E 1
ENGLISH
OS Ver. 1.0
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Table of Contents
1
Table of Contents
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Time Slice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
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Table of Contents
2
Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
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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.
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:
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:
Chord
Chord Variations (CVs)
Variation 1-4 Intro 1-3, Fill 1-4, Break, Ending 1-3
Pop Ballad
Maj
6
Variation 1
M7
Variation 2
CV1
M7b5
Sus4
Sus2
M7sus4
min
Variation 3
Drum
Perc
Variation 4
Bass
Acc1
Intro1
Acc2
m6
Acc3
Acc4
Acc5
m7
CV1
m7b5
mM7
7
CV2
CV1 – CV6
CV1 – CV2
CV2
Intro 2
7b5
CV3
7sus4
dim
Intro 3/C.In
CV4
CV5
CV6
Fill 1
Fill 2
Fill 3
dimM7
aug
aug7
augM7
no 3rd
no 3rd, no 5th
b5
Fill 4
Break
dim7
Ending 1
Ending 2
Ending 3
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).
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Style Record mode
Style/Pad Import/Export
4
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.
•
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.
Ordinary, Guitar and Drum tracks
and each of them is treated in a different way by the arranger;
Style/Pad Import/Export
•
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.
As an alternative to creating Styles on the Pa3X, you can import
a Standard MIDI Files (SMF) from your computer to a Pa3X’s
•
•
Drum & and Perc (Percussion) tracks: No transposition is
applied.The original pattern plays always.
Entering the Style Record mode
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.
While in the Style Play operating mode, press the RECORD but-
ton. The following page will appear in the display:
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.
•
•
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.
Pattern data vs. track data
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).
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 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).
•
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
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.
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).
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Style Record mode
Exit by saving or deleting changes
5
Note: While in Record mode, the footswitch and EC5 pedals are
disabled. On the contrary, volume/expression-type pedals can be
used.
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.
Exit by saving or deleting changes
Control function
CC#
When finished editing, you can save your Style or Pad in mem-
ory, or abort any change.
Allowed
• To save changes, select the “Write Style” command from the
page menu (see “Write Style dialog box” on page 31).
Note On
RX Noise On
Pitch Bend
Channel After Touch
Modulation
Breath
• 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.
1
Hint: Save often while recording, to avoid accidentally losing your
changes to the Style.
2
Pan
10
11
12
13
64
71
74
80
81
82
Expression
CC#12
CC#13
Listening to the Style while in Edit mode
Damper (Hold 1)
Filter Resonance (Harmonic Content)
Low Pass Filter Cutoff (Brightness)
CC#80 (General Purpose #5)
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.
CC#81 (General Purpose #6)
To select a Chord Variation, go to the Main page of the Record/
CC#82 (General Purpose #7)
Note: Some Control Change messages cannot be recorded directly
by using Pa3X integrated controls (like the Ribbon Controller).
•
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.
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-
•
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.
Some controllers are reset at the end of the pattern.
•
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.
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Style Record mode
Main page - Record 1
6
Recording parameters area
Main page - Record 1
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).
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.
Var1…End3 This is the selected Style Element
Page sub-header
Page header
Page menu icon
Chord Var (Chord Variation)
Recording
parameters
area
This parameter lets you select a Chord Variation for editing,
after selecting the Style Element this Chord Variation belongs to.
Selected
track info
area
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.
Key/
Chord
area
NTT
area
• 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.
Track volume/status area
Resolution
Page header
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.
This line shows the current operating mode and transposition.
Note: To quantize after recording, use the Quantize function in the
Operating mode
name
Master Transpose (in
semitones)
High
No quantization applied.
Operating mode name
(1/32)… (1/8)
Name of the current operating mode.
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.
Master transpose
Master transpose value in semitones. This value can be changed
using the TRANSPOSE buttons on the control panel.
No quantiza-
tion
1/16
1/8
Page menu icon
Touch this icon to open the page menu. See “Page menu” on
Page sub-header
This area shows some performing info on the Style/Pad.
Rec Length (Recording Length)
Style/Pad in record/edit
Beat counter Measure number
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).
Style in record/edit
Name of the Style currently in edit or record.
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.
Beat counter
This indicator shows the current beat inside the current mea-
sure.
Measure number
Current measure you are recording.
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Style Record mode
7
Main page - Record 1
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
Selected track info area
This line lets you see the Sound assigned to the selected track.
Track name
Sound bank
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.
Program Change
Sound name
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.
Track name
Name of the selected track.
Drum…Acc5 Style track.
Sound name
CV Length (Chord Variation Length)
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.
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.
Sound bank
Bank the selected Sound belongs to.
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
Program Change
Program Change number sequence (Bank Select MSB, Bank
Select LSB, Program Change).
Metro (Metronome)
Key/Chord area
This is where you can set the metronome.
Key/Chord
Off
No metronome click will be heard during record-
ing. In any case, a one-bar precount will be played
before starting recording.
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).
On1
On2
Metronome on, with a one-bar precount before
starting recording.
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.
Metronome on, with a two-bar precount before
starting recording.
Tempo
Select this parameter to use TEMPO controls to set the tempo.
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.
Hint: You can always change the Tempo, when other parameters
are selected, by keeping the SHIFT button pressed, and rotating the
DIAL.
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.
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).
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.
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.
Note: This does not apply to Guitar Mode, relying on a different
tion.
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Style Record mode
Main page - Record 1
8
Parallel/Root The root note (in CMaj = C) is transposed to the
missing notes.
NTT Area
NTT Type/Table
Parallel/Fifth The 5th note (in CMaj = G) is transposed to the
missing notes.
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.
As recorded with
NTT = Root or 5th
(Key/Chord = CMaj)
When you play a CM7
with NTT = Root
When you play a CM7
with NTT = 5th
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.
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.
As recorded with
NTT = i-Series
(Key/Chord = CM7)
When you play a CMaj When you play a C7
with NTT = i-Series with NTT = i-Series
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.
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).
as written
as played back
• 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…).
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.
as written
as played back
Fixed/No Transpose
Note: To conform to Korg specifications, it is advisable to set the
NTT to “No Transpose” on the Intro 1 and Ending 1.
The programmed notes can only be transposed
by the Master Transpose. They are never trans-
posed when chords are changed.
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Style Record mode
Main page - Record 2/Cue
9
Delete Note button
Main page - Record 2/Cue
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.
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.
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.
Sounds
area
5. When finished, release the Delete button and the note to be
deleted, and press START/STOP again to stop the Style.
Cue area
Note: If the note is at the beginning of the pattern, press the
note before starting the Style.
Tracks volume/status area
Sounds 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.
This area lets you see Sounds and octave transposition for the
eight Style tracks.
Octave transpose icon
Sound bank’s icon
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
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).
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.
Track status icons
PA D
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
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).
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.
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Style Record mode
Main page - Guitar Mode
10
Cue area
Main page - Guitar Mode
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.
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:
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.
Note: To access this page, a Guitar track must first be selected (see
Guitar Mode tab will remain grey (not selectable).
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.
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
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.
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Style Record mode
Main page - Guitar Mode
11
key; with them, you can always play the lowest notes of an arpeg-
gio. This octave also includes an ‘all mute’ key (F#):
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
Pa3X 76
Pa3X 61
All Mute
Recognized Chord
Full Down Slow Mute
Power Chord
Full Down/Up
Fifth
Recognized
Chord Root
Full Up Mute
Full Down Mute
Up Mute 4-Strings
Down Mute 4-Strings
VI String (E)
I String (e)
II String (B)
IV String (D) III String (G)
Down/Up
4-Strings
Full Down
Full Up
Full Down Mute Body
Up 4-Strings
V String (A)
Full Down
Slow
Down 4-Strings
Full Up Slow
Recording RX Noises
Further on, the upper octaves are used to trigger RX Noises:
Recording single strings
Pa3X 76
Pa3X 61
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#
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
Together with strums and arpeggios, you can record regular pat-
page 27 of the User’s Manual). This will save an Accompaniment
track, when all you need is just to record some short melodic
passages (for example, the closing of a strumming pattern).
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Style Record mode
Main page - Guitar Mode
12
You can record the pattern by playing it in the range shown by
the diagram.
Vel.
Range
from Str.
to Str.
Position
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
4 Strings Treble
I
IV
IV
IV
VI
VI
VI
VI
VI
VI
V
3
4
5
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
3
4
5
0
1
Pa3X 76
Pa3X 61
4 Strings Treble
I
4 Strings Treble
I
3 Strings Bass
IV
IV
IV
IV
IV
IV
III
III
III
III
III
III
II
3 Strings Bass
3 Strings Bass
3 Strings Bass
3 Strings Bass
3 Strings Bass
3 Strings MiddleBas
3 Strings MiddleBas
3 Strings MiddleBas
3 Strings MiddleBas
3 Strings MiddleBas
3 Strings MiddleBas
3 Strings MiddleTreble
3 Strings MiddleTreble
3 Strings MiddleTreble
3 Strings MiddleTreble
3 Strings MiddleTreble
3 Strings MiddleTreble
3 Strings Treble
V
V
Recording a Chord Shape
V
You can finely choose Chord Shapes by using MIDI messages.
When you play a C0 note with the velocity value shown in the
following table, a chord is played in a particular position and on
a certain number of strings.
V
V
IV
IV
IV
IV
IV
IV
III
III
III
III
III
III
VI
VI
VI
VI
VI
VI
V
II
II
Vel.
Range
from Str.
to Str.
Position
II
0
6 Strings
I
VI
VI
VI
VI
VI
VI
VI
VI
VI
VI
VI
VI
VI
V
0
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
3
4
5
0
1
2
II
1
6 Strings
I
II
2
6 Strings
I
I
3
6 Strings
I
3 Strings Treble
I
4
6 Strings
I
3 Strings Treble
I
5
6 Strings
I
3 Strings Treble
I
6
6 Strings
I
3 Strings Treble
I
7
5 Strings Bass
5 Strings Bass
5 Strings Bass
5 Strings Bass
5 Strings Bass
5 Strings Bass
5 Strings Treble
5 Strings Treble
5 Strings Treble
5 Strings Treble
5 Strings Treble
5 Strings Treble
4 Strings Bass
4 Strings Bass
4 Strings Bass
4 Strings Bass
4 Strings Bass
4 Strings Bass
4 Strings Middle
4 Strings Middle
4 Strings Middle
4 Strings Middle
4 Strings Middle
4 Strings Middle
4 Strings Treble
4 Strings Treble
4 Strings Treble
II
II
II
II
II
II
I
3 Strings Treble
I
8
2 Strings Bass
V
V
V
V
V
V
IV
IV
IV
IV
IV
IV
III
III
III
III
III
III
II
9
2 Strings Bass
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
2 Strings Bass
2 Strings Bass
2 Strings Bass
2 Strings Bass
I
V
2 Strings MiddleBas
2 Strings MiddleBas
2 Strings MiddleBas
2 Strings MiddleBas
2 Strings MiddleBas
2 Strings MiddleBas
2 Strings Middle
2 Strings Middle
2 Strings Middle
2 Strings Middle
2 Strings Middle
2 Strings Middle
2 Strings MiddleTreble
2 Strings MiddleTreble
2 Strings MiddleTreble
2 Strings MiddleTreble
2 Strings MiddleTreble
2 Strings MiddleTreble
2 Strings Treble
I
V
V
I
V
V
I
V
V
I
V
V
III
III
III
III
III
III
II
II
II
II
II
II
I
VI
VI
VI
VI
VI
VI
V
V
IV
IV
IV
IV
IV
IV
III
III
III
III
III
III
II
V
V
II
V
II
V
II
V
II
IV
IV
IV
II
I
I
I
2 Strings Treble
I
II
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Style Record mode
Main page - Guitar Mode
13
Capo - Fret
Vel.
Range
from Str.
to Str.
Position
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).
87
88
89
90
2 Strings Treble
2 Strings Treble
2 Strings Treble
2 Strings Treble
I
I
I
I
II
II
II
II
2
3
4
5
0
Open string – no capo.
Choosing a Key/Chord for Intro 1 and
Ending 1
I…X
Position of the capo over the fingerboard (i.e., “I”
corresponds to the first fret, “II” to the second
one, and so on).
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.
Strings - High/Low
Use this pair of parameters to choose the strings the pattern will
be played on.
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:
1…6
Position of the capo over the fingerboard (i.e., “I”
corresponds to the first fret, “II” to the second o
Diagram
The diagram shows how a chord would be composed on the fin-
gerboard. Here is the meaning of the various symbols:
Vel.
Chord Type
Vel.
Chord Type
1
Major
2
Major 6th
Red dot
White dot
X
Fingered string (i.e., played note).
Fifth, playing on the D#2 key.
Non played or muted note.
3
Major 7th
4
Major 7th flatted 5th
Suspended 2nd
Minor
5
Suspended 4th
Major 7th suspended 4th
Minor 6th
6
7
8
Light grey bar Barré (a finger crossing all the strings, like a
mobile capo).
9
10
12
14
16
18
20
22
24
Minor 7th
11
13
15
17
19
21
23
Minor 7th flatted 5th
Dominant 7th
7th suspended 4th
Diminished major 7th
Augmented 7th
Major w/o 3rd
Flatted 5th
Minor major 7th
7th flatted 5th
Dimished
Dark grey bar Capo.
