranger. Select a different track, and go on recording the full Chord Variation.

Note: You can select a different track only when the arranger is not running.

4.When finished recording the Chord Variation, select a dif- ferent Chord Variation or Style Element to go on recording the full Style.

5.When finished recording the new Style, select the ???Write Style??? command from the page menu, to open the Write Style dialog box (see ???Write Style dialog box??? on page 31) and save it to memory.

To exit the Style Record mode without saving any change, select the ???Exit from Record??? command from the page menu, or press the RECORD button.

Step Record procedure

1.While in the main page of the Style Record mode, select the ???Overdub Step Recording??? command from the page menu, to enter the Overdub Step Record mode.

2.The ???Pos??? parameter shows the current position.

???If you do not want to insert a note or chord at the current position, insert a rest instead, as shown in step 4.

???To jump to the next measure, filling the remaining beats with rests, touch the Next M. button in the display.

3.To change the step value, use the ???Step Time values??? area in the display.

4.Insert a note, rest or chord at the current position.

???To insert a single note, just play it on the keyboard. The inserted note length will match the step length. You may change the velocity and relative duration of the note, by editing the ???Duration??? and ???Velocity??? parameters (see page 34).

???To insert a rest, just touch the Rest button in the display. Its length will match the step value.

???To tie the note to be inserted to the previous one, touch the Tie button in the display. A note will be inserted, tied to the previous one, with exactly the same name. You don???t need to play it on the keyboard again.

???To insert a chord or a second voice, see ???Chords and sec- ond voices in Step Record mode??? on page 180 of the User???s Manual.

5.After inserting a new event, you may go back by touching the Back button in the display. This will delete the previ- ously inserted event, and set the step in edit again.

6.When the end of the pattern is reached, the ???End of Loop??? event is shown, and the recording restarts from the ???001.01.000??? position. Any note exceeding the pattern length, inserted at its end, will be reduced to fit the total length of the pattern.

At this point, you may go on, inserting new events in over- dub mode (the previously inserted events will not be deleted). This is very useful when recording a drum or per- cussion track, where you may want to record the bass drum on a first cycle, the snare drum on the second cycle, and the hi-hat and cymbals during the following cycles.

7.When finished recording, touch the Done button in the display to exit the Step Record mode.

A dialog box appears, asking you to either cancel, discard or save the changes.

If you touch Cancel, exit is canceled, and you can continue editing. If you choose No, changes are not saved, and the Step Record window is closed. If you choose Yes, changes are saved, and the Step Record window is closed.

Style Record mode 15

Style Record procedure

8.When back to the main page of the Style Record mode, you may turn all tracks to the play status, then press START/ STOP to listen to the Style. Press START/STOP again to stop the playback.

9.From the main page of the Style Record mode, select either the ???Write Style??? or the ???Exit from Record??? command to exit from the Style record mode, respectively by saving the Style to memory (see ???Write Style dialog box??? on page 31), or by canceling any change.

Chords and second voices

With Pa3X, you are not limited to inserting single notes in a track. There are several ways to also insert chords and double voices. For more information, see ???Chords and second voices in Step Record mode??? on page 180 of the User???s Manual.

Advanced

16 Style Record mode

Edit menu

From any page (apart for Step Record), press the MENU button to open the Style Record edit menu. This menu gives access to the various Style Record edit sections.

When in the menu, select an edit section, or press EXIT to exit the menu and return to the main page. To return to the main page, you can also select the Main Page menu item.

When in an edit page, press the EXIT button to return to the main page of the Style Record mode.

Note: While the Style is in play, you cannot access the Edit section pages from the main page (see page 6 of the User???s Manual). Stop the playback before pressing MENU.

Note: When switching from the Edit section pages (Quantize, Transpose, Velocity, Delete) to the other pages, or vice-versa, the Style (if in play) is automatically stopped.

Edit page structure

Most edit pages share some basic elements.

Tabs

Other pages have a slightly different structure.

Parameters area

Track status

Tabs

Operating mode

This indicates that the instrument is in Style Record mode.

Edit section

This identifies the current edit section, corresponding to one of the items of the edit menu (see ???Edit menu??? on page 16).

Chord

Chord in edit.

Selected Style Element

In Style Record mode, edits always happen on the selected Style Element.

Page menu icon

Touch this icon to open the page menu (see ???Page menu??? on page 31).

Parameters area

Each page contains various parameters. Use the tabs to select one of the available pages. For detailed information on the vari- ous types of parameters, see sections starting from page 17.

Track status

Use these buttons to mute/unmute tracks while editing.

Tabs

Use tabs to select one of the edit pages of the current edit section.

Event Edit: Event Edit

The Event Edit is the page where you can edit each single MIDI event of the selected Chord Variation. You can, for example, replace a note with a different one, or change its playing strength (i.e., velocity value). See ???Event Edit procedure??? on page 18 for more information on the event editing procedure.

Chord

Event list

Track pop- up menu

Page header

See ???Page header??? on page 6.

Page menu icon

Touch this icon to open the page menu. See ???Page menu??? on page 31.

Page sub-header

This area shows some performing info on the Song.

Selected track

Name of the track in edit. Use the Track pop-up menu to select one of the Style tracks.

SE/CV (Style Element/Chord Variation)

Selected Style Element and Chord Variation. This parameter cannot be edited. To select a different Style Element and Chord Variation, press EXIT to go back to the main page of the Style Record mode (see ???Main page - Record 1??? on page 6).

Event list

Use the Event list to see all events contained in the selected track in the selected Style Element.

Use the scrollbar to browse through the events. You can also scroll by using the SHIFT + DIAL combination.

Style Record mode 17

Event Edit: Event Edit

Position

Position of the event, expressed in the form ???aaa.bb.ccc???:

??????aaa??? is the measure

??????bb??? is the beat

??????ccc??? is the tick (each quarter beat = 384 ticks)

You can edit this parameter to move the event to a different posi- tion. You can edit a position in either of the following ways:

(a)select the parameter, and use the VALUE controls to change the value, or

(b)select the parameter, then touch it again; the numeric key- pad will appear. Enter the new position by dialing in the three parts of the number, separated by a dot. Zeroes at the beginning can be omitted, as well as the least important parts of the number. For example, to enter position 002.02.193, dial ???2.2.193???; to enter position 002.04.000 dial ???2.4???; to enter position 002.01.000, simply dial ???2???.

Type, Value 1, Value 2

Type and values of the event shown in the display. Depending on the selected event, the value may change. This parameter also shows the (greyed-out, so non editable) ???CC#11??? (Expression) event at the beginning of the pattern, and the ???End Of Loop??? marking, when the end of a track is reached.

To change the event type, select the Type parameter, then use the VALUE controls to select a different event type. A set of default values will be automatically assigned to the event.

To select and edit the event???s value, select the corresponding parameter, and use VALUE controls.

Length

Length of the selected Note event. The value format is the same as the Position value. This is only available for Note events.

Note: If you change a length of ???000.00.000??? to a different value, you can???t go back to the original value. This rather uncommon zero-length value may be found in some drum or percussion tracks.

Scrollbar

Use the scrollbar to browse the event through the list. (As an alternative, use Shift + Dial).

Other elements

Track pop-up menu

Use this pop-up menu to select the track to edit, inside the cur- rent Chord Variation.

Drum???Acc5 Style track.

Go Meas.

While the Style is not running, touch this button to open the Go to Measure dialog box:

Advanced

Touch the event to be selected. Selected events are highlighted and can be heard.

18 Style Record mode

Event Edit: Event Edit

When in this dialog box, select a target measure, and touch OK. The first event available in the target measure will be selected.

Insert

Touch the Insert button in the display to insert a new event at the current shown Position. The default values are Type = Note, Pitch = C4, Velocity = 100, Length = 192.

Delete

Touch the Delete button in the display to delete the event selected in the display.

Event Edit procedure

Here is the general procedure to follow for the event editing.

1.Select the Style to edit, and press the RECORD button. Select the ???Current Style??? option to enter recording. The main page of the Style Record mode will appear.

2.Select the ???Element (Style Element)??? and ???Chord Var (Chord Variation)??? parameters.

Note: For more information on the Style Elements and Chord Variations, and the Style structure in general, see ???The Style structure??? on page 3.

3.Press MENU, and select the Event Edit section. The Event Edit page appears (see ???Event Edit: Event Edit??? on page 17 for more information).

4.Press START/STOP to listen to the selected Chord Varia- tion. Press START/STOP to stop it. Chord Scanning does not work, so you will listen the pattern at the original Key/ Chord.

5.Touch the Filter tab to select the Filter page, and uncheck the filters for the event types you wish to see in the display (see ???Event Edit: Filter??? on page 19 for more information).

6.Touch the Event Edit tab to go back to the Event Edit page.

7.Use the Track pop-up menu to select the track to edit (see ???Track pop-up menu??? on page 17).

8.The list of events contained in the selected track (inside the Chord Variation selected on step 2) will appear in the dis- play. Some events on the beginning of the Chord Varia- tions, as well as the ???EndOfTrk??? event (marking its ending point) cannot be edited, therefore appearing in grey.

9.Scroll though the various events by using the scrollbar.

10.Select an event to be edited by touching it in the display. This is usually a note, that you can edit.

For more information on the event types and their val- ues, see ???Event Edit: Event Edit??? on page 17.

11.Edit the event.

???Select the ???M??? parameter. Use VALUE controls to change the event???s position.

???Select the Type parameter. You may use VALUE controls to change the event type, as well as its Value 1 and Value 2.

???If a Note event is selected, select the Length parameter, and use VALUE controls to change the event???s length.

12.You may use the Go Meas. command to go to a different measure (see ???Go Meas.??? on page 17)

13.As described in step 4, you may press START/STOP to lis- ten how the pattern sounds after your changes. Press START/STOP again to stop the pattern running.

14.Touch the Insert button in the display to insert an event at the Position shown in the display (a Note event with default values will be inserted). Touch the Delete button in the dis- play to delete the selected event.

15.When editing is complete, you may select a different track to edit (go to step 7).

16.When finished editing the selected Chord Variation, press EXIT to go back to the main page of the Style Record mode, then go to step 2 to select and edit a different Chord Variation.

17.When finished editing the whole Style, select the ???Write Style??? command from the page menu to open the Write Style dialog box (see ???Write Style dialog box??? on page 31), or select the ???Exit from Record??? command to cancel all changes.

???Touch the (Text Edit) button to enter the Text Edit dialog box. Enter a name and confirm by selecting OK.

???Select a target memory location where to save the Style. The name of the Style already existing at the selected loca- tion is shown after the Style Bank-Location number.

Warning: If you select an existing Style and confirm writing, the older Style is deleted and replaced by the new one. Save the Styles you don???t want to lose to a storage device, before overwriting them.

18.Touch OK to save the Style to the internal memory, or Can- cel to delete any changes made in Style Record mode. When the ???Are you sure???? message appears, touch OK to confirm, or Cancel to go back to the ???Write Style??? dialog box.

Style Record mode 19

Event Edit: Filter

This page is where you can select the event types to be shown in the Event Edit page.

Turn On the filter for all event types you do not wish to see in the Event Edit page.

Note: Some of the events are ???ghosted???, and non editable, since the corresponding events are not editable in a Style.

(a). Expression events cannot be inserted at the starting Position (001.01.000). An Expression value is already among the default ???header??? parameters of the Style Ele- ment.

Tempo/Meter Tempo and Meter (time signature) changes (Mas- ter Track only).

The quantize function may be used to correct any timing mis- take after recording, or to give the pattern a ???groovy??? feeling.

After setting the various parameters, touch Execute.

Track

Use this parameter to select a track.

Drum???Acc5 Selected track.

E / CV (Style Element/Chord Variation)

Use these parameters to select the Style Element and Chord Variation for editing.

Resolution

This parameter sets the quantization after recording. For exam- ple, when you select 1/8, all notes are moved to the nearest 1/8 division. When you select 1/4, all notes are moved to the nearest 1/4 division.

No quantiza- tion

1/8

1/4

(1/32)??? (1/4)

Grid resolution, in musical values. A ???b???f??? char- acter added after the value means swing-quanti- zation. A ???3??? means triplet.

Start / End Tick

Use these parameters to set the starting and ending points of the range to quantize.

20 Style Record mode

Style Edit: Transpose

Top parameters, you can select a single percussive instrument in a Drum or Percussion track.

Note: These parameters are available only when a Drum or Per- cussion track is selected.

Execute

Touch this button to execute the operation set in this page.

Track status icon

Status of tracks. Touch this icon to change the status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

Track names

Under the buttons, a label for each track is shown.

Style Edit: Transpose

In this page you can transpose the selected track(s).

Note: After transposing, please don???t forget to readjust the ???Key/ Chord??? parameter in the main page of the Style Record mode (see page 7).

After setting the various parameters, touch Execute.

E / CV (Style Element/Chord Variation)

Use these parameters to select the Style Element and Chord Variation for editing.

Track

Use this parameter to select a track.

Value

Transpose value (??127 semitones).

Start / End Tick

Use these parameters to set the starting and ending points of the range to be transposed.

If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

Bottom / Top Note

Use these parameters to set the bottom and top of the keyboard range to be transposed. If you select the same note as the Bottom and Top parameters, you can select a single percussive instru- ment in a Drum or Percussion track. Since in a Drum Kit each instrument is assigned to a different note of the scale, transpos- ing a percussive instrument means assigning the part to a differ- ent instrument.

Execute

Touch this button to execute the operation set in this page.

Track status icon

Status of tracks. Touch this icon to change the status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

Track names

Under the buttons, a label for each track is shown.

Style Edit: Velocity

In this page you can change the velocity (dynamics) value of notes in the selected track. An Advanced mode is available, allowing you to select a velocity curve for the selected range. This is useful to create fade-ins or fade-outs.

After setting the various parameters, touch Execute.

Note: When an RX Sound is assigned to the track being edited, the resulting sound may change, since this kind of Sounds is made of several different layers triggered by different velocity values.

Also, a fade-out may result in the level ???jumping??? up next to the zero, since a higher-level layer may be selected by low velocity val- ues.

Track

Use this parameter to select a track.

E / CV (Style Element/Chord Variation)

Use these parameters to select the Style Element and Chord Variation for editing.

Value

Velocity change value (??127).

Start / End Tick

Use these parameters to set the starting and ending points of the range to be modified.

If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

Bottom / Top Note

Use these parameters to set the bottom and top of the keyboard range to be modified. If you select the same note as the Bottom and Top parameters, you can select a single percussive instru- ment in a Drum or Percussion track.

Advanced

When this checkbox is checked, the ???Intensity???, ???Curve???, ???Start Velocity Value??? and ???End Velocity Value??? parameters can be edited.

Intensity

(Only available in Advanced mode). Use this parameter to specify the degree to which the velocity data will be adjusted toward the curve you specify in ???Curve???.

0???100% Intensity value. With a setting of 0 [%], the veloc- ity will not change. With a setting of 100 [%], the velocity will be changed the most.

Curve

(Only available in Advanced mode). Use this parameter to select one of the six curves, and to specify how the velocity will change over time.

Start / End Vel. Value

(Only available in Advanced mode). Velocity change at the start- ing and ending ticks of the selected range.

0???100 Velocity change in percentage.

Execute

Touch this button to execute the operation set in this page.

Style Record mode 21

Style Edit: Cut

Track status icon

Status of tracks. Touch this icon to change the status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

Track names

Under the buttons, a label for each track is shown.

Style Edit: Cut

This function lets you quickly delete a selected measure (or a series of measures) from the selected Chord Variation. All fol- lowing events are moved back, to replace the cut measure(s).

After setting the various parameters, touch Execute.

E / CV (Style Element/Chord Variation)

Use these parameters to select the Style Element and Chord Variation for editing.

Start

First measure to be cut.

Length

Number of measures to be cut.

Execute

Touch this button to execute the operation set in this page.

Track status icon

Status of tracks. Touch this icon to change the status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

Track names

Under the buttons, a label for each track is shown.

Advanced

22 Style Record mode

Style Edit: Delete

This page is where you can delete MIDI events out of the Style. This function does not remove measures from the pattern. To remove whole measure, use the Cut function (see ???Style Edit: Cut??? on page 21)

After setting the various parameters, touch Execute.

E / CV (Style Element/Chord Variation)

Use these parameters to select the Style Element and Chord Variation for editing.

Track

Use this parameter to select a track.

Event

Type of MIDI event to delete.

CC00/32???CC127

Single Control Change events. Double Control Change numbers (like 00/32) are MSB/LSB bun- dles.

Note: Some CC data are automatically removed during recording. See the table on page 5 for more information on the allowed data.

Start / End Tick

Use these parameters to set the starting and ending points of the range to delete.

If a Chord Variation is four measures long, and you want to select it all, the Start will be positioned at 1.01.000, and the End at 5.01.000.

Bottom / Top Note

Use these parameters to set the bottom and top of the keyboard range to delete. If you select the same note as the Bottom and Top parameters, you can select a single percussive instrument in a Drum or Percussion track.

Note: These parameters are available only when the All or Note option is selected.

Execute

Touch this button to execute the operation set in this page.

Track status icon

Status of tracks. Touch this icon to change the status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

Track names

Under the buttons, a label for each track is shown.

Style Edit: Delete All

This function lets you quickly delete a selected Style Element or Chord Variation, or the whole Style.

After setting the various parameters, touch Execute.

E / CV (Style Element/Chord Variation)

Use these parameters to select the Style Element and Chord Variation for editing.

Var1???CountIn

Single Style Element.

V1-CV1???CI-CV2

Single Chord Variation.

Execute

Touch this button to execute the operation set in this page.

Track status icon

Status of tracks. Touch this icon to change the status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

Track names

Under the buttons, a label for each track is shown.

Style Edit: Copy from Style

Here you can copy a track, Chord Variation or Style Element inside the same Style, or from a different one. Furthermore, you can copy a whole Style.

Warning: The Copy operation deletes all data at the target loca- tion (overwrite).

After setting the various parameters, touch Execute.

Note: If you copy too many events on the same ???tick???, the ???Too many events!??? message appears, and the copy operation is aborted.

Note: When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Sounds unchanged for that Chord Variation.

From Style

Choose this option to select the source Style to copy the track, Chord Variation or Style Element from. Touch the Select button to open the Style Select window and select the source Style.

Style Record mode 23

Style Edit: Copy from Style

From??? To E/CV (Style Element/Chord Variation)

Use these parameters to select the source and target Style Ele- ments or Chord Variations.

Note: You can???t copy from a Variation to a different Style Element (or vice-versa), because of their different structure.

V1-CV1???E2-CV2

Single Chord Variation.

From??? To Track

Use this parameter to select the source and target track to copy. You can double a track, to strengthen a pattern.

Execute

Touch this button to execute the operation set in this page.

Track status icon

Status of tracks. Touch this icon to change the status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

Track names

Under the buttons, a label for each track is shown.

Copying to a Chord Variation of a different length

You can copy a Chord Variation to a different one of a different length. Just keep in mind the following:

???If the source length is a divider of the target length, the source Chord Variation will be multiplied to fit the target Chord Variation. For example, if the source is 4-measures long, and the target 8-measures, the source will be copied two times.

1 2 3 4

1 2 3 4 1 2 3 4

???If the source length is not a divider of the target length, the source Chord Variation will be copied for as many mea- sures as can fit the target Chord Variation. For example, if the source is 6-measures long, and the target 8-measures,

Advanced

24 Style Record mode

Style Edit: Copy from Pad

the source will be copied once, then the first 2 measures will be copied to fit the remaining 2 measures.

1 2 3 4 5 6

1 2 3 4 5 6 1 2

Note: Avoid copying to a Chord Variation with a different meter (time signature), for example a 4/4 Chord Variation onto a 3/4 one.

Style Edit: Copy from Pad

Here you can copy a Chord Variation from a Pad. Furthermore, you can copy a whole Pad.

Warning: The Copy operation deletes all data at the target loca- tion (overwrite).

After setting the various parameters, touch Execute.

Note: If you copy too many events on the same ???tick???, the ???Too many events!??? message appears, and the copy operation is aborted.

Note: When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Sounds unchanged for that Chord Variation.

From Pad

Choose this option to select the source Pad to copy the Chord Variation from. Touch the Select button to open the Pad Select window and select the source Pad.

From CV (Chord Variation)

Use this parameter to select the source Chord Variation.

To CV (Chord Variation)

Use this parameter to select a target Chord Variation inside the current Style.

CV1???CV6 Target Chord Variation. Automatically set to All if the ???From CV??? parameter is also set to All.

To Track

Use this parameter to select the target track to copy.

Execute

Touch this button to execute the operation set in this page.

Style Element Track Controls: Sound/

Expression

In this page you can assign a different Sound to each track of the selected Style Element. Each Style Element can have different Sound; after saving the new Style, please don???t forget to check the ???Original Style Sounds??? parameter in the Style Play mode (see page 114), to let the Style select the Sound bypassing the Style Performance settings.

In this page you can also check and modify the Expression (CC#11) value for each of the Style Element tracks. This lets you reduce the relative level of a track in a single Style Element, with- out reducing the overall Volume of the Style. This is a very useful control, when you have different Sounds assigned to the same track in different Style Elements, and the internal level of these Sounds must be different.

When in this page, press the corresponding button on the control panel to select a Style Element (VARIATION1 ??? ENDING3).

To copy the settings of this page to another Style Element, use the ???Copy Sound??? and ???Copy Expression??? commands from the page menu (see ???Copy Sounds dialog box??? and ???Copy Expres- sion dialog box??? starting from page 32).

Selected Track Info area

See ???Selected track info area??? on page 7 for detailed information.

Sounds area

See ???Sounds area??? on page 9 for detailed information.

Expression area

Expression Monitor

You can use these indicators to check if CC#11 (Expression) messages are contained in a track. Expression messages con- tained in a track can vary the volume of the track. It is very diffi- cult to catch them out ??? unless you carefully read all the events in the Event Edit page.

This monitor should help you keeping track of them, and let you access Event Edit only on the tracks containing the messages. Press the START/STOP button to start playback, and look at the indicators. When one of them lights up, you can enter Event Edit on the corresponding track, and edit or remove the Expression messages.

Style Record mode 25

Style Element Track Controls: Sound/Expression

Expression

Use these knobs to set the Expression (CC#11) value for the cor- responding track. This value can be seen at the beginning of the Event Edit list (see ???Event Edit: Event Edit??? on page 17).

Different Expression values can be defined for each Style Ele- ment. This way, you can set a different volume in each Style Ele- ment, relative to the general Volume value set in the Style Header.

Expression leveling

You can quickly and easily adjust the Expression level of all tracks in a Style Element (Variation, Intro???). This allows for a more precise control over the volume level of all Style Element.

1.While in this page, select one of the Style Elements by pressing its button in the control panel.

Selected Style Element

Expression level

2.Keep the SHIFT button pressed, and move any Assignable Slider to proportionally change the Expression value of all Style Variation tracks.

3.Release the SHIFT button.

4.Repeat the above operation with all the desired Style Ele- ments.

Note: A track???s volume may be changed by an Expression event contained in a track. To check if any of these events exist in a track, let the Style Element play and look at the Expression Monitor in this same page. If one or more Expression events are found, go to the Event Edit page and delete it (or them)

Volume area

Use these controls to set the volume and status of each track. See page 9 for more information.

The Volume value is the same for the whole Style. Use the Expression controls to adjust the relative balance between tracks in each Style Element.

Advanced

26 Style Record mode

Style Element Track Controls: Keyboard Range

Style Element Track Controls: Keyboard

Range

The Keyboard Range automatically transposes any pattern note that would otherwise play too high or too low in pitch, com- pared to the original acoustic instrument, when transposed by the arranger. This will result in a more natural sound for each accompaniment instrument.

For example, the lower limit for a guitar is E2. If you play a chord under the E2, the transposed pattern could exceed this limit, and sound unnatural. A Bottom limit set to E2 for the guitar track will solve the problem.

Different Keyboard Range values can be set for each Style Ele- ment.

Note: The Keyboard Range is ignored while recording. The selected track can play on the full range of the keyboard.

When in this page, press the corresponding button on the control panel to select a Style Element (VARIATION1 ??? ENDING3).

To copy the settings of this page to another Style Element, use the ???Copy Keyboard Range??? command from the page menu (see ???Copy Key Range dialog box??? on page 33).

Top/Bottom

Use these parameters to set the bottom and top of the keyboard range for the corresponding track of the current Style Element.

Volume area

Use these controls to set the volume and status of each track. See page 9 for more information.

Style Element Track Controls: Noise/Guitar

The Noise/Guitar page is where you can set the RX Noise level and the ???human feel??? of Guitar tracks.

RX Noise

Use these controls to adjust the volume of RX Noises in the cor- responding tracks. This control applies to all types of tracks (provided the Sound includes RX Noises).

Humanize GTR

Use these controls to apply a random value to the position, velocity and length of notes of Guitar tracks (see ???Track Type??? on page 27). This control has no effect on other types of track.

Style Element Chord Table: Chord Table

This is the page where you can assign a Chord Variation to each of the most important recognized chord. When a chord is recog- nized, the assigned Chord Variation will be automatically selected by the arranger to play the accompaniment.

When in this page, press the corresponding button on the control panel to select a Style Element (VARIATION1 ??? ENDING3).

Chord / Chord Variation

Use these parameters to assign a Chord Variation to each of the most important chords.

Style Track Controls: Type/Trigger/Tension

In this page you can set the Mode, Retrigger mode for the Style tracks, and activate/deactivate the Tension for the Accompani- ment tracks.

When in this page, press the corresponding button on the control panel to select a Style Element (VARIATION1 ??? ENDING3).

Track Type

Use this parameter to set the type of the corresponding track.

Trigger Mode

This setting lets you define how Bass and Acc-type tracks are retriggered when the chord is changed.

Style Record mode 27

Style Track Controls: Type/Trigger/Tension

Tension

Tension adds notes (a 9th, 11th and/or 13th) that have actually been played to the accompaniment, even if they haven't been written in the Style pattern. This parameter specifies whether or not the Tension included in the recognized chord will be added to the Acc-type tracks.

Import: Import Groove

The Import Groove function allows the loading of MIDI Grooves (???.GRV??? files) generated by the Slice function (in the ???Time Slice??? page of the Sampling modem see page 85). By importing these data to a track, and assigning the Sound based on the sliced samples to the same track, you can play the original audio groove, and freely change its tempo.

Note: After importing a groove generated by a melody line (not by a percussive groove), the imported groove and samples will not be transposed together with the other Style tracks. Audio data cannot be transposed by the arranger.

Note: Please execute the Import Groove operation before turning the instrument off. All ???.GRV??? files generated by a Time Slice oper- ation are deleted when turning the instrument off.

From

Use this parameter to select one of the MIDI Groove patterns (???.GRV??? files) generated when saving data after a Time Slice operation.

To E/CV (Style Element/Chord Variation)

Use this parameter to select the target Style Element and Chord Variation.

28 Style Record mode

Import: Import SMF

The Import SMF function allows you to import MIDI data from a Standard MIDI File (SMF) created on your preferred external sequencer, and transform them in a Chord Variation.

Note: You cannot use this function to import data from any generic Song. The Standard MIDI File to be imported must be pro- grammed as if it was one of Pa3X???s Chord Variations.

When importing an SMF, parameters like CV Length, Meter, Tempo Changes, Program Changes and Expression are recog- nized. These parameters will be imported as the header of the Style Element containing the Chord Variation, provided the ???Initialize??? parameter is checked, or the Style Element is empty.

Hint: It is a good idea to check the ???Initialize??? parameter when importing the first Chord Variation of a Style Element, and uncheck it when importing the following Chord Variations.

??? Sounds assigned to each track can be imported, provided the Program Change, Bank Select MSB and LSB events are on the first ???tick??? of the SMF. These data are loaded in the Style Ele- ment???s header, and not as Sounds assigned to the Style Perfor- mance.

Note: Sounds in the Style Element header can be overridden by Sounds assigned to the Style Performance, by checking the ???Origi- nal Style Sound??? parameter in the main page of the Style Play mode (Style Track view).

???If the above data was not found on the first ???tick??? of the imported SMF, Sounds must be manually assigned to each track. You can do this in the ???Record 1??? or ???Record 2???, or the ???Sound/ Expression??? page of the Style Record mode,.

???Key/Chord, Chord Table, Expression, and any other Style Vari- ation parameter, must be manually programmed in the relevant Style Record pages.

???The starting Tempo, and each track???s Volume, must be pro- grammed as Style Performance data, and then saved in the Style Performance.

???Meter (time signature) Change is not allowed, therefore not recognized.

???The Chord Variation length is the same as the imported SMF. You can change length by changing the value of the CV Length parameter, on the main page of the Style Record mode.

Hint: If a note extends beyond the last measure of the Chord Vari- ation, an additional measure is appended (for example, if a note extends after the end of the fourth measure in a 4-measure pat- tern, a 5-measure Chord Variation will be generated). If so, change

the CV Length value to reset the Chord Variation length. The exceeding note will be cut, to fit the new pattern length.

When programming a Chord Variation on an external sequencer, please assign each Style track to the correct MIDI channel, according to the following table.

Note: Only SMF in format 0 can be loaded.

From Song

This is the name of the Standard MIDI File to be loaded. Touch the Select button to open the file selector, and select an ???.SMF??? file.

Select

Touch this button to open the file selector and load the SMF.

Initialize

Check this parameter if you want all settings of the target Style Element (i.e., Key/Chord, Chord Table, Sounds???) are reset when loading the SMF.

Hint: It is a good idea to check the ???Initialize??? parameter when importing the first Chord Variation of a Style Element, and uncheck it when importing the following Chord Variations.

To E/CV

Use this parameter to select a target Chord Variation.

Execute

After setting all parameters in this page, touch this button to import the Standard MIDI File into the target Chord Variation.

Importing an SMF separated by Markers into a Style

As an alternative to importing single Chord Variations, you can import a whole Style as an SMF separated by Markers, i.e., a sin- gle SMF containing all the Chord Variations (Variation 1, Varia- tion 2, etc.) each one separated by a Marker (the same events used in Song Play mode).

1.While in this page, touch the Select button, and choose the Standard Midi File to be imported.

2.Keep the SHIFT button pressed.

3.Without releasing the SHIFT button, touch the Execute button in the display.

4.Release the SHIFT button.

When creating a new Style, we suggest to check the ???Initialize??? checkbox. Do not check it if the SMF you are loading was previ- ously exported from a Style to be edited; in this case, it is very important to keep all the previous settings.

Style Tracks and MIDI Channels must be lined as in the previous table, as per Korg???s standard Style format definition.

Note: Tracks/MIDI Channels other than the above mentioned are ignored during the import procedure.

For a list of MIDI events supported during the import opera- tions, please see ???List of recorded events??? on page 5. If any, the following events are stripped off and automatically transferred to the Style Element header during the import procedure:

???Time signature (this event is mandatory)

???Control Change bundle #00-32 (Bank Select MSB/LSB)

???Program Change

???Control Change #11 (Expression)

Control Change 00, Control Change 32 and Program Change messages must be placed at the very beginning of each Chord Variation (tick 0).

Style Record mode 29

Import: Import SMF

Whenever they are not saved in the SMF, Program Change, Con- trol Change 00, 11 and 32, can be still programmed in Style Record mode, by using the edit features available.

Warning: Pa3X can only handle SMF format 0 (Zero). If you are in trouble importing your file, maybe your sequencer (or DAW) is exporting using a different format. Please refer to the software???s user???s manual.

The naming structure for the Markers inside the SMF is ???EnCVn???, whose single components are shown in the following table:

Component Meaning

EStyle Element (???v??? = variation, ???i??? = intro, ???f??? = fill, ???e??? = ending)

nStyle Element number (???1???~???4??? for variations, ???1???~???2??? for all other style elements)

nChord Variation number [1~6 for Variations, 1~2 for all oth- ers]

Warning: It is mandatory not to use capital letters in Marker names. Some examples of valid names:

???i1cv2??? = Intro1 ??? Chord Variation 2

???v4cv3??? = Variation 4 ??? Chord Variation 3

Examples of non accepted names:

???V1cv2???, ???v1CV2???, ???intro i1cv2???, ???v1cv1 chorus???

The order of the Chord Variations inside the SMF is not relevant. They can be freely placed inside the SMF.

At the end of this page you can find a screenshot of a test file cre- ated in Steinberg Cubase, just as an example of how a SMF sepa- rated by Markers can look like. Considering analogies between actual workstations, it will not look much different in other applications like Logic, Digital Performer, Pro Tools or Sonar.

Advanced

30 Style Record mode

Export SMF

The Export SMF function allows you to export a Chord Varia- tion as a Standard MIDI File (SMF), and edit it on your preferred external sequencer.

To Song

This (non editable) parameter shows the name of the Standard MIDI File to be generated. The (automatically assigned) name will be the same of the exported Chord Variation.

From E/CV

Use this pop-up menu to select one of the available Chord Varia- tions from the current Style.

Execute

After selecting a Chord Variation, touch this button to export it as a Standard MIDI File. A standard file selector will appear. Select the target device and directory, then touch Save. After you touch Save, a dialog box appears, letting you assign a name to the file.

Exporting a Style as an SMF separated by Markers

As an alternative to exporting single Chord Variations to indi- vidual Standard MIDI Files, you can export a whole Style as an SMF separated by Markers, i.e., a single SMF containing all the Chord Variations (Variation 1, Variation 2, etc.) each one sepa- rated by a Marker (the same events used in Song Play mode).

1.While in this page, keep the SHIFT button pressed.

2.Without releasing the SHIFT button, touch the Execute button in the display.

3.Release the SHIFT button.

4.Assign a name to the Standard Midi File where to save the Style in edit.

This operation creates, in the selected device, an SMF format 0 (Zero), containing all the MIDI data included in the selected Style, with each Chord Variation starting from a different Marker (named as per the naming convention explained in the Import section above).

Each Chord Variation will include, at the very beginning (tick 0), the following informations:

???Time signature

???Control Change bundle #00-32 (Bank Select MSB/LSB)

???Program Change

???Control Change #11 (Expression)

Page menu

Touch the page menu icon to open the page menu. Touch a com- mand to select it. Touch anywhere in the display to close the menu without selecting a command.

Write Style

Select this command to open the Write Style dialog box, and save the Style to the internal memory.

See ???Write Style dialog box??? on page 31 for more information.

Undo

Only available in Record mode. While in Record mode, cancels the latest recorded data and restores the previous situation. Selected a second time, it restores recorded data again (???Redo??? function).

Copy Key/Ch (Copy Key/Chord) button

Select this command to open the Copy Key/Chord dialog box, and copy Key/Chord settings of the currently selected track to all other tracks of the same Chord Variation, or to the whole Style.

See ???Copy Key/Chord dialog box??? on page 32 for more informa- tion.

Copy Sound

(Only available in some edit pages). While the Style Element Track Control edit section is selected, use this command to open the Copy Sound dialog box and copy all Sounds assigned to the current Style Element tracks to a different Style Element.

See ???Copy Sounds dialog box??? on page 32 for more information.

Copy Expression

(Only available in some edit pages). While the Style Element Track Control edit section is selected, use this command to open the Copy Expression dialog box and copy all Expression values assigned to the current Style Element tracks to a different Style Element.

See ???Copy Expression dialog box??? on page 32 for more informa- tion.

Copy Keyboard Range

(Only available in some edit pages). While the Style Element Track Control edit section is selected, use this command to open the Copy Keyboard Range dialog box and copy all Keyboard Range values for the current Style Element tracks to a different Style Element.

See ???Copy Key Range dialog box??? on page 33 for more informa- tion.

Style Record mode 31

Page menu

Copy Chord Table

Only available while in the Style Element Chord Table page. Select this command to open the Copy Chord Table dialog box (see ???Copy Chord Table dialog box??? on page 33).

Delete Current Track

(Only available in the Main Record pages). Select this command to delete the selected track.

Overdub Step Recording

(Only available in the Main Record pages). Select this command to open the Overdub Step recording window (see ???Overdub Step Recording window??? on page 33).

Solo Track

Select the track to be soloed, then check this item. You will hear only the selected track, and the ???Solo??? warning will flash on the page header.

Uncheck this item to exit the Solo function.

Keep the SHIFT button pressed and touch one of the tracks to solo it. Do the same on a soloed track to deactivate the Solo function.

Exit from Record

Select this command to exit from Record without saving changes to the Style.

Write Style dialog box

Open this window by choosing the Write Style item from the page menu. Here you can save the recorded or edited Style to memory, by choosing either a User or Favorite Style bank.

Parameters saved in the Style are marked with the symbol through the user???s manual.

Name

Name of the Style to be saved. Touch the (Text Edit) button next to the name to open the Text Edit window.

32 Style Record mode

Copy Key/Chord dialog box

Note: A User or Favorite Style is usually prompted when writing a Style. However, you can overwrite a Factory Style, when the ???Fac- tory Style and Pad Protect??? parameter is left unchecked (see page 236).

Select??? button

Touch this button to open the Style Select window, and select a target location.

While in the Style Select window, use the buttons on top of the window to select either the User or the Favorite banks.

Copy Key/Chord dialog box

Open this window by choosing the Copy Key/Chord item from the page menu. Here you can copy Key/Chord settings of the currently selected track to all other tracks of the same Chord Variation, or to the whole Style. This function is useful to speed- up pattern programming, and to avoid having different tracks in different keys within the same Chord Variation.

Current Chord Variation Tracks

The Key/Chord of the current track will be cop- ied to all tracks of the current Chord Variation.

All Style Tracks

The Key/Chord of the current track will be cop- ied to all tracks of the Style (i.e., all Chord Varia- tions).

Copy Sounds dialog box

Open this window by choosing the Copy Sounds item from the page menu. Here you can copy all Sounds assigned to the current Style Element tracks to a different Style Element.

From Style Element

Non editable. Currently selected Style Element.

To Style Element

Target Style Element.

All Settings will be copied to all Style Element of the Style in edit.

Var1???CountIn

Single Style Element where to copy settings to.

Copy Expression dialog box

Open this window by choosing the Copy Expression item from the page menu. Here you can copy all Expression values assigned to the current Style Element tracks to a different Style Element.

From Style Element

Non editable. Currently selected Style Element.

To Style Element

Target Style Element.

All Settings will be copied to all Style Element of the Style in edit.

Var1???CountIn

Single Style Element where to copy settings to.

Open this window by choosing the Copy Keyboard Range item from the page menu. Here you can copy all Keyboard Range val- ues for the current Style Element tracks to a different Style Ele- ment.

From Style Element

Non editable. Currently selected Style Element.

To Style Element

Target Style Element.

All Settings will be copied to all Style Element of the Style in edit.

Var1???CountIn

Single Style Element where to copy settings to.

Copy Chord Table dialog box

Open this window by choosing the Copy Chord Table item from the page menu. Here you can copy the Chord Table of the cur- rent Style Element to a different Style Element.

To Style Element

Target Style Element.

All Settings will be copied to all Style Element of the Style in edit.

Var1???CountIn

Single Style Element where to copy settings to.

The Step Record allows you to create a new Style by entering sin- gle notes or chords to each track, by playing them on the key- board one at a time, with no need to play on time. This is very useful when transcribing an existing score, or needing a higher grade of detail, and is particularly suitable to create drum and percussion tracks.

To access this page, select the ???Overdub Step Recording??? com- mand from the page menu.

Track (Selected track)

Name of the selected track in record.

DRUM???ACC5

Style track.

SE (Selected Style Element)

See ???Element (Style Element)??? on page 6.

CV (Selected Chord Variation)

See ???Chord Var (Chord Variation)??? on page 6.

Pos (Position)

This is the position of the event (note, rest or chord) to be inserted.

Event list

Previously inserted events. You may delete this event, and set it in edit again, by touching the Back button.

Step Time values

Length of the event to be inserted.

Standard (???) Standard value of the selected note.

Dot (.) Augments the selected note by one half of its value.

Triplet (3) Triplet value of the selected note.

34 Style Record mode

Overdub Step Recording window

Free Memory

Remaining memory for recording.

Duration

Relative duration of the inserted note. The percentage is always referred to the step value.

25% Staccatissimo.

50% Staccato.

100% Legato.

Velocity

Set this parameter before entering a note or chord. This will be the playing strength (i.e., velocity value) of the event to be inserted.

Rest

Touch this button to insert a rest.

Tie

Touch this button to tie the note to be inserted to the previous note.

Back

Goes to the previous step, erasing the inserted event.

Next M. (Next Measure)

Goes to the next measure, and fills the remaining space with rests.

Done

Exits the Step Record mode. If you have inserted some notes, a dialog box appears, asking you to either cancel, discard or save the changes.

If you touch, Cancel, exit is canceled, and you can continue edit- ing. If you choose No, changes are not saved, and the Step Record window is closed. If you choose Yes, changes are saved, and the Step Record window is closed.

Pad Record mode

By entering the Pad Record mode, you can create your own Pads, or edit an existing Pad.

The Pad structure

A Pad is basically a single-track Style. Most of what applies to Style recording also applies to Pad recording.

There are two different categories of Pads:

Pad Record mode 35

The Pad structure

Pattern data vs. track data

While the Pad Record mode is where you can create or edit music patterns for the Pad, track parameters (like Volume, Pan, FX settings???) have to be edited in Style Play mode.

??????Hit??? Pads. While they are mostly used as non-transpos- ing events, they can also be transposing notes or chords. Basically, they are single-note or single-chord Sequences (see below).

??????Sequence??? Pads, i.e., complex single-track patterns, that can be transposed by playing dif- ferent chords on the keyboard

??? exactly as a Style track. They are roughly equivalent to sin- gle-element, single-track, multi-chord variation Styles (see illustration).

Pad

CV1

Pad Track

CV2

CV3

CV4

CV5

CV6

Entering the Pad Record mode

To enter Pad Record mode, go to the Style Play mode and press RECORD. The Style/Pad Record Select window appears.

Each Pad is made up of up to six smaller units, called Chord Variations (CV). Each Chord Variation is made of a single track (the Pad track).

Exactly as with the Styles, when playing a chord in the chord rec- ognition area, the corresponding Chord Variation is recalled. Recognized chords are associated to a Chord Variation by means of the Chord Variation Table. Each Pad contains a Chord Varia- tion Table.

As with the Styles, the Note Transposition Tables (NTT) applies to the Pads.

The same differences between the different types of tracks applies (see ???Track Type??? on page 44).

What to record

Recording a Pad is a matter of recording a single track, inside a series of Chord Variations, inside the Pad itself.

You don???t need to record all Chord Variations. It is often only needed to record just a Chord Variation.

???Select Record/Edit Pad to select an existing Pad to edit. If it is a Factory Pad, you may not be able to save it at the orig- inal location (depending on the status of the ???Factory Style and Pad Protect parameter in the Media > Preferences page); you will select a User Pad location instead.

???Select Record New Pad to start from a new, empty Pad. When finished recording, you will save the new Pad into a User Pad location. (Pads can be saved into Factory Pad locations only when the ???Factory Style and Pad Protect??? parameter is set to Off).

When you have finished recording or editing the Hit or Sequence Pad, please save it (see ???Exit by saving or deleting changes??? below) and exit the Pad Record mode.

36 Pad Record mode

Exit by saving or deleting changes

When finished editing, you can save your Pad in memory, or cancel any change.

???To save changes, select the ???Write Pad??? command from the page menu (see ???Write Pad dialog box??? on page 47).

???To cancel all changes, select the ???Exit from Record??? command from the page menu, or press the RECORD button, to exit from record and return to the main page of the Style Record mode.

Hint: Save often while recording, to avoid accidentally losing your changes to the Pad.

Listening to the Pad while in Record/Edit mode

While you are in Pad Record or Pad Edit mode, you can listen to the selected Chord Variation. To select a Chord Variation, go to the Main page of the Record/Edit mode.

???When you are in the Sounds/Expression, Keyboard Range, Chord Table, Trigger/Tension, Delete All, Copy, Style Ele- ment Controls or Style Control pages, you can listen to the whole Pad. Press START/STOP and play some chords to do your tests.

Note: In this mode, the pattern is always played back in loop, even if the ???Pad Type??? parameter is set to ???One Shot??? (see page 44).

Note: While in Pad Record mode, the Fingered 3 Chord Recogni- tion mode is automatically selected.

The Main - Record page of the Pad Record mode looks like a simplified version of the Main page of the Style Record mode, with just a single track to be recorded and no Style Elements to be chosen. The only addition is the ???Pad Sync??? parameter.

Please look at the ???Style Record mode??? chapter for more infor- mation on the various parameters. Only general information and differences with the Style Record mode are described here.

Recording parameters area

Chord Var (Chord Variation)

This parameter lets you select one of the six available Chord Variations (CV1 ??? CV6) for editing or recording.

Note: When this parameter and the assigned value is in small let- ters (cv1???cv6), the Chord Variation is empty; when it is in capi- tals (CV1???CV6), it is already recorded.

Resolution

Use this parameter to set the quantization during record- ing.

This parameter allows you to set a synchronization mode for the Pad???s pattern.

This works exactly as if it was a Fill.

This parameter sets the recording length (in measures) of the sequence. Its value is always equal to, or a divider of, the Chord Variation Length (see next parameter).

However, if you press START/STOP to begin recording, the real Rec Length value is changed to the new one, even if the display still shows the old value.

Warning: If you reduce the Chord Variation Length after recording, any measure after the selected length will be deleted. Be very careful when setting the CV Length to a lower value after recording! If it happens, we suggest to exit from record without saving (see ???Exit from Record??? on page 46).

Metro (Metronome)

This is where you can set the metronome.

Tempo

Select this parameter to use TEMPO controls to set the tempo.

Note: This value will not be recorded, and will only be used for testing the pattern at various speeds while editing or recording.

Hint: You can always change the Tempo, when other parameters are selected, by keeping the SHIFT button pressed, and rotating the DIAL.

This is the meter (time signature) of the sequence. You can edit this parameter only when the sequence is empty, i.e. before you begin recording anything.

Pad Record mode 37

Main page - Record 1

Pad Track info area

This line lets you see the Sound assigned to the selected track.

Sound name PAD

Sound assigned to the Pad track. The triangle means you can touch the name to open the Sound Select window, and select a different Sound.

Program Change number sequence (Bank Select MSB, Bank Select LSB, Program Change).

Tracks volume/status area

Octave Transpose

This (non editable) indicator shows the current octave transposition. To change this value use the OCTAVE TRANSPOSE buttons on the control panel.

While this value is not memorized with the Pad, the transposi- tion is used during recording. For example, if you play a C4 and a +1 octave transposition is selected, a C5 is recorded.

Virtual slider

The virtual slider in the display shows the track???s volume. To change the volume, touch the slider and use the VALUE controls to change the value (or touch and drag it in the display).

This value is not saved with the Pad, and is only used to test the Pad???s volume during editing or recording.

Track status icons

Status of the track. Touch this icon to change the status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

and chord type, for the current Chord Variation. When playing the pattern back, this chord will be played back exactly as it was recorded, without any NTT processing (see below).

38 Pad Record mode

Main page - Record 1

NTT Area

Note: These parameters cannot be selected with Drum, Percussion or Guitar tracks, and are therefore greyed out.

Note: NTT parameters are separately programmed for each track of the Style Element.

There are two general types of NTTs:

??? When Parallel types are selected, notes are transposed inside the area set by the Wrap Around parameter. These tables are ide- ally suited to melody parts.

??? When Fixed types are selected, the arranger moves as few notes as possible, making legato lines and chord changes more natural. They are ideally suited to chord tracks (strings, piano etc???).

Note: To conform to Korg specifications, it is advisable to set the NTT to ???No Transpose??? on the Intro 1 and Ending 1.

Parallel/Root The root note (in CMaj = C) is transposed to the missing notes.

Parallel/Fifth The 5th note (in CMaj = G) is transposed to the missing notes.

Parallel/i-Series

All original patterns must be programmed on the ???Maj7??? or ???min7??? chords. When loading old Korg i-Series Styles, this option is automatically selected.

Parallel/No Transpose

Fixed/No Transpose

The programmed notes can only be transposed by the Master Transpose. They are never trans- posed when chords are changed.

Delete Note button

Use this command to delete a single note or a single percussive instrument from a track. For example, to delete a snare, keep the D2 note (corresponding to the snare) pressed.

1.Touch the ???Delete Note??? button, and keep it pressed.

2.Press START/STOP to start the Pad.

3.When you reach the passage containing the note to be deleted, play the note on the keyboard. Keep it pressed, up to the last note to be deleted.

4.When finished, release the Delete button and the note to be deleted, and press START/STOP again to stop the Pad.

Note: If the note is at the beginning of the pattern, press the note before starting the Pad.

Pad Record mode 39

Main page - Guitar Mode

While in the main page, and a Guitar track has been selected, touch the ???Guitar Mode??? tab to see this page. This is where you can access Guitar Mode programming:

When pressing the MENU button while in Pad Record mode, the Pad Record Edit Menu will appear.

Note: To access this page, the Pad track must be of Guitar type (Pad Track Controls > Sound/Expression page, see ???Track Type??? on page 44). Otherwise, the Guitar Mode tab will remain grey (not selectable).

Guitar Mode allows to easily create realistic rhythm guitar parts, without the artificial, unmusical playing typical of MIDI pro- gramming of guitar parts. Just record a few notes, and you will end up with realistic rhythm guitar tracks, where each chord is played according to its real position on the guitar, and not gener- ated by simply transposing a written pattern.

Recording overview

For an overview on the recording procedure, see the ???Style Record mode???.

Pad Record procedure

Recording a Pad is very similar to recording a Style. Please see the relevant chapter in the User???s manual.

Note: The Pad Edit pages are a simplified version of the Style Edit pages. See the User???s manual for information on the various parameters.

Note: While the Pad is in play, you cannot access the Edit section pages from the main page (see page 36). Stop the playback before pressing MENU.

Note: When switching from the Edit section pages (Quantize, Transpose, Velocity, Delete) to the other pages, or vice-versa, the Pad (if in play) is automatically stopped.

Edit page structure

Most edit pages share some basic elements.

Tabs

Advanced

40 Pad Record mode

Event Edit: Event Edit

Other pages exhibit a slightly different structure.

Parameters area

Tabs

Operating mode

This indicates that the instrument is in Pad Record mode.

Edit section

This identifies the current edit section, corresponding to one of the items of the edit menu (see ???Edit menu??? on page 39).

Page menu icon

Touch this icon to open the page menu (see ???Page menu??? on page 46).

Parameters area

Each page contains various parameters. Use the tabs to select one of the available pages. For detailed information on the vari- ous types of parameters, see sections starting from page 40.

Tabs

Use tabs to select one of the edit pages of the current edit section.

Event Edit: Event Edit

Event list

This is very similar to the Style Record???s Event Edit page. See ???Event Edit: Event Edit??? on page 17 for more information on the event editing procedure.

Event Edit: Filter

This page is where you can select the event types to be shown in the Event Edit page.

Turn On the filter for all event types you do not wish to see in the Event Edit page.

Note: Some of the events are ???ghosted???, and non editable, since the corresponding events are not editable in a Pad.

This is very similar to the Style Record???s Event Edit Filter page. See ???Event Edit: Filter??? on page 19 for more information on the filter page.

Pad Edit: Quantize

The quantize function may be used to correct any timing mis- take after recording, or to give the pattern a ???groovy??? feeling.

After setting the various parameters, touch Execute.

CV (Chord Variation)

Use this parameter to select the Chord Variation for editing.

Resolution

This parameter sets the quantization after recording.

Start / End Tick

Use these parameters to set the starting and ending points of the range to quantize.

Bottom / Top Note

Use these parameters to set the bottom and top of the keyboard range to quantize.

Execute

Touch this button to execute the operation set in this page.

Pad Edit: Transpose

In this page you can transpose the selected track(s).

Note: After transposing, please don???t forget to readjust the ???Key/ Chord??? parameter in the main page of the Pad Record mode (see page 37).

After setting the various parameters, touch Execute.

CV (Chord Variation)

Use this parameter to select the Chord Variation for editing.

Value

Transpose value (??127 semitones).

Start / End Tick

Use these parameters to set the starting and ending points of the range to be transposed.

Bottom / Top Note

Use these parameters to set the bottom and top of the keyboard range to be transposed.

Execute

Touch this button to execute the operation set in this page.

Pad Record mode 41

Pad Edit: Transpose

Pad Edit: Velocity

In this page you can change the velocity (dynamics) value of notes in the selected track.

After setting the various parameters, touch Execute.

CV (Chord Variation)

Use this parameter to select the Chord Variation for editing.

Value

Velocity change value (??127).

Intensity

(Only available in Advanced mode). Use this parameter to specify the degree to which the velocity data will be adjusted toward the curve you specify in ???Curve???.

Curve

(Only available in Advanced mode). Use this parameter to select from six types of curve, and specify how the velocity will change over time.

Start / End Vel. Value

(Only available in Advanced mode). Velocity change at the start- ing and ending ticks of the selected range.

Start / End Tick

Use these parameters to set the starting and ending points of the range to be modified.

Bottom / Top Note

Use these parameters to set the bottom and top of the keyboard range to be modified.

Advanced

When this checkbox is checked, the ???Intensity???, ???Curve???, ???Start Velocity Value??? and ???End Velocity Value??? parameters can be edited.

Execute

Touch this button to execute the operation set in this page.

Advanced

42 Pad Record mode

Pad Edit: Cut

This function lets you quickly delete a selected measure (or a series of measures) from the selected Chord Variation. All fol- lowing events are moved back, to replace the cut measure(s).

After setting the various parameters, touch Execute.

CV (Chord Variation)

Use this parameter to select the Chord Variation for editing.

Start

First measure to be cut.

Length

Number of measures to be cut.

Execute

Touch this button to execute the operation set in this page.

This page is where you can delete MIDI events out of the Pad. This function does not remove measures from the pattern. To remove a whole measure, use the Cut function (see ???Pad Edit: Cut??? on page 42)

After setting the various parameters, touch Execute.

CV (Chord Variation)

Use this parameter to select the Chord Variation for editing.

Event

Type of MIDI event to delete.

CC00/32???CC127

Single Control Change events. Double Control Change numbers (like 00/32) are MSB/LSB bun- dles.

Note: Some CC data are automatically removed during recording. See the table on page 5 for more information on the allowed data.

Start / End Tick

Use these parameters to set the starting and ending points of the range to delete.

Bottom / Top Note

Use these parameters to set the bottom and top of the keyboard range to delete.

Note: These parameters are available only when the All or Note option is selected.

Execute

Touch this button to execute the operation set in this page.

Pad Edit: Delete All

This function lets you quickly delete a single Chord Variation, or the whole Pad.

After setting the various parameters, touch Execute.

CV (Chord Variation)

Use this parameter to select the Chord Variation to be deleted.

Execute

Touch this button to execute the operation set in this page.

Pad Edit: Copy from Style

Here you can copy a track from a Style, and transform it into a Pad pattern.

Warning: The Copy operation deletes all data at the target loca- tion (overwrite).

After setting the various parameters, touch Execute.

Pad Record mode 43

Pad Edit: Delete All

Note: If you copy too many events on the same ???tick???, the ???Too many events!??? message appears, and the copy operation is aborted.

Note: When you copy over an existing Chord Variation, Program Change data is not copied, to leave the original Sounds unchanged for that Chord Variation.

From Style

Choose this option to select the source Style to copy the track from. Touch the Select button to open the Style Select window and select the source Style.

From E/CV (Style Element/Chord Variation)

Use this parameter to select the source Style Element and Chord Variation.

Var1???End2 A single Style Element, i.e., all Chord Variations.

V1-CV1???E2-CV2

A single Chord Variation.

From Track

Use this parameter to select the source track to copy.

Drum-Acc5 Single track of the selected Style Element or Chord Variation.

To CV (Chord Variation)

Use this parameter to select a target Chord Variation inside the current Pad.

CV1???CV6 Target Chord Variation.

Execute

Touch this button to execute the operation set in this page.

Pad Edit: Copy from Pad

Here you can copy a Chord Variation from a different Pad. Fur- thermore, you can copy a whole Pad.

Warning: The Copy operation deletes all data at the target loca- tion (overwrite).

44 Pad Record mode

Pad Track Controls: Sound/Expression

From Pad

Choose this option to select the source Pad to copy the Chord Variation from. Touch the Select button to open the Pad Select window and select the source Pad.

From CV (Chord Variation)

Use this parameter to select the source Chord Variation.

To CV (Chord Variation)

Use this parameter to select a target Chord Variation inside the current Pad.

CV1???CV6 Target Chord Variation. Automatically set to All if the ???From CV??? parameter is also set to All.

Execute

Touch this button to execute the operation set in this page.

Pad Track Controls: Sound/Expression

In this page you can assign a Sound to the Pad track, adjust its Volume (CC#07) and Expression (CC#11) values, and set vari- ous other parameters, like the Keyboard Range, Track Type, Trigger Mode, Tension and Wrap Around.

Use this parameter to decide if the Pad will play once or if it will loop.

Note: While in Pad Record mode, the pattern is always played back in loop, even if this parameter is set to ???One Shot???.

Use this knob to set the Expression (CC#11) value for the Pad track. This value can be seen at the beginning of the Event Edit list.

The Expression is useful to balance the Pad with the other Pads. For example, if you want the Pad you are recording to be mel- lower than the average, just lower the Expression value.

Volume

Use this slider to set the Volume (CC#07) value for the Pad track. This value is not saved with the Pad, and is only used to test the Pad???s volume during editing or recording.

Note: The Keyboard Range is ignored while recording. The Pad track can play on the full range of the keyboard.

(Not available if Track Type = Drum). This setting lets you define how Bass and Acc-type tracks are retriggered when the chord is changed.

Use this parameter to set the type of the Pad track.

Tension adds notes (a 9th, 11th and/or 13th) that have actually been played, even if they haven't been written in the Pad pattern. This parameter specifies whether or not the Tension included in the recognized chord will be added to an Acc-type track.

Use these controls to adjust the volume of RX Noises in the cor- responding tracks. This control applies to all types of tracks (provided the Sound includes RX Noises).

Use these controls to apply a random value to the position, velocity and length of notes of Guitar tracks (see ???Track Type??? on page 44). This control has no effect on other types of track.

The wrap-around point is the highest register limit for the Pad track. The Pad pattern will be transposed according to the detected chord. If the chord is too high, the Pad track might play in a register that is too high, and therefore unnatural. If, how- ever, it reaches the wrap-around point, it will be automatically transposed an octave lower.

The wrap-around point can be individually set in semitone steps up to a maximum of 12 semitones, relative to the chord root set in the main page of the Pad Record mode (see ???Key/Chord??? on page 37).

1???12 Maximum transposition (in semitones) of the track, referred to the original key of the Pad pat- tern.

Pad Chord Table

Pad Record mode 45

Pad Chord Table

Import: Import Groove

The Import Groove function allows the loading of MIDI Grooves (???.GRV??? files) generated by the Slice function (see ???Time Slice??? in the Sampling mode). By importing these data to the Pad track, and assigning the Sound based on the sliced sam- ples to the same track, you can play the original audio groove, and freely change its tempo.

From

Use this parameter to select one of the MIDI Groove patterns (???.GRV??? files) generated when saving data after a Time Slice operation.

To CV (Chord Variation)

Use this parameter to select the target Chord Variation.

Import: Import SMF

The Import SMF function allows you to import MIDI data from a Standard MIDI File (SMF) created on your preferred external sequencer, and transform them in a Chord Variation.

Use these parameters to assign a Chord Variation to each of the most important chords.

When programming a Chord Variation on the external sequencer, please assign the Pad track to the MIDI channel #10.

Note: Only SMF in format 0 can be loaded.

From Song

This is the name of the Standard MIDI File to be loaded. Touch the Select button to open the file selector, and select an ???.SMF??? file.

Select

Advanced

Touch this button to open the file selector and load the SMF.

46 Pad Record mode

Export: SMF

Initialize

Check this parameter if you want all Pad settings (i.e., Key/ Chord, Chord Table, Sound???) are reset when loading the SMF.

Hint: It is a good idea to check this parameter when importing the first Chord Variation of the Pad, and uncheck it when importing the following Chord Variations.

To CV

Use this parameter to select a target Chord Variation.

Execute

After setting all parameters in this page, touch this button to import the Standard MIDI File into the target Chord Variation.

Export: SMF

The Export SMF function allows you to export a Chord Varia- tion as a Standard MIDI File (SMF), and edit it on your preferred external sequencer.

To Song

This (non editable) parameters shows the name of the Standard MIDI File to be generated. The (automatically assigned) name will be the same of the exported Chord Variation.

From CV

Use this pop-up menu to select one of the available Chord Varia- tions from the current Pad.

Execute

After selecting a Chord Variation, touch this button to export it as a Standard MIDI File. A standard file selector will appear. Select the target device and directory, then touch Save.

Page menu

Touch the page menu icon to open the page menu. Touch a com- mand to select it. Touch anywhere in the display to close the menu without selecting a command.

Write Pad

When done recording or editing a Pad, and you want to save the changes, select this command to open the Write Pad dialog box, and save the Pad to the internal memory.

See ???Write Pad dialog box??? on page 47 for more information.

Undo

Only available in the Main page of the Pad Record mode, and in some Pad Edit pages. While in Record mode, cancels the latest recorded data and restores the previous situation. Selected a sec- ond time, it restores recorded data again (???Redo??? function).

Delete Pad Track

Only available in the Main page of the Pad Record mode. Select this command to delete the Pad track.

Overdub Step Recording

Only available in the Main page of the Pad Record mode. Select this command to open the Overdub Step recording window (see the Style Record chapter in the User???s Manual for more informa- tion).

Exit from Record

Select this command to exit from Record without saving changes to the Pad.

Pad Record mode 47

Write Pad dialog box

Open this window by selecting the Write Pad item from the page menu. Here you can save the recorded or edited Pad to memory.

Parameters saved in the Pad are marked with the PAD symbol through the user???s manual.

Name of the Pad to be saved. Touch the (Text Edit) button next to the name to open the Text Edit window.

Pad Bank

Target Pad bank. Only User banks can be selected.

Pad

Target Pad location in the selected bank. Use TEMPO/VALUE controls to select a different location.

Note: A User Pad is usually prompted when writing a Pad. How- ever, you can overwrite a Factory Pad, when the ???Factory Style and Pad Protect??? parameter is left unchecked (see page Media > Preferences).

Select??? button

Touch this button to open the Pad Select window, and select a target location.

Advanced

48 Sound operating mode

The MIDI channel

Sound operating mode

The Sound operating mode is where you can listen to individual Sounds, and edit them.

To select a Sound, see the ???Interface basics??? chapter in the User???s Manual.

In this mode, the selected Sound can always be played across the full keyboard range.

While in a different operating mode, you can easily select the Sound to be edited when switching to the Sound mode. Just select the track the Sound to be edited is assigned to, then keep the SHIFT button pressed while pressing the SOUND button.

Hint: This is useful to see the Bank Select/Program Change num- bers when programming a Song on an external sequencer.

The MIDI channel

In Sound mode, Pa3X receives and transmits on the same chan- nel of the Upper 1 track. If the Global channel is assigned, notes can be received also on this channel. See ???MIDI: MIDI In Chan- nels??? on page 211 and ???MIDI: MIDI Out Channels??? on page 211 of the User???s Manual for more information.

How to select oscillators

While in an edit page requiring an oscillator to be selected for editing, use the vertical row of buttons on the right (1???24 max) to select one of the available oscillators. The number of available oscillators depends on the ???Oscillators Count??? parameter (see page 52).

If you cannot see the desired oscillator, touch the scroll arrow, until the hidden oscillator is shown in the display.

When oscillators cannot be select, since the parameter contained in the current page are global and valid for the whole Sound, these buttons are greyed out, and cannot be selected.

Sounds, Drum Kits, Digital Drawbars

Pa3X features three different kinds of Sounds:

???Ordinary Sounds. These are normal instrument Sounds, like pianos, strings, basses.