Augmented
Augmented major 7th
Major w/o 3rd and 5th
Diminished 7th
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.
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Style Record mode
Style Record procedure
14
Realtime Record procedure
Style Record procedure
1. Select the track to record. Its status icon will turn to
There are two different methods for recording a Style: Realtime
and Step.
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.
•
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.
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.
In addition, you can program a Style on a personal computer,
and then import it via the Import function (see “Import: Import
• When you have finished practicing, press START/STOP
to stop the arranger, and unmute the track by repeatedly
Preparing to record
touching its icon status, until the
appears again.
(Record) status icon
1. If you like to edit an existing Style, select that Style.
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.
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.
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.
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.
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.
Note: For more information on the Style Elements and Chord
Variations, and the Style structure in general, see “The Style
3. When finished recording, press START/STOP to stop the
arranger. Select a different track, and go on recording the
full Chord Variation.
5. Use the Rec Length (Recording Length) parameter to set
the length (in measures) of the pattern to record.
Note: You can select a different track only when the arranger
is not running.
6. Use the Meter parameter to set the Style Element’s meter
(time signature).
4. When finished recording the Chord Variation, select a dif-
ferent Chord Variation or Style Element to go on recording
the full Style.
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.
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.
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
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.
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
you prefer to do a Step Record, jump to “Step Record pro-
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Style Record mode
Style Record procedure
15
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.
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.
9. From the main page of the Style Record mode, select either
exit from the Style record mode, respectively by saving the
or by canceling any change.
2. The “Pos” parameter shows the current position.
• If you do not want to insert a note or chord at the current
• To jump to the next measure, filling the remaining beats
with rests, touch the Next M. button in the display.
Chords and second voices
the display.
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.
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
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.
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Style Record mode
Edit menu
16
Other pages have a slightly different structure.
Edit menu
Operating mode Edit section
Chord
Page menu
icon
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.
Parameters
area
When in an edit page, press the EXIT button to return to the
main page of the Style Record mode.
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.
Note: While the Style is in play, you cannot access the Edit section
the playback before pressing MENU.
Selected Style Element
In Style Record mode, edits always happen on the selected Style
Element.
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.
Page menu icon
Touch this icon to open the page menu (see “Page menu” on
page 31).
Edit page structure
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.
Most edit pages share some basic elements.
Chord
Selected Style Element
Page menu
Operating mode Edit section
icon
Track status
Selected
track info
Use these buttons to mute/unmute tracks while editing.
Tabs
Use tabs to select one of the edit pages of the current edit section.
Parameters
area
Tabs
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Style Record mode
17
Event Edit: Event Edit
Position
Position of the event, expressed in the form ‘aaa.bb.ccc’:
Event Edit: Event Edit
•
•
•
‘aaa’ is the measure
‘bb’ is the beat
‘ccc’ is the tick (each quarter beat = 384 ticks)
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
more information on the event editing procedure.
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
Chord
Page sub-header
Page header
Page menu icon
(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”.
Event list
Type, Value 1, Value 2
Track pop-
up menu
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.
Tabs
Scrollbar
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.
Page header
To select and edit the event’s value, select the corresponding
parameter, and use VALUE controls.
Page menu icon
Length
Touch this icon to open the page menu. See “Page menu” on
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.
Page sub-header
This area shows some performing info on the Song.
Scrollbar
Selected track
Selected Style Ele-
ment
Selected Chord Vari-
ation
Use the scrollbar to browse the event through the list. (As an
alternative, use Shift + Dial).
Selected track
Other elements
Name of the track in edit. Use the Track pop-up menu to select
one of the Style tracks.
Track pop-up menu
SE/CV (Style Element/Chord Variation)
Use this pop-up menu to select the track to edit, inside the cur-
rent 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).
Drum…Acc5 Style track.
Go Meas.
While the Style is not running, touch this button to open the Go
to Measure dialog box:
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.
Touch the event to be selected. Selected events are highlighted
and can be heard.
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Style Record mode
Event Edit: Event Edit
18
When in this dialog box, select a target measure, and touch OK.
The first event available in the target measure will be selected.
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.
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.
For more information on the event types and their val-
11. Edit the event.
Delete
• Select the “M” parameter. Use VALUE controls to change
the event’s position.
Touch the Delete button in the display to delete the event
selected in the display.
• Select the Type parameter. You may use VALUE controls
to change the event type, as well as its Value 1 and Value 2.
Event Edit procedure
• If a Note event is selected, select the Length parameter,
and use VALUE controls to change the event’s length.
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.
12. You may use the Go Meas. command to go to a different
ten how the pattern sounds after your changes. Press
START/STOP again to stop the pattern running.
(Chord Variation)” parameters.
Note: For more information on the Style Elements and Chord
Variations, and the Style structure in general, see “The Style
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.
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).
15. When editing is complete, you may select a different track
to edit (go to step 7).
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.
16. When finished editing the selected Chord Variation, press
EXIT to go back to the main page of the Style Record
Variation.
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
Style” command from the page menu to open the Write
changes.
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
• Touch the
(Text Edit) button to enter the Text Edit
8. The list of events contained in the selected track (inside the
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.
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.
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Style Record mode
19
Event Edit: Filter
Event Edit: Filter
Style Edit: Quantize
This page is where you can select the event types to be shown in
the Event Edit page.
The quantize function may be used to correct any timing mis-
take after recording, or to give the pattern a “groovy” feeling.
Turn On the filter for all event types you do not wish to see in
the Event Edit page.
After setting the various parameters, touch Execute.
Track
Note: Some of the events are “ghosted”, and non editable, since the
corresponding events are not editable in a Style.
Use this parameter to select a track.
All
All tracks selected.
Note/RX Noise
Drum…Acc5 Selected track.
Notes and RX Noises.
Control
Control Change events. Only the following Con-
trol Change numbers are allowed with Styles.
E / CV (Style Element/Chord Variation)
Use these parameters to select the Style Element and Chord
Variation for editing.
Control function
CC# (Control Change Number)
Resolution
Modulation 1
Modulation 2
Pan
1
2
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.
10
11
(a)
Expression
CC#12
12
13
16
64
71
No quantiza-
tion
CC#13
Ribbon
Damper
Filter Resonance
1/8
1/4
Low Pass Filter Cutoff
CC#80
74
80
81
82
CC#81
CC#82
(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.
(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.
Tempo/Meter Tempo and Meter (time signature) changes (Mas-
ter Track only).
Start / End Tick
Pitch Bend
Pitch Bend events.
Use these parameters to set the starting and ending points of the
range to quantize.
If a Chord Variation is four measures long, and you want to
select it all, the Start will be positioned at 1.01.000, and the End
at 5.01.000.
Bottom / Top Note
Use these parameters to set the bottom and top of the keyboard
range to quantize. If you select the same note as the Bottom and
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Style Record mode
Style Edit: Transpose
20
Top parameters, you can select a single percussive instrument in
a Drum or Percussion track.
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.
Note: These parameters are available only when a Drum or Per-
cussion track is selected.
Bottom / Top Note
Execute
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.
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.
Execute
Mute status. The track cannot be heard.
Touch this button to execute the operation set in this page.
Track names
Track status icon
Under the buttons, a label for each track is shown.
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
Style Edit: Transpose
Mute status. The track cannot be heard.
Track names
In this page you can transpose the selected track(s).
Under the buttons, a label for each track is shown.
Chord” parameter in the main page of the Style Record mode (see
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.
E / CV (Style Element/Chord Variation)
Use these parameters to select the Style Element and Chord
Variation for editing.
Track
After setting the various parameters, touch Execute.
Use this parameter to select a track.
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.
All
All tracks selected, apart for tracks set in Drum
mode (like the Drum and Percussion tracks). The
whole selected Chord Variation will be trans-
posed.
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.
Drum…Acc5 Single selected track.
Value
Track
Transpose value ( 127 semitones).
Start / End Tick
Use this parameter to select a track.
All
All tracks selected. The velocity for all notes of
the whole selected Chord Variation will be
changed.
Use these parameters to set the starting and ending points of the
range to be transposed.
Drum…Acc5 Selected track.
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Style Record mode
21
Style Edit: Cut
E / CV (Style Element/Chord Variation)
Track status icon
Use these parameters to select the Style Element and Chord
Variation for editing.
Status of tracks. Touch this icon to change the status.
Play status. The track can be heard.
Value
Mute status. The track cannot be heard.
Velocity change value ( 127).
Start / End Tick
Track names
Under the buttons, a label for each track is shown.
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.
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).
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
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”.
After setting the various parameters, touch Execute.
E / CV (Style Element/Chord Variation)
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.
Use these parameters to select the Style Element and Chord
Variation for editing.
Start
Curve
First measure to be cut.
(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.
Length
Number of measures to be cut.
Start Value = 0%, End Value = 100%
Curve 1
Curve 2
Curve 3
127
127
127
Execute
Velocity
Velocity
Velocity
Touch this button to execute the operation set in this page.
1
1
1
Start
Value
End
Value
Start
Value
End
Value
Start
Value
End
Value
Track status icon
Status of tracks. Touch this icon to change the status.
Curve 4
Curve 5
Curve 6
127
127
127
Play status. The track can be heard.
Velocity
Velocity
Velocity
RANDOM
1
1
1
Mute status. The track cannot be heard.
Start
Value
End
Value
Start
Value
End
Value
Start
Value
End
Value
Track names
Start / End Vel. Value
Under the buttons, a label for each track is shown.
(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.
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Style Record mode
Style Edit: Delete
22
Note: Some CC data are automatically removed
information on the allowed data.
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:
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.
After setting the various parameters, touch Execute.
Execute
E / CV (Style Element/Chord Variation)
Touch this button to execute the operation set in this page.
Use these parameters to select the Style Element and Chord
Variation for editing.
Track status icon
Status of tracks. Touch this icon to change the status.
Track
Play status. The track can be heard.
Use this parameter to select a track.
All
All tracks selected. After deletion, the selected
Chord Variation will remain empty.
Mute status. The track cannot be heard.
Track names
Drum…Acc5 Selected track.
Under the buttons, a label for each track is shown.
Event
Type of MIDI event to delete.
All
All events. The measures are not removed from
the Chord Variation.
Style Edit: Delete All
Note
All notes in the selected range.
This function lets you quickly delete a selected Style Element or
Chord Variation, or the whole Style.
Dup.Note
All duplicate notes. When two notes with the
same pitch are encountered on the same tick, the
one with the lowest velocity is deleted.
After Touch After Touch events.
Note: This kind of data is automatically removed
during recording.
Pitch Bend
Pitch Bend events.
Prog.Change Program Change events, excluding the bundled
Control Change #00 (Bank Select MSB) and #32
(Bank Select LSB).
Note: This kind of data is automatically removed
during recording.
After setting the various parameters, touch Execute.
Ctl.Change All Control Change events, for example Bank
Select, Modulation, Damper, Soft Pedal…
Track
All
All tracks of the selected Style, Style Element or
Chord Variation.
CC00/32…CC127
Single Control Change events. Double Control
Change numbers (like 00/32) are MSB/LSB bun-
dles.
Drum-Acc5 Single track of the selected Style, Style Element or
Chord Variation.
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Style Record mode
Style Edit: Copy from Style
23
E / CV (Style Element/Chord Variation)
From… To E/CV (Style Element/Chord Variation)
Use these parameters to select the Style Element and Chord
Variation for editing.
Use these parameters to select the source and target Style Ele-
ments or Chord Variations.
All
All Style Elements, i.e. the whole Style. When E/
Track=All and CV=All, the whole Style is deleted,
and all parameters are set to the default status.
Note: You can’t copy from a Variation to a different Style Element
(or vice-versa), because of their different structure.
All
All Style Elements, i.e. the whole Style. You can’t
change the target, that is automatically set to All.
Var1…CountIn
Single Style Element.
Var1…End2 Single Style Element.
V1-CV1…E2-CV2
V1-CV1…CI-CV2
Single Chord Variation.
Single Chord Variation.
Execute
From… To Track
Touch this button to execute the operation set in this page.
Use this parameter to select the source and target track to copy.
You can double a track, to strengthen a pattern.
Track status icon
All
All tracks of the selected Style, Style Element or
Chord Variation.
Status of tracks. Touch this icon to change the status.
Drum-Acc5 Single track of the selected Style, Style Element or
Chord Variation.
Play status. The track can be heard.
Mute status. The track cannot be heard.
Execute
Track names
Touch this button to execute the operation set in this page.
Under the buttons, a label for each track is shown.
Track status icon
Status of tracks. Touch this icon to change the status.
Style Edit: Copy from Style
Play status. The track can be heard.
Mute status. The track cannot be heard.
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.
Track names
Under the buttons, a label for each track is shown.
Warning: The Copy operation deletes all data at the target loca-
tion (overwrite).
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
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.
1
2
3
4
1
2
3
4
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.
•
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,
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.
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Style Record mode
Style Edit: Copy from Pad
24
the source will be copied once, then the first 2 measures
will be copied to fit the remaining 2 measures.
Style Edit: Copy from Pad
1
2
3
4
5
6
Here you can copy a Chord Variation from a Pad. Furthermore,
you can copy a whole Pad.
1
2
3
4
5
6
1
2
Warning: The Copy operation deletes all data at the target loca-
tion (overwrite).
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.
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.
All
All Chord Variations, i.e. the whole Pad. You can’t
change the target, that is automatically set to All.
CV1…CV6 Single 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.
All
All tracks of the selected Style, Style Element or
Chord Variation.
Drum-Acc5 Single track of the selected Style, Style Element or
Chord Variation.
Execute
Touch this button to execute the operation set in this page.
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Style Record mode
Style Element Track Controls: Sound/Expression
25
Expression
Style Element Track Controls: Sound/
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
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.
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.
Expression leveling
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.
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
When in this page, press the corresponding button on the
control panel to select a Style Element (VARIATION1 …
ENDING3).
Expression level
To copy the settings of this page to another Style Element, use
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-
Selected Track Info area
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)
Sounds area
Expression area
Volume area
Expression Monitor
Use these controls to set the volume and status of each track. See
page 9 for more information.
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.
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.
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.
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Style Record mode
Style Element Track Controls: Keyboard Range
26
Style Element Track Controls: Keyboard
Range
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.
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.
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,
on page 27). This control has no effect on other types of track.
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).
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.
To copy the settings of this page to another Style Element, use
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.
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.
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Style Record mode
Style Track Controls: Type/Trigger/Tension
27
Tension
Style Track Controls: Type/Trigger/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.
In this page you can set the Mode, Retrigger mode for the Style
tracks, and activate/deactivate the Tension for the Accompani-
ment tracks.
On
Off
The Tension will be added.
No Tension will be added.
Import: Import Groove
The Import Groove function allows the loading of MIDI
Grooves (“.GRV” files) generated by the Slice function (in the
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.
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.
Drum
Drum track. This type of track is not transposed
by the arranger, and is used for Drum Kits made
of Drum sounds. It can be affected by the Drum
Mapping of the Style Play mode (see “Drum
Mapping (Var.1…Var.4)” on page 134).
Perc
Percussion track. This type of track cannot be
transposed, and is used for Drum Kit made of
Percussion sounds. It is NOT affected by the
Drum Mapping.
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.
Bass
Acc
Bass track. This type of track always plays the
root when changing chord.
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.
Accompaniment track. This type of track can be
used freely, for melodic or harmonic accompani-
ment patterns.
From
Gtr
Guitar track. This type of track uses Guitar Mode
to create guitar strumming (see “Main page -
selected, the “Tension” parameter can no longer
be edited.
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)
Trigger Mode
Use this parameter to select the target Style Element and Chord
Variation.
This setting lets you define how Bass and Acc-type tracks are
retriggered when the chord is changed.
To Track
Off
Each time you play a new chord, current notes
will be stopped. The track will remain silent until
a new note will be encountered in the pattern.
Use this parameter to select the target track inside the selected
Chord Variation. The Percussion track is usually suggested,
since the Drum track is still suitable for standard Drum Kit
sounds (count-in, break etc.). After importing the MIDI Groove
pattern, assign the Sound, to which the sliced samples are
assigned, to the track playing the MIDI Groove pattern.
Rt
(Retrigger) The sound will be stopped, and new
notes matching the recognized chord will be
played back.
Rp
(Repitch) New notes matching the recognized
chord will be played back, by repitching notes
already playing. There will be no break in the
sound. This is very useful on Guitar and Bass
tracks.
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Style Record mode
Import: Import SMF
28
the CV Length value to reset the Chord Variation length. The
exceeding note will be cut, to fit the new pattern length.
Import: Import SMF
When programming
a
Chord Variation on an external
sequencer, please assign each Style track to the correct MIDI
channel, according to the following table.
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.
Style Track
MIDI Channel
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.
Bass
09
10
11
12
13
14
15
16
Drum
Percussion
Accompaniment 1
Accompaniment 2
Accompaniment 3
Accompaniment 4
Accompaniment 5
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.
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.
Select
Touch this button to open the file selector and load the SMF.
importing the first Chord Variation of a Style Element, and
uncheck it when importing the following Chord Variations.
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.
• 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.
importing the first Chord Variation of a Style Element, and
uncheck it when importing the following Chord Variations.
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).
To E/CV
Use this parameter to select a target Chord Variation.
Execute
• 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,.
After setting all parameters in this page, touch this button to
import the Standard MIDI File into the target Chord Variation.
• 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
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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.
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).
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:
1. While in this page, touch the Select button, and choose the
Standard Midi File to be imported.
2. Keep the SHIFT button pressed.
Component
Meaning
3. Without releasing the SHIFT button, touch the Execute
button in the display.
E
Style Element (‘v’ = variation, ‘i’ = intro, ‘f’ = fill,
‘e’ = ending)
4. Release the SHIFT button.
n
Style Element number (‘1’~’4’ for variations, ‘1’~’2’ for all
other style elements)
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.
CV
n
Chord Variation (‘cv’ = chord variation – no other choices
allowed)
Chord Variation number [1~6 for Variations, 1~2 for all oth-
ers]
Style Tracks and MIDI Channels must be lined as in the previous
table, as per Korg’s standard Style format definition.
Warning: It is mandatory not to use capital letters in Marker
names. Some examples of valid names:
Note: Tracks/MIDI Channels other than the above mentioned are
ignored during the import procedure.
‘i1cv2’ = Intro1 – Chord Variation 2
‘v4cv3’ = Variation 4 – Chord Variation 3
Examples of non accepted names:
For a list of MIDI events supported during the import opera-
following events are stripped off and automatically transferred to
the Style Element header during the import procedure:
‘V1cv2’, ‘v1CV2’, ‘intro i1cv2’, ‘v1cv1 chorus’
•
•
•
•
Time signature (this event is mandatory)
Control Change bundle #00-32 (Bank Select MSB/LSB)
Program Change
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.
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).
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Style Record mode
Export SMF
30
Exporting a Style as an SMF separated by
Markers
Export SMF
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).
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.
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).
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.
Each Chord Variation will include, at the very beginning (tick 0),
the following informations:
•
•
•
•
Time signature
From E/CV
Control Change bundle #00-32 (Bank Select MSB/LSB)
Program Change
Use this pop-up menu to select one of the available Chord Varia-
tions from the current Style.
Control Change #11 (Expression)
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.
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Style Record mode
31
Page menu
Copy Chord Table
Page menu
Only available while in the Style Element Chord Table page. Select
this command to open the Copy Chord Table dialog box (see
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.
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
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.
Write Style
Select this command to open the Write Style dialog box, and
save the Style to the internal memory.
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.
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).
Exit from Record
Select this command to exit from Record without saving changes
to the Style.
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.
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.
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.
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.
Parameters saved in the Style are marked with the
through the user’s manual.
symbol
Name
Name of the Style to be saved. Touch the
(Text Edit) button
tion.
next to the name to open the Text Edit window.
Style Bank
Copy Keyboard Range
Target bank of Styles. Each bank corresponds to one of the
STYLE SELECT buttons. Use VALUE controls to select a differ-
ent bank.
(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.
Style
Target Style location in the selected bank. Use VALUE controls
to select a different location.
tion.
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Style Record mode
Copy Key/Chord dialog box
32
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).
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.
Select… button
Touch this button to open the Style Select window, and select a
target location.
From Style Element
Non editable. Currently selected Style Element.
While in the Style Select window, use the buttons on top of the
window to select either the User or the Favorite banks.
To Style Element
Target Style Element.
All
Settings will be copied to all Style Element of the
Style in edit.
Copy Key/Chord dialog box
Var1…CountIn
Single Style Element where to copy settings to.
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.
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.
Current Chord Variation Tracks
The Key/Chord of the current track will be cop-
ied to all tracks of the current Chord Variation.
From Style Element
All Style Tracks
Non editable. Currently selected Style Element.
The Key/Chord of the current track will be cop-
ied to all tracks of the Style (i.e., all Chord Varia-
tions).
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.
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Style Record mode
Copy Key Range dialog box
33
Copy Key Range dialog box
Overdub Step Recording window
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.
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.
mand from the page menu.
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.
Track (Selected track)
Name of the selected track in record.
DRUM…ACC5
Var1…CountIn
Single Style Element where to copy settings to.
Style track.
SE (Selected Style Element)
Copy Chord Table dialog box
CV (Selected Chord Variation)
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.
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.
To Style Element
…
Note value.
Target Style Element.
Standard (–) Standard value of the selected note.
All
Settings will be copied to all Style Element of the
Style in edit.
Dot (.)
Augments the selected note by one half of its
value.
Var1…CountIn
Triplet (3)
Triplet value of the selected note.
Single Style Element where to copy settings to.
Meter
Meter (time signature) of the current measure. This parameter
cannot be edited. You can set the Meter in the main page of the
Style Record mode, before actually starting recording (see step 6
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Style Record mode
Overdub Step Recording window
34
Free Memory
Tie
Remaining memory for recording.
Touch this button to tie the note to be inserted to the previous
note.
Duration
Back
Relative duration of the inserted note. The percentage is always
referred to the step value.
Goes to the previous step, erasing the inserted event.
25%
50%
85%
100%
Staccatissimo.
Staccato.
Next M. (Next Measure)
Goes to the next measure, and fills the remaining space with
rests.
Ordinary articulation.
Legato.
Done
Velocity
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.
Set this parameter before entering a note or chord. This will be
the playing strength (i.e., velocity value) of the event to be
inserted.
Kbd
Keyboard. You can select this parameter, by turn-
ing all counter-clockwise the dial. When this
option is selected, the playing strength of the
played note is recognized and recorded.
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.
1…127
Velocity value. The event will be inserted with
this velocity value, and the actual playing
strength of the note played on the keyboard will
be ignored.
Rest
Touch this button to insert a rest.
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Pad Record mode
35
The Pad structure
Pad Record mode
By entering the Pad Record mode, you can create your own Pads,
or edit an existing Pad.
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.
The Pad structure
•
After editing Pad 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).
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:
•
After editing Pad Track parameters in Style Play mode, save
them to the Style Performance by selecting the Write Cur-
rent Style Performance command from the page menu of
the Style Play mode (see “Write Style Settings dialog box”
on page 139 of the User’s Manual).
•
“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).
Pad
CV1
Pad Track
CV2
CV3
CV4
CV5
CV6
Entering the Pad Record mode
•
“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-
To enter Pad Record mode, go to the Style Play mode and press
RECORD. The Style/Pad Record Select window appears.
gle-element,
single-track,
multi-chord variation Styles
(see illustration).
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.
•
•
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.
As with the Styles, the Note Transposition Tables (NTT) applies
to the Pads.
The same differences between the different types of tracks
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).
What to record
Recording a Pad is a matter of recording a single track, inside a
series of Chord Variations, inside the Pad itself.
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.
You don’t need to record all Chord Variations. It is often only
needed to record just a Chord Variation.
Then, go to the Pad page of the Style Play or Song Play mode,
assign the new Hit or Sequence to a Pad button, and adjust the
various Pad settings (Volume, Pan, and FX Send… see “Pad/
Switch: Pad” on page 133 of the User’s Manual). Finally, save the
Pad settings by selecting the “Write Current Style Performance”
command from the page menu.
Note: While in Record mode, the footswitch and EC5 pedals are
disabled. On the contrary, volume/expression-type pedals can
be used.
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Pad Record mode
Exit by saving or deleting changes
36
Exit by saving or deleting changes
Main page - Record 1
When finished editing, you can save your Pad in memory, or
cancel any change.
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.
• 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
mation on the various parameters. Only general information and
differences with the Style Record mode are described here.
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 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.
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.
•
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: 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
Note: In this mode, the pattern is always played back in loop, even
Use this parameter to set the quantization during record-
ing.
Note: While in Pad Record mode, the Fingered 3 Chord Recogni-
tion mode is automatically selected.
Pad Sync
PA D
This parameter allows you to set a synchronization mode for the
Pad’s pattern.
Off
No synchronization. The sequence will start as
soon as you press the PAD button.
Continued
The pattern will start immediately, in sync with
the arranger’s or active player’s tempo. Depend-
ing on the current position of the beat counter, it
might not start from its very beginning; instead,
it will continue from the current position.
For example, if the arranger’s or player’s beat
counter shows the third beat, and is playing tick
91, the Pad will start from its third beat, at tick 91.
The beat counter
This works exactly as if it was a Fill.
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Pad Record mode
Main page - Record 1
37
Beat
The sequence will start at the next beat, in sync
with the arranger’s or player’s tempo. It will start
from its very beginning (i.e., tick 1 or measure 1).
Pad Track info area
This line lets you see the Sound assigned to the selected track.
Rec Length (Recording Length)
PA D
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).
Sound bank
Program Change
Sound name
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
Sound name
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.
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.
Sound bank
PA D
Bank the selected Sound belongs to.
CV Length (Chord Variation Length)
PA D
Program Change
PA D
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.
Program Change number sequence (Bank Select MSB, Bank
Select LSB, Program Change).