???Drum Kits. These are drum and percussion kits, where each note of the keyboard is a different percussive instru- ment. You can find Drum Kits in the Drum & SFX and User Dk banks.

???Digital Drawbars. These are Sounds with a very complex structure, and a special usage. See ???Digital Drawbars page??? on page 50 for more information.

Before pressing MENU to enter the edit environment, you should select a Sound of the type you wish to edit or create.

Note: Notes pointing to special Drum Kit features are marked by

the icon.

Main page

Here is the main page of the Sound operating mode.

Sound Info

area

Realtime

Controls area

Page header

This line shows the current operating mode and transposition.

Operating mode name

Name of the current operating mode.

Master transpose

Master transpose value in semitones. This value can be changed using the TRANSPOSE buttons on the control panel.

Page menu icon

Touch the page menu icon to open the menu. See ???Page menu??? on page 75 for more information.

Sound Info area

This is where basic details for the Sound are shown. Touch any- where in this area to open the Sound Select window.

Sound name

Name of the Sound assigned to the corresponding Keyboard track.

Bank

Bank the current Sound belongs to.

Bank Select / Program Change sequence

Bank Select MSB / Bank Select LSB / Program Change numbers, in the form ???CC00.CC32.PC???.

Values are in the standard 0-127 MIDI number- ing format.

Note: Some manufacturers could use the 1-128 numbering system; when connecting your Pa3X to an instrument of this kind, increment the PC value by 1 unit.

Octave Transpose icon

Octave transpose value. Use the UPPER OCTAVE buttons to change this value.

Realtime Controls area

Controls in this area allow you to edit the main parameters of the Sounds assigned to each track. Touch one of them, and modify its value by using the VALUE DIAL controls (or moving your finger).

While in this page, Assignable Sliders are linked to the corre- sponding Realtime Controls (a.k.a. Easy Sound Edit parame- ters).

Note: All values refer to the original values of the Sound.

Note: When selecting the Write Sound command from the page menu, current parameter values, after editing the Realtime Con- trols, are saved with the Sound. After saving, Realtime Controls are set back to the default position.

Note: After selecting a different Sound, Realtime Control values are automatically set to zero.

50 Sound operating mode

Digital Drawbars page

Selected Effect

Non editable. This shows the effect assigned to the correspond- ing FX processor. To select a different effect, see ???Effects: ???B??? FX Config??? on page 74.

Send

Use this knob to adjust the level of the dry sound sent to the cor- responding effect.

Amount

Volume of the effect that is added to the dry (uneffected) signal.

Digital Drawbars page

DIGITAL DRAWBARS are different from ordinary Sounds. Their parameters are not saved as a new Sound, but can be saved to a Performance. Therefore, when entering the Digital Draw- bars page, the MENU button is disabled.

Note: In Style Play and Backing Sequence mode, only a Digital Drawbar Sound is available for the Keyboard tracks, and one for the Style tracks. Save them to a Performance (see ???Write Perfor- mance dialog box??? on page 138 of the User???s Manual).

Note: In Song Play mode, there is a Digital Drawbars Sound for the Keyboard tracks, one for Song tracks 1-8, another one for Song tracks 9-16.

Note: In Sequencer mode there is a Digital Drawbars Sound for Song tracks 1-8, one for Song tracks 9-16.

When you select the DIGITAL DRAWBARS bank, the Digital Drawbar page appears, and the current setting is assigned to the selected track.

When entering this page, the SLIDER MODE button is automat- ically set to DRAWBARS, so you can use the sliders to change each foot volume. As an alternative, touch a footage and drag it on the display, or use the VALUE DIAL controls to change its value.

Each foot refers to the pipe length in a pipe organ, in which the sound is produced by pipes of different length. Longer pipes mean a lower sound; therefore, the 16??? drawbar produces the lowest pitched sound, while the 1??? drawbar produces the highest pitched sound.

Percussion/Rotary tab

Percussion adds a percussive sound to the attack segment of the organ sound. Rotary adds the effect of a rotating speaker.

On/Off

Use this parameter to turn percussion on or off.

Foot

Use this parameter to select a percussion register.

Mode (Percussion Mode)

This parameters lets you decide if the percussion sound has to be triggered on the first note of a group of held notes, or to all notes.

Volume (Percussion Volume)

Level of the percussive sound.

0???99 Level.

Length (Percussion Length)

Decay speed of the percussive sound.

Rotor On/Brake

Touch this button to start or stop the rotating speaker.

Speed Slow/Fast

Touch this button to switch the rotating speaker???s speed (from slow to fast, or vice-versa).

Note: The ???Rotor On/Brake??? and ???Speed Slow/Fast??? parameters are only available when a Rotary effect has been assigned to one of the FX slots (effects #63 or #133).

Get Sliders

Touch this button to get the current position of the physical slid- ers, and assign their value to the virtual slider.

Tone/Noise tab

Tone is the timbre of the sound. Noises are mechanical noises from the keyboard and the tonewheels.

Wave (Drawbar Wave)

Tone

Waveshape of the drawbars, producing the base timbre.

Leakage

Leakage from adjacent tonewheels, making the sound richer.

Key On

Noise of the keypress.

Key Off

Noise of the key release.

Sound operating mode 51

Edit menu

From any page, press the MENU button to open the Sound edit menu. This menu gives access to the various Sound edit sections.

When in the menu, select an edit section, or press EXIT or SOUND to exit the menu and return to the main page. To return to the main page, you can also select the Main Page menu item.

When in an edit page, press EXIT or the SOUND button to return to the main page of the Sound operating mode.

???When an ordinary Sound is selected:

???When a Drum Kit is selected, the ???Basic??? section is replaced by the ???DrumKit??? section:

Each item in this menu corresponds to an edit section. Each edit section groups various edit pages, that may be selected by touch- ing the corresponding tab on the lower part of the display.

Advanced

52 Sound operating mode

Edit page structure

All edit pages share some basic elements.

Selected oscillator

Parameters area

Tabs

Operating mode

This indicates that the instrument is in Sound mode.

Edit section

This identifies the current edit section, corresponding to one of the items of the edit menu (see ???Edit menu??? on page 51).

Page menu icon

Touch this icon to open the page menu (see ???Page menu??? on page 75).

Selected oscillator

Use these buttons to select the oscillator to edit.

Parameters area

Each page contains various parameters. Use the tabs to select one of the available pages. For detailed information on the vari- ous types of parameters, see sections starting from page 52.

Tabs

Use tabs to select one of the edit pages of the current edit section.

Basic: Sound Basic

Here you can make basic settings for the Sound, such as basic oscillator settings, the oscillator count, and the polyphonic mode.

Oscillator Count

Oscillators Count

Use this box to specify the number of oscillators (up to 24) the Sound is based on.

The total amount of polyphony varies depending on the number of oscillators used by the Sound (a maximum of 120 with only 1 oscillator per voice).

Note: When editing the Grand Piano sound, keep in mind Oscilla- tors 10~15 can only be heard when the Damper pedal is depressed.

Low priority

Use this parameter to decide if the highest-numbered oscillators must be turned off when more polyphony voices are needed. Keep in mind that, with a dense polyphony, missing oscillators might not even be heard.

0No oscillator will be turned off in any case.

1The highest-numbered oscillator will be turned off, if needed.

2The two highest-numbered oscillators can be turned off, one after the other, if needed.

[n]???24 The n-numbered oscillators (up to 24) can be turned off, one after the other, if needed.

Transpose Range

Top/Bottom Key

Use these parameters to set a range for transposition. Inside this range notes are transposed. Outside this range, they are not transposed. This is useful to avoid RX Sounds being transposed when transposing a Sound.

Note: Set these (general) values so that all RX Noises assigned to any Oscillator fall out of the Transpose Range. For example, if you assigned an RX Noise to a G7 on OSC1, and an RX Noise to an A7 on OSC2, set the ???Top Key??? value no higher than F#7 (just below the lowest RX Noise).

Voice Assign Mode

Poly/Mono

This is the polyphonic mode of the Sound.

Single Trigger

This parameter is available when the selected mode is Poly.

Legato

This parameter is only available when the selected mode is Mono. It is the same found on the main page of the Sound mode.

See ???Legato??? on page 49 for information on this parameter.

Priority

This parameter is available when the selected mode is Mono. It specifies which note will be given priority to play when two or more notes are played simultaneously.

Hold

Use this parameter to keep the notes sustained even after releas- ing the keys.

Basic: OSC Basic

The multisample(s) on which the Sound will be based can be selected here for each of the sixteen oscillators. Each oscillator can use 1 or 2 multisamples, each one assigned to the High or Low layer.

Legato as OSC Trigger

The parameters included in this section are to be considered when a note is played ???legato???, i.e., with no gap with the previous note. These parameters are valid for the whole Sound (all oscilla- tors).

Max Time

This delay allows notes to be considered Legato, even if there is a small gap before them. This is useful to avoid some notes in a chord are played Legato, and some others Staccato.

Max Range

This is the range (in semitones) within the Legato is considered. If you play a wider interval, the note is considered Staccato. This is typical of some acoustic instruments, where legato is only pos- sible within a small interval, but not on wider ones.

As an example, please try the Sound ???Nylon Guitar DNC???, where the Max Range is 5 semitones. Play legato with intervals smaller than 5 semitones, and you will hear how smoother legato notes will become. Play legato with wider intervals, and legato smoothing will be lost.

OSC Multisample

High/Low Bank/Num

Use these parameters to select a different multisample for each of the High and Low layers. You can use velocity to switch between the two multisamples. Offset and Level can be adjusted indepen- dently for the High and Low multisamples.

The High and Low pop-up menus is where you select the bank (ROM or RAM), while the numeric field under it is for selecting the multisample inside the selected bank. The Sound name appears on its right.

The multisample you select for the High layer will be triggered by velocities higher than the value of the ???Velocity Multisample Switch Low-High??? parameter (see page 54). If you do not wish to use velocity switching, set the switch to a value of 001, and select only the High multisample.

Note: Each multisample has an upper note range limit, and cannot produce sound when played above that limit.

Offset

These parameters specify the point where the multisample(s) will begin to play. For some multisamples this parameter will not be available.

Advanced

54 Sound operating mode

Basic: OSC Basic

1st???6th The sound will begin from the offset location pre- determined for each sample.

PseudoRandom

(Only works when more than one Offset point is available in the multisample). Randomly selects one of the available Offset points (including Attack and Off).

Level

These parameters specify the level of each multisample.

0???127 Multisample level.

Note: Depending on the multisample, high settings of this parame- ter may cause the sound to distort when a chord is played. If this occurs, lower the level.

Octave

Use this parameter to adjust the pitch of the selected oscillator in octave units. The normal octave of the multisample is ???0???.

Transpose

Use this parameter to adjust the pitch of the selected oscillator in semitone steps over a range of ??1 octave.

-12???+12 Transposition in semitones.

Tune

Use this parameter to adjust the pitch of the sample in one-cent steps (a semitone is 100 cents) over a range of ??1 octave.

-1200???+1200

Fine-tune value in cents.

Velocity Multisample Switch Low-High

This is the velocity value dividing the High and Low layers for the selected oscillator. Notes struck harder than this value will be played by the High multisample.

AMS / Offset Intensity by AMS

(Only available when the AMS option is selected in the ???Offset??? parameter.) Alternate Modulation Source for the Offset. See ???AMS (Alternate Modulation Source) list??? on page 77.

When the ???Offset Intensity by AMS??? parameter has a positive value, the selected Offset point will depend on the AMS value. For example, if the selected AMS is the Velocity, when playing softly you will select the Off or 1st Offset, when playing loudly you will select the 6th or No Attack Offset.

When the ???Offset Intensity by AMS??? parameter has a negative value, the selection will happen in reverse (higher-numbered Offsets will be selected before the lowest-numbered ones).

OSC Trigger Mode

OSC Trigger parameters are used to set the condition to trigger the selected Oscillator. For example, a Normal Oscillator will

always play, while a Legato Oscillator will only play when a note is played Legato.

Mode

This is the trigger that allows the selected Oscillator to play.

Sound Controller 1

The Oscillator only plays after a switch, foot- switch or EC5 pedal programmed as the Sound Controller 1 has been pressed. Press and release it, and the next note will also trigger the selected Oscillator. If you keep it pressed, the Oscillator will continue to be triggered until you release the controller.

Note: In Sequencer and Sound mode, the Assign- able Switch 1 is automatically assigned to Sound Controller 1.

Hint: This (like the following Sound Controllers) is especially useful to enable a different nuance to the following note(s).

Sound Controller 2

As the above, but with a switch, footswitch or EC5 pedal programmed as the Sound Controller 2.

Note: In Sequencer and Sound mode, the Assign- able Switch 2 is automatically assigned to Sound Controller 2.

Sound Controller Y+

As the above, but with the Joystick, assigned as the Sound Controller, pushed at least half-way forward (value 64). The controller is turned off when the Joystick is released. This control is equivalent to a CC#01 (Modulation) Control Change message.

Sound Controller Y-

As the above, but with the Joystick, assigned as the Sound Controller, pulled at least half-way back (value 64). The controller is turned off when the Joystick is released. This control is equivalent to a CC#02 (Breath Controller) Control Change message.

Cycle 1 All Oscillators with this same trigger mode assigned will play in cycle. For example, if Oscil- lators 1, 2 and 4 are assigned the Cycle 1 trigger mode, the following note will trigger Oscillator 1, then 2, then 4, then 1 again.

After Touch Trigger On

The Oscillator starts playing when an After Touch message with a value of at least 90 is received. The Velocity value is the same as the lat- est Note On message. The Oscillator will stop playing when the After Touch value falls back to zero.

Hint: This (like the following Triggers) is especially useful to trigger harmonics or growls when a note is already playing.

Y+ Trigger On

Y- Trigger On

Legato Down Like Legato, but is only activated when the sec- ond note is out of the ???Max Range??? value (see page 53) and it is lower than the first one.

Delay

This parameter sets a delay time from the note-on to the real beginning of the sound. With a setting of KeyOff, the sound will begin when note-off occurs. This is useful to create sounds such as the ???click??? that is heard when a harpsichord note is released. In this case, set the ???Sustain??? parameter to 0 (see page 68).

Sound operating mode 55

Basic: Vel/Key Zone

OSC Off when Sound Controllers are On

This ???mirrors??? the way Sound Controllers work. With this param- eter checked, the current Oscillator will not play when one of the Sound Controllers (Sound Controller 1, Sound Controller 2, Sound Controller Y+, Sound Controller Y-) is activated. It should be applied to Oscillators with Normal, Legato, Staccato, Cycle 1, Cycle 2, Random, After Tocuh Trigger On, Y+ Trigger On, Y- Trigger On, Legato Up and Legato Down trigger modes, that can be turned off by using a switch, footswitch, EC5 pedal, or the Joystick, programmed as a Sound Controller.

Basic: Vel/Key Zone

Here you can set a note and velocity range ???window??? for the selected oscillator.

56 Sound operating mode

Basic: Damper Mode

Here you can program how the Damper pedal works, the Reso- nance/Halo effect, and the range within the Note Off message is not sent to the selected Oscillator:

Damper Mode

Here you can program the Damper Mode for each Oscillator.

Damper Mode

This parameter determines how the Damper pedal works.

Resonance/Halo

The Damper pedal enables a multisample, nor- mally used for the Piano Resonance/Halo effect. If the pedal is pressed when the note is already playing, the speed at which the multisample appears and disappears, and the volume it can reach, depend on the ???Resonance/Halo??? parame- ters programmed below.

Hint: This Damper mode is much more realistic than the Normal mode, but also ???steals??? more notes from the overall polyphony, and is especially sug- gested for solo piano playing.

Note: Half-pedaling, as well as Damper messages received via MIDI (as Control Change #64), con- trol the level of the Resonance/Halo effect.

Repedaling This mode acts as the Normal mode, but also enables the Damper pedal effect when the pedal is pressed after the note has been released (Note Off). In this case, the Damper effect starts from the current Release level, and decays slowly.

Warning: Do not use Sounds with the ???Repedal- ing??? assigned to any Oscillator in a Style, or the sustained sound could cause unwanted disso- nances. The ???Grand Piano RX??? Sound is an exam-

ple of this kind of Sounds to be avoided in a Style track.

Resonance/Halo

Here you can program the Resonance/Halo effect that is enabled by the ???Resonance/Halo??? Damper Mode (see above). These parameters only affect the Resonance/Halo that is enabled when pressing the Damper pedal down when a note is already playing.

Attack Time

Time needed to the Resonance/Halo to reach the maximum level after the Damper pedal has been pressed.

Release Time

Time needed to the Resonance/Halo to extinguish after the Damper pedal has been released.

0???99 Release time as a value relative to the current Amp Env Release value.

Volume Scaling

Volume of the Resonance/Halo effect, relative to the current level of the sound (as determined by the sum of the Multisample Volume, Velocity value and current Amp Env value).

1???100% Volume expressed as a percentage of the current sound level.

No Note Off Range

From Note

Like in an acoustic piano, the dampers can only dampen strings up to a certain pitch. Starting from that pitch, it is as if the Damper was always pressed down.

Note: This parameter only affects the Normal Damper mode. It has no effect on the Resonance/Halo mode.

C#-1???G9 Note starting from which the Damper is always pressed down. In an acoustic piano, this is usually set to G6.

Sound operating mode 57

Basic: Damper Trigger

Here you can set the notes triggered by pressing and releasing the Damper Pedal. The parameters in this page have effect on the Sound as a whole, and not on a single Oscillator.

As warned by the message on the lower area of the display, these parameters have no effect if the assigned note falls inside of the Transpose Range programmed in the ???Basic: Sound Basic??? page (see ???Transpose Range??? on page 52). Please either choose a note out of that range, or modify the Transpose Range, so that the note is either higher or lower than that range.

Transpose Range

Damper Trigger Sample

Damper On Trigger

Pressing down the Damper pedal (Damper On) can play a spe- cial sample assigned to a particular note (for example, pedal down squeaking in the Sound ???Grand Piano RX???, breathing in in the Sound ???Harmonica DNC??? ???).

Note

Note where the special Damper On sample is located.

Velocity

Fixed velocity of the special Damper On sample.

Note Off on Damper Off

If checked, the special Damper On sample stops playing when the Damper pedal is released.

Damper Off Trigger

Releasing the Damper pedal (Damper Off) can play a special sample assigned to a particular note (for example, Damper pedal release noise in the Sound ???Grand Piano RX???).

Note

Note where the special Damper Off sample is located.

Velocity

Fixed velocity of the special Damper Off sample.

In this page, you can set the semi-parametric three-band equal- izer for the selected oscillator.

Enable

Check this box to activate the equalizer on the selected oscillator.

TRIM

This knob allows you to limit the level of the signal passing through the equalizer. Extreme equalization values can overload the audio circuits and lead to distorsion. This control lets you set equalization as desired, and at the same time avoid overloading.

0???99 Limiting value. The higher, the most effective it is.

Low Gain

Low frequencies equalization. This is a shelving curve filter. Val- ues are shown in decibels (dB).

-18???+18dB Low gain value in decibels.

Mid (Middle) Gain

Middle frequencies equalization. This is a bell curve filter. Values are shown in decibels (dB).

-18???+18dB Middle gain value in decibels.

Mid (Middle) Freq

Centre frequency of the middle frequencies equalization.

-0.100???+10 kHz

Centre frequency in kHz.

Hi (High) Gain

High frequencies equalization. This is a shelving curve filter. Values are shown in decibels (dB).

-18???+18dB High gain value in decibels.

Advanced

58 Sound operating mode

DrumKit: Sample Setup (Drum Kits)

This page appears when you edit a Drum Kit. Here you can select a different percussive sample for each key and layer.

Drum Kits use only one oscillator.

Selected Layer

Velocity

Switches

Key

Key in edit. To select a key, you can press a key on the keyboard while this parameter is selected.

Layers

Number of layers assigned to the selected key. Depending on the number of selected layers, you can have a different number of velocity switches.

Assign

Use this parameter to turn the sample on/off.

Layer Selector & Velocity Sample Switch

Selected Layer

Use these radio buttons to select the layer to edit. The available layers depends on the ???Layers??? parameter.

Velocity Switches

Each of these values separates the two adjacent layers for the selected sample/key. Notes stricken harder than a velocity switch will be played by the layer on the right, while notes stricken softer are played by the layer on the left.

The first and last values are not editable, and are always 001 and 127 (respectively).

Drum Sample

Bank/Num/Name

Use these parameters to select a different Drum Sample for each layer. You can use velocity to switch between the available sam- ples. Offset and Level can be adjusted independently for the var- ious multisamples.

The pop-up menu is where you select the bank (ROM or RAM), while the numeric field under it is for selecting the sample inside the selected bank. The sample name appears on its right.

The sample you select for the current layer will be triggered by velocities higher than the value of the ???Velocity Switches??? parameter (see page 58). If you do not wish to use velocity switching, assign just one layer to the selected key, and assign a sample only to Layer 1.

Note: Each sample has an upper note range limit, and may not produce sound when played above that limit.

Rev (Reverse)

Non editable. The sample will be played in reverse. In the case of Factory (Flash-ROM) or User (RAM) samples that were origi- nally specified to loop, the sample will be played back in ???one- shot??? reverse mode. If the sample was originally set to reverse, it will playback without change.

Ofs (Offset)

These parameters specify the point where the sample will begin to play. For some samples this parameter will not be available.

PseudoRandom

(Only works when more than one Offset point is available in the multisample). Randomly selects one of the available Offset points (including Attack and Off).

AMS / Int(ensity)

(Only available when the AMS option is selected in the ???Offset??? parameter.) Alternate Modulation Source for the Offset. See ???AMS (Alternate Modulation Source) list??? on page 77.

When the ???Intensity??? parameter has a positive value, the selected Offset point will depend on the AMS value. For example, if the selected AMS is the Velocity, when playing softly you will select

the Off or 1st Offset, when playing loudly you will select the 6th or No Attack Offset.

When the ???Intensity??? parameter has a negative value, the selec- tion will happen in reverse (higher-numbered Offsets will be selected before the lowest-numbered ones).

Level

This parameter specifies the level of the sample. For more infor- mation, see ???Level??? on page 54.

Attack

This parameter is an offset to the selected sample???s EG Attack.

Decay

This parameter is an offset to the selected sample???s EG Decay.

Cutoff

This parameter sets the cutoff frequency for the filter applied to the selected sample.

Resonance

This parameter sets the resonance for the filter applied to the selected sample.

Transpose

This parameter transposes the selected sample. Use it to change the pitch of the selected key.

0No transposition applied.

-64???+63 Transpose value in semitones.

Tune

Use this parameter to fine-tune the assigned sample.

0Original tuning.

-99???+99 Fine-tuning value in cents (1/100 of a semitone).

Amb Level / Time

(These parameters are only available if the selected Drum sample is of the ???Ambient??? type.) When these parameters are available, ???Level??? control the volume of the direct (dry) sounds, while ???Amb. Level??? and ???Time??? control the volume and length of the ambience respectively.

Sound operating mode 59

DrumKit: EQ (Drum Kits)

This page appears when you edit a Drum Kit. In this page, you can set the semi-parametric three-band equalizer for the selected key, layer and Drum sample.

Key

See ???Key??? on page 58.

Layer Selector & Velocity Sample Switch

See ???Layer Selector & Velocity Sample Switch??? on page 58.

Drum Sample Equalizer

Enable

Check this box to activate the equalizer on the selected oscillator.

TRIM

This knob allows you to limit the level of the signal passing through the equalizer. Extreme equalization values can overload the audio circuits and lead to distorsion. This control lets you set

High frequencies equalization. This is a shelving curve filter.

-18???+18dB High gain value in decibels.

60 Sound operating mode

DrumKit: Voice Mixer (Drum Kits)

This page appears when you edit a Drum Kit. Here you can set various parameters for the different percussive sample assigned to the selected key and layer.

Key

See ???Key??? on page 58.

Voice Assign Mode

Single Trigger

Use this parameter to set the sample as a single-triggered one.

Exclusive Group

Exclusive Groups are sets of mutually exclusive keys, stopping each other. For example, if the Open Hi-Hat and Closed Hi-Hat are assigned the same Exclusive Group, playing an Open Hi-Hat will stop the Closed Hi-Hat playing.

Enable Note On Receive

Use this parameter to enable/disable the reception of the Note On (Key On) message.

Enable Note Off Receive

Use this parameter to enable/disable the reception of the Note Off (Key Off) message.

Mixer

Pan

This parameter sets the position in the stereo panorama of the selected key.

Send to MFX1 ??? MFX3

These parameters set the MFX1, MFX2 or MFX3 send level for the selected key.

Pitch: Pitch Mod

Here you can make pitch settings for each oscillator. These set- tings specify how keyboard location will affect the pitch of each oscillator, and select the controllers that will affect the oscillator pitch and specify the depth of control. You can also specify the amount of pitch change produced by the Pitch EG and by LFO1 and LFO2, switch portamento on/off and specify how it will apply.

Pitch

Pitch Slope

Normally you will leave this parameter at +1.0. Positive (+) val- ues will cause the pitch to rise as you play higher notes, and neg- ative (???) values will cause the pitch to fall as you play higher notes.

With a value of 0, there will be no change in pitch, and the C4 pitch will sound regardless of the keyboard location you play.

The diagram shows how the Pitch Slope and pitch are related:

-1.0???+2.0 Pitch slope value.

Pitch Bend Mode

The Pitch Bend can work in different ways, depending on the selected option.

Highest Pitch Bend only

On this oscillator, Pitch Bend is only activated on the highest note currently playing on the key- board.

Sound operating mode 61

Pitch: Pitch Mod

Lowest Pitch Bend only

On this oscillator, Pitch Bend is only activated on the lowest note currently playing on the key- board.

Ribbon to Pitch

Pitch Bend range assigned to the Ribbon Controller.

-12???0???+12 Maximum bending, when touching the extreme left or right of the Ribbon Controller.

JS (+X)

This parameter specifies how the pitch will change when the joy- stick is moved all the way to the right. A setting of 12 produces 1 octave of change.

For example if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the original pitch.

-60???+12 Maximum pitch change in semitones.

JS (???X)

This parameter specifies how the pitch will change when the joy- stick is moved all the way to the left. A setting of 12 produces 1 octave of change.

For example, if you set this to -60 and move the joystick all the way to the left, the pitch will fall five octaves below the original pitch. This can be used to simulate the downward swoops that a guitarist produces using the tremolo arm.

-60???+12 Maximum pitch change in semitones.

AMS (Alternate Modulation Source)

This parameter selects the source that will modulate the pitch of the selected oscillator. See ???AMS (Alternate Modulation Source) list??? on page 77.

Intensity

This parameter specifies the depth and direction of the effect produced by ???AMS???. With a setting of 0, no modulation will be applied. With a setting of 12.00, the pitch will change up to one octave.

For example, if you set ???AMS??? to After Touch and apply pressure to the keyboard, the pitch will rise if this parameter is set to a positive (+) value, or fall if this parameter is set to a negative (???) value. The range is a maximum of one octave.

-12.00???+12.00

Parameter value.

Pitch EG

The Pitch EG (Envelope Generator) is unique to all oscillators.

Velocity Intensity

This parameter specifies the depth and direction of the modula- tion that the pitch EG specified on ???Pitch: Pitch EG??? will apply to the pitch. With a setting of 12.00, the pitch will change a maxi- mum of ??1 octave.

-12.00???+12.00

Parameter value.

Advanced

62 Sound operating mode

Pitch: Pitch Mod

Pitch EG AMS (Alternate Modulation Source)

This parameter selects the source that will modulate the pitch EG of the selected oscillator. See ???AMS (Alternate Modulation Source) list??? on page 77).

Pitch EG Intensity

This parameter specifies the depth and direction of the effect that ???AMS??? will have. For example, if you set ???AMS??? to Velocity and set this value to +12.00, the velocity will control the range of pitch change produced by the pitch EG in a range of ??1 octave. As you play more softly, the pitch change will draw closer to the pitch EG levels.

Note: ???Intensity??? (Pitch EG) and AMS will be added to determine the depth and direction of the pitch modulation applied by the pitch EG.

Portamento

Enabled

This parameter turns the portamento effect (smooth change in pitch from one note to the next) on/off, and specifies how it will be applied.

Note: Portamento will also be switched when CC#65 (Portamento SW) is received.

Fingered

This parameter specifies whether the portamento effect restarts or not with each note played.

Time

This parameter sets the portamento time. Increasing the value will produce a slower change in pitch.

000???127 Portamento time in MIDI value.

LFO 1/2

LFO1/2 Int

Intensity of the corresponding LFO.

-12???0???+12 Parameter value. Negative values invert the LFO shape.

JS+Y

Intensity of the corresponding LFO when the joystick is pushed forward.

-12???0???+12 Parameter value. Negative values invert the LFO shape.

AMS / Intensity

Alternate Modulation Source for the LFO. See ???AMS (Alternate Modulation Source) list??? on page 77. Use the ???Intensity??? param- eter to set the intensity of the modulation.

Pitch: Pitch EG

Here you can make settings for the pitch EG, which creates time- variant changes in the pitch of the oscillators. The depth of pitch change produced by these EG settings on the oscillators is adjusted by the ???Intensity (AMS1/2 Intensity)??? parameter (see page 63).

Diagram

The diagram on top of the page shows the Pitch envelope line.

Level

These parameters specify the amount of pitch change. The actual amount of pitch change will depend on the ???Intensity (AMS1/2 Intensity)??? parameter (see below). For example, with an ???Inten- sity??? setting of +12.00, a ???Level??? setting of +99 would raise the pitch one octave, and a ???Level??? setting of ???99 would lower the pitch one octave.

Time-varying pitch settings (when Pitch EG Intensity = +12.00)

+99 = approximately 1 octave Attack Level

Release Time ???99 = approximately 1 octave

Start Level

Specifies the amount of pitch change at note-on.

-99???+99 Parameter value.

Attack Level

Specifies the amount of pitch change when the attack time has elapsed.

-99???+99 Parameter value.

Release Level

Specifies the amount of pitch change when the release time has elapsed.

-99???+99 Parameter value.

Time

These parameters specify the time over which the pitch change will occur.

Sound operating mode 63

Pitch: Pitch EG

Attack Time

Specifies the time over which the pitch will change from note-on until it reaches the pitch specified as the attack level.

Decay Time

Specifies the time over which the pitch will change after reaching the attack level until it reaches the normal pitch.

Release Time

Specifies the time over which the pitch will change from note-off until it reaches the pitch specified as the release level.

0???99 Parameter value.

Level Modulation

Pitch EG change (level) (AMS=JS-Y/Velocity, Intensity= positive (+) value

AMS1/2 (Alternate Modulation Source 1/2)

These parameters select the source that will control the pitch EG ???Level??? parameters (???AMS (Alternate Modulation Source) list??? on page 77).

Intensity (AMS1/2 Intensity)

These parameters specify the depth and direction of the effect applied by ???AMS1???. With a setting of 0, the levels specified by ???Level??? will be used.

For example if ???AMS1??? is After Touch, pressing the keys to turn it on will change the ???Level??? parameters of the Pitch EG. As the absolute value of ???Intensity??? is increased, the pitch EG levels will change more greatly when the key pressure is released. The direction of the change is specified by ???St (Start Level Swing)??? and ???At (Attack Level Swing)???. When the key pressure is released, the pitch EG levels will return to their own settings.

If ???AMS1??? is set to Velocity, increasing the absolute value of ???Intensity??? will produce increasingly wider change in pitch EG levels for strongly-played notes. The direction of the change is specified by ???St (Start Level Swing)??? and ???At (Attack Level Swing)???. As you play more softly, the pitch change will draw closer to the pitch EG levels.

-99???+99 Parameter value.

See diagram above.

64 Sound operating mode

Filter: Filter Type

At (Attack Level Swing)

This parameter specifies the direction of change in ???Attack Level??? caused by ???AMS1/2???. If ???Intensity??? is a positive (+) value, a setting of + will raise the EG level, and a setting of ??? will decrease it. With a setting of 0 there will be no change.