Tracks volume/status area
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
Octave Transpose
This (non editable) indicator shows the current octave
transposition. To change this value use the OCTAVE
TRANSPOSE buttons on the control panel.
Metro (Metronome)
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.
This is where you can set the metronome.
Off
No metronome click will be heard during record-
ing. In any case, a one-bar precount will be played
before starting recording.
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).
On1
On2
Metronome on, with a one-bar precount before
starting recording.
Metronome on, with a two-bar precount before
starting recording.
This value is not saved with the Pad, and is only used to test the
Pad’s volume during editing or recording.
Tempo
Track status icons
Select this parameter to use TEMPO controls to set the tempo.
Status of the track. Touch this icon to change the status.
Note: This value will not be recorded, and will only be used for
testing the pattern at various speeds while editing or recording.
Play status. The track can be heard.
Hint: You can always change the Tempo, when other parameters
are selected, by keeping the SHIFT button pressed, and rotating the
DIAL.
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.
Meter
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.
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 playing
the pattern back, this chord will be played back exactly as it was
recorded, without any NTT processing (see below).
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Pad Record mode
Main page - Record 1
38
Parallel/Root The root note (in CMaj = C) is transposed to the
missing notes.
NTT Area
NTT Type/Table
Parallel/Fifth The 5th note (in CMaj = G) is transposed to the
missing notes.
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.
As recorded with
NTT = Root or 5th
(Key/Chord = CMaj)
When you play a CM7
with NTT = Root
When you play a CM7
with NTT = 5th
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.
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.
As recorded with
NTT = i-Series
(Key/Chord = CM7)
When you play a CMaj When you play a C7
with NTT = i-Series with NTT = i-Series
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.
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).
as written
as played back
• 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…).
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.
as written
as played back
Fixed/No Transpose
Note: To conform to Korg specifications, it is advisable to set the
NTT to “No Transpose” on the Intro 1 and Ending 1.
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.
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Pad Record mode
Main page - Guitar Mode
39
Main page - Guitar Mode
Edit menu
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: 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: 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).
Note: While the Pad is in play, you cannot access the Edit section
pressing MENU.
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
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
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.
Most edit pages share some basic elements.
Operating mode Edit section
Page menu
icon
Pad track info
Recording overview
For an overview on the recording procedure, see the “Style
Parameters
area
Pad Record procedure
Tabs
Recording a Pad is very similar to recording a Style. Please see
the relevant chapter in the User’s manual.
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Pad Record mode
Event Edit: Event Edit
40
Other pages exhibit a slightly different structure.
Event Edit: Filter
Operating mode Edit section
Page menu
icon
This page is where you can select the event types to be shown in
the Event Edit page.
Parameters
area
Tabs
Operating mode
This indicates that the instrument is in Pad Record mode.
Turn On the filter for all event types you do not wish to see in
the Event Edit page.
Edit section
Note: Some of the events are “ghosted”, and non editable, since the
corresponding events are not editable in a Pad.
This identifies the current edit section, corresponding to one of
the items of the edit menu (see “Edit menu” on page 39).
This is very similar to the Style Record’s Event Edit Filter page.
filter page.
Page menu icon
Touch this icon to open the page menu (see “Page menu” on
Parameters area
Pad Edit: Quantize
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.
The quantize function may be used to correct any timing mis-
take after recording, or to give the pattern a “groovy” feeling.
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).
After setting the various parameters, touch Execute.
Page sub-header
Page header
Page menu icon
CV (Chord Variation)
Use this parameter to select the Chord Variation for editing.
Event list
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
Tabs
Scrollbar
Use these parameters to set the bottom and top of the keyboard
range to quantize.
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.
Execute
Touch this button to execute the operation set in this page.
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Pad Record mode
41
Pad Edit: Transpose
Pad Edit: Transpose
Pad Edit: Velocity
In this page you can transpose the selected track(s).
In this page you can change the velocity (dynamics) value of
notes in the selected track.
Chord” parameter in the main page of the Pad Record mode (see
page 37).
After setting the various parameters, touch Execute.
CV (Chord Variation)
After setting the various parameters, touch Execute.
Use this parameter to select the Chord Variation for editing.
CV (Chord Variation)
Value
Use this parameter to select the Chord Variation for editing.
Velocity change value ( 127).
Value
Intensity
Transpose value ( 127 semitones).
Start / End Tick
(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”.
Use these parameters to set the starting and ending points of the
range to be transposed.
Curve
Bottom / Top Note
(Only available in Advanced mode). Use this parameter to select
from six types of curve, and specify how the velocity will change
over time.
Use these parameters to set the bottom and top of the keyboard
range to be transposed.
Start / End Vel. Value
Execute
(Only available in Advanced mode). Velocity change at the start-
ing and ending ticks of the selected range.
Touch this button to execute the operation set in this page.
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
Velocity Value” and “End Velocity Value” parameters can be
edited.
Execute
Touch this button to execute the operation set in this page.
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Pad Record mode
Pad Edit: Cut
42
Pad Edit: Cut
Pad Edit: Delete
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).
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:
After setting the various parameters, touch Execute.
After setting the various parameters, touch Execute.
CV (Chord Variation)
CV (Chord Variation)
Use this parameter to select the Chord Variation for editing.
Use this parameter to select the Chord Variation for editing.
Start
Event
First measure to be cut.
Type of MIDI event to delete.
Length
All
All events. The measures are not removed from
the Chord Variation.
Number of measures to be cut.
Note
All notes in the selected range.
Execute
Dup.Note
All duplicate notes. When two notes with the
same pitch are encountered on the same tick, the
one with the lowest velocity is deleted.
Touch this button to execute the operation set in this page.
After Touch After Touch events.
Note: This kind of data is automatically removed
during recording.
Pitch Bend
Pitch Bend events.
Prog.Change Program Change events, excluding the bundled
Control Change #00 (Bank Select MSB) and #32
(Bank Select LSB).
Note: This kind of data is automatically removed
during recording.
Ctl.Change All Control Change events, for example Bank
Select, Modulation, Damper, Soft Pedal…
CC00/32…CC127
Single Control Change events. Double Control
Change numbers (like 00/32) are MSB/LSB bun-
dles.
Note: Some CC data are automatically removed
information on the allowed data.
Start / End Tick
Use these parameters to set the starting and ending points of the
range to delete.
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Pad Record mode
43
Pad Edit: Delete All
Bottom / Top Note
Note: If you copy too many events on the same “tick”, the “Too
many events!” message appears, and the copy operation is aborted.
Use these parameters to set the bottom and top of the keyboard
range to delete.
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.
Note: These parameters are available only when the All or Note
option is selected.
From Style
Execute
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.
Touch this button to execute the operation set in this page.
From E/CV (Style Element/Chord Variation)
Pad Edit: Delete All
Use this parameter to select the source Style Element and Chord
Variation.
This function lets you quickly delete a single Chord Variation, or
the whole Pad.
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.
After setting the various parameters, touch Execute.
CV1…CV6 Target Chord Variation.
CV (Chord Variation)
Execute
Use this parameter to select the Chord Variation to be deleted.
Touch this button to execute the operation set in this page.
All
All Chord Variations, i.e. the whole Pad. After
deletion, all parameters are set to the default sta-
tus.
CV1…CV6 Single Chord Variation.
Pad Edit: Copy from Pad
Execute
Here you can copy a Chord Variation from a different Pad. Fur-
thermore, you can copy a whole Pad.
Touch this button to execute the operation set in this page.
Warning: The Copy operation deletes all data at the target loca-
tion (overwrite).
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.
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.
After setting the various parameters, touch Execute.
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Pad Record mode
Pad Track Controls: Sound/Expression
44
From Pad
Expression
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.
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.
From CV (Chord Variation)
Use this parameter to select the source Chord Variation.
All
All Chord Variations, i.e. the whole Pad. You can’t
change the target, that is automatically set to All.
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.
CV1…CV6 Single Chord Variation.
To CV (Chord Variation)
Use this parameter to select a target Chord Variation inside the
current Pad.
Keyboard Range
PA D
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 the Pad
instrument.
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.
Note: The Keyboard Range is ignored while recording. The Pad
track can play on the full range of the keyboard.
Trigger Mode
Pad Track Controls: Sound/Expression
(Not available if Track Type = Drum). This setting lets you define
how Bass and Acc-type tracks are retriggered when the chord is
changed.
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.
Off
Each time you play a new chord, current notes
will be stopped. The track will remain silent until
a new note will be encountered in the pattern.
Rt
(Retrigger) The sound will be stopped, and new
notes matching the recognized chord will be
played back.
Rp
(Repitch) New notes matching the recognized
chord will be played back, by repitching notes
already playing. There will be no break in the
sound. This is very useful on Guitar and Bass
tracks.
Track Type
PA D
Use this parameter to set the type of the Pad track.
Sound/Bank
Drum
Drum track. This type of track is not transposed
Sound assigned to the Pad track.
by the arranger, and is used for Drum Kits, or for
tracks that you don’t want to be transposed when
playing a different chord.
Pad Type
Use this parameter to decide if the Pad will play once or if it will
loop.
Bass
Acc
Bass track. This type of track always plays the
root when changing chord.
Note: While in Pad Record mode, the pattern is always played
back in loop, even if this parameter is set to “One Shot”.
Accompaniment track. This type of track can be
used freely, for melodic or harmonic accompani-
ment patterns.
One Shot
When you press one of the PAD buttons, the cor-
responding Pad is only played once. This is useful
for playing Hits or Sequences that must only play
once.
Tension
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.
Loop
When you press one of the PAD buttons, the cor-
responding Pad plays up to the end, then contin-
ues playing from the start. Press STOP in the
PAD section to stop it playing. This is useful for
playing cyclic sequences.
On
Off
The Tension will be added.
No Tension will be added.
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Pad Record mode
45
Pad Chord Table
RX Noise
Import: Import Groove
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).
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.
Humanize GTR
Use these controls to apply a random value to the position,
on page 44). This control has no effect on other types of track.
Wrap Around
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
From
1…12
Maximum transposition (in semitones) of the
track, referred to the original key of the Pad pat-
tern.
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.
Pad 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 Pad track.
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.
Chord / Chord Variation
PA D
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
Touch this button to open the file selector and load the SMF.
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Pad Record mode
Export: SMF
46
Initialize
Page menu
Check this parameter if you want all Pad settings (i.e., Key/
Chord, Chord Table, Sound…) are reset when loading the SMF.
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.
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.
Write Pad
Export: SMF
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.
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.
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
To Song
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).
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.
Exit from Record
From CV
Select this command to exit from Record without saving changes
to the Pad.
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.
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Pad Record mode
Write Pad dialog box
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
through the user’s manual.
symbol
Name
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.
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Sound operating mode
The MIDI channel
48
Sound operating mode
The Sound operating mode is where you can listen to individual
Sounds, and edit them.
Before pressing MENU to enter the edit environment, you
should select a Sound of the type you wish to edit or create.
To select a Sound, see the “Interface basics” chapter in the User’s
Manual.
Note: Notes pointing to special Drum Kit features are marked by
the
icon.
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.
Main page
Here is the main page of the Sound operating mode.
Hint: This is useful to see the Bank Select/Program Change num-
bers when programming a Song on an external sequencer.
Page header
Page menu icon
Sound Info
area
The MIDI channel
Realtime
Controls area
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.
FX area
Voice Assign Mode area
How to select oscillators
Page header
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
This line shows the current operating mode and transposition.
Operating mode
name
Master Transpose (in
semitones)
If you cannot see the desired oscillator, touch the scroll
arrow, until the hidden oscillator is shown in the display.
Operating mode name
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.
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.
Sounds, Drum Kits, Digital Drawbars
Page menu icon
Touch the page menu icon to open the menu. See “Page menu”
on page 75 for more information.
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.
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.
•
Digital Drawbars. These are Sounds with a very complex
structure, and a special usage. See “Digital Drawbars page”
on page 50 for more information.
Sound name
Name of the Sound assigned to the corresponding Keyboard
track.
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Sound operating mode
49
Main page
Bank
Cutoff
Filter cutoff. This sets the sound brightness.
Bank the current Sound belongs to.
LFO Depth Intensity of the Vibrato (LFO).
LFO Speed
LFO Delay
Speed of the Vibrato (LFO).
Bank Select / Program Change sequence
Delay time before the Vibrato (LFO) begins, after
the sound starts.
Bank Select MSB / Bank Select LSB / Program Change numbers,
in the form “CC00.CC32.PC”.
Resonance
Use the Filter Resonance to boost the cutoff fre-
quency.
CC00
CC32
PC
This section shows the value of the Control
Change (CC) 00 message (or Bank Select MSB)
for the selected Sound.
Voice Assign Mode
This section shows the value of the Control
Change (CC) 32 message (a.k.a. Bank Select LSB)
for the selected Sound.
Poly
The Sound will play polyphonically, allowing you play chords.
This section shows the value of the Program
Change (PC) message for the selected Sound.
Values are in the standard 0-127 MIDI number-
ing format.
Mono
The Sound will play monophonically, producing only one note at
a time.
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.
Legato
This parameter is available when the Mono option is selected.
Note: If “Legato” is On, certain multisamples or keyboard locations
may produce an incorrect pitch.