Time Modulation

Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)

AMS (Alternate Modulation Source)

This parameter selects the source that will control the ???Time??? parameters of the pitch EG (see ???AMS (Alternate Modulation Source) list??? on page 77).

Intensity (AMS Intensity)

This parameter specifies the depth and direction of the effect that ???AMS??? will have on the ???Time??? parameters. With a setting of 0, the pitch EG times will be just as specified by the ???Time??? set- tings.

The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time that comes next.

For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is reached.

When this parameter is set to values of 16, 33, 49, 66, 82, or 99, the specified EG times will speed up as much as 2, 4, 8, 16, 32, or 64 times respectively (or slowed down to 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 of the original time).

For example if ???AMS??? is set to Velocity, increasing the absolute value of ???Intensity??? will allow strongly-played notes to increase the changes in pitch EG ???Time??? values. The direction of the change is specified by ???At (Attack Time Swing)??? and ???Dc (Decay Time Swing)???. As you play more softly, the pitch EG times will more closely approach the actual settings of the pitch EG.

-99???+99 Parameter value.

At (Attack Time Swing)

This parameter specifies the direction in which ???AMS??? will affect the ???Attack Time??? parameter. With positive (+) values of ???Inten- sity???, a setting of + will cause the time to be lengthened, and a setting of ??? will cause the time to be shortened. With a setting of 0 there will be no change.

Dc (Decay Time Swing)

Specify the direction in which ???AMS??? will affect the ???Decay Time???. With positive (+) values of ???Intensity???, a setting of + will cause the time to be lengthened, and a setting of ??? will cause the time to be shortened. With a setting of 0 there will be no change.

Filter: Filter Type

Here you can make settings for the filters that will be used by the oscillators. You can select either a 24 dB/octave low pass filter with resonance, or a series connection of a 12 dB/octave low pass filter and a 12 dB/octave high pass filter.

Filter Type

This parameter selects the type of filter (Low Pass Resonant, Low Pass & High Pass) for the selected oscillator.

Low Pass Resonance

When the Low Pass filter type is selected, only fil- ter A will be activated.

Low Pass & High Pass

When the Low Pass & High Pass filter type is selected, the filter B will be activated.

Trim

Use this parameter to adjust the level at which the audio signal output from the selected oscillator is input to filter A.

Note: If this value is raised, the sound may distort if Resonance is set to a high value or when you play a chord.

Filter A

Frequency (Cutoff Frequency A)

This parameter specifies the cutoff frequency of filter A.

00???99 Cutoff frequency value.

Resonance (Resonance A)

The resonance emphasizes the overtone components that lie in the region of the cutoff frequency specified by ???Frequency???, pro- ducing a more distinctive sound. Increasing this value will pro- duce a stronger effect.

00???99 Resonance value.

Res. Mod. by AMS (Resonance modulated by AMS)

Selects the source that will control the ???Resonance??? level. See ???AMS (Alternate Modulation Source) list??? on page 77.

The effect of resonance

Low Pass

Level

Low resonance value High resonance value

Intensity (AMS Intensity)

This parameter specifies the depth and direction of the effect that ???Res. Mod. by AMS (Resonance modulated by AMS)??? will have on the resonance level specified by ???Resonance (Resonance A)???.

For example if Velocity has been selected, changes in keyboard velocity will affect the resonance.

With positive (+) values, the resonance will increase as you play more strongly, and as you play more softly the resonance will approach the level specified by the ???Resonance??? setting.

With negative (???) values, the resonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level specified by the ???Resonance??? setting.

The resonance level is determined by adding the ???Resonance??? and ???Intensity (AMS Intensity)??? values.

-99???+99 Parameter value.

Filter B

Frequency (Cutoff Frequency B)

This parameter specifies the cutoff frequency of filter B. This parameter will be displayed when ???Filter Type??? is set to Low Pass & High Pass.

High Pass

Level

This filter cuts the low-frequency range that lies below the cutoff frequency. By cutting

the lower overtones, it lightens the tone.

12dB/oct

Frequency

00???99 Cutoff frequency value.

Sound operating mode 65

Filter: Filter Mod

These settings let you apply modulation to the cutoff frequency (???Frequency???) of the filter for the selected oscillator to modify the tone.

When ???Filter Type??? is Low Pass Resonance, parameters for filter B will not be editable (greyed out).

Keyboard Tracking

Key Low/High

These settings specify keyboard tracking for the cutoff frequency of the filter for the selected oscillator. The way in which the cut- off frequency is affected by the keyboard location you play can be specified by the ???Key Low???, ???Key High???, ???Ramp Low??? and ???Ramp High??? parameters.

Keyboard tracking will apply to the range below the specified Low note number, and above the specified High note number.

Ramp Low/High

These parameter specifies the angle of keyboard tracking.

If ???Intensity to A??? and ???Intensity to B??? are set to +50, ???Ramp Low??? is set to ???62 and ???Ramp High??? is set to +62, the angle of the change in cutoff frequency will correspond to the keyboard loca- tion (pitch). This means that the oscillation that occurs when you increase the ???Resonance (Resonance A)??? will correspond to the keyboard location.

If you set ???Ramp Low??? to +43 and ???Ramp High??? to ???43, the cut- off frequency will not be affected by keyboard location. Use this setting when you do not want the cutoff frequency to change for each note.

Here is how cutoff frequency is affected by keyboard location and the Ramp setting (???Intensity to A??? and ???Intensity to B??? = +50):

66 Sound operating mode

Filter: Filter Mod

Tracking to A/B

These parameters specify the note numbers at which keyboard tracking will begin to apply, and set the ???Intensity to A??? and ???Intensity to B??? parameters to specify the depth and direction of the change applied to filters A and B.

For the range of notes between ???Key Low??? and ???Key High???, the cutoff frequency will change according to the keyboard location (pitch).

-99???+99 Parameter value.

Filter EG

Velocity to A

This parameter specifies the depth and direction of the effect that velocity will have on the time-varying changes created by the filter EG (as set on ???Filter: Filter EG???) to control the filter A cutoff frequency.

With positive (+) values, playing more strongly will cause the fil- ter EG to produce greater changes in cutoff frequency. With neg- ative (???) values, playing more strongly will also cause the filter EG to produce greater changes in cutoff frequency, but with the polarity of the EG inverted.

99???+99 Value of the Velocity to A parameter.

Velocity to B

This parameter specifies the depth and direction of the effect that velocity will have on the time-varying changes created by the filter EG to control the filter B cutoff frequency (see ???Veloc- ity to A???).

99???+99 Value of the Velocity to B parameter.

Int to A (Intensity to A)

Specifies the depth and direction of the effect that the time-vary- ing changes created by the filter 1 EG will have on the filter A cutoff frequency.

With positive (+) settings, the sound will become brighter when the EG levels set by Filter EG ???Level??? and ???Time??? parameters are in the ???+??? area, and darker when they are in the ????????? area.

With negative (???) settings, the sound will become darker when the EG levels set by Filter EG ???Level??? and ???Time??? parameters are in the ???+??? area, and brighter when they are in the ????????? area.

-99???+99 Parameter value.

Int to B (Intensity to B)

Specifies the depth and direction of the effect that the time-vary- ing changes created by the filter EG will have on the filter B cut- off frequency (see ???Int to A (Intensity to A)???).

-99???+99 Parameter value.

AMS (EG Alternate Modulation Source)

Selects the source that will control the depth and direction of the effect that the time-varying changes produced by the filter EG will have on the cutoff frequency of filters A and B. See ???AMS (Alternate Modulation Source) list??? on page 77.

Int to A (Intensity to A)

Specifies the depth and direction of the effect that ???AMS??? will have on filter A. For details on how this will apply, refer to ???Int to A (Intensity to A)???.

Int to B (Intensity to B)

Specifies the depth and direction of the effect that ???AMS??? will have on filter B. For details on how this will apply, refer to ???Int to A (Intensity to A)???.

Note: The sum of the settings for ???Velocity to A/B???, ???Intensity to A/ B???, and ???(AMS) Intensity to A/B??? will determine the depth and direction of the effect produced by the filter EG.

Filter A/B Modulation

AMS1 (Alternate Modulation Source 1 for filter A/B)

Selects the source that will control modulation of the filter A cutoff frequency. See ???AMS (Alternate Modulation Source) list??? on page 77.

Note: The filter B parameters will be displayed when ???Filter Type??? on page 64 is Low Pass & High Pass.

Intensity (Intensity to AMS1)

Specifies the depth and direction of the effect that ???AMS1??? will have.

When ???AMS1??? is JS X, a positive (+) value for this parameter will cause the cutoff frequency to rise when the joystick is moved toward the right, and fall when the joystick is moved toward the left. With a negative (???) value for this parameter, the opposite will occur.

This value is added to the setting of the Filter A ???Frequency???.

AMS2 (Alternate Modulation Source 2 for filter A/B)

Selects the source that will control modulation of the filter A cutoff frequency (see ???AMS (Alternate Modulation Source) list??? on page 77).

Intensity (Intensity to AMS2)

Specifies the depth and direction of the effect that the selected source will have (see ???Intensity (Intensity to AMS1)??? on page 66).

Filter: Filter LFO

Here you can use the filter LFO to apply cyclic modulation to the cutoff frequency of the filter (for the selected oscillator) to create cyclical changes in tone.

LFO 1

Intensity to A

Specifies the depth and direction of the modulation that LFO1 (set on ???LFO: LFO1???) will have on the cutoff frequency of filter A. Negative (???) settings will invert the phase.

Change in cutoff

Sound operating mode 67

Filter: Filter LFO

Intensity to A

Specifies the depth and direction of the effect that ???AMS??? will have on filter A.

For example if ???AMS??? is After Touch, higher settings of this parameter will allow greater change to be applied to LFO1 when you apply pressure to the keyboard.

-99???+99 Parameter value.

Intensity to B

Specifies the depth and direction of the effect that ???AMS??? will have on filter B (see ???Intensity to A???).

LFO 2

Adjusts the depth of the cyclic modulation applied by LFO2 (set on ???LFO: LFO2???) to the cutoff frequency of filters A and B. For more information on the parameters see ???LFO 1??? above.

Filter: Filter EG

Here you can make settings for the EG that will produce time- varying changes in the cutoff frequency of filters A and B for the selected oscillator. The depth of the effect that these settings will have on the filter cutoff frequency is determined by the ???Veloc- ity??? and ???Intensity??? parameters.

-99???+99 Parameter value.

Intensity to B

Specify the depth and direction of the modulation that LFO1 will have on the cutoff frequency of filter B (see ???Intensity to A???).

-99???+99 Parameter value.

JS (Joystick) ???Y Intensity to A

By moving the joystick in the Y direction (toward yourself), you can control the depth at which LFO1 modulates the cutoff fre- quency of filter A. This parameter specifies the depth and direc- tion of the control.

Higher settings of this parameter will produce greater increases in the effect of LFO1 on the filter when the joystick is moved toward yourself.

-99???+99 Parameter value.

JS (Joystick) ???Y Intensity to B

By moving the joystick in the Y direction (toward yourself), you can control the depth at which LFO1 modulates the cutoff fre- quency of filter B. This parameter specifies the depth and direc- tion of the control (see ???JS (Joystick) ???Y Intensity to A???).

AMS (Filter LFO1 Alternate Modulation Source)

Select a source that will control the depth and direction of cutoff frequency change for both filters A and B. See ???AMS (Alternate Modulation Source) list???.

Diagram

The diagram on top of the page shows the Filter envelope line.

Filter envelope

Level

68 Sound operating mode

Filter: Filter EG

Start

This parameter specifies the change in cutoff frequency at the time of note-on.

Attack

This parameter specifies the change in cutoff frequency after the attack time has elapsed.

Break (Break Point)

This parameter specifies the change in cutoff frequency after the decay time has elapsed.

Sustain

This parameter specifies the change in cutoff frequency that will be maintained from after the slope time has elapsed until note- off occurs.

Release

This parameter specifies the change in cutoff frequency that will occur when the release time has elapsed.

Time

These parameters specify the time over which the filter change will occur.

Attack

This parameter specifies the time over which the level will change from note-on until the attack level is reached.

0???99 Time value.

Decay

This parameter specifies the time over which the level will change from the attack level to the break point level.

0???99 Time value.

Slope

This parameter specifies the time over which the level will change after the decay time has elapsed until the sustain level is reached.

Release

This parameter specifies the time over which the level will change after note-on occurs until the release level is reached.

Level Modulation

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)

AMS (Alternate Modulation Source)

This parameter selects the source that will control the ???Level??? parameters of the filter EG (???AMS (Alternate Modulation Source) list??? on page 77).

Intensity (AMS Intensity)

This parameter specifies the depth and direction of the effect applied by ???AMS???. With a setting of 0, the levels specified by ???Frequency (Cutoff Frequency A)??? will be used.

For example, if ???AMS??? is Velocity, and you set ???St (Start Level Swing)???, ???At (Attack Level Swing)??? and ???Br (Break Level Swing)??? to + and set ???Intensity??? to a positive (+) value, the EG levels will rise as you play more strongly. If ???Intensity??? is set to a negative

(???) values, the EG levels will fall as you play more strongly.

-99???+99 Intensity value.

St (Start Level Swing)

This parameter specifies the direction in which ???AMS??? will affect ???Start???. When ???Intensity??? has a positive (+) value, a setting of + for this parameter will allow ???AMS??? to raise the EG level, and a setting of ??? will allow ???AMS??? to lower the EG level. With a setting of 0 there will be no change.

At (Attack Level Swing)

This parameter specifies the direction in which ???AMS??? will affect ???Attack???. When ???Intensity??? has a positive (+) value, a setting of + for this parameter will allow ???AMS??? to raise the EG level, and a setting of ??? will allow ???AMS??? to lower the EG level. With a setting of 0 there will be no change.

Br (Break Level Swing)

This parameter specifies the direction in which ???AMS??? will affect ???Break (Break Point)???. When ???Intensity??? has a positive (+) value, a setting of + for this parameter will allow ???AMS??? to raise the EG level, and a setting of ??? will allow ???AMS??? to lower the EG level. With a setting of 0 there will be no change.

Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Amp: Amp Level/Pan

AMS1/2

Use this parameter to selecthe source that will control the ???Time??? parameters of the filter EG. See ???AMS (Alternate Modulation Source) list??? on page 77.

Int (AMS Intensity)

This parameter specifies the depth and direction of the effect that ???AMS1/2??? will have.

For example, if ???AMS1/2??? is set to FltKTr +/+, the EG ???Time??? parameters will be controlled by the Keyboard Tracking settings. With positive (+) values of this parameter, positive (+) values of ???Ramp Low/High??? will lengthen the EG times, and negative (???) values of ???Ramp Low/High??? will shorten the EG times. The direction of change is specified by ???At (Attack Time Swing)???, ???Dc (Decay Time Swing)???, ???Sl (Slope Time Swing)???, and ???Rl (Release Time Swing)???.

With a setting of 0, the times specified by ???Frequency (Cutoff Frequency A)??? will be used.

If ???AMS1/2??? is set to Velocity, positive (+) values of this parame- ter will cause EG times to lengthen as you play more strongly, and negative (???) values will cause EG times to shorten as you play more strongly.

-99???+99 Intensity value.

At (Attack Time Swing)

This parameter specifies the direction in which ???AMS1/2??? will affect the attack time. With positive (+) values of ???Intensity???, set- ting this parameter to + will allow AMS to lengthen the time, and setting this parameter to ??? will allow AMS to shorten the time. With a setting of 0 there will be no change.

Dc (Decay Time Swing)

This parameter specifies the direction in which ???AMS1/2??? will affect the decay time. With positive (+) values of ???Intensity???, set- ting this parameter to + will allow AMS to lengthen the time, and setting this parameter to ??? will allow AMS to shorten the time. With a setting of 0 there will be no change.

Sl (Slope Time Swing)

This parameter specifies the direction in which ???AMS1/2??? will affect the slope time. With positive (+) values of ???Intensity???, set- ting this parameter to + will allow AMS to lengthen the time, and setting this parameter to ??? will allow AMS to shorten the time. With a setting of 0 there will be no change.

Rl (Release Time Swing)

This parameter specifies the direction in which ???AMS1/2??? will affect the release time. With positive (+) values of ???Intensity???, setting this parameter to + will allow AMS to lengthen the time,

These parameters control the volume and pan of the selected oscillator.

Amp Level

Volume of the selected oscillator.

Note: The volume of a Sound can be controlled by CC#7 (volume) and #11 (expression). The resulting level is determined by multi- plying the values of CC#7 and #11. The Global MIDI channel is used for control.

Pan

Pan (stereo position) of the selected oscillator.

This parameter is not available when editing a Drum Kit. Use the individual Pan control for each key (see ???Pan??? on page 60).

Note: This can be controlled by CC#10 (panpot). A CC#10 value of 0 or 1 will place the sound at the far left, a value of 64 will place the sound at the location specified by the ???Pan??? setting for each oscilla- tor, and a value of 127 will place the sound at the far right. This is controlled on the global MIDI channel.

Pan modulation

AMS (Alternate Modulation Source)

Selects the source that will modify pan (see ???AMS (Alternate Modulation Source) list??? on page 77). This change will be rela- tive to the ???Pan??? setting.

70 Sound operating mode

Amp: Amp Mod

as you play higher), and toward the left as the note numbers decrease (i.e., as you play lower). Negative (???) values of this parameter will have the opposite effect.

-99???+99 Parameter value.

Amp: Amp Mod

These settings allow you to apply modulation to amp (for each oscillator) to modulate the volume.

Amp Modulation

These parameters specify how the volume of the selected oscilla- tor will be affected by velocity.

Velocity Intensity

With positive (+) values, the volume will increase as you play more strongly. With negative (???) values, the volume will decrease as you play more strongly.

Volume change (with positive (+) values of this parameter)

Keyboard Tracking

These parameters let you use keyboard tracking to adjust the volume of the selected oscillator. Use the ???Key??? and ???Ramp??? parameters to specify how the volume will be affected by the keyboard location that you play.

Key Low/High

These settings specify the note number at which keyboard track- ing will begin to apply. The volume will not change between ???Key Low??? and ???Key High???.

Keyboard tracking will apply to the range below the specified Low note number, and above the specified Highy note number.

Ramp Low/High

These parameters specify the angle of keyboard tracking.

With positive (+) values of the ???Ramp Low??? parameter, the vol- ume will increase as you play notes below the ???Key Low??? note number. With negative (???) values, the volume will decrease.

With positive (+) values of the ???Ramp High??? parameter, the vol- ume will increase as you play notes above the ???Key High??? note number. With negative (???) values, the volume will decrease.

Here is an example of volume changes produced by keyboard location and ???Ramp??? settings:

-99???+99 Intensity value.

AMS (Alternate Modulation Source)

Selects the source that will control the volume of the amp for the selected oscillator (See ???AMS (Alternate Modulation Source) list??? on page 77). ???Velocity??? cannot be selected.

Intensity

This parameter specifies the depth and direction of the effect that ???AMS??? will have. The actual volume will be determined by multiplying the value of the changes produced by the amp EG with the values of Alternate Modulation etc., and if the levels of the amp EG are low, the modulation applied by Alternate Modu- lation will also be less.

For example, if ???AMS??? is set to After Touch, positive (+) values of this parameter will cause the volume to increase when pressure is applied to the keyboard. However if the EG settings etc. have already raised the volume to its maximum level, the volume can- not be increased further.

With negative (???) values of this parameter, the volume will decrease when pressure is applied to the keyboard.

-99???+99 Intensity value.

Amp: Amp EG

These parameters let you create time-varying changes in the vol- ume of the selected oscillator.

Diagram

The diagram on top of the page shows the Amplitude envelope line.

Level

These parameters are the level of the envelope segment.

Amplifier EG

Start

This parameter specifies the volume level at note-on. If you want the note to begin at a loud level, set this to a high value.

Attack

This parameter specifies the volume level that will be reached after the attack time has elapsed.

Break

This parameter specifies the volume level that will be reached after the decay time has elapsed.

Sustain

This parameter specifies the volume level that will be maintained from after the slope time has elapsed until note-off occurs.

0???99 Level value.

Time

These parameters specify the time over which the volume change will occur.

Attack

This parameter specifies the time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound.

Decay

This parameter specifies the time over which the volume will change from when it reaches the attack level until it reaches the break point level.

Sound operating mode 71

Amp: Amp EG

Slope

This parameter specifies the time over which the volume will change from when it reaches the break point level until it reaches the sustain level.

Release

This parameter specifies the time over which the volume will change after note-off until it reaches 0.

Level Modulation

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

AMS (Alternate Modulation Source)

This parameter specifies the source that will control the ???Level??? parameters of the amp EG. See ???AMS (Alternate Modulation Source) list??? on page 77.

Intensity

This parameter specifies the depth and direction of the effect that ???AMS??? will have. For example, if ???AMS??? is Velocity, setting ???St (Start Level Swing)???, ???At (Attack Level Swing)??? and ???Br (Break Point Level Swing)??? to + and setting ???Intensity??? to a posi- tive (+) value will cause the amp EG volume levels to increase as you play more strongly. Setting ???Intensity??? to a negative (???) val- ues will cause the amp EG volume levels to decrease as you play more strongly. With a setting of 0, the levels will be as specified on ???Amp: Amp EG???.

-99???+99 Intensity value.

St (Start Level Swing)

This parameter specifies the direction in which ???AMS??? will change ???Start???. If ???Intensity??? is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to ??? will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

At (Attack Level Swing)

This parameter specifies the direction in which ???AMS??? will change ???Attack???. If ???Intensity??? is set to a positive (+) value, set- ting this parameter to + will allow AMS to increase the EG level, and setting this parameter to ??? will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

Br (Break Point Level Swing)

This parameter specifies the direction in which ???AMS??? will change ???Break???. If ???Intensity??? is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to ??? will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

Advanced

72 Sound operating mode

LFO: LFO1

Time Modulation

These parameters let you use an alternate modulation source to modify the amp EG times that were specified in ???Time??? on page 71.

Amp 1 EG changes (Time)

(AMS=Amp KTrk +/+, Intensity = a positive (+) value)

(When Amp Keyboard Track ???Low Ramp???= a positive (+) value, and ???High Ramp??? = a positive (+) value)

Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)

AMS1 (Alternate Modulation Source 1 - Time)

This parameter specifies the source that will control the ???Time??? parameters of the amp EG (see ???AMS (Alternate Modulation Source) list??? on page 77). With a setting of Off, there will be no modulation.

Intensity

This parameter specifies the depth and direction of the effect that ???AMS1??? will have. For example, if ???AMS1(T)??? is Amp KTrk +/+, the (Amp) Keyboard Track settings (see ???Keyboard Track- ing??? on page 70) will control the EG ???Time??? parameters. With positive (+) values of this parameter, positive (+) values of ???Ramp (Ramp Setting) will cause EG times to be lengthened, and negative (???) values of ???Ramp (Ramp Setting)??? will cause EG times to be shortened. The direction of the change is specified by ???At (Attack Time Swing)???, ???Dc (Decay Time Swing)???, ???Sl (Slope Time Swing)???, and ???Rl (Release Time)???.

When ???AMS1(T)??? is Velocity, positive (+) values will cause EG times to lengthen as you play more strongly, and negative (???) values will cause EG times to shorten as you play more strongly. With a setting of 0, the EG times will be as specified by the ???Level??? parameters (see page 71).

Sl (Slope Time Swing)

This parameter specifies the direction of the effect that ???AMS1??? will have on ???Slope???. With positive (+) values of ???Intensity???, set- ting this parameter to + will allow AMS1 to lengthen the time, and setting it to ??? will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Rl (Release Time)

This parameter specifies the direction of the effect that ???AMS1??? will have on ???Release???. With positive (+) values of ???Intensity???, setting this parameter to + will allow AMS1 to lengthen the time, and setting it to ??? will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

AMS2 (Alternate Modulation Source 2)

This is another alternate modulation source for the Amp EG. See above ???AMS1??? parameters.

LFO: LFO1

In this and the next page you can make settings for the LFO that can be used to cyclically modulate the Pitch, Filter, and Amp of each oscillator. There are two LFO units for each oscillator. By setting the LFO1 or LFO2 Intensity to a negative (???) value for Pitch, Filter, or Amp, you can invert the LFO waveform.

Waveform

This parameter selects the LFO waveform. The numbers that appear at the right of some of the LFO waveforms indicate the phase at which the waveform will begin.

At (Attack Time Swing)

This parameter specifies the direction of the effect that ???AMS1??? will have on ???Attack???. With positive (+) values of ???Intensity???, set- ting this parameter to + will allow AMS1 to lengthen the time, and setting it to ??? will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Dc (Decay Time Swing)

This parameter specifies the direction of the effect that ???AMS1??? will have on ???Decay???. With positive (+) values of ???Intensity???, set- ting this parameter to + will allow AMS1 to lengthen the time, and setting it to ??? will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Exponential

Triangle

Exponential

Saw Down

Exponential

Saw Up

Step Triangle ??? 4

Step Triangle ??? 6

Step Saw ??? 4

Step Saw ??? 6

Random1 (S/H):

Conventional sample & hold (S/H) in which the level changes randomly at fixed intervals of time

Random2 (S/H):

Both the levels and the time intervals will change randomly.

Random3 (S/H):

The maximum level and minimum level will alternate at random intervals of time (i.e., a square wave with random period).

Random4 (Vector)

Random5 (Vector)

Random6 (Vector)

These types cause Random 1???3 to change smoothly. They can be used to simulate the instability of acoustic instruments etc.

Frequency

Set the LFO frequency. A setting of 99 is the fastest.

00???99 Frequency rate.

Offset

This parameter specifies the central value of the LFO waveform. For example, with a setting of 0 as shown in the following dia- gram, the vibrato that is applied will be centered on the note-on pitch. With a setting of +99, the vibrato will only raise the pitch above the note-on pitch, in the way in which vibrato is applied on a guitar.

When ???Waveform??? is set to Guitar, the modulation will occur only in the positive (+) direction even if you set ???Offset??? to 0.

Here are offset settings and pitch change produced by vibrato:

-99???+99 Offset value.

Key Sync

This parameter specifies if the LFO is synchronized to key strokes.

Fade

This parameter specifies the time from when the LFO begins to apply until it reaches the maximum amplitude. When ???Key Sync.??? is Off, the fade will apply only when the LFO is first started.

Here is how ???Fade??? affects the LFO (when ???Key Sync??? is On):

Note-on Note-off

Fade

Delay

This parameter specifies the time from note-on until the LFO effect begins to apply. When ???Key Sync??? is Off, the delay will apply only when the LFO is first started.

Frequency Modulation

You can use two alternate modulation sources to adjust the speed of the LFO1 for the selected oscillator.

Sound operating mode 73

LFO: LFO1

AMS1 (Alternate Modulation Source1)

Selects the source that will adjust the frequency of the selected oscillator LFO1 (see ???AMS (Alternate Modulation Source) list??? on page 77). LFO1 can be modulated by LFO2.

Intensity (AMS1 Intensity)

This parameter specifies the depth and direction of the effect that ???AMS1(F)??? will have. When this parameter is set to a value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respec- tively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respec- tively).

For example, if ???AMS1(F)??? is Note Number, positive (+) values of this parameter will cause the oscillator LFO to speed up as you play higher notes. Negative (???) values will cause the oscillator LFO to slow down as you play higher notes. This change will be centered on the C4 note.

If ???AMS1(F)??? is set to JS +Y, raising the value of this parameter will cause the oscillator LFO1 speed to increase as the joystick is moved away from yourself. With a setting of +99, moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times.

-99???+99 Intensity value.

AMS2 (Alternate Modulation Source2)

Intensity (AMS2 Intensity)

Make settings for a second alternate modulation source that will adjust the frequency of the oscillator LFO1 (see above ???AMS1 (Alter- nate Modulation Source1)??? and ???Intensity (AMS1 Intensity)???).

Frequency MIDI/Tempo Sync

MIDI/Tempo Sync

This parameter enables/disables the LFO synchronization with Sequencer 1 Tempo.

page 73) will be ignored.

Base Note

When ???MIDI/Tempo Sync??? is On, these parameters set a note length relative to ???q (Tempo)??? and the multiple (???Times???) that will be applied to it. These parameters will determine the fre- quency of the LFO1. For example if ???Base Note??? is q (quarter note) and ???Times??? is 04, the LFO will perform one cycle every four beats.

Even if you change the ???q (Tempo)??? setting of Sequencer 1, the LFO will always perform one cycle every four beats.

This parameter is not available when editing a Drum Kit.

x , e ! , e , q ! , q , h ! , h , w

Note value.

Times

This parameter is not available when editing a Drum Kit.

Advanced

Here you can make settings for the LFO2, which is the second LFO that can be applied to the selected oscillator. See ???LFO: LFO1??? for more information on the parameters value.

However in ???Frequency Modulation???, the LFO cannot be selected as a modulation source in ???AMS1??? or ???AMS2.???

Effects: ???B??? FX Config

This page allows you to select the effects for the Sound (B Group). The effect types and the FX matrix are the same seen for the Style Play mode (see ???Effects: A/B FX Configuration??? on page 125 of the User???s Manual).

FX Name

Use this pop-up menu to choose one of the available effects. For a list of the available effects, see ???Effects??? on page 235.

Insert FX - Drum Family

Use this pop-up menu to choose the Drum Family the cor- responding Insert FX is assigned to.

FX parameters

All other parameters in this page are the same seen for the Style Play mode (see ???Effects: A/B FX Configuration??? on page 125 in the User???s Manual).

Send to Master

Use these parameters to set the level of the Sound signal going from the Insert FX to the Master FXs.

Dry

Use this checkbox to mix the dry, direct Sound signal to the effects.

In this page you can edit the effect assigned to the Insert FX 1 effect processor. See ???Effects??? on page 106 for more information.

Effects: Master 1 / Reverb

In this page you can edit the effect assigned to the Master FX 1 effect processor (usually Reverb). See ???Effects??? on page 106 for more information.

Effects: Master 2 / Chorus

In this page you can edit the effect assigned to the Master FX 2 effect processor (usually Chorus). See ???Effects??? on page 106 for more information.

Note: When assigning double-size effects to Master 2, either Mas- ter 3 or the Insert FX are no longer available.

Effects: Master 3

In this page you can edit the effect assigned to the Master FX 3 effect processor. See ???Effects??? on page 106 for more information.

Note: When turning Master 3 on, the Insert FX is no longer avail- able.

Page menu

Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.

Write Sound

Select this command to open the Write Sound dialog box, and save all editing parameters to a Sound.

See ???Write Sound dialog box??? on page 75 for more information.

Solo Oscillator

Select this command to solo the selected oscillator, and mute the other oscillators. Select it again to unmute the other oscillators.

When this function is activated, the ???Solo OSC [n]??? indicator (n = oscillator number) blinks on the page header. While in this sit- uation, you can select a different oscillator to be soloed.

Swap LFO

Select this command to replace LFO1 with LFO2, and vice-versa.

Copy Oscillator

Select this command to copy all settings between oscillators. See ???Copy Oscillator dialog box??? on page 76 for more information.

Copy/Paste FX

You can copy a single effect, or all effects. You can copy them between different Sounds. The copy operation can only be car- ried on while remaining in Sound mode (you cannot copy the effects, for example, to a Song).

Note: This operation does not copy the ???Send to Master???, ???Dry On/ Off??? and ???DrumFamily??? parameters.

To copy a single effect:

1.Select the source Sound, then

???go to the page of the single effect you want to copy (IFX 1, Master 1, Master 2, Master 3), or

???go to the Effects > B FX Config page, to copy all effects. This may be useful if you want to copy more than a single effect.

2.Choose the ???Copy FX??? command from the page menu.

3.Select the target Sound, then go to the page of the single effect you want to paste (IFX 1, Master 1, Master 2, Master 3).

Sound operating mode 75

Page menu

4.Choose the ???Paste FX??? command from the page menu.

To copy all effects:

1.Select the source Sound, then go to the Effects > B FX Con- fig page, to copy all the effects.

2.Choose the ???Copy FX??? command from the page menu.

3.Select the target Sound, then go to the page of the Effects > B FX Config page.

4.Choose the ???Paste FX??? command from the page menu.

Copy Drum Kit

Select this command to copy the Drum Kit from a different Drum Kit. See ???Copy Drum Kit dialog box??? on page 76 for more information.

Init Sound

Select this command to delete all parameters, and set them to a default value.

Compare

When this command is checked, original Sound parameter val- ues are temporarily recalled, to compare them with edited parameters. You cannot edit the Sound while you are in Com- pare mode.

While this function is on, the Compare indicator blinks on the page header.

Write Sound dialog box

Open this window by selecting the Write Sound item from the page menu. Here, you can save all Sound parameters to a Sound location in memory.

Warning: If you write over an existing Sound, the Sound will be deleted and replaced by the one you are saving (???overwrite???). Please save on a storage device any User Sound you don???t want to lose.

Note: DrumKits cannot be written over standard Sounds, nor vice versa.

Note: To save over a Factory Sound location, unckeck the Factory Sound Protect parameter in Media mode (see ???Factory Sound Pro- tect??? on page 236 of the User???s Manual).

Warning: When replacing a Factory Sound, please be warned that all Performance, STSs, Styles and Songs making use of it will be modified as well. Use this feature with great care!

To restore the original data, please use the ???Factory Restore??? com- mand in the Utility page of the Media mode (see page 235 of the User???s Manual for more information).

Advanced

76 Sound operating mode

Copy Oscillator dialog box

Name

Name of the Sound to be saved. Touch the (Text Edit) but- ton next to the name to open the Text Edit window.

Sound Bank

Target bank of Sounds. Use the VALUE controls to select a dif- ferent bank.

Sound

Target Sound location in the selected bank. Use the VALUE con- trols to select a different location.

Select???

Touch this button to open the Sound Select window, and select a target location.

Copy Oscillator dialog box

Open this window by selecting the Copy Oscillator item from the page menu. Here, you can copy all settings between oscilla- tors.

From Sound

Touch this button to open the Sound Select window, and select the source Sound.

From Oscillator

Select the source oscillator to copy from.

To Oscillator

Target oscillator where to copy the source settings to.

Copy Drum Kit dialog box

Open this window by selecting the Copy Drum Kit item from the page menu. Here, you can copy settings from a range of keys of a Drum Kit.

From Drum Kit

Touch this button to open the Sound Select window, and select the source Drum Kit.

From Key

Select the source range of keys to copy from.

To Key

Target key. Settings are copied starting from this key, and upwards.

Sampling operating mode

Pa3X includes a full-featured sampler, with powerful tools for creating (a) new sounds and (b) rhythm patterns, based on audio grooves.

New Sounds. Sampling allows you to create new sounds, by recording from an external source (e.g., a microphone or a CD player) connected to Pa3X Audio Inputs, or by loading files from a storage device. Pa3X can read common formats, like WAV and AIFF files, Korg Trinity and Triton Samples, Korg Trinity and Triton Multisamples, Korg Triton Programs, and Akai??? S1000 and S3000 Samples and Programs.Trpt & Trbn.

To be used, Samples must then be assigned to a Multisample or a Drum Kit. A Multisample allows you to arrange samples into separate zones of the keyboard. Drum Kits allows you to assign a different sample to each note of the keyboard, with up to six dynamic layers per note.

Multisamples can then be assigned to Sounds. Sounds created with this function can be used as any ordinary Sound, and assigned to any track.

The Load Sample function allows you to read samples (Korg ???.KSF???, Akai?? ???.S1??? or ???.S3???, ???.AIFF??? and ???.WAV???) from a storage device. The Import function allows to read multisamples (Korg ???.KMP???) from Korg Trinity and Triton files, and Programs (Akai?? ???.P1??? or ???.P3???) from Akai S1000 or S3000 CDs. Programs (???.PCG??? files) can be imported from Korg Triton disks, and con- verted to Sounds.

You can also use the Export function to export samples (???.KSF???) and multisamples (???.KMP???) in Korg proprietary format.

Audio Grooves. Another powerful feature of the Sampling mode is the Time Slice. This feature lets you add realism to MIDI tracks, by using sampled patterns as the rhythm track of a Style.

Cycling rhythm samples, usually named ???audio grooves???, can be ???sliced??? into separate percussive instruments. Combined with MIDI tracks, the ???sliced??? audio groove can be kept in sync with the Tempo, and can play slower or faster than the original groove.

Warning: When loading a ???.SET??? folder containing Sounds associ- ated with PCM data, all existing PCM data in memory are deleted. Save them before loading the folder, by selecting the ???PCM??? option during a Save All operation (see ???Saving the full memory content??? on page 229 of the User???s Manual).

To see if a ???.SET??? folder contains PCM data, open it and look for a ???PCM??? folder.

Hint: Load single Sounds, if you want to load new PCM data without deleting the ones already contained in memory.

Note: No sound will be heard when you first enter the Sampling mode.

Sampling operating mode 79

Entering and exiting the Sampling mode

???While in Sound mode, press the RECORD button to enter in Sampling mode.

???While in Sampling mode, press the RECORD button to exit the Sampling mode, and return to the Sound mode.

The Record (Sampling) procedure

Here is a short overview of a typical sampling procedure.

Preparing to record

First of all, you will set the recording levels for sampling.

1.With the MASTER VOLUME slider set to zero, connect the source to be sampled (e.g., a microphone or a CD player) to the relevant Audio Input(s) on the rear of the Pa3X. When the source has been connected, raise the MASTER VOL- UME slider to a position other than zero.

2.Go to the ???Audio Setup: Audio Input??? page of the Global mode to set the signal routing for the input source, and turn the phantom power on in case a condenser micro- phone has been connected.

3.Press the SOUND button to access the Sound mode, then press RECORD to access the Record page.

4.Choose the input source, by using the ???Record Mode??? parameter.

5.Adjust the source???s volume. If you are recording with a microphone, use the MIC GAIN knob of the Pa3X (next to the MIC connector). If you are sampling from a line source (like a CD player or another instrument), set the source???s own output level. If possible, set the output level of the source to be sampled to the maximum.

Watch at the meters in the display to check the input level. Red means distortion (signal clipping), so ideally, the LED bar should never go to red.

Also, check the microphone level with the AUDIO IN LED in the MIC SETTINGS section on the control panel. They should never go to red, and stay to orange (green means too low an input signal).

6.Use the ???Record Mode??? parameter to select the audio input to be sampled.

Advanced

80 Sampling operating mode

The Record (Sampling) procedure

Recording

Next, you???ll record the sound or audio groove.

1.If you can, start first the source to be recorded, then touch the Record button in the display to start recording.

As an alternative, touch the Record button in the display, and immediately start the source to be recorded.

2.Touch the Record button in the display again to stop recording. When the memory is full, the sampling auto- matically stops. A maximum of 21.8 seconds is allowed for each sample.

Note: Stereo and Mono samples have the same sampling time. This apply only to the editor; memory needed for saving depends on the actual size of the sampled data.

3.Select a page (tab) different from Record, and play the key- board to listen to the sampled sound.

4.If you are not satisfied with the recorded sound, return to the Record page and touch the Record button in the display again, to repeat recording. Touch Record again to stop recording. A new sample will be automatically created.

5.When finished sampling your sound, you can save it (see Step A below). If it is an audio groove, continue editing it with the Time Slice function (see Step B below).

A) Saving the sample and creating a Sound

You can save the sample, and create a multisample and a Sound to use it.

1.Select the Write command from the page menu. The Write Sample dialog box will appear (see ???Write Sample dialog box??? on page 92). Assign a name to the new Sample, and save it to the PCM folder of the internal HD (KHD_SYSTEM). The samples will be preserved when the Pa3X is turned off.

Note: The PCM area of the HD can contain up to 128MB of samples (256MB with the optional EXB-M256 expansion board). This amount can double using compression (see ???Write??? on page 90 and ???Compress all samples??? on page 92).

2.After saving, you can repeat the recording procedure to create other samples.

3.When you have recorded and saved all needed samples, press the MENU button and go to the ???Multisample??? sec- tion, to assign the sample(s) to a multisample. Assign each sample to a different keyboard zone of the multisample.

1.When finished editing the multisample, select the Write command from the page menu. The Write Multisample dialog box will appear (see ???Write MultiSample dialog box??? on page 92). Assign a name to the new multisample, and save it to the internal HD (KHD_SYSTEM).

2.Press RECORD to exit the Sampling mode and return to the Sound mode.

3.You can either use the multisample to create a new Sound, or the single samples to create a new Drum Kit.

??? To access the new multisample, first select an ordinary Sound. Press MENU and go to the ???Basic: OSC Basic??? page (see page 53). Select one of the available layers, then select

the RAM bank of multisamples. Finally, select the new multisample.

??? To access the new sample(s), you must assign them to a Drum Kit. First select a Drum Kit. Press MENU and go to the ???DrumKit: Sample Setup (Drum Kits)??? page (see page 58). Select a key and a layer, then select the RAM bank of samples. Finally, select the new samples.

4.Select the Write Sound command from the page menu, and save the Sound to an empty User location.

5.If you want so, assign the new Sound to a track, then select the ???Write Performance???, ???Write Current Style Settings??? or ???Write STS??? command from the page menu, to save the Sound to a Performance, Style Settings or STS.

Hint: Drum Kits are better suited for the Drum or Percussion track. Assign them to the Style Settings.

B) Saving an Audio Groove

After recording an audio groove, you must ???slice??? it to create a series of separate percussive samples, a multisample and a MIDI Groove.

1.Go to the Time Slice page. After creating a series of slices, use the Extend function to refine your groove.

2.Select the Write command from the page menu, to save the sliced samples, a multisample, a Sound and the MIDI Groove. Choose one of the User Sound locations. The Sound, multisample, MIDI Groove and sliced samples are saved to the internal HD (KHD_SYSTEM).

3.Press RECORD to exit the Sampling mode and return to the Sound mode.

C) Using the Groove in other Sounds

You can use the same multisample and sliced samples in other Sounds.

1.To access the new multisample for use in other Sounds, go to the Sound mode.

2.Select an ordinary Sound. Press MENU and go to the ???Basic: OSC Basic??? page (see page 53). Select one of the available layers, then select the RAM bank of multisamples. Finally, select the new multisample.

3.Select the Write Sound command from the page menu, and save the Sound to an empty User location.

D) Using the Groove in Styles or Pads

Sounds based on sliced samples can be used in Styles or Pads.

1.Assign the new Sound to a Style track (preferably, the Drum or Percussion track) or to a Pad track, then select the ???Save Current Style Perf.??? or ???Write Pad??? command from the page menu, to save the Style Settings or the Pad.

2.Use the ???Import: Import Groove??? function in the Style or Pad Record mode (see page 27 or page 45 of the User???s Manual) to import the generated MIDI Groove to the Style track you assigned the new Sound to. By playing this MIDI Groove with the new Sound, you???ll be able to play the origi- nal audio groove on the keyboard.

Warning: Generated MIDI Grooves will be deleted when turning the instrument off. Import them to a Style track before turning the instrument off.

Edit menu

From any page of the Sampling mode, press the MENU button to open the Sampling edit menu. This menu gives access to the various Sampling edit sections.

When in the menu, select an edit section, or press EXIT to exit the menu and return to the Sample Edit / Sample Record page. To return to this page, you can also select the Sample Edit / Sam- ple Record menu item.

Sampling operating mode 81

Edit menu

Sampling: Record

This page allows you to record a 16-bit, 48kHz stereo or mono sample . While in this page, you will be able to monitor the input signal. The keyboard will not play.

Each item in this menu corresponds to an edit section. Each edit section groups various edit pages, that may be selected by touch- ing the corresponding tab on the lower part of the display.

SM (Sample)

Touch this area to open the Choose Sample window, and select one of the available samples to be loaded in the editor.

The window will be automatically closed after selecting.

Level

Use these meters to see the level of the entering signal. When the CLIP indicator turns red, the signal is too hot. Lower it by reduc- ing the source output level, or by using the GAIN knob on the rear panel of the Pa3X.

REC Setup

Record Mode

Use this parameter to choose between the mono or stereo sam- pling mode, by selecting one or both the line audio inputs (Left / Right) on the back of the Pa3X.

Channel 1 (L) Only the Left Input is selected. A mono sample will be produced.

Channel 2 (R) Only the Right Input is selected. A mono sample will be produced.

Channel 1&2 (Stereo)

Both inputs will be selected. A stereo sample will be produced.

Note: Whether you record or load a stereo or mono sample, the sample in memory will be treated as if it was stereo. Mono samples

Advanced

82 Sampling operating mode

Sampling: Edit

will be saved as mono files. Stereo samples will be saved as two sep- arate mono files, and will be treated as mono files when reloaded.

Source

Use this parameter to choose either a microphone or a line source as the input.

Left to Sample

Non editable. Remaining memory (in samples/seconds) for sam- pling. The maximum space available for samples is 1,048,576 (mono or stereo) samples, or 21.8 seconds.

Sampled

Non editable. Used memory (in samples/seconds) for sampling.

Sampling Buffer

Non editable. Available memory (in samples/seconds) for sample editing.

Record

Touch this button to start recording. Touch it again to stop recording. Recording will automatically stop when the maxi- mum available space will end.

Note: Pa3X always samples at the maximum quality (16 bit, 48,000Hz). Samples of a different quality may be loaded (8 or 16 bit, 11,025Hz to 48,000Hz).

Sampling: Edit

This page allows you to cut, trim or normalize a sample, as well as edit the loop points. The sample can played on the full key- board.

SM (Sample)

Selected sample. See ???SM (Sample)??? above.

Waveform display

This is the graphical display of the selected sample waveform, i.e., the one you can hear when playing the keyboard. The area included between the Start and End points is highlighted (dark background).

Parameters

Start (Sample Start)

This is the sample start point (in samples). You may edit this point, as well as the End point, to shorten the sample. Changing the Sample Start cuts out the attack portion of the sound.

Note: When moving the ???Start??? point forward, and reach the ???Loop Start??? point, this latter is also moved forward.

Warning: When saving the edited sample (Write Sample opera- tion), the segments exceeding the Start and End points are perma- nently removed.

Loop Start

Note: This parameter has no effect, unless you don???t turn the loop

on. Use the ???Loop On??? parameter on the ???Sampling: Loop Edit??? page to turn the loop on (see page 84).

Use this parameter to adjust the Loop Start point. When you adjust this parameter, an audible click may appear, due to a pitch and/or level mismatch between the starting and ending points of the loop. Move the Loop Start and Loop/Sample End point, so that the click can no longer be heard.

When editing audio grooves, the Loop Start should match the Sample Start point. This parameter usually differs from the Sam- ple Start in ordinary sounds (i.e., a guitar, a piano, a voice???).

Loop

Length

End (Sample/Loop End)

This is the sample and loop end point (in samples). You may edit this point, to shorten the sample.

Warning: When saving the edited sample (Write Sample opera- tion), the segments exceeding the Start and End points are perma- nently removed.

Use Zero

If this parameter is turned on, when you move the Start, Loop Start and End points, the selection fall on the nearest zero-cross- ing point (i.e., points where the waveform crosses the x-axis, and goes from negative to positive, or from positive to negative val- ues). This will make loops more accurate, and will reduce the risk of ???clicks???.

OrigNote (Original Note)

Original pitch of the sampled note. While this parameter has no effect on sound, it will be useful to identify the original pitch of the sample and when assigning a sample to the multisample.

For example, if you sample a C4, set this parameter to ???C4???. When the sample will be assigned to a keyboard zone of the mul- tisample, it will be transposed (if needed) according to this parameter, to avoid a change of the original pitch.

Zoom

Use these buttons to change the size of the waveform shown in the diagram. When a button is greyed-out, it means the maxi- mum or minimum value has been reached.

Increase the vertical size.

Decrease the vertical size.

Increase the horizontal size.

Decrease the horizontal size.

Full zoom in.

Full zoom out.

Changing the sample length and finding good-sounding loop points

To adjust the sample length and loop points, check the ???Loop On??? parameter, then use the ???Start???, ???Loop Start??? and ???End??? parameters to create a fine sounding cycling loop.

For example, you may have sampled an audio groove of an exceeding length. Use the ???End??? parameter to cut the exceeding portion at the end of the sample, and adjust the starting point of the loop using the ???Start??? or ???Loop Start??? parameters.

Usually, checking the ???Use Zero??? parameter is a big help, to avoid the loop clicks due to level mismatches.

Sampling: Loop Edit

The loop is a cycling portion of a sampled sound. It is a tech- nique used to reduce the sampling time, cycling a portion of the sound to create the sustain phase of the sound. After the attack stage, most sounds repeat the same waveform during their sus- tain stage. You may adjust the Loop Start point with the ???Loop Start??? parameter, and the Loop End point (always matching the Sample End point) using the ???End??? parameter.

This page lets you fine tune the loop points, by watching at the Loop End and Loop Start points matching at the center of the diagram. A good-sounding loop is shown as a continuous, non- breaking line.

SM (Sample)

Selected sample. See ???SM (Sample)??? on page 81.

Loop diagram

This diagram shows the ???End??? (Loop End) point on the left half, and the ???Loop Start??? point on the right half of the screen. Use the ???End??? and ???Loop Start??? parameters to adjust the loop.

Parameters

84 Sampling operating mode

Sampling: Sampling Info

Use Zero

See ???Use Zero??? on page 83.

Loop Lock

This fixes the length of the loop being edited.

Loop On

Use this parameter to turn the loop on or off.

Crossfade

When looping the pitched sample of a complex sound such as strings or woodwinds to make the sound sustain, it is necessary to create a long loop to preserve the rich character of the sound. Crossfade Loop can be used to minimize the difference in pitch and level between the beginning and ending of the loop region, to create a natural-sounding loop. In order to solve such prob- lems, Crossfade Loop causes the sound to change gradually from the end to the beginning of the loop.

In practice, here is how it works. A specific length (the ???Cross- fade Length??? value) of the waveform immediately before the beginning of the loop is taken and mixed with the end portion. At this time, the waveform level of the portion immediately before the end (the length specified by ???Crossfade Length???) will gradually decrease, and the waveform level immediately before the beginning of the loop will gradually increase as the two are mixed.

When the ???Loop On??? parameter is checked, and the ???Start??? and ???Loop S.??? parameters have different values, the ???Crossfde??? button becomes available.

When you touch the Crossfade button, the Crossfade Loop dia- log box appears:

Crossfade Length

In ???Crossfade Length,??? specify the length of the sample that you wish to crossfade. You can enter it either as the number of sam- ples, or a percentage (%). If you set this as a percentage, the number of samples will be calculated automatically.

If you set this to 50%, crossfade will be performed on the second half of the region between loop start and loop end.

The ???Crossfade Length??? cannot be greater than the smaller length between the Sample Start ??? Loop Start points, or the Loop Start ??? Sample End points.

Curve

Set ???Curve??? to specify how the volume will change in the cross- faded region.

Sampling: Sampling Info

Use this page to see detailed info on the sample in edit. General information for the RAM memory is also available.

SM (Sample)

Selected sample. See ???SM (Sample)??? on page 81.

Sampling Info

Samples

Number of samples in memory.

Drum Samples

Number of drum samples in memory.

Multisamples

Number of multisamples in memory.

Available Memory

RAM Bank

Pa3X comes with 128MB of RAM already installed, and can be expanded up to 256MB with the optional EXB-M256 board. This is the maximum amount of non-compressed samples that can be loaded or recorded.

In case you need more PCM Sample memory, and you have already installed the optional memory expansion, you can com- press the samples and then load up to 512MB of samples (see ???Compress all samples??? on page 92).

Mono Time

Remaining sample memory (in seconds). This value is given for mono samples. With stereo samples, this time has to be halved.

Bytes

Remaining memory for sampling (in Bytes). This value is given for mono samples. With stereo samples, this time has to be halved.

Sample Info

Selected Samples

Size of the selected sample (in samples).

Samples

Total size of the samples in memory (in samples).

Sampling Frequency

Sampling frequency of the selected sample (in Hertz).

Time Slice

The Time Slice function lets you transform a rhythm audio groove in a series of single percussive samples, to be assigned to the Drum or Percussion track of a Style or a Song.

Sampling operating mode 85

Time Slice

How timeslice works

Analyzing and processing. This function detects the attacks (e.g., kick and snare) inside a rhythm audio groove (a sample that loops a drum pattern), and automatically divides the audio groove into individual percussive samples.

The divided percussive samples will be automatically assigned to different keys in a multisample, and the multisample to a Sound.

Within the generated multisample, a separate sample is assigned to a different note on the keyboard, starting from C#3. By play- ing an ascending chromatic scale with this multisample, you could recreate the original audio groove.

A MIDI Groove will also be created, containing a sequence of notes triggering the sliced percussive samples in the same order as in the original audio groove (i.e., it plays an ascending chro- matic scale starting from C#3).

When you will import this MIDI Groove to the percussive track of a Style (see ???Import: Import Groove??? on page 27 of the User???s Manual), this sequence will let you adjust the groove???s tempo without affecting the pitch of the percussive samples.

In addition to changing the groove???s tempo without affecting its pitch, this lets you do the following:

???change the order in which notes are played

???change the timing

???edit the pattern notes to freely recreate a new rhythm loop.

Saving. After the slicing, you can select the Write command from the page menu, to save the Sound based on sliced samples, and the MIDI Groove containing the corresponding MIDI sequence.

???The Sound will be saved to the selected location in the User area of the internal HD (KHD_SYSTEM). You will be able to select it as an ordinary Sound, and assign it to the Drum or Per- cussion track of a Style.

???The Multisample will be automatically saved to the next free available location.

???Samples will be permanently saved to the internal HD (KHD_SYSTEM).

???The MIDI Groove will be temporarily saved to the internal HD (KHD_SYSTEM), and will be available only when using the Import function of the Style Record mode (see ???Import: Import Groove??? on page 27 of the User???s Manual).

Warning: All MIDI Grooves will be delete each time the Pa3X is turned off.

Advanced

86 Sampling operating mode

Time Slice

Ex.1 - Generating samples and MIDI Groove data:

Original rhythm sample

120BPM

Original pattern

Execute the Time Slice command

A multisample, a program and MIDI Groove data will be created automatically

Play in Style Play mode

120BPM

Generated MIDI Groove

Note: Sliced samples and MIDI data are saved with a Write operation.

Ex.2 - Varying the groove???s tempo

150BPM

Played further apart, but pitch is unchanged

Note: To vary the groove???s tempo, you must first import the generated MIDI data into the Percussion track (Import function of the Style and Pad Record mode), and assign the new generated Sound to the Per- cussion track.

Gaps between sliced samples, when slowing down the tempo, can be automatically filled by the Extend function, smoothing each sample???s tail.

Ex.3 - Recombining MIDI notes and samples

Edit the MIDI data

Note: To recombine notes inside the generated MIDI sequence, you must first import the MIDI data in Style or Pad Record mode, by using the ???Import??? function. Then, use the Event Edit to change the note order.

Sample diagram

This diagram shows the sample waveform and the slices. Here is how the sample diagram appears before the Slice:

??? and the same diagram after the Slice:

Metronome Information

Meter

Use this parameter to specify the Meter of the original sample.

Measures

Use this parameter to specify the number of measures of the original sample. Usually, you will load a groove 1- or 2-measures long.

BPM

This parameter specifies the tempo (in Beats Per Minute) of the original sample. Pa3X automatically calculates this value based on the Start, End (see page 82), Meter and Measures parameters.

The BPM can be only adjusted to values lower than the one auto- matically calculated. This can be useful, for example, when the actual sample is shorter than the entered Meter and Measures values.

Meas.1 Meas.2

In the above example, the actual groove lasts only up to the first half of Measure 2. The recognized tempo is 130, while the real tempo is 100. Set the BPM value to 100, and a rest will be added to the end of the groove, to allow it to loop seamlessly.

Time Slice

See ???The Time Slice procedure??? on page 88 for more information.

Release

Adjust the value of this parameter to change the number of rec- ognized attacks, by varying the speed needed to the Slice engine to start working again. For example, in the following example, if the Release value is too high (i.e., too long), the second attack may be lost:

Note: After changing the Release value, you must select the Slice command again.

Threshold

This parameter varies the threshold over which the attacks are recognized (i.e., the Time Slice sensitivity). If it is too low, weaker attacks may be ignored.

Note: After changing the Threshold value, you are not obliged to select the Slice command again. The Slices value is immediately changed.

Attacks

This (non-editable) parameter shows the number of attacks rec- ognized. More than one attack may be recognized in a single slice. Adjust the Release and Threshold parameters to change the number of recognized attacks.

Sampling operating mode 87

Time Slice

Slices

This (non-editable) parameter shows the number of generated slices, i.e. generated samples and notes in the midifile. To change this value, edit the Release and Threshold parameters.

Note: You can have a maximum of 100 slices.

Slice

Select this command to execute the Slice after entering the Time Slice page, or changing the Release value. This command is ???ghosted??? (i.e., non-selectable) if no sample has been recorded of loaded yet.

The Time Slice operation is executed on the sample, from the ???Start??? to the ???End??? point set in the Sample Edit / Sample Record section.

Extend

See ???The Extend procedure??? on page 89 for more information.

When using a sliced groove with a tempo slower than the origi- nal, an annoying gap may be heard between a sample and the following one. The Extend function allows you to fix this prob- lem by adding a ???tail??? to all samples, making their decay smoother and more musical.

Before extending???

Added ???tail???

???and after extending???

Note: You can use the Extend function only after a Time Slice operation.

Note: The Extend function increases the original sample size.

Use this parameter to set the length of the ???tail??? added to the samples (in percentage). The higher this value, the greater the size of the samples. A setting of 20-30% is usually suitable to most grooves.

Caveat: With higher ???By??? values, the Extend function may add audible artifacts.

Mode

This parameter specifies if the added ???tail??? must decay in a linear way, or sustain for a longer time and then fall suddenly.

Extend

Touch this button to execute the Extend command. After you select it, it will return ???ghosted???, meaning that you can???t select it again. If you change any of the parameters in this page, it will be available again.

The Time Slice procedure

Before executing a Slice operation, you must record or load a sample. Then, you may edit the sample on ???Sampling: Edit???, then execute the Slice operation on this sample.

1.After recording or loading a sample, go to the Time Slice page.

2.Pa3X automatically calculates the BPM parameter, based on the given Meter and Measures values. If you know these data, set the Meter, Measures and BPM (Beats Per Minute) parameters. This would make the slicing more accurate.

3.Select the ???Slice??? command.

The original sample will be sliced, and each generated sam- ple assigned to a different key:

A MIDI Groove with the original pattern will also be generated. The screen will change, to show slices sepa- rated by vertical lines:

4.Test the generated sliced drum kit on the keyboard.

???To test the full pattern at different speed, play a note from C2 (half speed) to C3 (original speed). See table above.

???To test the single sliced samples, play notes from C#3 and above. If you play a full chromatic scale, the original pat- tern will be sounded.

Hint: If too many samples have been generated, and the key- board can???t fit them all, use the OCTAVE buttons to trans- pose the keyboard, and listen to samples exceeding the upper limit.

5.If the Slice didn???t produce satisfactory results, adjust the Release parameter. If this does not produces good results, try adjusting the Threshold parameter, too. After adjusting the Release parameter, you must execute the Time Slice again.

6.Since a tempo value rounding happens when making a Time Slice operation, and the loop may not be accurate, you may need to adjust both the ???Start??? and ???End??? parame- ters of the ???Sampling: Edit??? page, to make the groove loop flawlessly. After editing these parameters, you must execute the Time Slice again.

Go on experimenting different settings! Editing an audio groove is a pure matter of experimentation.

7.When the Slice is completed, you can save the sliced sam- ples and the MIDI Groove, or use the Extend function to improve the quality of the slices.

Select the Write command from the page menu. The Write Slice dialog box will appear (see ???Write Slice dialog box??? on page 92). Assign a name to the new Sound, and save it to an User Sound location.

A MIDI Groove with the same name will also be saved to the internal HD (KHD_SYSTEM). Be warned, that this area will be deleted when turning the instrument off. Con- vert it to an internal Style pattern, by using the Import function of the Style or Pad Record mode, before turning the instrument off.

??? To improve the quality of the slices, use the Extend func- tion (see ???Extend??? below).

8.After saving, you may press RECORD to exit the Sampling mode.

9.After exiting the Sampling mode, you may load the gener- ated MIDI Groove by using the Import function of the Style Record mode (see ???Import: Import Groove??? on page 27 of the User???s Manual for more information).

Sampling operating mode 89

The Extend procedure

1.Set the By parameter, according to the tempo of the groove you will use. If you will slow down the groove very much, assign higher values to this parameter, otherwise you may assign lower values.

2.Select the Extend Mode. ???Long??? is more suitable for cym- bals.

3.Select the Extend command.

4.After the Extend operation is complete, test the full pattern at different speed, by playing notes from C2 (half speed) to C3 (original speed). See table on page 88.

5.If the Extend didn???t produce satisfactory results, change the settings. Any previously made change will be deleted.

6.When the Extend is completed, you can save the sliced and extended samples and the resulting MIDI Groove to the internal HD (KHD_SYSTEM).

A MIDI Groove with the same name will also be saved to a reserved area of the internal HD (KHD_SYSTEM). Be warned, that this area will be deleted when turning the instrument off. Convert it to an internal Style pattern, by using the Import function of the Style Record mode, before turning the instrument off.

7.After saving, you may press RECORD to exit the Sampling mode.

8.After exiting the Sampling mode, you may load the gener- ated MIDI Groove by using the Import function of the Style or Pad Record mode (see ???Import: Import Groove??? on page 27 of the User???s Manual for more information).

The Multisample is a way of organizing several samples on the keyboard. Each sample is assigned to a Keyboard Zone (or Index), with a higher and a lower limit.

A Multisample is then assigned to a Sound (see ???Basic: OSC Basic??? on page 53), where it is enriched with several perfor- mance parameters, like Amplitude Envelope, LFO, Filters, etc???

MS (MultiSample)

Touch this area to open the Choose Multisample window, and select one of the available multisamples in memory.

Keyboard diagram

This diagram shows the selected Index/Zone (highlighted), and its Original Note (in red). Use the big ????????? and ???+??? button on its side to scroll the diagram one octave lower or upper.

Multisample Setup

Index

Index number of the selected Zone of the multisample / total number of Zones in the multisample. A Zone always corre- sponds to a single sample.

When you play a note on the keyboard, the corresponding index number is automatically selected.

Sample Number / Name

Number / name of the sample assigned to the selected zone of the multisample.

90 Sampling operating mode

Multisample: Key Assign

Pitch

Fine tuning of the selected sample in cents (1 cent = 1/100 of a semitone).

From ??? To

Range of the selected Zone (or Index). The minimum size is one key. When reducing the range of a zone, the adjacent one is auto- matically increased to fill the gap.

Hint: To create a silent zone, create it and assign no sample to it.

Buttons

Insert

Touch this button to split the current zone in half, and create a new zone (Index) on the left of the selected one.

Add

Touch this button to add a new zone (Index) after the last one.

Delete

Touch this button to delete the selected Zone/Index. The zone on the right of the deleted one is automatically extended to fill the gap.

Multisample: Key Assign

Use this page to see and edit the samples assigned to each Key- board Range/Index in the multisample. This page gives a better display of the assigned samples and their range on the keyboard.

Sample list

Keyboard ranges

MS (MultiSample)

See ???MS (MultiSample)??? on page 89.

Sample list

List of samples assigned to the selected multisample. Use the big button with an arrow on top and to the bottom of the list to scroll the list up or down.

Keyboard ranges

Page menu

Touch the page menu icon to open the menu. Touch a command to select it. Touch anywhere in the display to close the menu without selecting a command.

Write

Select this command to open the Write Sample, Write Multisam- ple or Write Slice dialog box (depending on the page you are in), and do the following:

???Write Sample: Saves the sample to the internal HD (KHD_SYSTEM). See ???Write Sample dialog box??? on page 92, for more information.