Octave Transpose icon
Octave transpose value. Use the UPPER OCTAVE buttons to
change this value.
On
Legato is on. When multiple note-on’s occur, the
first note-on will retrigger the sound, and the sec-
ond and subsequent note-on’s will not retrigger.
Realtime Controls area
When legato is on, multiple note-on’s will not
retrigger the voice. If one note is already on and
another note is turned on, the first voice will con-
tinue sounding. The oscillator sound, envelope,
and LFO will not be reset, and only the pitch of
the oscillator will be updated. This setting is
effective for wind instrument sounds and analog
synth-type sounds.
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).
Off
Legato is off. Notes will always be retriggered
when note-on occurs.
Assignable
Slider
Realtime
Control
Assignable
Slider
Realtime
Control
When legato is off, multiple note-on’s will retrigger
the voice at each note-on. The oscillator sound,
envelope, and LFO will be reset (and retriggered)
according to the settings of the Sound.
1
2
3
4
Attack
Decay
Release
Cutoff
5
6
7
8
LFO Depth
LFO Speed
LFO Delay
Resonance
Hold
Use this parameter to keep the notes sustained even after releas-
ing the keys.
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: Please remember the Hold must be On before playing the
note to be held.
FX Area
Note: After selecting a different Sound, Realtime Control values
are automatically set to zero.
In Sound mode, three Master effect processors (MFX1, MFX2 and
MFX3) are available. As an alternative, an Insert effect can replace
the MFX3 effect.
Attack
Attack time. This is the time during which the
sound goes from zero (at the moment when you
strike a key) to it’s maximum level.
On/Off
Decay
Decay time. Time to go from the final Attack level
to the beginning of the Sustain.
Use this button to turn on or off the corresponding effect.
Release
Release time. This is the time during which the
sound goes from the sustaining phase, to zero.
The Release is triggered by releasing a key.
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Sound operating mode
Digital Drawbars page
50
Selected Effect
Percussion/Rotary tab
Non editable. This shows the effect assigned to the correspond-
ing FX processor. To select a different effect, see “Effects: “B” FX
Percussion adds a percussive sound to the attack segment of the
organ sound. Rotary adds the effect of a rotating speaker.
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.
On/Off
Use this parameter to turn percussion on or off.
Foot
Digital Drawbars page
Use this parameter to select a percussion register.
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.
4’
Percussion added to the 4’ foot.
Percussion added to the 22/3’ foot.
22/3’
Mode (Percussion Mode)
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).
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.
All
The percussive attack is played on all notes of a
chord.
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.
1st
The percussive attack is played only on the first
note of a chord or a group of held notes. Release
all notes to trigger the percussion again.
Note: In Sequencer mode there is a Digital Drawbars Sound for
Song tracks 1-8, one for Song tracks 9-16.
Volume (Percussion Volume)
When you select the DIGITAL DRAWBARS bank, the Digital
Drawbar page appears, and the current setting is assigned to the
selected track.
Level of the percussive sound.
0…99
Level.
Length (Percussion Length)
Decay speed of the percussive sound.
0…99
Decay time.
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).
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.
are only available when a Rotary effect has been assigned to one of
the FX slots (effects #63 or #133).
Get Sliders
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.
Touch this button to get the current position of the physical slid-
ers, and assign their value to the virtual slider.
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Sound operating mode
51
Edit menu
Tone/Noise tab
Edit menu
Tone is the timbre of the sound. Noises are mechanical noises
from the keyboard and the tonewheels.
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.
Wave (Drawbar Wave)
•
When an ordinary Sound is selected:
Tone
Waveshape of the drawbars, producing the base timbre.
Mellow
Hard
A mellow-sounding synthetic wave.
A harder-sounding synthetic wave.
Leakage
Leakage from adjacent tonewheels, making the sound richer.
Key On
Noise of the keypress.
•
When a Drum Kit is selected, the “Basic” section is
replaced by the “DrumKit” section:
Key Off
Noise of the key release.
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.
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Sound operating mode
Edit page structure
52
Oscillator Count
Edit page structure
Oscillators Count
Use this box to specify the number of oscillators (up to 24) the
Sound is based on.
All edit pages share some basic elements.
Operating mode
Edit section
Page menu
icon
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).
Selected
oscillator
Note: When editing the Grand Piano sound, keep in mind Oscilla-
tors 10~15 can only be heard when the Damper pedal is depressed.
Parameters
area
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.
Tabs
0
1
No oscillator will be turned off in any case.
The highest-numbered oscillator will be turned
off, if needed.
Operating mode
This indicates that the instrument is in Sound mode.
2
The two highest-numbered oscillators can be
turned off, one after the other, if needed.
Edit section
[n]…24
The n-numbered oscillators (up to 24) can be
turned off, one after the other, if needed.
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
Transpose Range
Touch this icon to open the page menu (see “Page menu” on
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.
Selected oscillator
Use these buttons to select the oscillator to edit.
Parameters area
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).
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.
Voice Assign Mode
Poly/Mono
This is the polyphonic mode of the Sound.
Basic: Sound Basic
Poly
The Sound will play polyphonically, allowing you
to play chords.
Here you can make basic settings for the Sound, such as basic
oscillator settings, the oscillator count, and the polyphonic
mode.
Mono
The Sound will play monophonically, producing
only one note at a time.
Single Trigger
This parameter is available when the selected mode is Poly.
On
When the same note is played repeatedly, the pre-
vious note will be silenced before the next note is
sounded, so that the notes do not overlap.
Off
When the same note is played repeatedly, the pre-
vious note will not be silenced before the next
note is sounded.
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Sound operating mode
53
Basic: OSC Basic
Legato
Basic: OSC Basic
This parameter is only available when the selected mode is
Mono. It is the same found on the main page of the Sound mode.
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.
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.
Low
High
Last
Lowest note will take priority.
Highest note will take priority.
Last note will take priority.
Hold
Use this parameter to keep the notes sustained even after releas-
ing the keys.
Legato as OSC Trigger
OSC Multisample
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).
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.
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.
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.
1…999 ms
Notes played with a small gap are still considered
Legato notes. A value of approx. 15 ms is usually
considered effective when playing chords.
The multisample you select for the High layer will be triggered
by velocities higher than the value of the “Velocity Multisample
use velocity switching, set the switch to a value of 001, and select
only the High multisample.
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.
ROM
The Factory bank. The Factory area of the inter-
nal memory contains 829 different multisamples
(preset multisamples), supplied by Korg as stan-
dard.
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.
RAM
RAM multisample, read from the RAM. These
are user-loaded or created multisamples.
Note: If you create a new Sound based on a RAM
multisample, the RAM samples must be loaded
from the internal HD or from a connected USB pen
driver.
1…127 st
Max range in semitones.
In case samples are not loaded, no sound will be
heard, even if the Sound can be selected and its
name appears in the display.
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.
Off
The sound will start from the beginning of the
multisample waveform.
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Sound operating mode
Basic: OSC Basic
54
1st…6th The sound will begin from the offset location pre-
determined for each sample.
always play, while a Legato Oscillator will only play when a note
is played Legato.
No Attack
AMS
The initial portion of the multisample is ignored.
Mode
Activates the Alternate Modulation Source (see
below).
This is the trigger that allows the selected Oscillator to play.
Normal
The Oscillator always plays when a key is pressed
(unless the “OSC Off when Sound Controllers are
On” parameter is checked).
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).
Legato
The Oscillator only plays when the note is played
‘legato’. The delay and pitch interval from the pre-
vious note are also to be considered, as set in the
Sound > Basic page (see “Legato as OSC Trigger”
above).
Level
These parameters specify the level of each multisample.
0…127 Multisample level.
Staccato
The Oscillator only plays when the note is NOT
played legato (it is the opposite of the above
choice).
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.
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.
Octave
Use this parameter to adjust the pitch of the selected oscillator in
octave units. The normal octave of the multisample is “0”.
-2…+1
Octave transposition.
Transpose
Note: In Sequencer and Sound mode, the Assign-
able Switch 1 is automatically assigned to Sound
Controller 1.
Use this parameter to adjust the pitch of the selected oscillator in
semitone steps over a range of 1 octave.
Hint: This (like the following Sound Controllers) is
especially useful to enable a different nuance to the
following note(s).
-12…+12
Transposition in semitones.
Tune
Sound Controller 2
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.
As the above, but with a switch, footswitch or EC5
pedal programmed as the Sound Controller 2.
-1200…+1200
Note: In Sequencer and Sound mode, the Assign-
able Switch 2 is automatically assigned to Sound
Controller 2.
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.
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.
AMS / Offset Intensity by AMS
(Only available when the AMS option is selected in the “Offset”
parameter.) Alternate Modulation Source for the Offset. See
Sound Controller Y-
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.
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.
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).
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.
OSC Trigger Mode
OSC Trigger parameters are used to set the condition to trigger
the selected Oscillator. For example, a Normal Oscillator will
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Sound operating mode
55
Basic: Vel/Key Zone
Hint: This is especially useful to trigger different
sound nuances or create vector-like sound
sequences.
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.
Cycle 2
As the above, for use with a different (and paral-
lel) group of Oscillators. Having two Cycle Trig-
ger Modes allows for cycling stereo multisamples.
Random
As the above, but with a random selection of
Oscillators within the assigned group.
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.
Basic: Vel/Key Zone
Here you can set a note and velocity range “window” for the
selected oscillator.
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 Up
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.
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.
Velocity Zone
Here you can specify the velocity range for the selected oscillator.
Note: You cannot set the Bottom Velocity higher than the Top
Velocity, nor the Top Velocity lower than the Bottom Velocity.
0…127
Assigned velocity.
Like Legato, but is only activated when the sec-
page 53) and it is higher than the first one.
Keyboard Range
Here you can specify the note range for the selected oscillator.
Legato Down Like Legato, but is only activated when the sec-
page 53) and it is lower than the first one.
Note: You cannot set the Bottom Key higher than the Top key, nor
the Top Key lower than the Bottom key.
C-1…G9
Assigned note.
Delay
Scaled Velocity
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.
Use these parameters to scale velocity values received by the
oscillator may be limited to a restricted range (say, 10 to 20), that
may result in weak dynamics when the associated sample is trig-
gered.
0…5000ms Delay time in milliseconds.
By assigning a different value to these parameters, the restricted
range will be converted to a wider range (for example, the lowest
range value of 10 may be converted to a Scaled Velocity value of
0, and the highest range value of 20 may be converted to a Scaled
Velocity value of 127). All values included between the mini-
mum and maximum value are scaled accordingly.
Key Off
Key Rel
Nat Rel
The sound will begin when the note is released.
The note velocity is read from the Key On Veloc-
ity.
Key Release. The sound will begin when the note
is released. The note velocity is read from the Key
Off Velocity.
As a consequence, you can create an RX Sound of guitar, by
assigning the guitar fret noise to the 10~20 velocity range. When
a dynamics value between 10~20 is received, the real velocity
value is scaled to the Scaled Velocity values, and plays louder.
Natural Release. The sound will begin when the
note is released. The note starts from the current
volume of the sound. If the sound’s volume is
already at zero, this oscillator is not retriggered.
0…127
Assigned velocity value.
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Sound operating mode
Basic: Damper Mode
56
ple of this kind of Sounds to be avoided in a Style
track.
Basic: Damper Mode
Resonance/Halo
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:
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.
0…99
Attack time as a value relative to the current Amp
Env Attack value.
Release Time
Time needed to the Resonance/Halo to extinguish after the
Damper pedal has been released.
Damper Mode
0…99
Release time as a value relative to the current
Amp Env Release value.
Here you can program the Damper Mode for each Oscillator.
Damper Mode
Volume Scaling
This parameter determines how the Damper pedal works.
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).
Normal
The Damper pedal works as usual: by keeping it
pressed, the note decay is lengthened, to simulate
the longer note decay of an acoustic piano.
0%
No volume at all.
Damper Off The Damper pedal is deactivated for the selected
Oscillator.
1…100%
Volume expressed as a percentage of the current
sound level.
Hint: Set the Damper to Damper Off, if you plan to
use the selected Oscillator in the Damper Trigger
page to trigger sounds. Check the Sound “Harmon-
ica DNC”, and see how the Damper Trigger is
used.
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.
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.
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.
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-
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Sound operating mode
57
Basic: Damper Trigger
Basic: Damper Trigger
Basic: EQ
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.
In this page, you can set the semi-parametric three-band equal-
izer for the selected oscillator.
Enable
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
out of that range, or modify the Transpose Range, so that the
note is either higher or lower than that range.
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.
Transpose Range
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).
Damper Trigger Sample
-18…+18dB Low gain value in decibels.
Damper On Trigger
Mid (Middle) Gain
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” …).
Middle frequencies equalization. This is a bell curve filter. Values
are shown in decibels (dB).
-18…+18dB Middle gain value in decibels.
Note
Mid (Middle) Freq
Note where the special Damper On sample is located.
Centre frequency of the middle frequencies equalization.
-0.100…+10 kHz
Velocity
Centre frequency in kHz.
Fixed velocity of the special Damper On sample.
Hi (High) Gain
Note Off on Damper Off
High frequencies equalization. This is a shelving curve filter.