???Write Multisample: Saves the multisample to the internal HD (KHD_SYSTEM). See ???Write MultiSample dialog box??? on page 92 for more information.

???Write Slice: After a Time Slice opration, saves the Sound and Multisample to the internal HD (KHD_SYSTEM), and the sliced Samples to the internal HD (KHD_SYSTEM). See ???Write Slice dialog box??? on page 92 for more information.

Delete

Select this command to open the Delete Sample or Delete Multi- Sample dialog box (depending on the page you are in):

???Delete Sample: Deletes one or all samples and multisamples from the hard disk. See ???Delete Sample dialog box??? on page 93 for more information.

???Delete MultiSample: Deletes a multisample, or all samples and multisamples from memory. See ???Delete Multisample dialog box??? on page 93 for more information.

Normalize

Select this command to automatically rescale the level of the selected sample. Peaks will be raised to -0dB (i.e., maximum vol- ume before clipping), while the remaining parts of the sample will be proportionally raised.

Normalization optimizes the sample???s level relative to other sam- ples, making all samples sound more uniformly. It also helps optimizing signal/noise ratio, by preventing further stages of amplification from increasing any residual noise.

Cut

Select this command to cut the selected part of the sample (inside the ???Start??? and ???End??? points).

Next to each sample name the low and high Zone limits appear. Edit these values to change the Zone range. The Original Note is shown in red.

Trim/Crop

Select this command to cut all parts of the sample out of the selected range (i.e., out of the ???Start??? and ???End??? points).

Select All

Use this command to select the whole sample.

Init Multisample

Only available in the Multisample page. Select this command to create a new, blank multisample. Only one Zone will be avail- able, with no sample assigned.

Load Sample

Use this command to load single samples (mono or stereo), in KSF, AIFF or WAVE format.

Warning: By loading new samples, the sample currently in edit will be lost if not saved. Before loading, use the Write command to save the sample in edit, if not yet saved, to the internal HD (KHD_SYSTEM).

The samples are loaded to the editor. Before leaving the Sam- pling mode, use the Write command to save any unsaved sample to the internal HD (KHD_SYSTEM) as a New Sample.

??????KSF??? is Korg???s native sample format, used by the Trinity and Triton series of workstations, as well as the Pa-series arrangers. The file name must have the ???.KSF??? extension.

??????S1??? is Akai S1000, and ???S3??? is S3000 native sample format.

??????AIFF??? is the Apple?? Macintosh?? preferred format for audio. The file name must have the ???.AIF??? extension.

??????WAVE??? is the Microsoft?? Windows?? preferred format for audio. The file name must have the ???.WAV??? extension.

Note: You can only load samples in a 8 or 16-bit resolution, and a sampling frequency rate from 11,025 to 48,000Hz. Loaded samples always preserve their original resolution.

Note: If the sample exceeds the maximum size allowed by the Pa3X (1,048,576 samples, corresponding to 1 Megasample, either mono or stereo), it will be truncated. A warning will appear in the display.

Note: Compressed samples have an asterisk (*) next to their name.

Hint: While in this window, you can use the Search function, allowing for searching a Sample file in the various media. See ???Searching files and musical resources??? on page 109 of the User???s Manual for more information.

Sampling operating mode 91

Page menu

Import

Use the Import command to import complex formats, i.e., sounds, multisamples and samples in non-native (i.e., non-Korg) formats.

With this command, you can import the following formats:

??????PCG??? is Korg???s native Program format, used by the Trinity and Triton series of workstations. The file name must have the ???.PCG??? extension. Note that Drum Kits cannot be imported.

??????KMP??? is Korg???s native multisample format, used by the Trinity and Triton series of workstations. The file name must have the ???.KMP??? extension.

??????P??? is Akai S1000 and S3000 native Program format (including the sample key assignation, or multisample).

Imported Sounds and Multisamples are automatically stored in the internal HD (KHD_SYSTEM), so that they will not be lost when turning the instrument off.

Note: While Pa3X and Triton share most of their internal multi- samples, some of them may differ. While reading a PCG file, Pa3X tries to use exactly the same multisamples as in Triton. If this is not possible, it looks for a similar multisample. If this too is not possi- ble, an <empty> multisample will be selected. Enter the Sound Edit mode, and select a multisample suitable for the imported Pro- gram.

Note: Not all Triton???s PCG data are imported. Insert FX, EQ, Arpeggio, Combi, Global and Drum Kit data are not loaded.

Note: You cannot import Drum Kits.

Note: Multisample may contain many different samples. They are assigned to the same keys as in the original file.

Hint: When importing a KMP file, take note of the selected multi- sample name; you will need it in Sound Edit mode, when assigning the multisample to a new Sound.

Export

Depending on wheter you are in the ???Sample Edit / Sample Record??? or ???Multisample??? section, this command allows you to export a sample in one of two popular computer audio file for- mats (WAVE and AIFF), or a multisample in a Korg ???.KMP??? file.

See ???Export Sample page??? on page 93, or ???Export Multisample page??? on page 94 for more information.

Advanced

92 Sampling operating mode

Write Sample dialog box

Compress all samples

When there is no more space in the Sample memory for your samples, you can compress the samples. With the optional EXB- M256 Sample RAM expansion, this will allow to load up to 512MB of samples.

Note: Compressing the whole content of the Sample memory can last up to four hours.

Compressed samples will have an asterisk (*) next to their name.

Exit from Record

Choose this command to exit from the Sampling mode.

Write Sample dialog box

Open this dialog box by selecting the Write command from the page menu, while in the Sample Edit / Sample Record section. In this dialog box you can save the sample to the internal HD (KHD_SYSTEM).

Write MultiSample dialog box

Open this dialog box by selecting the Write command from the page menu, while in the Multisample section. In this dialog box you can save the multisample to the internal HD (KHD_SYSTEM). Multisamples are a way to organize samples on the keyboard, and are used by Sounds as their basis.

To assign a different name to the multisample, touch the (Text Edit) button to open the Text Edit window.

Select an option to select a memory location where to save the sample:

???Select ???Save as a new MultiSample??? to save to a new loca- tion.

???Select ???Save to??? to overwrite an existing location. Warning:

The older multisample at the same location will be deleted!

To assign a different name to the sample, touch the (Text Edit) button to open the Text Edit window.

In case you are saving a percussive sample, choose a Drum Sam- ple family to be assigned to.

Select an option to choose a memory location where to save the sample:

???Select ???Save as a new Sample??? to save to a new location.

???Select ???Save to??? to overwrite an existing location. Warning:

The older sample at the same location will be deleted!

You can also check the ???Compress??? checkbox to save the sample in a compressed format. This operation could reduce the size of the sample up to a half. Please note the compression procedure can require a very long time.

Compressed samples will have an asterisk (*) next to their name.

Write Slice dialog box

Open this dialog box by selecting the Write command from the page menu, while in the Time Slice page. In this dialog box you can save the Sound, sliced Samples and Multisample generated by the Time Slice function, together with the generated MIDI Groove.

The Sound will be saved to the selected User bank location in the internal, non-volatile memory. The Multisample will be saved to a free location in the same memory. Samples will be saved to the internal HD (KHD_SYSTEM).

Note: The MIDI Groove is automatically saved in a reserved, tem- porary location, and is automatically deleted when turning the instrument off. So, import it (by using the ???Import: Import Groove??? function in Style or Pad Record mode, see page 27 of teh User???s Manual), before turning the instrument off.

Warning: The older Sound at the target location will be deleted!

Name

To assign a different name to the Sound, touch the (Text Edit) button to open the Text Edit window.

Sound Bank

Target bank of Sounds. Each bank corresponds to one of the SOUND buttons. Use VALUE controls to select a different bank.

Sound

Target Sound location in the selected bank. Use VALUE controls to select a different location.

Select???

Touch this button to open the Sound Select window, and select a target location.

Delete Sample dialog box

Open this dialog box by selecting the Delete command from the page menu, while you are in any page of the Sample Edit/Sample Record section.

???Select ???Selected???, and select a sample number, to delete just one of the samples from the internal HD (KHD_SYSTEM).

???Select ???Not assigned to any Multisample/Drumkit??? to delete only samples not yet assigned to a multisample or drumkit (see paragraphs on the ???Multisample??? section, starting from page 198).

Note: Use this option with care, since you may delete samples you would like to preserve, that have not yet been assigned to a multisample or drumkit. Use it only when you are sure all desired samples have been assigned to a multisample or drumkit.

???Select ???All Samples, Multisamples, Drum Samples??? to delete all samples, multisamples and drum samples from the internal HD (KHD_SYSTEM). This operation completely resets the RAM, and may be used to ???clean-up??? any trouble.

Sampling operating mode 93

Delete Sample dialog box

Delete Multisample dialog box

Open this dialog box by selecting the Delete command from the page menu, while you are in any page of the Multisample sec- tion.

???Select ???Selected???, then a multisample number, to delete just one of the multisamples from memory.

Check the ???Delete Unassigned Samples??? option, to also delete all samples not assigned to a different multisample. By checking this option, all samples assigned to the multi- sample you are deleting, and all samples not assigned to a different multisample, will be deleted.

???Select ???MultiSamples??? to delete all multisamples. No sam- ples will be deleted, including those associated with the deleted multisamples.

Export Sample page

Open this page by selecting the Export command from the page menu, while you are in any page of the Sample Edit/Sample Record section.

First of all, select the target location where to export the sample:

Advanced

94 Sampling operating mode

Export Multisample page

Then touch the Save button to see the Export Sample dialog box:

Original Name

Name of the sample being exported.

File Name

Name of the generated file on the storage device.

File Type

Either of the file types you can choose as the file format.

Export Multisample page

Open this page by selecting the Export command from the page menu, while you are in any page of the Multisample section.

First of all, select the target location where to export the multi- sample:

Then touch the Save button to see the Export MultiSample dia- log box:

and a folder containing a series of ???.KSF??? files (Korg???s proprietary file format for samples) inside the same directory.

Note: When exporting a stereo multisample, be careful to assign a different name to the Left and Right channel files, to avoid over- writing. A ???-L??? and ???-R??? suffix is usually added after the name of this kind of files.

How to merge PCM samples from various sources

When you load a .SET folder, all PCM samples in memory are deleted. To merge samples from several sources, do the follow- ing.

1.Load a .SET folder containing samples you want to merge with other samples.

2.Load single Sounds from other .SET folders.

3.Load or import Samples from other sources (Trinity, Tri- ton, Akai, Wav, Aiff files).

4.Save the .SET folder, over the same or a new .SET folder.

By using this function, you can export from the internal HD (KHD_SYSTEM) the multisample in edit in the Multisample section, and all linked samples. The Export operation generates a ???.KMP??? file (Korg???s proprietary file format for multisamples),

Voice Processor

The Voice Processor applies effects, doubling and four-part har- mony to your voice. Some dedicated controllers on the control panel (MIC SETUP section) allows you to quickly access the most often used functions.

In addition, you can edit the Voice Processor Setup (general set- tings for the singer???s voice) and Presets (programming of various effects) in the dedicated pages of the Global edit mode, described in this chapter.

Accessing the Voice Processor edit pages

While in the Global edit mode, press the MENU button to access the edit section menu:

Voice Processor 95

Accessing the Voice Processor edit pages

Voice Processor Setup: Setup

In this page you can set some general parameters for the Setup.

When this page appears, touch either the Voice Processor Setup or the Voice Processor Preset item to access the relevant edit pages.

An alternative way to access these pages is to keep the SHIFT button pressed, and press either the MIC (Setup page), HAR- MONY (Harmony page) or DOUBLE (Double page) button on the control panel.

Global Setting

This checkbox allows you to turn the lead voice on or off.

Specifies how the Mod Wheel message affects vibrato if it is enabled in a preset. The Boost setting (default) will add more vibrato once the part of the wheel movement reaches the corre- sponding amount of vibrato and then returns to the original amount at rest position. The Manual setting allows full range control of vibrato once the wheel is moved.

Sets the range in semitones that Pitch Bend information will alter voice pitch shifts.

Pitch Correction

Checking this checkbox activates auto chromatic pitch correc- tion. For most applications, this is all that is required to set this feature. There is no need to set any Key or Scale parameter; all notes that you sing in the 12-tone Western chromatic scale are corrected to the nearest scale tone.

This type of vocal pitch correction is quite subtle at its factory setting of 50% but even the most highly skilled and on-pitch singers will hear a slight chorusing from the PA or monitors with it engaged.

The factory default value is 50%. Changing the value towards 0% reduces the correction effect and changing towards 100% increases it. Above 50% the effect becomes more noticeable when you slide from note to note. This is the effect of faster tran- sition speed between your input note and the closest scale tone as well as the fact that the algorithm is trying to pull you closer to the target.

Advanced

96 Voice Processor

Voice Processor Setup: Mic Tone

In this page you can set parameters for the microphone input, choosing the most suitable settings for the Lead voice (i.e., the main singer).

Lead

This parameter sets the Lead voice level.

Adjusts panning for the Lead voice. Left/L99 (panned fully left) to R99/Right (panned fully right).

The EQ section is different, depending on the Adaptive check- box status.

This activates the automatic EQ algorithm and changes the con- trol set for the EQ. When the Adaptive checkbox is checked, most of the adjustment is done automatically so fewer controls are required.

EQ with Adaptive On

When Adaptive is checked, it allows for simplified editing.

???Shape??? is the name given to the automatically adjusting EQ that is activated by the Adaptive checkbox. When the Adaptive fea- ture is activated, Shape processing offers an EQ curve that adds an airy brightness, or ???sizzle??? to your voice while reducing ???mud??? due to the proximity effect from singing closely into a cardioid microphone.

Adjusting the control from 0% to 50% reduces mud while increasing brightness to a useful range for your voice. Turning from 50% up to 100% adds more brightness.

Reducing Mud

For singers who have a voice with less bass frequencies, the ???mud??? reduction may be less and perhaps not noticeable at all. This is a good thing ??? your voice is nicely balanced regarding bass frequencies. For the average male singer or women who sing closely on their mic, the reduction in bass will be noticeable and beneficial. When voices have too much bass, they tend to become lost in the other instruments that occupy those frequen- cies resulting in sonic clutter. Reducing bass has the natural effect of emphasizing mid and upper frequencies which allow the voice to cut through dense instrumentation.

Lastly, the term ???proximity effect??? and ???cardioid??? need to be clar- ified as they can cause bass build up. The typical microphone used by singers has a pickup pattern called ???cardioid??? or heart- like, because it picks up less sound at the rear than at the front. This intends to reduce other instruments or sounds from getting into the front of the mic. A side effect of this that singing closely on a cardioid mic adds more bass frequencies than your voice actually has. This is called ???proximity effect??? because it is caused by closeness to the mic. The adaptive Shape feature listens con- tinually to your voice through your mic and adjusts to make your voice sound like it is professionally produced and balanced.

Adding Highs

The other facet of the Shape feature is that it adds high frequen- cies, also known as ???air??? or ???presence??? without making your voice sound ???tinny???. The vocal sounds we hear on CDs and the radio are not typically what you hear when you listen to a singer acoustically. Commercial vocal sounds are more of a hyper-real- ity designed to flatter the voice or voices and make them cut through a group of instruments and thus make a larger impres- sion on the listener. The Shape feature, used at moderate set- tings, emulates this sound through the average microphone and amplification system.

When making Shape adjustments, it???s important to sing while listening to the amplification system your audience will hear rather than only judging by your monitor sound.

This control returns a narrow band of low frequencies for singers who prefer this sound. The majority of the ???mud??? frequencies are still reduced automatically when using this control.

EQ with Adaptive Off

Turning Adaptive off presents manual parametric EQ controls for users who understand this type of equalization.

There are 3 bands of control:

???Low band shelving

???All band fully parametric peak/dip control

??? High band shelving

The 2 ???Shelving??? EQs boost or cut all frequencies below or above the the frequencies set by the Low and High controls respec- tively. These are most like the common Bass and Treble controls on a stereo system.

The ???Parametric??? EQ boosts or cuts the frequencies within a selected band that is defined by a center frequency (lower Mid knob) and a width control (center Mid knob). For vocals, the gain of a narrow parametric band is typically reduced to over- come room or voice resonances and smooth the sound although experienced users may boost a band felt to be missing in a par- ticular voice as well.

The 3 Gain (upper) controls allow +/-12 dB of adjustment. The 3 Frequency (lower) controls range from 20 Hz to 20 kHz.

Boosts or cuts the range of frequencies below the frequency set by the Low Frequency control.

Allows you to define the frequency range for the low shelf by choosing the highest frequency below which boosting or cutting is possible.

Boosts or cuts the range of frequencies above the frequency set by the High Frequency control.

Defines the frequency range for the high shelf with the selection of the lowest frequency above which boosting or cutting is possi- ble.

Boosts or cuts the band of frequencies centered at the setting of the Mid Frequency control and its associated Mid Width.

Defines the center of the parametric band.

Defines how narrow or wide the parametric band is to be. The ends of the control range are labelled ???Narrow??? and ???Wide??? to add meaning to the numbers in the middle of the control range.

Compress/DeEss

This activates the automatic Compressor/DeEsser algorithm and changes the control set. When the Adaptive checkbox is checked, most of the adjustment is done automatically so fewer controls are required.

Voice Processor 97

Voice Processor Setup: Mic Tone

Compress/DeEss with Adaptive On

When Adaptive is checked, it allows for simplified editing.

With the Adaptive control activated, the Compress control reduces the amount of range between louder and softer singing to produce more even-sounding vocals. It does so by listening to your singing over time (less than 30 seconds) and adjusting accordingly.

Typical compressors require multiple controls, knowledge and experience, and time spent testing and refining over a perfor- mance. With TC-Helicon???s Adaptive Compress feature, these are not required.

The factory setting of 50% strikes a good balance between mod- erating dynamics in your singing without incurring feedback, a side effect of compression used in a live mic setting. If you have a high quality monitoring/amplification setup with a flat fre- quency response and you want more compression, by all means add more with the Compress control. Be aware though, that average quality systems have frequency peaks that may cause feedback with lots of compression combined with Adaptive Shape EQ.

Compression: A Primer

You may not notice this effect as easily as with Shape. It can be quite subtle until you educate your ears to compression. Follow- ing is a very brief description.

We typically sing dynamically, like this (capitals are used to show louder dynamics):

There is a side effect that comes from adding high frequencies and compression to your voice, and that???s excessive sibilance. Sibilance can be described as the brief whistle that accompanies ???S???, ???T??? and ???D??? syllables in your vocal performance. Again, when singing acoustically, there is no issue with these sounds. It???s when you amplify and combine with boosted highs and com- pression that they can become piercing.

The DeEss Level control monitors the level of sibilance and, when it is detected, will quickly and transparently reduce it.Typ- ically, it???s only briefly required and it then gets out of the way allowing the silky brightness to remain on the voiced portion of your singing.

98 Voice Processor

Voice Processor Setup: Mic Tone

There is only the single DeEss Level control; no other manual adjustment settings are required. The factory setting of 50% gen- tly reduces sibilance without becoming obvious. Higher settings of compression and Shape or a bright, sibilant voice may require a higher setting.

Compress/DeEss with Adaptive Off

Turning off Adaptive compression switches compression to manual control. Be sure to reduce the level of your amplification or switch to headphones when adjusting the manual compressor because high settings can cause more gain and thus feedback.

Note: The DeEss Level control will remain unchanged.

This sets the singing level at and above which the amount of gain reduction (compression) specified by the Ratio control will occur. The range is 0 dB to -30 dB: 0 dB being the loudest input signal the Voice Processor can accept without distortion and -30 dB being a very quiet signal. If you sing consistently more quietly than the Threshord, you will not hear any compression. A good setting for experimentation is -10 dB.

This sets how much gain reduction you prefer when your voice level goes above the threshold. The range is from 1:1 (no gain reduction) to 4:1 (maximum vocal gain reduction ). The default setting for Ratio is 4:1.

The number on the left side of the : (colon) symbol is how loud the peaks in your singing have to be in order to achieve a 1 dB gain increase. A brief example of how adjusting the ratio of com- pressor works is this: say a word you sang went 4 dB over the threshold when the Ratio was set to 4:1. The compressor would only allow it to go 1 dB louder.

Note that the Ratio control has to be set above 1.0 (1.0:1) to apply any compression regardless of the setting of the Threshold.

Also note that automatic makeup gain occurs depending on your combination of Threshold and Ratio. A side effect of com- pression is that it can reduce apparent level until makeup gain is applied to raise the overall level.

Gate

If your musical accompaniment is loud or you hear feedback, the Gate control will enable you to make adjustments.

When set to the factory default of Adaptive, the Gate control helps in two very important ways by:

1.Minimizing feedback

2.Reducing the amount of audible effects processing on sounds entering the mic other than your voice.

A typical, fixed gate works by shutting off, or reducing the level of any signal below a threshold that you set. When you sing louder than that threshold, the gate will open and your vocal will come through the amplification system. When you aren???t sing- ing, the gate will close and block sounds around you.

The Adaptive Gate works automatically with your singing style to provide the optimum balance between how loud you have to sing to open the gate and how much other noises are reduced.

For troublesome audio environments, or for those who are familiar with setting manual gate parameters, there is also a Manual setting.

You can also turn the gate to Off with good results if you are in a quiet, low volume musical environment.

This controls how much your lead voice level is reduced (attenu- ated) when your voice falls below the Gate threshold and the Gate closes. This setting applies whether the Gate is set to Adap- tive or Manual. The factory default setting of -3 dB (a reduction of 3 dB) is gentle enough that if your voice strays below the threshold, it is not cut off completely. If you are in a feedback- prone environment (loud monitors plus Shape and Compress on) you can increase this to reduce more. A setting of 0 dB offers no gain reduction on your lead voice at all. Settings of -30 to Off effectively mute your voice when the Gate is on.

This sets the amount of attenuation for the Harmony and Dou- bling voices when the Gate closes. They have a separate attenua- tion setting to reduce chatter caused by instrument sounds entering the mic and being harmonized when you aren???t singing. The factory default attenuation amount of -10 dB should work well in many situations, but you can fur ther reduce the level if you still hear harmonized instrumental chattering when you stop singing.

(Only with Manual Gate) This parameter becomes visible when the Gate has been switched to Manual. The Threshold defines the minimum singing level you need to reach in order for the Gate to open and let your voice sound. The factory default set- ting of -40 dB is very sensitive to allow a wide range of singing levels but it may also allow more nearby instrumental sounds through when you are not singing. In this case, further adjust- ment from -39 dB and upward may be needed.

This page is where you can set the Talk function, to be used to address the audience, speaking over the background music. Parameters contained in this page are relative, and are used to attenuate the music when speaking.

This page allows you to select a Voice Processor Preset, as well as turning on or off the various Voice processor blocks.

After editing, you can save the Talk settings in memory, by choosing the ???Write Global-Voice Processor Setup??? command from the page menu (see page 219 of the User???s Manual).

Talk

On/off switch for the Talk function. This is the same switch you can find in the Mic panel of the Style Play and Song Play modes.

This parameter is automatically set to off when turning the instru- ment off.

Note: When you deactivate the Talk function, the Voice Processor Preset is recalled. Any unsaved change to the Preset will be lost.

Mode

When this parameter is checked, the Talk function automatically engages when the Player or Arranger is stopped. This way, you can talk to the audience between two songs, without the need to touch the Talk On/Off button.

Mixer

Use this knob to reduce the volume of all tracks (Keyboard, Style, Player, Pad???). 100% corresponds to no level reduction.

Preset

Use this parameter to select a Voice Processor Preset. A Preset is the programming of all Voice Processor???s effect parameters. A Preset is always saved in a Performance or STS. It is therefore recalled when selecting a Performance or STS.

If you wish to save your Preset settings, just select the ???Write Global-Voice Processor Preset??? command from the page menu (see page 219 of the User???s Manual). The saved Preset will appear in the list of available Presets.

Use these buttons to turn the effects on/off.

Use the pop-up menus to choose a Set for each of the Voice Pro- cessor effects. Sets configure useful settings to pre-programmed values to allow you to make changes quickly.

Level of the corresponding effect.

Advanced

100 Voice Processor

Voice Processor Preset: Mixer/FX

This page contains master level controls for the Voice Processor as a whole.

??Mod

Master Level of the Lead voice going to the ??Mod block.

Master Level of the Harmony and Double effects going to the ??Mod block.

Delay

Master Level of the Lead voice going to the Delay block.

Master Level of the Harmonyand Double effects going to the Delay block.

Master Level of the ??Mod effect going to the Delay block.

Reverb

Master Level of the Lead voice going to the Reverb block.

Master Level of the Harmony and Double effects going to the Reverb block.

Master Level of the Delay effect going to the Reverb block.

Del/Rev

Dly/Rev Level

Master Level of the Delay and Reverb blocks. This corresponds to the DELAY/REVERB knob in the MIC SETTINGS section. This control is not memorized in the Voice Processor Preset.

Voice Processor Preset: Harmony

In this page you can define general parameters for the Harmony block. The Harmony block produces up to four harmony voices.

Harmony

This button allows enabling/disabling of the Harmony block. It is the same control found in the ???Easy Preset??? page.

Type of harmonization. These are the available parameters.

Note: Some of the parameters in this page appear only when a specified Harmony Type is selected.

(Only available when the Harmony Type is Chord or Notes.) Use this menu to select the keyboard range where Chords or notes are to be received from.

Note: When this parameter is greyed out, notes or chords cannot be received from the keyboard or from a Standard MIDI File.

Chord Scan. The area is chosen with the CHORD SCAN-

Use this menu to choose a Set for the Harmony block. Sets con- figure useful settings to pre-programmed values to allow you to make changes quickly. This corresponds to the option selected in the ???Easy Preset??? page.

Sets the level for the overall Harmony effect in the current pre- set.

Portamento is a delayed response to the pitch movement of your singing voice. It is also referred to as ???Glide??? in synthesizers. The range of values equals approximately how long the upwards or downwards slide will take to reach each new note.

Voice select buttons V1-V4

Use these buttons to select the individual voice to be pro- grammed.

Single Voice parameters box

(Only available when the Chord or MP3 Audio Harmony Types are selected.) Here you set the pitch shift intervals of voices 1 through 4 relative to your input pitch. The names of the intervals change depending on the selected Harmony Type. In the Notes mode, the Voicing parameters disappear entirely. The options start at the lowest harmony interval and go the highest.

The Voicing parameter specifies the relation of the harmony note to the input note with respect to the current chord. In Chord mode presets, the harmony voices are always notes in the chord. A setting of Up1 will result in the harmony voice being the next note above the input voice in the chord. For instance, if the chord was C Major and the input note was an E, an Up1 set- ting would produce a G harmony voice, just above the input E.

This parameter controls the relative volume of each voice. This is also where voices are turned on an off. The range of values goes from Off to 0 dB (Full). Typically all voices are set at the same level unless you want to highlight or minimize a particular voic- ing interval.

(Only available when the Scale Harmony Type is selected.) This parameter specifies the interval of the harmony note with respect to the input note in the scale. The range of values goes from -2VE, which is 2 octaves below the input note, to +2VE which is two octaves above the input note. For example, a setting of +3 will result in a harmony voice a third above the input voice.

(Only available when the Shift Harmony Type is selected.) In Shift mode the voices are shifted relative to the input note. The values range from -24 semitones to +24 semitones.

(Only available when the Notes Harmony Type is selected.) At low values, Smoothing acts like pitch correction for the harmony voices. With the voices corrected like this, some Portamento is usually required to help soften note to note transitions unless a robot-like effect is desired. Higher values offer progressively less correction. Like Portamento, setting each voice with a unique value of the Smoothing parameter helps the harmonies sound more natural. When the Notes Harmony Type is selected, high values of smoothing will sound out of tune.

Each voice may have a unique pan position. There are 100 possi- ble steps in each of the left and right pan positions.

When the Notes Harmony Type is selected, you can select between Narrow, Medium and Wide panning.

Each voice has its own timbre adjustment in the form of the Gender control. Values below 0 lend each voice a more mascu- line and deeper effect and values above 0 lend a more feminine or thinner effect.

Other Harmony settings

The term ???humanize??? simply means the application of processes designed to increase realism. All harmony modes usually benefit from careful application of humanization styles that make each harmony voice respond with small pitch and timing variations different from your voice. Each Humanize Style configures each of the four voices differently; Voice 1 has slightly different parameter values than say Voice 4 in the same style but all four voices will work together to produce a useful overall effect.

The various Humanization styles consist of various amounts of the following modifiers:

???Onset pitch events ??? This is also known as ???scooping??? which adds a generated pitch trajectory for each new note that is different than the sung note.

???Pitch modulation ??? A random wave generator wobbles the pitch in non-periodic ways to simulate even the finest sing- ers' pitch variation.

???Timing delay and modulation ??? Singers are unable to start notes at the same time with the exactness of a machine so this algorithm applies slight delays to the onset of notes and then adds modulated time variation to sustained portions of notes.

???Level (volume) modulation ??? This effect is like a subtle tremolo with a non-periodic or semi random waveform that simulates the way different singers change note vol- umes as they sing.

Advanced

102 Voice Processor

Voice Processor Preset: Double

You can vary the amount of humanization for the harmony voices. All the styles except for the last one (Time & Pitch) were designed at middle values to allow you to add or remove effects as you see fit. Time & Pitch was designed so you can create wild special effects as you experiment with high values.

Vibrato assists in providing separation between your dry singing voice and the harmonies as well as to add some movement to the rigid pitch contour in Notes mode harmony. Even the smallest amount of vibrato applied to your harmony voices can achieve this. Like the Humanize effects, each voice is treated slightly dif- ferently by the Vibrato algorithm so the voices don???t all sound exactly the same. There are 7 styles available in progressively more intensity as you browse down the list.

You can vary the amount of vibrato intensity for the overall style with this parameter. All the styles were designed to be useful at middle values but you can add or remove vibrato as you like.

Level of the Lead voice mixed with the effect.

Voice Processor Preset: Double

The Double effect uses the same type of Humanization technol- ogy as in the Harmony effect to create up to two overdubbed versions of your voice. The two voices are set to unison intervals as opposed to the moveable intervals available for the harmony voices. Unlike simple detune or micro-shift techniques available with the ??Mod effect, Double simulates the sound of a vocalist overdubbing their vocal part multiple times. Many of the edit parameters for the Doubling page are the same as for Harmony page.

This button allows enabling/disabling of the Double block. It is the same control found in the ???Easy Preset??? page.

Use this menu to choose a pre-programmed Double Set you like. This allows you to quickly choose an effect close to what you want instead of having to go directly into the individual parame- ters each time. This corresponds to the option selected in the ???Easy Preset??? page.

Sets the level for the overall Double effect in the current preset.

Portamento is a delayed response to the pitch movement of your singing voice. It works exactly like the ???Porta(mento)??? parameter of the Harmony page.

The term ???humanize??? simply means the application of processes designed to increase realism. Contrary to the same parameter of the Harmony page, humanization is the same for all doubling voices.

You can vary the amount of humanization for the harmony voices. It works exactly like the ???Amount??? parameter of the Har- mony page.

Level of the Lead voice mixed with the effect.

Voice Processor Preset: Filter & Hard Tune

This page contains the Filter and HardTune effects, which dra- matically change the sound???s character.

Filter

This effect uses steep filters to emulate the sound of radios, phones and devices that generally degrade the audio signal.

This button allows enabling/disabling of the Filter block. It is the same control found in the ???Easy Preset??? page.

Use this menu to choose a pre-programmed Filter Set. The Rout- ing and Gate Threshold parameters are not part of the Set. This corresponds to the option selected in the ???Easy Preset??? page.

Sets the level for the overall Filter effect in the current preset.

Selects where the Filter effect is inserted into the signal path for maximum flexibility. The options are:

A gate, separate from the main Gate under the ???Voice Processor Setup: Mic Tone??? page is used to help prevent feedback when using the Filter with presence filtering that can introduce feed- back in a live environment. This parameter sets how loud you must sing in order to open the gate.