Values are shown in decibels (dB).
If checked, the special Damper On sample stops playing when
the Damper pedal is released.
-18…+18dB High gain value in decibels.
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.
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Sound operating mode
DrumKit: Sample Setup (Drum Kits)
58
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.
DrumKit: Sample Setup (Drum Kits)
The sample you select for the current layer will be triggered by
switching, assign just one layer to the selected key, and assign a
sample only to Layer 1.
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.
ROM
The Factory bank. The internal Factory area of
the Flash-ROM memory contains 944 different
samples (preset samples), supplied by Korg as
standard.
Selected Layer
Velocity
Switches
RAM
RAM sample, read from the RAM. These are
user-loaded or created samples.
Note: If you create a new Sound based on a RAM
multisample, the RAM samples must be loaded
from the internal HD or from a connected USB pen
driver.
Key
In case samples are not loaded, no sound will be
heard, even if the Drum Kit can be selected and its
name appears in the display.
Key
Note: Each sample has an upper note range limit, and may not
produce sound when played above that limit.
Key in edit. To select a key, you can press a key on the keyboard
while this parameter is selected.
Rev (Reverse)
Layers
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.
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.
On
Off
The sample will playback in reverse.
The sample will play back normally.
On
Off
The sample is assigned to the selected key.
The sample is not assigned. The sample assigned
to the next highest assigned key is used instead.
Ofs (Offset)
These parameters specify the point where the sample will begin
to play. For some samples this parameter will not be available.
Layer Selector & Velocity Sample Switch
Off
The sound will start from the beginning of the
sample.
Selected Layer
1st…6th
The sound will begin from the offset location
pre-determined for each sample.
Use these radio buttons to select the layer to edit. The available
NoAtk
AMS
The initial portion of the multisample is ignored.
Velocity Switches
Activates the Alternate Modulation Source (see
below).
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.
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).
The first and last values are not editable, and are always 001 and
127 (respectively).
Drum Sample
AMS / Int(ensity)
(Only available when the AMS option is selected in the “Offset”
parameter.) Alternate Modulation Source for the Offset. See
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.
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
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Sound operating mode
59
DrumKit: EQ (Drum Kits)
the Off or 1st Offset, when playing loudly you will select the 6th
or No Attack Offset.
DrumKit: EQ (Drum Kits)
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).
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.
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.
Key
Resonance
This parameter sets the resonance for the filter applied to the
selected sample.
Layer Selector & Velocity Sample Switch
Transpose
This parameter transposes the selected sample. Use it to change
the pitch of the selected key.
Drum Sample Equalizer
0
No transposition applied.
Enable
-64…+63
Transpose value in semitones.
Check this box to activate the equalizer on the selected oscillator.
Tune
TRIM
Use this parameter to fine-tune the assigned sample.
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
Original tuning.
-99…+99
Fine-tuning value in cents (1/100 of a semitone).
0…99
Limiting value. The higher, the most effective it is.
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.
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.
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Sound operating mode
DrumKit: Voice Mixer (Drum Kits)
60
Exclusive Group
DrumKit: Voice Mixer (Drum Kits)
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.
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.
None
No Exclusive Group assigned. The selected key
will not be stopped by any other key.
1…127
Exclusive Groups assigned to the selected key.
When you play this key, all other keys assigned to
the same Exclusive Group will be stopped, and
this key will be stopped by other keys assigned to
the same Exclusive Group.
Enable Note On Receive
Use this parameter to enable/disable the reception of the Note
On (Key On) message.
On
Off
The Note On message is normally received.
The Note On message is not received. Therefore,
the corresponding key is muted.
Key
Enable Note Off Receive
Use this parameter to enable/disable the reception of the Note
Off (Key Off) message.
Voice Assign Mode
Single Trigger
On
The sound will stop as soon as you release the
key.
Use this parameter to set the sample as a single-triggered one.
Off
The sound will continue playing up to the end of
the sample. The Note Off message is ignored.
On
When the same key (note) is played repeatedly,
the previous note will be stopped before the new
note is triggered, so that they will not overlap.
Mixer
Off
When the same key (note) is played repeatedly,
the previous note will not be stopped before the
new note is triggered.
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.
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Sound operating mode
61
Pitch: Pitch Mod
Lowest Pitch Bend only
Pitch: Pitch Mod
On this oscillator, Pitch Bend is only activated on
the lowest note currently playing on the key-
board.
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.
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.
Pitch
Pitch Slope
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.
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.
-60…+12
Maximum pitch change in semitones.
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.
AMS (Alternate Modulation Source)
This parameter selects the source that will modulate the pitch of
The diagram shows how the Pitch Slope and pitch are related:
Pitch
+2
+1
Intensity
2oct
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.
1oct
1oct
0
–1
C4 C5
Key
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.
-1.0…+2.0
Pitch slope value.
Pitch Bend Mode
The Pitch Bend can work in different ways, depending on the
selected option.
-12.00…+12.00
Parameter value.
Normal
Linear bending.
Fixed Scale
When this parameter is turned on on an oscilla-
tor, Pitch Bend and Sub Scale have no effect on its
tuning. The relevant parameters are greyed out
and non-selectable. This is useful when assign-
ing to the oscillator a noise (like the breath noise
of a reed) with a fixed frequency, that must not
change on different notes and different pitches.
Pitch EG
The Pitch EG (Envelope Generator) is unique to all oscillators.
Velocity Intensity
This parameter specifies the depth and direction of the modula-
the pitch. With a setting of 12.00, the pitch will change a maxi-
mum of 1 octave.
Highest Pitch Bend only
On this oscillator, Pitch Bend is only activated on
the highest note currently playing on the key-
board.
-12.00…+12.00
Parameter value.
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Sound operating mode
Pitch: Pitch Mod
62
Pitch EG AMS (Alternate Modulation Source)
Fingered
This parameter selects the source that will modulate the pitch
This parameter specifies whether the portamento effect restarts
or not with each note played.
On
Off
Portamento will restart with each note.
Pitch EG Intensity
Portamento will not restart with each note.
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.
Time
This parameter sets the portamento time. Increasing the value
will produce a slower change in pitch.
000…127
Portamento time in MIDI value.
Pitch change (level)
LFO 1/2
Note-on
Note-on
Note-on
Note-off
Note-off
Note-off
LFO1/2 Int
Intensity of the corresponding LFO.
-12…0…+12 Parameter value. Negative values invert the LFO
shape.
Strongly played with
a positive (+) value
Softly played
(Intensity (Pitch EG) setting)
Strongly played with a
negative (–) value
Note: “Intensity” (Pitch EG) and AMS will be added to determine
the depth and direction of the pitch modulation applied by the
pitch EG.
JS+Y
Intensity of the corresponding LFO when the joystick is pushed
forward.
-12…0…+12 Parameter value. Negative values invert the LFO
shape.
Portamento
Enabled
AMS / Intensity
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.
Modulation Source) list” on page 77. Use the “Intensity” param-
eter to set the intensity of the modulation.
Note: Portamento will also be switched when CC#65 (Portamento
SW) is received.
On
Off
Portamento will be applied.
Portamento will not be applied.
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Sound operating mode
63
Pitch: Pitch EG
Attack Time
Pitch: Pitch EG
Specifies the time over which the pitch will change from note-on
until it reaches the pitch specified as the attack level.
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
0…99
Parameter value.
Decay Time
Specifies the time over which the pitch will change after reaching
the attack level until it reaches the normal pitch.
0…99
Parameter value.
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
Note-on
Note-on
Note-on
Note-off
Note-off
Note-off
Diagram
The diagram on top of the page shows the Pitch envelope line.
A note played softly with
Start Level Swing set at 0,
Attack Level Swing set to +, Attack Level Swing set to +, Attack Level Swing set to –,
the Joystick pulled on the Joystick pulled on the Joystick pulled on
A note played strongly with
Start Level Swing set to 0,
A note played strongly with
Start Level Swing set to 0,
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.
AMS1/2 (Alternate Modulation Source 1/2)
These parameters select the source that will control the pitch EG
Time-varying pitch settings (when Pitch EG Intensity = +12.00)
Intensity (AMS1/2 Intensity)
+99 = approximately 1 octave
Note-on
Attack Level
Note-off
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.
0 = pitch when
key is held
(sustained)
Time
Release Level
Start Level
Attack
Time
Decay
Time
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)”
released, the pitch EG levels will return to their own settings.
Release Time
–99 = approximately 1 octave
Start Level
Specifies the amount of pitch change at note-on.
-99…+99
Parameter value.
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
Swing)”. As you play more softly, the pitch change will draw
closer to the pitch EG levels.
Attack Level
Specifies the amount of pitch change when the attack time has
elapsed.
-99…+99
Parameter value.
Release Level
-99…+99
Parameter value.
Specifies the amount of pitch change when the release time has
elapsed.
St (Start Level Swing)
This parameter specifies the direction of change in “Start Level”
caused by “AMS1/2”. If “Intensity” is a positive (+) value, a set-
ting of + will raise the EG level, and a setting of – will decrease it.
With a setting of 0 there will be no change.
-99…+99
Parameter value.
Time
These parameters specify the time over which the pitch change
will occur.
See diagram above.
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Sound operating mode
Filter: Filter Type
64
At (Attack Level Swing)
Filter: Filter Type
setting of + will raise the EG level, and a setting of – will decrease
it. With a setting of 0 there will be no change.
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.
Time Modulation
Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)
Note-on
Note-on
Note-on
Note-off
Note-off
Note-off
A note played softly with
A note played strongly with
Anote played strongly with
Attack Time Swing set to +
Attack Time Swing set to + and Attack Time Swing set to – and
and Decay Time Swing set to Decay Time Swing set to +
Decay Time Swing set to –
AMS (Alternate Modulation Source)
This parameter selects the source that will control the “Time”
Filter Type
This parameter selects the type of filter (Low Pass Resonant, Low
Pass & High Pass) for the selected oscillator.
Intensity (AMS Intensity)
Low Pass Resonance
This parameter specifies the depth and direction of the effect
that “AMS” will have on the “Time” parameters. With a setting of
tings.
When the Low Pass filter type is selected, only fil-
ter A will be activated.
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.
Low Pass & High Pass
When the Low Pass & High Pass filter type is
selected, the filter B will be activated.
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).
Trim
Use this parameter to adjust the level at which the audio signal
output from the selected oscillator is input to filter A.
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
Time Swing)”. As you play more softly, the pitch EG times will
more closely approach the actual settings of the pitch EG.
Note: If this value is raised, the sound may distort if Resonance is
set to a high value or when you play a chord.
00…99
Trim level.
-99…+99
Parameter value.
Filter A
At (Attack Time Swing)
Frequency (Cutoff Frequency A)
This parameter specifies the direction in which “AMS” will affect
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.
This parameter specifies the cutoff frequency of filter A.
This is a filter that cuts the
high-frequency region above the cutoff
Low Pass
frequency.
This is the most common type of filter,
Level
12dB/oct
24dB/oct
and is used to cut part of the overtone
components, making an originally bright
timbre sound more mellow (darker).
When the “Filter Type” is Low Pass
Frequency Resonance, the cutoff will have a
Dc (Decay Time Swing)
steeper slope.
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.
00…99
Cutoff frequency value.
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Sound operating mode
65
Filter: Filter Mod
Resonance (Resonance A)
Filter: Filter Mod
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.
These settings let you apply modulation to the cutoff frequency
(“Frequency”) of the filter for the selected oscillator to modify
the tone.
00…99
Resonance value.
Res. Mod. by AMS (Resonance modulated by AMS)
Selects the source that will control the “Resonance” level. See
The effect of resonance
Low Pass
Level
Low resonance value
High resonance value
B will not be editable (greyed out).
Intensity (AMS Intensity)
This parameter specifies the depth and direction of the effect
have on the resonance level specified by “Resonance (Resonance
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.
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.
Keyboard tracking will apply to the range below the specified
Low note number, and above the specified High note number.
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.
C–1…G9
Lowest/Highest note in the range.
The resonance level is determined by adding the “Resonance”
and “Intensity (AMS Intensity)” values.
Ramp Low/High
These parameter specifies the angle of keyboard tracking.
-99…+99
Parameter value.
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
the keyboard location.
Filter B
Frequency (Cutoff Frequency B)
This parameter specifies the cutoff frequency of filter B. This
& High Pass.
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.
High Pass
Level
This filter cuts the low-frequency range that
lies below the cutoff frequency. By cutting
-99…+99
Angle value.
the lower overtones, it lightens the tone.
12dB/oct
Here is how cutoff frequency is affected by keyboard location
and the Ramp setting (“Intensity to A” and “Intensity to B” =
+50):
Frequency
00…99
Cutoff frequency value.
Cutoff frequency
High Ramp=+99
High Ramp=+62
High Ramp=0
High Ramp=–43
High Ramp=–99
Low Ramp=+99
Low Ramp=+43
Low Ramp=0
Low Ramp=–62
Key
Low Key High Key
Low Ramp=–99
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Sound operating mode
Filter: Filter Mod
66
Tracking to A/B
AMS (EG Alternate Modulation Source)
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.
Selects the source that will control the depth and direction of the
effect that the time-varying changes produced by the filter EG
For the range of notes between “Key Low” and “Key High”, the
cutoff frequency will change according to the keyboard location
(pitch).
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
-99…+99
Parameter value.
Int to B (Intensity to B)
Filter EG
hanges in cutoff frequency
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
Note-on
Note-on
Note-off
Note-on
Note-off
Note-off
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.
oftly played
Strongly played
Setting to +
Strongly played
Setting to –
Filter A/B Modulation
Velocity to A
AMS1 (Alternate Modulation Source 1 for filter A/B)
This parameter specifies the depth and direction of the effect
that velocity will have on the time-varying changes created by
cutoff frequency.
Selects the source that will control modulation of the filter A
on page 64 is Low Pass & High Pass.
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.
Intensity (Intensity to AMS1)
Specifies the depth and direction of the effect that “AMS1” will
have.
99…+99
Value of the Velocity to A parameter.
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.
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-
This value is added to the setting of the Filter A “Frequency”.
99…+99
Value of the Velocity to B parameter.
AMS2 (Alternate Modulation Source 2 for filter A/B)
Int to A (Intensity to A)
Selects the source that will control modulation of the filter 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.
Intensity (Intensity to AMS2)
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.
Specifies the depth and direction of the effect that the selected
source will have (see “Intensity (Intensity to AMS1)” on
page 66).
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-
-99…+99
Parameter value.
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Sound operating mode
67
Filter: Filter LFO
Intensity to A
Filter: Filter LFO
Specifies the depth and direction of the effect that “AMS” will
have on filter A.
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.
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
LFO 2
Adjusts the depth of the cyclic modulation applied by LFO2 (set
LFO 1
Filter: Filter EG
Intensity to A
Specifies the depth and direction of the modulation that LFO1
A. Negative (–) settings will invert the phase.
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.
Change in cutoff
Low setting
High setting
-99…+99
Parameter value.
Intensity to B
Specify the depth and direction of the modulation that LFO1
-99…+99
Parameter value.
JS (Joystick) –Y Intensity to A
Diagram
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.
The diagram on top of the page shows the Filter envelope line.
Filter envelope
Higher settings of this parameter will produce greater increases
in the effect of LFO1 on the filter when the joystick is moved
toward yourself.
Note-off
Sustain Level
Attack Level
Note-on
Release
Level
Break
Point
Level
-99…+99
Parameter value.
Time
The specified
cutoff
frequency
JS (Joystick) –Y Intensity to B
Start
Level
Attack
Time
Decay Slope
Release
Time
Time
Time
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-
Level
These are the envelope segment levels. The result will depend on
Low Pass Resonance filter, positive (+) values of EG Intensity
will cause the tone to be brightened by positive (+) levels, and
darkened by negative (–) levels.
AMS (Filter LFO1 Alternate Modulation Source)
Select a source that will control the depth and direction of cutoff
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Sound operating mode
Filter: Filter EG
68
Start
Level Modulation
Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)
This parameter specifies the change in cutoff frequency at the
time of note-on.
Note-on
Note-on
Note-on
Note-off
Note-off
Note-off
-99…+99
Level value.
Attack
Softly played note with Start Level Strongly played note with Start
Strongly played note with Start
Level Swing, Attack Level Swing, Level Swing, Attack Level Swing,
and Break Level Swing set to + and Break Level Swing set to –
This parameter specifies the change in cutoff frequency after the
attack time has elapsed.
Swing, Attack Level Swing, and
Break Level Swing set to +
-99…+99
Level value.
AMS (Alternate Modulation Source)
Break (Break Point)
This parameter selects the source that will control the “Level”
This parameter specifies the change in cutoff frequency after the
decay time has elapsed.
-99…+99
Level value.
Intensity (AMS Intensity)
Sustain
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.
This parameter specifies the change in cutoff frequency that will
be maintained from after the slope time has elapsed until note-
off occurs.
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
Level value.
Release
This parameter specifies the change in cutoff frequency that will
occur when the release time has elapsed.
-99…+99
Intensity value.
-99…+99
Level 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.
Time
These parameters specify the time over which the filter change
will occur.
Attack
At (Attack Level Swing)
This parameter specifies the time over which the level will
change from note-on until the attack level is reached.
This parameter specifies the direction in which “AMS” will affect
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.
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.
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.
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.
0…99
Time value.
Release
This parameter specifies the time over which the level will
change after note-on occurs until the release level is reached.
0…99
Time value.
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Sound operating mode
69
Amp: Amp Level/Pan
and setting this parameter to – will allow AMS to shorten the
time. With a setting of 0 there will be no change.
Time Modulation
Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)
Note-on
Note-on
Note-on
Note-off
Note-off
Note-off
Amp: Amp Level/Pan
Softly played note with Attack, Strongly played note with
Strongly played note with
Attack, Decay, Slope and
These parameters control the volume and pan of the selected
oscillator.
Decay, Slope and Release
Level Swings set to +
Attack, Decay, Slope and
Release Level Swings set to + Release Level Swings set to –
AMS1/2
Use this parameter to selecthe source that will control the “Time”
Int (AMS Intensity)
This parameter specifies the depth and direction of the effect
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 (–)
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.
With a setting of 0, the times specified by “Frequency (Cutoff
Frequency A)” will be used.
0…127
Volume level.
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.
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
-99…+99
Intensity value.
At (Attack Time Swing)
Random
The sound will be heard from a different location
at each note-on.
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.
L001
C064
R127
Places the sound at far left.
Places the sound in the center.
Places the sound to far right.
Note: This can be controlled by CC#10 (panpot). A CC#10 value of
0 or 1 will place the sound at the far left, a value of 64 will place the
sound at the location specified by the “Pan” setting for each oscilla-
tor, and a value of 127 will place the sound at the far right. This is
controlled on the global MIDI channel.
Dc (Decay Time Swing)
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.
Pan modulation
Sl (Slope Time Swing)
AMS (Alternate Modulation Source)
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.
Modulation Source) list” on page 77). This change will be rela-
tive to the “Pan” setting.
Intensity
Rl (Release Time Swing)
Specifies the depth of the effect produced by “AMS”. For exam-
ple, if “Pan” is set to C064 and “AMS” is Note Number, positive
(+) values of this parameter will cause the sound to move toward
the right as the note numbers increase beyond the C4 note (i.e.,
affect the release time. With positive (+) values of “Intensity”,
setting this parameter to + will allow AMS to lengthen the time,
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Sound operating mode
Amp: Amp Mod
70
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.
Amp Modulation
These parameters specify how the volume of the selected oscilla-
tor will be affected by velocity.
-99…+99
Parameter value.
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.
Amp: Amp Mod
Volume change (with positive (+) values of this parameter)
These settings allow you to apply modulation to amp (for each
oscillator) to modulate the volume.
Note-on
Note-on
Note-off
Note-off
Strongly played
Softly played
-99…+99
Intensity value.
AMS (Alternate Modulation Source)
Selects the source that will control the volume of the amp for the
Intensity
Keyboard Tracking
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.
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
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.
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.
With negative (–) values of this parameter, the volume will
decrease when pressure is applied to the keyboard.
C–1…G9
Lowest/Highest note in the range.
-99…+99
Intensity value.
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.
Amp: Amp EG
These parameters let you create time-varying changes in the vol-
ume of the selected oscillator.
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.
-99…+99
Angle value.
Here is an example of volume changes produced by keyboard
location and “Ramp” settings:
Volume
Ramp Low=+99
Ramp Low=0
Ramp High=+99
Ramp High=0
Ramp Low=—99
Ramp High=—99
Key
Key Low Key High
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Sound operating mode
71
Amp: Amp EG
Slope
Diagram
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.
The diagram on top of the page shows the Amplitude envelope
line.
0…99
Time value.
Level
Release
These parameters are the level of the envelope segment.
Amplifier EG
This parameter specifies the time over which the volume will
change after note-off until it reaches 0.
Note-off
Attack Level
Note-on
Break Point
Volume
0…99
Time value.
Sustain
Level
Start
Level
Level Modulation
Time
Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)
Note-on
Note-on
Note-on
Attack
Time
Decay Slope
Time Time
Release Time
Note-off
Note-off
Note-off
Start
Softly played note when Start Level Strongly played note when Start Level Strongly played note when Start Level
Swing=0 andAttack Level Swing Swing=0 andAttack Level Swing and Swing=0 andAttack Level Swing and
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.
and Break Level Swing are set to + Break Level Swing are set to +
Break Level Swing are set to +
0…99
Level value.
AMS (Alternate Modulation Source)
Attack
This parameter specifies the source that will control the “Level”
This parameter specifies the volume level that will be reached
after the attack time has elapsed.
0…99
Level value.
Intensity
This parameter specifies the depth and direction of the effect
that “AMS” will have. For example, if “AMS” is Velocity, setting
(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
Break
This parameter specifies the volume level that will be reached
after the decay time has elapsed.
0…99
Level value.
Sustain
This parameter specifies the volume level that will be maintained
from after the slope time has elapsed until note-off occurs.
-99…+99
Intensity value.
0…99
Level value.
St (Start Level Swing)
Time
This parameter specifies the direction in which “AMS” will
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.
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.
At (Attack Level Swing)
This parameter specifies the direction in which “AMS” will
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.
0…99
Time value.
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.
Br (Break Point Level Swing)
This parameter specifies the direction in which “AMS” will
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.
0…99
Time value.
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Sound operating mode
LFO: LFO1
72
Sl (Slope Time Swing)
Time Modulation
This parameter specifies the direction of the effect that “AMS1”
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.
These parameters let you use an alternate modulation source to
modify the amp EG times that were specified in “Time” on
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)
Rl (Release Time)
Note-on
Note-on
Note-on
Note-off
Note-off
Note-off
This parameter specifies the direction of the effect that “AMS1”
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.
Low-pitched note played with High -pitched note played with
Attack, Decay, Slope, and
Release Time Swing at +
Attack, Decay, Slope, and
Release Time Swing at –
Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)
Note-on Note-on Note-on
AMS2 (Alternate Modulation Source 2)
Note-off
Note-off
Note-off
This is another alternate modulation source for the Amp EG. See
above “AMS1” parameters.
Softly played note with
Attack, Decay, Slope and
Release Time Swing at +
Strongly played note with
Attack, Decay, Slope and
Release Time Swing at +
Strongly played note with
Attack, Decay, Slope and
Release Time Swing at –
LFO: LFO1
AMS1 (Alternate Modulation Source 1 - Time)
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.
This parameter specifies the source that will control the “Time”
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
Waveform
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
This parameter selects the LFO waveform. The numbers that
appear at the right of some of the LFO waveforms indicate the
phase at which the waveform will begin.
Triangle
0
Step Triangle – 4
Step Triangle – 6
Step Saw – 4
At (Attack Time Swing)
Triangle 90
Triangle wave
Phase will change
randomly at each key-in
This parameter specifies the direction of the effect that “AMS1”
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.
Triangle
Random
Saw
0
Step Saw – 6
Sawtooth down Ø
Saw
180
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
Square
Sine
Square wave
Sine wave
Dc (Decay Time Swing)
change randomly.
Guitar vibrato
Random3 (S/H):
Guitar
This parameter specifies the direction of the effect that “AMS1”
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.
The maximum level and minimum level will
alternate at random intervals of time (i.e., a
square wave with random period).
Exponential
Triangle
Random4 (Vector)
Random5 (Vector)
Random6 (Vector)
These types cause Random 1–3 to change
smoothly. They can be used to simulate the
instability of acoustic instruments etc.
Exponential
Saw Down
Exponential
Saw Up
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Sound operating mode
73
LFO: LFO1
Frequency
AMS1 (Alternate Modulation Source1)
Set the LFO frequency. A setting of 99 is the fastest.
Selects the source that will adjust the frequency of the selected
on page 77). LFO1 can be modulated by LFO2.
00…99
Frequency rate.
Offset
Intensity (AMS1 Intensity)
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.
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).
only in the positive (+) direction even if you set “Offset” to 0.
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.
Here are offset settings and pitch change produced by vibrato:
Pitch
offset = –99
offset = 0
offset = +99
Pitch at note-on
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
Key Sync
Offset value.
-99…+99
Intensity value.
This parameter specifies if the LFO is synchronized to key
strokes.
AMS2 (Alternate Modulation Source2)
Intensity (AMS2 Intensity)
On
The LFO will start each time you play a note, and
an independent LFO will operate for each note.
Make settings for a second alternate modulation source that will
Off
The LFO effect that was started by the first-
played note will continue to be applied to each
newly-played note. (In this case, Delay and Fade
will be applied only to the LFO when it is first
started).
Frequency MIDI/Tempo Sync
MIDI/Tempo Sync
Fade
This parameter enables/disables the LFO synchronization with
Sequencer 1 Tempo.
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.
On
The LFO frequency will synchronize to the
tempo (MIDI Clock) of Sequencer 1. In this case,
page 73) will be ignored.
Note-on
Note-off
Fade
Base 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.
Delay
00…99
Fade rate.
Delay
This parameter specifies the time from note-on until the LFO
apply only when the LFO is first started.
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
0…99
Delay time.
Frequency Modulation
Note value.