HardTune

This effect is a pitch corrector that has been optimized to pro- duce corrective pitch correction as well as obvious effects made popular by a number of artists.

Note: This effect only works when a chord is recognized.

This button allows enabling/disabling of the HardTune block. It is the same control found in the ???Easy Preset??? page.

Use this menu to choose a pre-programmed HardTune Set. This allows you to quickly choose an effect close to what you want instead of having to go directly into the individual parameters each time. This corresponds to the option selected in the ???Easy Preset??? page.

Rate determines how fast the algorithm pulls you toward scale tones. A value of 0 is off and a value of 100 is instant resulting in something like the infamous ???Cher??? effect where the pitch cor- rection effect is stair-stepped and obvious when using non-chro- matic scales (those with at least a whole tone jump between most of the scale tones). Usually, values around 20 yield acceptable results for smooth, corrective pitch correction.

Sets the a relative shift in semitones above or below the input vocal. This is useful for transposing or creating character voices while simultaneously pitch correcting.

Allows you to determine how close to a valid scale note you have to be before the algorithm corrects you. For example, a value of 80 cents means that only when you are singing within +/- 40 cents away from the target scale note will you be corrected. The maximum value is 600 cents. At maximum, a custom scale could be created with only one note for special effects. In a Major scale having no more than 100 cents on either side of any scale tone a setting of 200 would result in fulltime correction activity.

Advanced

Sets the cut-off frequency for these very steep low and high shelving filters.

104 Voice Processor

Voice Processor Preset: ??Mod

??Mod is short for micro-modulation. The ??Mod effect is capable of creating many different sounds that range from subtle but lush thickening to creatively destructive. It uses a combination of stereo pitch shifting (Detune), small amounts of stereo delay (Delay), and then a complex path of filtering, feedback, and modulation. ??Mod does a faithful job of emulating classic detune, chorus, flange and thickening sounds.

Values above 90 add a high amount of gain and cause distortion and higher audio levels.

Level of the Lead voice mixed with the effect.

Voice Processor Preset: Delay

The delay effect is a configurable echo. You can control how far apart the echoes occur (Delay Time), and whether the echoes fade out quickly or slowly or build on themselves. In addition, there are filtering and stereo controls that allow you to create many popular delay sounds.

This button allows enabling/disabling of the ??Mod block. It is the same control found in the ???Easy Preset??? page.

Use this menu to choose a pre-programmed ??Mod Set. This cor- responds to the option selected in the ???Easy Preset??? page.

Sets the mix level for the ??Mod effect.

This setting sets how fast the delay time modulation occurs. In order for this to be audible, the depth amount parameter has to be nonzero. The setting range is 10.00 Hz (very fast) to .05 Hz (very slow).

Applies a small amount of pitch shift to the left or right sides independently. This setting is shown in cents and the maximum is +/- 25 cents.

These set the amount of modulation of the delay time for the left and right delays. If one delay is set to 10mS, for example, a set- ting of 50% will vary the delay time between 15mS and 5mS at the rate set by the Speed parameter.

Sets the left and right delay times. Up to 50 ms of delay is avail- able on the left and right delay lines to create effects from flange to slapback.

Delays can be typically be categorized into the two listed catego- ries below:

Short Delays: Initial reflections, Slaps

Long Delays (max stereo delay is 2500 ms or 2.5 sec.): Monotaps, Stereotaps, Syncopated taps, Ping-pongs (delays travelling from left to right).

This button allows enabling/disabling of the Delay block. It is the same control found in the ???Easy Preset??? page.

Use the soft knob assigned to this parameter to choose a pre- programmed delay style you like. This corresponds to the option selected in the ???Easy Preset??? page.

Sets the mix level for the delay effect.

Determines which of the two methods you want to use to set delay times. These include:

Re-introduces a portion of the audio output signal of the ??Mod block back to the input to create flanges, tube and chorus effects.

When the source is set to MIDI, these parameters divide the tempo into even (e.g. 1/4 or quarter notes) or syncopated sub-

beats (e.g. 1/4 triplets, 1/4 dotted notes) for the left and right delays.

These parameters are used to display the exact delay time and to allow editing with all Source settings. You may set from 0 to 2500ms (2.5 seconds) of delay for the left and right delay lines.

Re-introduces a portion of the audio output signal of the Delay block back to the input to add echo repeats.

These steep highpass (Low Cut) and low pass (Hi Cut) filters control the bandwidth of the delays. Applying these filters to the delays can create the feeling of space while not obscuring the main vocal signal.

This sets how much attenuation (gain reduction) is applied to the delayed signal when a vocal is present. For ducking to not be too obvious, a slight reduction of -6 dB is best. The Ducking can also be turned Off with this parameter.

Level of the Lead voice mixed with the effect.

Voice Processor Preset: Reverb

Reverb is arguably the most common vocal effect. It can add a spaciousness that softens the abrupt beginnings and endings of lyric phrases. Many reverb types are meant to imitate the natural sound of spaces like churches, clubs and halls but not all. Some reverb effects are recreations of electro-mechanical effects meant to imitate real spaces like plates and springs.

Reverbs are made up of early reflections and the longer reverber- ant sounds known as the tails.There are usually controls to con- trol the balance of room level and tail. Additionally, a small delay can be added between the dry voice and the reverb signal that adds clarity by briefly separating the dry voice from its reverb. By far the most important control for reverb is the level. A single reverb patch can have a different result for the audience whether it is mixed quietly or boldly in the mix.

This button allows enabling/disabling of the Reverb block. It is the same control found in the ???Easy Preset??? page.

Use the soft knob assigned to this parameter to choose a pre- programmed reverb style you like. This corresponds to the option selected in the ???Easy Preset??? page.

Sets the mix level for the Reverb effect.

Sets the length of the reverb tail from 10mS to 20 seconds. Note that, due to the complex nature of Reverb algorithms, a decay time of 4 seconds may sound quiet different from one style to the next, even when the rest of the settings are identical.

Pre Delay introduces a short (up to 100 ms) delay between the dry audio signal and the onset of reverb to help simulate larger spaces and to provide audio separation between the dry signal and the reverb effect.

These are preset-frequency filters inserted into the Reverb feed- back path that tailor the low and high frequency response and decay of the tails.Values toward -50 will cut response in its respective band and a values toward 50 increase response.

When Ducking has a value other than Off, the Reverb block???s output will be reduced while you are singing. At the end of a sung phrase, the effects return to the level you set, increasing the clarity of your vocals while still sounding very ???wet???. This parameter sets the amount of attenuation for Ducking.

Level of the Lead voice mixed with the effect.

Advanced

106 Effects

Dynamic Modulation sources

Effects

Pa3X is equipped with four powerful Effect Processors for the internal MIDI tracks (Upper, Lower, Style, Song, Pads).

Dynamic Modulation sources

When the symbol is encoutered, a Dynamic Modulation can be applied to the corresponding parameter. Dynamic Modu- lation allows for realtime control of the effect. The following table shows the available modulation sources.

MIDI(CC#67)

MIDI(CC#80)

MIDI(CC#81)

MIDI(CC#82)

MIDI(CC#83)

MIDI(CC#85)

MIDI(CC#86)

MIDI(CC#87)

MIDI(CC#88)

Tempo

Some notes on the Gate parameters follow.

Gate1, Gate1+Dmpr (Gate1+Damper)

The effect is at maximum during note-on, and will stop when all keys are released. With Gate1 + Dmpr, the effect will remain at maximum even after the keys are released, as long as the damper (sustain) pedal is pressed.

Gate1+Dmpr

Time

Gate2, Gate2+Dmpr (Gate2+Damper)

This is essentially the same as for Gate 1 or Gate 1 + Dmpr. How- ever when Gate 2 or Gate 2 + Dmpr are used as a dynamic mod- ulation source for the EG, a trigger will occur at each note-on. (In the case of Gate 1 and Gate 1 + Dmpr, the trigger occurs only for the first note-on.)

Dynamics (Dynamic)

0: No Effect

Select this option when you do not use any effects.

1: Stereo Compressor

This effect compresses the input signal to regulate the level and give a ???punchy??? effect. It is useful for guitar, piano, and drum sounds. This is a stereo compressor. You can link left and right channels, or use each channel separately.

a: Envelope Select

This parameter selects whether the left and right channels are linked to control both signals simultaneously, or whether each channel is controlled independently.

b: Sensitivity

g: Output Level

The ???Sensitivity??? parameter sets the sensitivity of the compres- sor. If this parameter is set to a higher value, lower level sounds will be boosted. With a higher Sensitivity, the overall volume level is higher. To adjust the final volume level, use the ???Output Level??? parameter.

Effects 107

Dynamics (Dynamic)

c: Attack

This parameter controls the attack level.

2: Dyn. Compressor

When playing chords on an electric piano or similar instrument, it???s helpful to use a compressor to keep each note smooth and well-balanced. In addition to a distinctive percussive accent, it will also provide a long sustain. This effect models a popular compressor with a clean sound that???s perfect for pop and funk music.

3: Stereo Limiter

The Limiter regulates the input signal level. It is similar to the Compressor, except that the Limiter compresses only signals that exceed the specified level to lower unnecessary peak signals. The Limiter applies a peaking-type EQ to the trigger signal (which controls the degree of the Limiter effect), allowing you to set any band width to be covered. This effect is a stereo limiter. You can link left and right channels, or use each channel individually.

Advanced

d: Attack

d: Release

These parameters set the attack time and release time. A higher attack time will cause the compression to be applied more slowly.

Limiter - Attack / Release

Threshold

Dry

Ratio=Inf : 1

WetAttack=1

Release=1

Ratio=Inf : 1

Wet Attack=100

Release=100

Release

Attack

f: Trigger Monitor

Setting this parameter On will cause the trigger signal to be out- put, instead of the effect sound. Use this parameter to check the trigger signal with EQ applied.

Usually, set this to Off.

f:Side PEQ Insert

g:Side PEQ Cutoff [Hz]

g:Q

g:Gain [dB]

These parameters are used to set the EQ applied to the trigger signal.

The Limiter determines whether the compression is applied or not, based on the post-EQ trigger signal. Setting the equalizer allows you to set the Limiter to respond to any frequency band.

4: Multiband Limiter

This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can control dynamics for each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ.

Effects 109

Dynamics (Dynamic)

e:Low Offset [dB]

f:Mid Offset [dB]

g:High Offset [dB]

These parameters set the gain of the trigger signal.

For example, if you do not want to apply compression to the high range, reduce the ???High Offset??? value down below the ???Thresh- old??? level. In this way, the high range limiter will not respond, and compression will not be applied.

5: St.MasteringLimtr

(Stereo Mastering Limiter)

This is a stereo limiter that is optimized for mastering songs.

6: Stereo Gate

This effect mutes the input signal when it falls below a specified level. You can also invert the on/off status of the gate, or use note-on/off messages to turn the gate on/off directly.

110 Effects

EQ and Filters (EQ/Filter)

c:Threshold

d:Attack

d: Release

???Threshold??? specifies the level at which gating occurs when ???Envelope Select??? is set to L/R Mix, L Only, or R Only.

???Attack??? and ???Release??? specify the attack time and release time of the gate.

Gate - Threshold

Output Level

Threshold

Louder

Input Level

Gate - Attack / Release

Threshold

Dry

WetAttack=1

Release=1

c: Polarity

This inverts the polarity of the gate on/off operation. With the ????????? setting, the gate will close when the input signal exceeds the specified level. The direction in which the modulation source opens or closes the gate will also be reversed.

e: Delay Time [msec]

This sets the delay time for the input to the gate. When using shorter Attack Time settings, you can lengthen the Delay Time so that the sound is input after the gate opens.

EQ and Filters (EQ/Filter)

7: St.Parametric4EQ

(Stereo Parametric 4-Band EQ)

This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation.

b:Band1 Type

c:Band4 Type

Selects a filter type for Band 1 and 4.

e, f, g, h: Q

These parameters set the bandwidth of each equalizer. The higher the value, the narrower the band becomes.

d: Band2 Dynamic Gain Src

d: Amt [dB]

You can control the gain of Band 2 using the modulation source.

8: St. Graphic 7EQ

(Stereo Graphic 7-Band EQ)

This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of fre- quency responses. You can select a center frequency setting for each band from twelve types, according to the sound.

a: Type

This parameter selects a combination of center frequencies for each band. The center frequency of each band is shown in the right of the screen.

You can configure a 21-Band Graphic EQ ranging from 80 Hz to 18 kHz if you route three Graphic 7-Band EQ effects in series, with a setting of 7:Low, 9:Mid, and 11:High for each EQ.

9: St.Exciter/Enhncr

(Stereo Exciter/Enhancer)

This effect is a combination of the Exciter, which adds a punch to the sound and the Enhancer, which adds spread and presence.

112 Effects

EQ and Filters (EQ/Filter)

b: Emphasis Freq

This parameter sets the frequency to be emphasized. Higher val- ues will emphasize lower frequencies.

c:Enhancer Delay L [msec]

d:Enhancer Delay R [msec]

11: St. Wah/Auto Wah

(Stereo Wah/Auto Wah)

This stereo wah effect allows you to create sounds from vintage wah pedal simulation to auto-wah simulation, and much broader range settings.

These parameters set the delay time for the Enhancer left and right channel. Specifying a slightly different delay time for the

Stereo In - Stereo Out

Left

FX Amt

left and right channel will add a stereo image, depth, and width to the sound.

10: Stereo Isolator

This is a stereo effect that separates the input signal into low, mid, and high-frequency bands, and controls the volume of each band independently. For example you can separately boost or cut the kick, snare, and hi-hat sounds from a drum signal in real- time.

a: Frequency Bottom

a: Frequency Top

The sweep width and direction of the wah filter are determined by the ???Frequency Top??? and ???Frequency Bottom??? settings.

Effects 113

EQ and Filters (EQ/Filter)

12: St. Vintage Wah

(Stereo Vintage/Custom Wah)

This effect simulates the tonal character of a vintage wah pedal. You can customize the tone and range settings.

Stereo In - Stereo Out

Left

FX Amt

b: Sweep Mode

This parameter changes the wah control mode. Setting ???Sweep Mode??? to Auto will select an auto-wah that sweeps according to envelope changes in the input signal level. Auto-wah is fre- quently used for funk guitar parts and clav sounds.

When ???Sweep Mode??? is set to D-mod, you can control the filter directly via the modulation source in the same way as a wah pedal.

When ???Sweep Mode??? is set to LFO, the effect uses LFO to sweep in cycle.

c: Envelope Sens

This parameter sets the sensitivity of auto-wah. Increase the value if the input signal is too low to sweep. Reduce the value if the input signal is so high that the filter is stopped temporarily.

c: Envelope Shape

This parameter determines the sweep curve for auto-wah.

d:LFO Frequency [Hz]

e:MIDI Sync

When ???MIDI/Tempo Sync???=Off, the LFO speed uses the LFO Frequency parameter setting. When ???MIDI/Tempo Sync???=On, the LFO speed follows the ???BPM???, ???Base Note???, and ???Times??? set- tings.

e: BPM

e: Base Note

e: Times

One cycle of LFO sweep is obtained by multiplying the length of a note (r???w) (selected for ???Base Note???, in relation to the tempo specified in ???BPM???, or the MIDI Clock tempo if ???BPM??? is set to MIDI) by the number specified in the Times parameter.

114 Effects

EQ and Filters (EQ/Filter)

a:Mode

b:Frequency Bottom

b:Frequency Top

c:Resonance Bottom

c:Resonance Top

If Mode=Preset, this simulates a vintage wah pedal. In this case, internally fixed values are used for Frequency Bottom/Top and Resonance Bottom/Top, and these settings will be ignored. The settings for Frequency Bottom/Top and Resonance Bottom/Top are valid if Mode=Custom.

13: VOX Wah

This models the legendary VOX V847 and V848 Clyde McCoy wah pedals. Its distinctive tone, sounding as though it were wrung from the throat, made this pedal a favorite of many pro musicians.

14: St. Random Filter

(Stereo Random Filter)

This stereo band pass filter uses a step-shape waveform and ran- dom LFO for modulation. You can create a special effect from filter oscillation.

a: LFO Phase [degree]

Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling affect.

a:LFO Waveform

b:LFO Frequency [Hz]

c:LFO Step Freq [Hz]

When ???LFO Waveform??? is set to Step-Tri, LFO is a step-shape, triangle waveform. The ???LFO Frequency??? parameter sets the original triangle waveform speed. Changing the ???LFO Step Freq??? parameter enables you to adjust the width of the steps.

When ???LFO Waveform??? is set to Random, the ???LFO Step Freq??? parameter uses a random LFO cycle.

116 Effects

EQ and Filters (EQ/Filter)

16: St. Sub Oscillator

(Stereo Sub Oscillator)

This effect adds very low frequencies to the input signal. It is very useful when simulating a roaring drum sound or emphasiz- ing powerful low range. This effect is different from the equal- izer in that you can add very low range harmonics. You can also adjust the oscillator frequency to match a particular note num- ber, for use as an octaver.

17: Talking Modulator

This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the guitar or syn- thesizer is talking.

a:OSC Mode

b:Note Interval

b:Note Fine

The ???OSC Mode??? parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator???s fre- quency is determined based on the note number, allowing you to use it as an octaver. The ???Note Interval??? parameter sets the pitch offset from the original note number by semitone steps. The ???Note Fine??? parameter allows you to fine-tune in steps of cents.

d: Envelope Pre LPF

This parameter sets the upper limit of the frequency range to which very low harmonics are added. Adjust this parameter if you do not want to add lower harmonics to the higher range.

c:Voice Top

d:Voice Center

e:Voice Bottom

These parameters assign vowels to the top, center, and bottom position of the controller.

E.g.: When ???Voice Top???=A, ???Voice Center???=I, and

???Voice Bottom???=U:

If ???Sweep Mode???is set to D-mod and Ribbon is selected as the modulation source, moving your finger from the right to left of the ribbon controller will change the sound from ???a??? to ???i,??? then ???u.???

If Sweep Mode is set to LFO, the sound will change cyclically from ???a??? to ???i,??? ???u,??? ???i,??? then ???a.???

f: Formant Shift

This parameter adjusts the frequency level to which the effect is applied. If you wish to apply the effect to a higher-range sound, set this parameter to a higher value; to apply the effect to a lower-range sound, set this to a lower value.

f: Resonance

This parameter sets the intensity of resonance for the voice pat- tern. A larger value will add more character to the sound.

Effects 117

EQ and Filters (EQ/Filter)

18: Stereo Decimator

This effect creates a rough sound like a cheap sampler by lower- ing the sampling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing).

a: Pre LPF

If a sampler with a very low sampling frequency receives very high-pitched sound that could not be heard during playback, it could generate pitch noise that is unrelated to the original sound. Set ???Pre LPF??? to On to prevent this noise from being generated.

If you set the ???Sampling Freq??? to about 3 kHz and set ???Pre LPF??? to Off, you can create a sound like a ring modulator.

f:Resolution

g:Output Level

If you set a smaller value for the ???Resolution??? parameter, the sound may be distorted. The volume level may also be changed. Use ???Output Level??? to adjust the level.

Advanced

118 Effects

Overdrive, Amp models, and Mic models (OD Amp Mic)

19: St. Analog Record

(Stereo Analog Record)

This effect simulates the noise caused by scratches and dust on analog records. It also reproduces some of the modulation caused by a warped turntable.

b: Flutter

This parameter enables you to set the depth of the modulation caused by a warped turntable.

e: Click Level

This parameter enables you to set the level of the click noise that occurs once every rotation of the turntable. This simulation reproduces record noise, and the noise generated after the music on a vinyl record finishes.

Overdrive, Amp models, and Mic models (OD Amp Mic)

20: OD/Hi.Gain Wah

(Overdrive/Hi.Gain Wah)

This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the wah effect, the 3-band EQ, and the amp simulation will allow you to create versatile distortion sounds. This effect is suitable for guitar and organ sounds.

a: Wah

The Wah parameter switches the wah effect on/off.

a: Sw

This parameter sets how the wah effect is switched on and off via the modulation source.

When ???Sw??? = Moment, the wah effect is usually turned off. It is turned on only when you press the pedal or operate the joystick.

When a value for the modulation source is less than 64, ???off??? speed is selected, and when the value is 64 or higher, ???on??? is selected.

When ???Sw??? = Toggle, the wah effect is switched between on and off each time you press the pedal or operate the joystick.

The switch will be turned on/off each time the value of the modulation source exceeds 64.

b: Wah Sweep Range

b: Wah Sweep Src

This parameter sets the sweep range of the wah center frequency. A negative value will reverse the direction of sweep. The wah center frequency can be controlled by the modulation source specified in the ???Wah Sweep Src??? parameter.

d: Pre Low-cut

Cutting the signal in the low range before it is input to the Dis- tortion will create a sharp distortion.

d:Drive

e:Output Level

The degree of distortion is determined by the level of input sig- nal and the setting of ???Drive???. Raising the ???Drive??? setting will cause the entire volume level to increase. Use the ???Output Level??? parameter to adjust the volume level. The ???Output Level??? param- eter uses the signal level input to the 3-Band EQ. If clipping occurs at the 3-Band EQ, adjust the ???Output Level??? parameter.

Effects 119

Overdrive, Amp models, and Mic models (OD Amp Mic)

21: St. Guitar Cabinet

(Stereo Guitar Cabinet)

This simulates the acoustical character of a guitar amp???s speaker cabinet.

Advanced

122 Effects

Overdrive, Amp models, and Mic models (OD Amp Mic)

b, f: Saturation [%]

With higher settings of this value, the waveform will change at high gain levels, tending to cause distortion. Lower settings of this value will produce linear response.

Mic/Pre Amp - Saturation

c: Tube1 Bias

This expresses the effect that changes in vacuum tube bias have on the distortion of the waveform. Higher settings of this value will produce distortion even at low gain levels. Since this will also change the overtone structure, you can use it to control the tonal character.

Mic/Pre Amp - Bias

Out

Bias = 100

Bias = 50

Bias = 0

Satulation = 50

d: Tube1 Phase

With the Wet Invert setting, the phase of the signal will be inverted between stage 1 and stage 2. Since ???Bias??? is applied to the inverted signal in stage 2, this will change the tonal character.

27: St. Tube PreAmp

(Stereo Tube PreAmp Modeling)

This is a stereo vacuum tube preamp simulator (See ???Tube Pre- Amp Model (Tube PreAmp Modeling)??? on page 121.).

28: Mic Model+PreAmp

(Mic Modeling + PreAmp)

This effect simulates a mic and vacuum tube preamp. You can choose from various types of mic and positions to create differ- ing sonic characters.

b: Mic Position

This expresses the effect that the mic position has on the sound. The Close setting is the closest mic position, and the Far setting is the farthest.

Chorus, Flanger, and Phaser (Cho/Fln

Phaser)

29: Stereo Chorus

This effect adds thickness and warmth to the sound by modulat- ing the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

d: L Pre Delay [msec]

d: R Pre Delay [msec]

Setting the left and right delay time individually allows you to control the stereo image.

Effects 123

Chorus, Flanger, and Phaser (Cho/Fln Phaser)

30: Classic Chorus

This models a famous chorus unit that was built into a guitar amp. Although it does not provide a chorus and vibrato select switch, you can use the ???Wet/Dry??? and ???Bus??? settings to produce their effect. The ???Speed,??? ???Depth,??? and ???Manual??? parameters allow an even wider range of sounds than the original unit.

Wet/Dry

Output Mode

For the master effects, ???Wet/Dry??? adjusts the output level of the effect sound.

When ???Output Mode??? is Mono, L and R will output the same vibrato effect. Normally, you???ll produce a chorus effect by adjust- ing the return level to mix the processed sound with the direct sound. If you turn ???Bus??? Off and adjust the settings so that none of the direct sound is mixed in, a vibrato effect will be produced.

If ???Output Mode??? is ST (L-D&R-W), the direct sound will be panned to L, and the effect sound will be panned to R for output. Normally, you???ll mix the direct sound and effect sound by adjusting the return level, applying chorus only to the R channel, and producing a stereo effect that???s spread to the left and right. If you turn ???Bus??? Off, pan the direct sound and effect sound to the left and right, and output them from stereo speakers, the effect sound and direct sound will be panned in stereo, producing a clear and spacious chorus effect.

Advanced

124 Effects

Chorus, Flanger, and Phaser (Cho/Fln Phaser)

31: Black Chorus/Flanger

This models a Danish-made stereo chorus + pitch modulator & flanger. Although this effect was originally intended for guitar, it was also used by numerous keyboard players. Used with electric piano, it produces a distinctive tone.

Mode

Intensity

Increasing the ???Intensity??? value will strengthen the modulation effect. This controls the effect, direct, and feedback values. The values that are controlled will depend on the ???Mode??? setting.

32: St.HarmonicChorus

(Stereo Harmonic Chorus)

This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use this chorus block with feedback as a flanger.

f: High/Low Split Point

This parameter sets the frequency that splits the high and low range. Only the high range will be sent to the chorus block.

g: Feedback

Sets the feedback amount of the chorus block. Increasing the feedback will allow you to use the effect as a flanger.

37: Stereo Flanger

This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

g:Feedback

h:Wet/Dry

The peak shape of the positive and negative ???Feedback??? value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound if you set a positive value for both ???Feedback??? and ???Wet/Dry???, and if you set a negative value for both ???Feedback??? and ???Wet/Dry???.

g: High Damp [%]

This parameter sets the amount of damping of the feedback in the high range. Increasing the value will cut high-range harmon- ics.

Effects 127

Chorus, Flanger, and Phaser (Cho/Fln Phaser)

38: Classic Flanger

This models a classic analog flanger. It is highly effective for chording on clavi-type keyboards or electric piano.

Advanced

128 Effects

Chorus, Flanger, and Phaser (Cho/Fln Phaser)

39: St. Random Flanger

(Stereo Random Flanger)

The stereo effect uses a step-shape waveform and random LFO for modulation, creating a unique flanging effect.

40: St. Env. Flanger

(Stereo Envelope Flanger)

This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modulation source.

c: Sweep Mode

c: Src

This parameter switches the flanger control mode. With ???Sweep Mode??? = EG, the flanger will sweep using the envelope genera- tor. This envelope generator is included in the envelope flanger, and not related to the Pitch EG, Filter EG, or Amp EG.

The ???Src??? parameter selects the source that starts the envelope generator. If you select, for example, Gate, the envelope genera- tor will start when the note-on message is received.

When ???Sweep Mode??? = D-mod, the modulation source can con- trol the flanger directly. Select the modulation source using the ???Src??? parameter.

The effect is off when a value for the modulation source specified for the ???Src??? parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Envelope Generator is triggered when the value changes from 63 or smaller to 64 or higher.

d: EG Attack

d: EG Decay

Attack and Decay speed are the only adjustable parameters on this EG.

41: Stereo Phaser

This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

h:Resonance

i:Wet/Dry

The peak shape of the positive and negative Feedback value is different. The harmonics will be emphasized when the effect sound is mixed with the dry sound, if you set a positive value for both ???Resonance??? and ???Wet/Dry???, and if you set a negative value for both ???Resonance??? and ???Wet/Dry???.

h: High Damp [%]

This parameter sets the amount of damping of the resonance in the high range. Increasing the value will cut high-range harmon- ics.

Effects 129

Chorus, Flanger, and Phaser (Cho/Fln Phaser)

42: Orange Phaser

This models a standard model of analog phaser that achieved great popularity. It gives a sense of movement to electric piano sounds, adding a rich-sounding phase shift effect.

43: Small Phaser

This models a classic phaser that was born in New York during the 1970s. With a warm, rich tone, it is also loved by many elec- tric piano players.

Color

This lets you choose between two types of phaser sound. Turn- ing this On produces a deeper phase shift effect with a distinc- tive modulation.

Advanced

Modulation and Pitch Shift (Mod./P.Shift)

46: Stereo Vibrato

This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the shimmering speed.

Effects 131

Modulation and Pitch Shift (Mod./P.Shift)

a:AUTOFADE Src

b:Fade-In Delay [msec]

b:Fade-In Rate

d:LFO Frequency Mod

When ???LFO Frequency Mod??? is set to AUTOFADE, you can use the modulation source selected in ???AUTOFADE Src??? as a trigger to automatically fade in the modulation amount. When ???MIDI Sync??? is set to On, you cannot use this.

The ???Fade-In Rate??? parameter specifies the rate of fade-in. The ???Fade-In Delay??? parameter determines the time from AutoFade modulation source On until the fade-in starts.

The following is an example of fade-in where the LFO speed is increased from ???1.0Hz??? to ???4.0Hz??? when a note-on message is received.

AUTOFADE Src=Gate1, LFO Frequency Mod=AUTOFADE,

LFO Frequency [Hz]=1.0, Amt=3.0

The effect is off when a value for the dynamic modulation source specified for the ???AUTOFADE Src??? parameter is smaller than 64, and the effect is on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher.

AUTOFADE AutoFade

Source=Gate1???

LFO Freq. Mod=AUTOFADE???

Gate1 SignalLFO Frequency[Hz]=1.0???

Amount=+3.0

Advanced

a: Control Mode

f: Voice 1: Resonance

h: Voice 2: Resonance

This parameter determines the resonance intensity.

When ???Control Mode??? = Manual, the ???Resonance??? parameter sets the intensity of resonance. If the ???Resonance??? parameter has a negative value, harmonics will be changed, and resonance will occur at a pitch one octave lower.

When ???Control Mode??? = LFO, the intensity of resonance varies according to the LFO. The LFO sways between positive and neg- ative values, causing resonance to occur between specified pitches an octave apart in turn.

When ???Control Mode??? = D-mod, the resonance is controlled by the dynamic modulation source. If JS X or Ribbon is assigned as the modulation source, the pitch an octave higher and lower can be controlled, similar to when LFO is selected for Control Mode.

a: LFO/D-mod Invert

When ???Control Mode??? = LFO or D-mod, the controlled phase of either Voice 1 or 2 will be reversed. When the resonance pitch is set for Voice 1 (Resonance has a positive value), Voice 2 will res- onate at a pitch an octave below (Resonance has a negative value).

f: Voice 1: Pitch

f: Fine [cents]

h: Voice 2: Pitch

h: Fine [cents]

The Pitch parameter specifies the pitch of resonance by note name. The ???Fine??? parameter allows for fine adjustment in steps of cents.

g: High Damp [%]

i: High Damp [%]

This sets the amount of damping amount for the high frequen- cies of the resonant sound. Lower values create a metallic sound with a higher range of harmonics.

Effects 133

Modulation and Pitch Shift (Mod./P.Shift)

49: Doppler

This effect simulates the ???Doppler effect??? of a moving sound with a changing pitch, similar to the siren of an passing ambu- lance. Mixing the effect sound with the dry sound will create a unique chorus effect.

a:LFO Mode

a:Src

b:LFO Sync

The ???LFO Mode??? parameter switches LFO operation mode. When Loop is selected, the Doppler effect will be created repeat- edly. If ???LFO Sync??? is set to On, the LFO will be reset when the modulation source specified with the ???Src??? parameter is turned on.

134 Effects

Modulation and Pitch Shift (Mod./P.Shift)

The effect is off when a value for the modulation source specified for the ???Src??? parameter is smaller than 64, and the effect is on when the value is 64 or higher. The Doppler effect is triggered when the value changes from 63 or smaller to 64 or higher.

e: Pitch Depth

With the Doppler effect, the pitch is raised when the sound approaches, and the pitch is lowered when the sound goes away. This parameter sets this pitch variation.

f: Pan Depth

This parameter sets the width of the stereo image of the effect sound. With larger values, the sound seems to come and go from much further away. With positive values, the sound moves from left to right; with negative values, the sound moves from right to left.

50: Scratch

This effect is applied by recording the input signal and moving the modulation source. It simulates the sound of scratches you can make using a turntable.

a:Scratch Source

b:Response

The Scratch Source parameter enables you to select the modula- tion source that controls simulation. The value of the modula- tion source corresponds to the playback position. The Response parameter enables you to set the speed of the response to the modulation source.

c:Envelope Select

c:Src

d:Threshold

When ???Envelope Select??? is set to D-mod, the input signal will be recorded only when the modulation source value is 64 or higher.

When ???Envelope Select??? is set to Input, the input signal will be recorded only when its level is over the Threshold value.

The maximum recording time is 2,730msec. If this is exceeded, the recorded data will start being erased from the top.

e: Response

This parameter enables you to set the speed of the response to the end of recording. Set a smaller value when you are recording a phrase or rhythm pattern, and set a higher value if you are recording only one note.

f: Direct Mix

With Always On, a dry sound is usually output. With Always Off, dry sounds are not output. With Cross Fade, a dry sound is usually output, and it is muted only when scratching.

Set Wet/Dry to 100 to use this parameter effectively.

51: Grain Shifter

This effect cuts extremely short samples (???grains???) from the input signal waveform and plays them repeatedly, giving a mechanical character to the sound.

a: Duration

c: LFO Sample Cycle [Hz]

Duration sets the length of the sampled grain, and the LFO Sample Cycle controls how often a new grain is sampled. In between Sample Cycles, the current grain is repeated continu- ously.

Effects 135

Modulation and Pitch Shift (Mod./P.Shift)

52: Stereo Tremolo

This effect modulates the volume level of the input signal. The effect is stereo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right.

aDown

a: LFO Waveform

This parameter sets the basic shape of the LFO. The Vintage waveform models classic guitar-amp tremolo.

Tremolo - LFO Waveform

b: LFO Phase [degree]

This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right.

Advanced

136 Effects

Modulation and Pitch Shift (Mod./P.Shift)

53: Classic Tremolo

This models the highly-acclaimed tremolo circuit that was built into a US-made combo amp. The Spread setting lets you create a pan effect that wavers between left and right.

54: St. Env. Tremolo

(Stereo Envelope Tremolo)

This effect uses the input signal level to modulate a stereo trem- olo (LFO volume modulation). For instance, you can create a tremolo effect that becomes deeper and faster as the input gets more quiet.

d: LFO Frequency [Hz]

d:Envelope Amount [Hz]

e:Depth

e: Envelope Amount

The graphic below shows an example of tremolo modulation with negative modulation of both Depth and Frequency. At the start of the note, the input is at maximum volume. This slows down the LFO Frequency to 1.0Hz, but also modulates the Depth to 0???so the tremolo doesn???t have any effect.

As the input volume dies down, the Frequency speeds up; the Depth also increases, making the tremolo effect increasingly audible. When the input volume approaches silence, the Depth is at its maximum (100) and Frequency is at 8Hz.

55: Stereo Auto Pan

This is a stereo-in, stereo-out auto-panner. The Phase and Shape parameters lets you create various panning effects, such as mak- ing the left and right inputs seem to chase each other around the stereo field.

a: LFO Shape

You can change the panning curve by modifying the LFO???s

Shape.

b: LFO Phase [degree]

This determines the phase difference between the left and right LFOs. When you gradually change the value away from 0, the sounds from the left and right channels will seem to chase each other around. If you set the parameter to +180 or ???180, the sounds from each channel will cross over each other.

You???ll only hear the effect of this parameter if the input is true stereo, with different signals in the left and right channels.

Effects 137

Modulation and Pitch Shift (Mod./P.Shift)

56: St. Phaser + Trml

(Stereo Phaser + Tremolo)

This effect combines a stereo phaser and tremolo, with linked LFOs. Swelling phaser modulation and tremolo effects synchro- nize with each other, creating a soothing modulation effect par- ticularly suitable for electric piano.

a: Type

a: LFO Phase [degree]

Select the type of phaser LFO and tremolo LFO for the ???Type??? parameter. How the effect sound moves or rotates depends on the type of LFO. Selecting ???LFO Phase??? enables you to offset the timing of the phaser peak and control a subtle movement and rotation of the sound.

f: Phaser Wet/Dry

i: Wet/Dry

PHASER Wet/Dry sets the balance between the phaser output and the dry sound. OUTPUT Wet/Dry sets the balance between the final phaser and tremolo output level and the dry sound.

57: St. Ring Modulator

(Stereo Ring Modulator)

This effect creates a metallic sound by applying the oscillators to the input signal. Use the LFO or Dynamic Modulation to modu- late the oscillator to create a radical modulation. Matching the oscillator frequency with a note number will produce a ring modulation effect in specific key ranges.

a: OSC Mode

This parameter determines whether or not the oscillator fre- quency follows the note number.

a: Pre LPF

This parameter enables you to set the damping amount of the high range sound input to the ring modulator. If the input sound contains lots of harmonics, the effect may sound dirty. In this case, cut a certain amount of high range.

b: Fixed Frequency [Hz]

This parameter sets the oscillator frequency when ???OSC Mode??? is set to Fixed.

c: Note Offset

c: Note Fine

These parameters for the oscillator are used when ???OSC Mode??? is set to Note (Key Follow). The ???Note Offset??? sets the pitch dif- ference from the original note in semitone steps. The ???Note Fine??? parameter fine-adjusts the pitch in cent steps. Matching the oscillator frequency with the note number produces a ring modulation effect in the correct key.

58: Detune

Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input sig- nal. Compared to the chorus effect, a more natural sound thick- ness will be created.

d: Input Level Dmod [%]

d: Src

This parameter sets the dynamic modulation of the input level.

Effects 139

Modulation and Pitch Shift (Mod./P.Shift)

59: Pitch Shifter

This effect changes the pitch of the input signal. You can select from three types: Fast (quick response), Medium, and Slow (pre- serves tonal quality). You can also create an effect in which the pitch is gradually raised (or dropped) using the delay with feed- back.

a: Mode

This parameter switches the pitch shifter operating mode. With Slow, tonal quality will not be changed too much. With Fast, the effect becomes a Pitch Shifter that has a quick response, but may change the tone. Medium is in-between these two. If you do not need to set too much pitch shift amount, set this parameter to Slow. If you wish to change the pitch significantly, use Fast.

b:Pitch Shift [1/2tone]

b:Src

b:Amt

c:Fine [cents]

c: Amt

The amount of pitch shift will use the value of the Pitch Shift plus the Fine value. The amount of modulation will use the b: Amt value plus the c: Amt.

The same Modulation Source is used for both Pitch Shift and

Fine.

e:Feedback Position

f:Feedback

When Feedback Position is set to Pre, the pitch shifter output is again input to the pitch shifter. Therefore, if you specify a higher

Advanced

140 Effects

Modulation and Pitch Shift (Mod./P.Shift)

value for the Feedback parameter, the pitch will be raised (or lowered) more and more each time feedback is repeated.

If Feedback Position is set to Post, the feedback signal will not pass through the pitch shifter again. Even if you specify a higher value for the Feedback parameter, the pitch-shifted sound will be repeated at the same pitch.

60: Pitch Shifter BPM

This pitch shifter enables you to set the delay time to match the song tempo.

d:BPM

e:Delay Base Note

e:Times

The delay time is the duration of ???Times??? number of ???Delay Base Note??? note values at the ???BPM??? tempo (or if ???BPM??? is set to MIDI, the tempo determined by MIDI Clock).

d: Time Over?

You can set the delay time up to 5,290msec. If the delay time exceeds this limit, the error message ???OVER!??? appears on the display. Set the delay time parameters so that this message will not appear. ???Time Over???? is only a display parameter.

61: Pitch Shift Mod.

(Pitch Shift Modulation)

This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right. This is espe- cially effective when the effect sound and dry sound output from stereo speakers are mixed.

a: Pitch Shift [cents]

e: Depth

These parameters set the amount of pitch shift and amount of modulation by means of the LFO.

g:Pan

h:Wet/Dry

The Pan parameter pans the effect sound and dry sound to the left and right. With L, the effect sound is panned left, and the dry sound is panned right. With a Wet/Dry = Wet setting, the effect and dry sound will be output in a proportion of 1:1.

62: Organ Vib/Chorus

(Organ Vibrato/Chorus)

This effect simulates the chorus and vibrato circuitry of a vintage organ. The modulation speed and depth can be customized.

b:Control Mode

c:Preset Type

d:Custom Mix

e:Custom Depth

f:Custom Speed [Hz]

If Control Mode=Preset, you can use c: Preset Type to select the effect. In this case, the Custom Mix/Depth/Speed settings are ignored. If Control Mode=Custom, the Custom Mix/Depth/ Speed settings are valid, and the c: Preset Type setting is ignored.

c: Amt

If Preset Type=V1 and Src=JS+Y, you can set this to +5 and move JS +Y to control the effect in the order of V1 C1 V2 C2 V3 C3.

Effects 141

Modulation and Pitch Shift (Mod./P.Shift)

63: Rotary Speaker

This effect simulates a rotary speaker, and obtains a more realis- tic sound by simulating the rotor in the low range and the horn in the high range separately. The effect also simulates the stereo microphone settings.

a: Mode

This parameter sets how the modulation source switches between rotation and stop.

When Mode = Toggle, the speaker rotates or stops alternately each time you press the pedal or move the joystick. Via MIDI, rotation will switch between start and stop each time the modu- lation amount exceeds 64.

142 Effects

Delay

b: Speed Switch

This parameter controls how the rotation speed (slow and fast) is switched via the modulation source.

When Mode = Toggle, the speed will switch between slow and fast each time you press the pedal or move the joystick. Via MIDI, the speed will switch each time the modulation amount exceeds 64.

When Mode = Moment, the speed is usually slow. It becomes fast only when you press the pedal or move the joystick. Via MIDI, modulation values above 64 set the speed to Fast, and val- ues below 64 set it to Slow.

c: Manual Speed Ctrl

If you wish to control the rotation speed manually, instead of switching between Slow and Fast, select a modulation source in the Manual Speed Ctrl parameter. If you don???t want to use man- ual control, set this to Off.

d:Horn Acceleration

e:Rotor Acceleration

On a real rotary speaker, the rotation speed accelerates or decel- erates gradually after you switch the speed. The Horn and Rotor Acceleration parameters set the transition times between fast and slow speeds.

g: Mic Distance

g: Mic Spread

This is a simulation of stereo microphone settings.

Delay

64: L/C/R Delay

This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust the left and right spread of the delay sound.

e: High Damp [%]

e: Low Damp [%]

These parameters set the damping amount of high range and low range. The tone of the delayed sound becomes darker and lighter as it feeds back.

g: Spread

This parameter sets the pan width of the effect sound. The stereo image is widest with a value of 50, and the effect sound of both channels is output from the center with a value of 0.

144 Effects

Delay

67: St. Mod Delay

(Stereo Modulation Delay)

This stereo delay uses an LFO to sweep the delay time. The pitch also varies, creating a delay sound which swells and shimmers. You can also control the delay time using a modulation source.

b: D-mod Modulation

d: LFO Sync

d: Src

g:L LFO Phase [deg]

h:R LFO Phase [deg]

If ???LFO Sync??? is On, the LFO will be reset by the modulation source that is received.

The ???Src??? parameter sets the modulation source that resets the LFO. For example, you can assign Gate as a modulation source so that the sweep always starts from the specified point.

???L LFO Phase??? and ???R LFO Phase??? set the phase obtained when the left and right LFOs are reset. In this way, you can create changes in pitch sweep for the left and right channels individu- ally.

The effect is off when a value of the modulation source specified in the ???Src??? parameter is 63 or smaller, and the effect is on when the value is 64 or higher. The LFO is triggered and reset to the ???L LFO Phase??? and ???R LFO Phase??? settings when the value changes from 63 or smaller to 64 or higher.

68: St. Dynamic Delay

(Stereo Dynamic Delay)

This stereo delay controls the level of delay according to the input signal level. You can use this as a ducking delay that applies delay to the sound only when you play keys at a high velocity or only when the volume level is low.

When the modulation source is used for control, this parameter reverses the left and right modulation direction.

a: Control Target

This parameter selects no level control, delay output control (effect balance), or feedback amount control.

a:Polarity

b:Threshold

b:Offset

c:Attack

d:Release

The ???Offset??? parameter specifies the value for the ???Control Tar- get??? parameter (that is set to None), expressed as the ratio rela- tive to the parameter value (the ???Wet/Dry??? value with ???Control Target???=Output level, or the ???Feedback??? value with ???Control Target???=Feedback).

When ???Polarity??? is positive, the ???Control Target??? value is obtained by multiplying the parameter value by the ???Offset??? value (if the input level is below the threshold), or equals the parameter value if the input level exceeds the threshold.

When ???Polarity??? is negative, Control Target value equals the parameter value if the input level is below the threshold, or is obtained by multiplying the parameter value by the ???Offset??? value if the level exceeds the threshold.

The ???Attack??? and ???Release??? parameters specify attack time and release time of delay level control.

Effects 145

Delay

69: St. AutoPanningDly

(Stereo Auto Panning Delay)

This stereo delay effect pans the delay sound left and right using the LFO.

High Damp Low Damp

Right

300.00individual effect

Selects the type of notes to specify Base Note r...wthe delay time for the panning

speed

Sets the number of notes to specify Times x1...x32 the delay time for the panning

speed

Advanced

146 Effects

Delay

70: Tape Echo

This effect simulates a tape echo unit with three playback heads. The distortion and tonal change typical of magnetic tape are also reproduced.

a:Delay (Tap1) [msec]

a:Src

a:Amt

b:Tap2 Position [%]

b:Tap3 Position [%]

The delay time for Tap 2 and 3 is specified as a proportion (%) relative to ???Delay (Tap1).??? Even if you use dynamic modulation to control ???Delay (Tap1),??? Tap 2 and 3 will change at the same proportion.

d:FB Amt

e:FB Amt

f:FB Amt

g:Feedback

The feedback output from Tap 1, 2, and 3 is mixed according to the ???FB Amt,??? and then the final amount of feedback is specified by ???Feedback.???

71: Classic Tape Echo

This models a famous analog tape echo unit. On the original device, ???echo??? was created by a playback head, and the ???delay time??? was specified by adjusting the speed of the motor. The warmth and subtlety of the echoes it generated made this ???lo-fi??? unit a favorite with many pro musicians.

72: Auto Reverse

This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound).

a:Rec Mode

b:Reverse Time [msec]

When ???Rec Mode??? is set to Single, you can set up to 2,640msec for ???Reverse Time.??? If recording starts during the reverse play- back, the playback will be interrupted.

When ???Rec Mode??? is set to Multi, you can make another record- ing during the reverse playback. However, the maximum Reverse Time is limited to 1,320msec.

If you wish to record a phrase or rhythm pattern, set ???Rec Mode??? to Single. If you record only one note, set ???Rec Mode??? to Multi.

The ???Reverse Time??? parameter specifies the maximum duration of the reverse playback. The part in excess of this limit will not be played in reverse. If you wish to add short pieces of the reverse playback of single notes, make the ???Reverse Time??? shorter.

Input

Time

Mode = Single

Mode = Multi

c:Envelope Select

c:Src

d:Threshold

These parameters select the source to control the start and end of recording.

When ???Envelope Select??? is set to D-mod, the input signal will be recorded only when the value of the modulation source selected by the Src parameter is 64 or higher.

When ???Envelope Select??? is set to Input, the input signal will be recorded only when its level exceeds the Threshold level.

When recording is completed, reverse playback starts immedi- ately.

Effects 147

Delay

73: Sequence BPM Dly

(Sequence BPM Delay)

This four-tap delay enables you to select a tempo and rhythm pattern to set up each tap.

300.00individual effect

a:BPM

b:Rhythm Pattern

With the tempo specified by the ???BPM??? parameter (or the MIDI Clock tempo if ???BPM??? is set to MIDI), the length of one beat equals the feedback delay time, and the interval between taps becomes equal. Selecting a rhythm pattern will automatically turn the tap outputs on and off. When ???BPM??? is set to MIDI, the lower limit of the ???BPM??? is 44.

Advanced

148 Effects

Delay

74: L/C/R BPM Delay

The L/C/R delay enables you to match the delay time with the song tempo. You can also synchronize the delay time with the arpeggiator or sequencer. If you program the tempo before per- formance, you can achieve a delay effect that synchronizes with the song in real-time. Delay time is set by notes.

a: Time Over?

You can set the delay time up to 5,460msec. If the delay time exceeds this limit, the error message ???OVER!??? appears in the dis- play. Set the delay time parameters so that this message will not appear. ???Time Over???? is only a display parameter.

75: Stereo BPM Delay

This stereo delay enables you to set the delay time to match the song tempo.

300.00individual effect

a: Time Over? L, R

You can set the delay time up to 2,730msec. If the delay time exceeds this limit, the error message ???OVER!??? appears in the dis- play. Set the delay time parameters so that this message will not appear. ???Time Over???? is only a display parameter.

150 Effects

Delay

i: Time Over? L, R

You can set the delay time up to 2,550msec. If the delay time exceeds this limit, the error message ???OVER!??? appears in the dis- play. Set the delay time parameters so that this message will not appear. ???Time Over???? is only a display parameter.

78: St.BPMAutoPanDly

(Stereo BPM Auto Panning Delay)

This stereo auto panning delay enables you to set the delay time to match the song tempo.

Stereo In - Stereo Out

Left

High Damp Low Damp

Right

FX Amt

300.00individual effect

Sets the number of notes to specify Times x1...x32 the delay time for the panning

speed

79: Tape Echo BPM

This is a tape echo that lets you synchronize the delay time to the tempo of the song.

Effects 151

Delay

a:Tap1 Dmod Src

b:Tap1 Delay Note

b:Times

c:Tap1 Dmod Note

c:Times

If ???Tap1 Dmod Src??? is Off or the selected modulation is at 0, the delay time will be the length specified by ???Tap1 Delay Note??? and ???Times.???

If ???Tap1 Dmod Src??? is other than Off, the delay time will change so that it will be as specified by ???Tap1 Dmod Note??? and ???Times??? when the maximum modulation is reached.

b: Time Over?

You can set the delay time up to 5,400msec. If the delay time exceeds this limit, the error message ???OVER!??? appears in the dis- play. Set the delay time parameters so that this message will not appear. ???Time Over???? is only a display parameter.

Advanced

152 Effects

Reverb and Early Reflections (Reverb ER)

80: Reverb Hall

This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls.

81: Reverb SmoothHall

This hall-type reverb simulates the reverberation of larger halls and stadiums, and creates a smooth release.

82: Reverb Wet Plate

This plate reverb simulates warm (dense) reverberation.

83: Reverb Dry Plate

This plate reverb simulates dry (light) reverberation.

b: Pre Delay [msec]

b: Pre Delay Thru [%]

The ???Pre Delay??? sets the delay time to the reverb input, allowing you to control spaciousness.

Using the ???Pre Delay Thru??? parameter, you can mix the dry sound without delay, emphasizing the attack of the sound.

84: Reverb Room

This room-type reverb emphasizes the early reflections that make the sound tighter. Changing the balance between the early reflections and reverb sound allows you to simulate nuances, such as the type of walls of a room.

85: Reverb BrightRoom

This room-type reverb emphasizes the early reflections that make the sound brighter.

c:ER Level

d:Reverb Level

These parameters set the early reflection level and reverb level.

Changing these parameter values allows you to simulate the type of walls in the room. That is, a larger ???ER Level??? simulates a hard wall, and a larger ???Reverb Level??? simulates a soft wall.

Effects 153

Reverb and Early Reflections (Reverb ER)

86: Reverb Spring

The R2-type reverbs R2.Spring???R2.Room have a different sonic character than Rev.Hall???Rev.Room2. They model the spring reverb systems that are built into some amps.

87: Early Reflections

This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can select one of the four decay curves.

a: Type

This parameter selects the decay curve for the early reflection.

Early Reflections - Type

Sharp

Loose

Modulated

Reverse

Advanced

158 Effects

Mono-Mono Serial (Mono-Mono)

96: Comp - P4EQ

(Compressor - Parametric 4-Band EQ)

This effect combines a mono compressor and a four-band para- metric equalizer. You can change the order of the effects.

COMPRESSOR

97: Comp - Cho/Flng

(Compressor - Chorus/Flanger)

This effect combines a mono compressor and a chorus/flanger. You can change the order of the effects.

COMPRESSOR

h:[F]Output Mode

i:Routing

When Wet Invert is selected, the right channel phase of the cho- rus/flanger effect sound is inverted. This creates pseudo-stereo effects and adds spread.

However, if a mono-input type effect is connected after this effect, the left and right sounds may cancel each other, eliminat- ing the chorus/flanger effects.

When ???Routing??? is set to Flanger??? Comp, ???[F]Output Mode??? will be set to Normal.

170 Effects

Mono-Mono Serial (Mono-Mono)

119: Reverb - Gate

This effect combines a mono reverb and a gate.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Input Reverb Mix

Input

REVERB

f:[G]Envelope Select

f:Src

g:[G]Input Reverb Mix

g:Threshold

The ???[G]Envelope Select??? parameter enables you to select whether turning the gate on and off is triggered by the input sig- nal level or controlled directly by the modulation source. You can select from Off to Tempo for the Src parameter to specify the modulation source.

When ???[G]Envelope Select??? is set to Input, the gate is controlled by the level of signals that are the combination of the dry sound and the reverb sound. When the signal level exceeds the thresh- old, the gate opens and the reverb sound is output.

Normally, set ???[G]Input Reverb Mix??? to Dry (the gate is con- trolled only by the dry sound). If you wish to extend the gate time, set the ???[G]Input Reverb Mix??? value higher and adjust the ???Threshold??? value.

Double Size

Double-size effects take two processing units, therefore ???steal- ing??? one unit to the following FX processors.

120: St. Mltband Limiter

(Stereo Mltband Limiter)

This is a stereo multiband limiter.

Effects 171

Double Size

121: PianoBody/Damper

(PianoBody/Damper Simulation)

This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the resonance of other strings that are not being played when you press the damper pedal. It will create a very realistic sound when applied to acoustic piano sounds.

a: Sound Board Depth

This parameter sets the intensity of resonance of the piano sound board.

b: Damper Depth

b: Src

This parameter sets the resonance intensity of the other strings created when the damper pedal is pressed. The ???Src??? parameter selects the modulation source from which the damper effect is applied. Usually, select Damper #64 Pdl (Damper pedal).

The effect is off when a value for the modulation source specified for the ???Src??? parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

c:Tone

d:Mid Shape

These parameters control the tonal quality of the effect sound.

e: Tune

Since this effect simulates the resonance of the strings, the sound varies depending on the pitch. If you have changed tuning using the ???Master Tuning??? (Global > General Controls > Basic), adjust this parameter value.

Advanced

a: Amp Type

d: Presence

If the Amp Type is VOX AC15...VOX AC30TB, this sets the attenuation of the high-frequency range. For other types, this sets the boost of the high-frequency range.

This corresponds to the Cut knob control of amps made by the VOX Corporation.

e: Post P4EQ

By chaining this with 19: St.Guitar Cabinet you can simulate the combination of a guitar amp and speaker cabinet. In this case, we recommend that you set Post P4EQ to ???Thru,??? but if neces- sary you can turn it ???On??? and adjust the tone.

Recommended Combinations of Guitar Amp Models and Cab- inet Simulators:

Effects 173

Double Size

combined with a relaxed sustain, making for an enjoyable play- ing experience.

124: Amp Clean Combo

This models the clean channel of a amp that went on sale in 1975 and contained two 12" speakers. As the name suggests, it pro- duces a clean tone with a tight sounding character, and a deep and compact low-end.

125: Amp California

This American combo amp with four 10" speakers was produced during the years 1963???1968, and was known for its big, clean sound and its warm and husky sound when driven heavily.

126: Amp Tweed

This American-made tweed-covered 1957 model combo amp with two 12" speakers is known for its rich, clean tone that is ideal for classic rock, blues, and country. By raising the volume you can also produce a powerful and punchy overdrive sound.

127: Amp Modded OD

This models a 100W boutique amp head produced in North Hollywood. An overdrive tone with a rich harmonic structure is

Advanced

174 Effects

Double Size

128: BassTubeAmp+Cab.

(Bass Tube Amp Model + Cabinet)

This simulates a bass amp (with gain and drive) and speaker cab- inet.

a: Amp Type

i: Cabinet Type

Recommended Combinations of Bass Amp Models and Cabi- nets:

129: St. Mic + PreAmp

(Stereo Mic Modeling + PreAmp)

This is a stereo mic and preamp simulator (See ???Mic Model+Pre- Amp (Mic Modeling + PreAmp)??? on page 122.). For example you might use this to simulate micing of a stereo source such as a rotary speaker.

130: Multitap Cho/Delay

(Multitap Chorus/Delay)

This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by setting a different delay time and depth for each block. You can control the delay output level via a modulation source.

b, c, d, e, f, g: Status

These parameters set the output status of each Tap.

Always On: Output is always on. (No modulation)

Always Off: Output is always off. (No modulation)

On??? Off (dm): Output level is switched from on to off depend- ing on the modulation source.

Off??? On (dm): Output level is switched from off to on depend- ing on the modulation source.

Combining these parameters, you can change from 4-phase cho- rus to two-tap delay by crossfading them gradually via the mod- ulation source during a performance.

h: Panning Preset

This parameter selects combinations of stereo images of the tap outputs.

Effects 175

Double Size

131: St. Pitch Shifter

(Stereo Pitch Shifter)

This is a stereo pitch shifter. The pitch shift amount for the left and right channels can be reversed from each other.

a: L/R Pitch

When you select Up/Down for this parameter, the pitch shift amount for the right channel will be reversed. If the pitch shift amount is positive, the pitch of the left channel is raised, and the pitch of the right channel is lowered.

Advanced

a: Sw

This parameter determines how to switch on/off the overdrive via a modulation source.

When ???Sw??? = Toggle, overdrive is turned on/off each time the pedal or joystick is operated.

Overdrive will be switched on/off each time the value of the modulation source exceeds 64.

When ???Sw??? = Moment, overdrive is applied only when you press the pedal or operate the joystick.

Only when the value for the modulation source is 64 or higher, the overdrive effect is applied.

134: L/C/R Long Delay

This multitap delay outputs three Tap signals to left, right and center respectively. You can set a maximum of 5,460msec for the delay time.

Effects 177

Double Size

135: St/Cross Long Delay

(Stereo/Cross Long Delay)

This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between left and right by changing the feedback routing. You can set a maximum of 2,730msec for the delay time.

Advanced

178 Effects

Double Size

136: Hold Delay

This effect records the input signal and plays it back repeatedly. You can control the start of recording and reset via a modulation source. Easy to use for real-time performances.

300.00individual effect

a: Loop Time [msec]

With Auto, the loop time is automatically set. Otherwise, you can specify the loop time.

When Auto is selected, the Loop Time is automatically set to the time it takes for a performance recorded while the Modulation Source or ???Manual REC Control??? is on. However, if the time length exceeds 10,800msec, the loop time will be automatically set to 10,800msec.

c: Time Over?

You can set the delay time up to 10,800msec. If the delay time exceeds this limit, the error message ???OVER!??? appears in the dis- play. Set the delay time parameters so that this message will not appear. ???Time Over???? is only a display parameter.

b:Loop BPM Sync

c:BPM

d:Loop Base Note

d:Times

If ???Loop BPM Sync??? is on, the ???Times??? setting is ignored; the loop time is determined by ???BPM,??? ???Loop Base Note,??? and

???Times.??? Even in this case, the delay time cannot exceed 10,800 msec.

???Hold??? procedure (when Loop Time = Auto)

1.???Rec Src???JS +Y: #01

???Reset Src???JS ???Y: #02

???Manual REC Control???REC Off ???Manual RST Control???RESET ???Loop Time [msec]???Auto ???MIDI/Tempo Sync???Off

It should be noted that all recordings will be deleted while Reset is On.

2.???Manual RST Control???Off

Reset is cancelled and the unit enters Rec ready mode.

3.Push the joystick in the +Y direction (forward) and play a phrase you wish to hold. When you pull the joystick to its original position, the recording will be finished and the phrase you just played will be held.

Loop Time is automatically set only for the first recording after resetting. If the time length exceeds 10,800msec, Loop Time will be automatically set to 10,800msec. (If you have set ???Times??? to 1???10,800msec, the specified loop time will be used regardless of the time taken from pushing the joy- stick forward until it is pulled back. However, the recording method remains the same. The phrase being played while the joystick is pushed forward will be held.)

4.If you made a mistake during recording, pull the joystick in the ???Y direction (back) to reset. In this way, the recording will be erased. Repeat step 4. again.

5.The recorded phrase will be repeated again and again. You can use this to create an accompaniment.

6.By pushing the joystick in the +Y direction (forward), you can also overdub performances over the phrase that is being held.

e: REC Control Src

g: Manual REC Control

???REC Control Src??? selects the modulation source that controls recording.

If this modulation is on, or if ???Manual REC Control??? is set to On, you can record the input signal. If a recording has already been carried out, additional signals will be overdubbed.

The effect is off when a value for the modulation source specified for the ???REC Control Src??? parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

f: RST Control Src

h: Manual RST Control

The ???RST Control Src??? parameter specifies the modulation source that controls the reset operation.

When you set this modulation source to On, or ???Manual RST Control??? to RESET, you can erase what you recorded. If the Loop Time parameter has been set to Auto, the loop time is also reset.

The effect is off when a value for the modulation source specified for the ???RST Control Src??? parameter is 63 or smaller, and the effect is on when the value is 64 or higher.

137: LCR BPM Long Dly

The L/C/R delay enables you to match the delay time with the song tempo.

a: Time Over?

You can set the delay time up to 10,920msec. If the delay time exceeds this limit, the error message ???OVER!??? appears in the dis- play. Set the delay time parameters so that this message will not appear. ???Time Over???? is only a display parameter.

Effects 179

Double Size

138: St. BPM Long Dly

(Stereo BPM Long Delay)

The stereo delay enables you to match the delay time with the song tempo.

300.00individual effect

a: Time Over? L, R

Advanced

Effects 181

Vocoder

e: Formant Shift

By offsetting the Carrier filter, you can adjust the height of the frequency range to which the vocoder effect is applied. The tonal quality will change significantly.

g: Noise Level

This parameter enables you to mix white noise with the Carrier.

h: Modulator High Mix

This parameter sets the high-range output level of the modulator sound. If the modulator is a human voice, it will make the words more clear.

Using the vocoder with microphone input

When programming the Vocoder, you can start from one of the specially programmed ???Vocoder??? Performances (in the Synth Pad bank, Page 3) as templates.

To use a voice from a microphone as a modulator:

1.Connect a microphone to the Mic Input.

2.Set ???Modulator Source??? to Audio In 1.

3.Speak into the microphone while you use the GAIN knob to adjust the level as high as possible without allowing dis- tortion to occur.

With these settings, the sound from the microphone will be used as the modulator. While you play, speak into the mic; it will sound as though the instrument is talking.

If the effect sound is distorted, adjust the ???Carrier Trim??? and ???Modulator Trim.???

Note: Please remember to set the Carrier track???s ???Dry??? parameter to Off, and the Send value to 127.

You can add reverb to the Vocoder, by way of the ???to MFX1??? parameter.

Hint: To create a new Song making use of the Vocoder, enter the Sequencer-Backing Sequence mode with a Performance that includes the Vocoder effect.

Advanced

Style Elements

Note: You can remotely select the various Style Elements on the Pa3X, by sending it Program Change messages on the Control channel (see

???MIDI: MIDI In Channels??? on page 211 of the User???s Manual).

Note: The above Program Change numbers are given according to the 0-127 numbering system.

Style and Player controls

Note: You can remotely send various commands to the Style and Player of the Pa3X, by sending it Program Change messages on the Control

channel (see ???MIDI: MIDI In Channels??? on page 211 of the User???s Manual).

Note: The above Program Change numbers are given according to the 0-127 numbering system.

Single Touch Settings (STS)

Note: You can remotely select Single Touch Settings (STS) on the Pa3X, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32)

and Program Change messages on the Control channel (see ???MIDI: MIDI In Channels??? on page 211 of the User???s Manual). If a Style is already selected, just send the Program Change message.

Note: The above Control Change and Program Change numbers are given according to the 0-127 numbering system.

Advanced