You can use two alternate modulation sources to adjust the
speed of the LFO1 for the selected oscillator.
Times
This parameter is not available when editing a Drum Kit.
1...16
Beats before restarting the cycle.
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Sound operating mode
LFO: LFO2
74
LFO: LFO2
Effects: IFX 1
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.
In this page you can edit the effect assigned to the Insert FX 1
selected as a modulation source in “AMS1” or “AMS2.”
Effects: Master 1 / Reverb
In this page you can edit the effect assigned to the Master FX 1
more information.
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).
Effects: Master 2 / Chorus
In this page you can edit the effect assigned to the Master FX 2
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
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.
Note: When turning Master 3 on, the Insert FX is no longer avail-
able.
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.
0…127
Level of the sent signal.
Dry
Use this checkbox to mix the dry, direct Sound signal to the
effects.
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Sound operating mode
75
Page menu
4. Choose the “Paste FX” command from the page menu.
Page menu
To copy all effects:
1. Select the source Sound, then go to the Effects > B FX Con-
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.
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
information.
Init Sound
Select this command to delete all parameters, and set them to a
default value.
Compare
Write Sound
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.
Select this command to open the Write Sound dialog box, and
save all editing parameters to a Sound.
While this function is on, the Compare indicator blinks on the
page header.
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.
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.
Swap LFO
Select this command to replace LFO1 with LFO2, and vice-versa.
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.
Copy Oscillator
Select this command to copy all settings between oscillators. See
“Copy Oscillator dialog box” on page 76 for more information.
Note: DrumKits cannot be written over standard Sounds, nor vice
Copy/Paste FX
versa.
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: 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!
Note: This operation does not copy the “Send to Master”, “Dry On/
Off” and “DrumFamily” parameters.
To copy a single effect:
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).
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).
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Sound operating mode
Copy Oscillator dialog box
76
Name
Copy Drum Kit dialog box
Name of the Sound to be saved. Touch the
(Text Edit) but-
ton next to the name to open the Text Edit window.
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.
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.
From Drum Kit
Touch this button to open the Sound Select window, and select
the source Drum Kit.
Copy Oscillator dialog box
From Key
Open this window by selecting the Copy Oscillator item from
the page menu. Here, you can copy all settings between oscilla-
tors.
Select the source range of keys to copy from.
To Key
Target key. Settings are copied starting from this key, and
upwards.
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.
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Sound operating mode
AMS (Alternate Modulation Source) list
77
AMS (Alternate Modulation Source) list
Off
Do not use Alternate Modulation
Pitch EG
Pitch EG
Filter EG
Filter EG within the same oscillator
Amp EG within the same oscillator
LFO1 within the same oscillator
Amp EG
LFO1
LFO2
LFO2 within the same oscillator
Flt KTrk +/+ (Filter Keyboard Track +/+)
Filter keyboard tracking within the same oscillator
Filter keyboard tracking within the same oscillator
Filter keyboard tracking within the same oscillator
Filter keyboard tracking within the same oscillator
Amp keyboard tracking within the same oscillator
Amp keyboard tracking within the same oscillator
Amp keyboard tracking within the same oscillator
Amp keyboard tracking within the same oscillator
Note number
Flt KTrk +/– (Filter Keyboard Track +/)
Flt KTrk 0/+ (Filter Keyboard Track 0/+)
Flt KTrk +/0 (Filter Keyboard Track +/0)
Amp KTrk +/+ (Amp Keyboard Track +/+)
Amp KTrk +/ (Amp Keyboard Track +/)
Amp KTrk 0/+ (Amp Keyboard Track 0/+)
Amp KTrk +/0 (Amp Keyboard Track +/0)
Note Number
Velocity
Velocity
Poly AT (Poly After Touch)
Polyphonic After Touch (transmitted from the Pa3X only as sequence data)
Channel AT (Channel After Touch)
After Touch (Channel After Touch)
Joystick X
Joystick X (horizontal) axis
Joystick +Y
Joystick +Y (vertical upward) direction (CC#01)
Joystick Y
Joystick Y (vertical downward) direction (CC#02)
JS+Y & AT/2 (Joy Stick +Y & After Touch/2)
Joystick +Y (vertical upward) direction and After Touch
JS–Y & AT/2 (Joy Stick Y & After Touch/2)
Joystick Y (vertical downward) direction and After Touch
Assign. Pedal
Ribbon Ctl.
CC#18
Assignable foot pedal (CC#04)
Ribbon controller (CC#16)
CC#18
CC#17
CC#17
CC#19
CC#19
CC#20
CC#20
CC#21
CC#21
Damper
CC#65
Damper pedal (CC#64)
Portamento switch (CC#65)
Sostenuto
CC#80
Sostenuto pedal (CC#66)
CC#80
CC#81
CC#81
CC#82
CC#82
CC#83
CC#83
Tempo
Tempo (tempo data from Sequencer 1 clock or external MIDI clock)
Key On and Key Off Velocity are used
Velocity Plus
Velocity Exp
Velocity Log
Velocity with Exponential curve (higher velocity notes are even louder)
Velocity with Logarithmic curve (higher velocity notes are weaker than with the linear Velocity)
Flt KTrk +/+ (Filter Keyboard Track +/+)
Flt KTrk +/– (Filter Keyboard Track +/)
Flt KTrk 0/+ (Filter Keyboard Track 0/+)
Flt KTrk +/0 (Filter Keyboard Track +/0)
Amp KTrk +/+ (Amp Keyboard Track +/+)
Amp KTrk +/– (Amp Keyboard Track +/–)
Amp KTrk 0/+ (Amp Keyboard Track 0/+)
Amp KTrk +/0 (Amp Keyboard Track +/0)
+/+
The direction of the effect will be determined by
the sign (positive or negative) of the “Ramp Low”
or “Ramp High” setting.
+/–
The direction of the effect will be determined by
the sign of the “Ramp Low” setting, and by the
opposite sign of the “Ramp High” setting (50 for a
setting of +50, and +50 for a setting of 50).
0/+
“Ramp Low” will have no AMS effect. The sign of
the “Ramp High” setting will determine the direc-
tion of its effect.
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Sound operating mode
AMS (Alternate Modulation Source) list
78
+/0
The sign of the “Ramp Low” setting will deter-
mine the direction of its effect. “Ramp High” will
have no AMS effect.
JS +Y & AT/2 (Joy Stick +Y & After Touch/2)
The effect will be controlled by the joystick +Y (vertically
upward) and by after touch. In this case, the effect of after touch
will be only half of the specified intensity.
Amp
example of Amp
Keyboard Track settings
JS Y & AT/2 (Joy Stick –Y & After Touch/2)
Ramp Low
= +50
Ramp High
= +50
The effect will be controlled by the joystick Y (vertically down-
ward) and by after touch. In this case, the effect of after touch
will be only half of the specified intensity.
Note Number
Key Low Key High
+ max
AMS = Amp KTrk +/+
AMS Intensity = positive (+) value
zero
Depth and direction of modulation
- max
+ max
AMS = Amp KTrk +/—
AMS Intensity = positive (+) value
zero
Depth and direction of modulation
- max
+ max
AMS = Amp KTrk 0/+
AMS Intensity = positive (+) value
zero
Depth and direction of modulation
- max
+ max
AMS = Amp KTrk +/0
AMS Intensity = positive (+) value
zero
Depth and direction of modulation
- max
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Sampling operating mode
Entering and exiting the Sampling mode
79
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.
Entering and exiting the Sampling mode
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.
• 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.
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.
The Record (Sampling) procedure
Here is a short overview of a typical sampling procedure.
Preparing to record
Multisamples can then be assigned to Sounds. Sounds created
with this function can be used as any ordinary Sound, and
assigned to any track.
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.
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.
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.
You can also use the Export function to export samples (“.KSF”)
and multisamples (“.KMP”) in Korg proprietary format.
3. Press the SOUND button to access the Sound mode, then
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.
press RECORD to access the Record page.
parameter.
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.
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.
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).
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).
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.
to be sampled.
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Sampling operating mode
The Record (Sampling) procedure
80
the RAM bank of multisamples. Finally, select the new
multisample.
Recording
Next, you’ll record the sound or audio groove.
• To access the new sample(s), you must assign them to a
Drum Kit. First select a Drum Kit. Press MENU and go to
page 58). Select a key and a layer, then select the RAM bank
of samples. Finally, select the new samples.
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.
4. Select the Write Sound command from the page menu, and
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.
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.
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.
Hint: Drum Kits are better suited for the Drum or Percussion
track. Assign them to the Style Settings.
3. Select a page (tab) different from Record, and play the key-
board to listen to the sampled sound.
B) Saving an Audio Groove
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.
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,
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).
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).
A) Saving the sample and creating a Sound
You can save the sample, and create a multisample and a Sound
to use it.
3. Press RECORD to exit the Sampling mode and return to
the Sound mode.
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.
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
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
to the Sound mode.
2. Select an ordinary Sound. Press MENU and go to the
available layers, then select the RAM bank of multisamples.
Finally, select the new multisample.
2. After saving, you can repeat the recording procedure to
create other samples.
3. Select the Write Sound command from the page menu, and
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.
save the Sound to an empty User location.
D) Using the Groove in Styles or Pads
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).
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. Press RECORD to exit the Sampling mode and return to
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.
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
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Sampling operating mode
81
Edit menu
Warning: Generated MIDI Grooves will be deleted when
turning the instrument off. Import them to a Style track
before turning the instrument off.
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.
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.
SM (Sample)
Touch this area to open the Choose Sample window, and select
one of the available samples to be loaded in the editor.
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.
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
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Sampling operating mode
Sampling: Edit
82
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.
Sampling: Edit
Source
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.
Use this parameter to choose either a microphone or a line
source as the input.
Line
You can connect a mono or stereo line source to
the Left and/or Right audio inputs. Use the
“Record Mode” mode parameter (see above) to
choose one or both inputs.
Mic
You can connect a microphone to the Mic input.
If it is a condenser microphone, after having con-
nected it go to the Global > Audio Setup > Audio
In page, and turn the phantom power on (see
“+48V Phantom Power” on page 214 of the User’s
Manual). Use the MIC GAIN knob to set the
input level.
Left to Sample
SM (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.
Waveform display
Sampled
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).
Non editable. Used memory (in samples/seconds) for sampling.
Sampling Buffer
Non editable. Available memory (in samples/seconds) for sample
editing.
Parameters
Record
Start (Sample Start)
Touch this button to start recording. Touch it again to stop
recording. Recording will automatically stop when the maxi-
mum available space will end.
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: 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).
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
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.
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Sampling operating mode
83
Sampling: Loop Edit
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…).
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.
Loop Start (L)
Loop
Loop End (E)
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.
Length
the loop clicks due to level mismatches.
Sample Start (S)
Sample End (E)
End (Sample/Loop End)
This is the sample and loop end point (in samples). You may edit
this point, to shorten the sample.
Sampling: Loop Edit
Warning: When saving the edited sample (Write Sample opera-
tion), the segments exceeding the Start and End points are perma-
nently removed.
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-
Start” parameter, and the Loop End point (always matching the
Sample End point) using the “End” parameter.
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”.
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.
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.
SM (Sample)
Selected sample. See “SM (Sample)” on page 81.
Increase the vertical size.
Decrease the vertical size.
Increase the horizontal size.
Decrease the horizontal size.
Full zoom in.
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
Start
Full zoom out.
Loop Start
End
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Sampling operating mode
Sampling: Sampling Info
84
Use Zero
When you touch the Crossfade button, the Crossfade Loop dia-
log box appears:
Loop Lock
This fixes the length of the loop being edited.
Off
The “Loop S.” and “End” parameters can be
edited separately.
On
When the “Loop S.” or “End” parameter is edited,
the other one will be automatically adjusted so
that the distance between them (i.e., the loop
length) does not change. This is convenient when
you are creating a rhythm loop to match a spe-
cific tempo.
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.
Loop On
If you set this to 50%, crossfade will be performed on the second
half of the region between loop start and loop end.
Use this parameter to turn the loop on or off.
On
The loop is turned on, and the portion of sound
The “Crossfade Length” cannot be greater than the smaller
length between the Sample Start – Loop Start points, or the Loop
Start – Sample End points.
included between the Loop Start and Loop End
points will cycle until a key is kept pressed. If the
“Loop Start” point matches the “Start” point, the
whole sample is cycled.
Curve
When the loop is turned on, a vertical yellow line,
showing the loop point, appears in the waveform
display.
Set “Curve” to specify how the volume will change in the cross-
faded region.
Linear
Power
The volume will change linearly.
Off
The loop is turned off. The sound will play from
the Sample Start to the Sample End point only
once, even if you keep a key pressed on the key-
board.
The volume will change non-linearly. Sometimes
a setting of Linear will produce the impression
that the volume has dropped in the middle of the
crossfade curve. In such cases, use Power.
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.
Sampling: Sampling Info
Use this page to see detailed info on the sample in edit. General
information for the RAM memory is also available.
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.
SM (Sample)
Selected sample. See “SM (Sample)” on page 81.
Sampling Info
Samples
Number of samples in memory.
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Sampling operating mode
85
Time Slice
Drum Samples
How timeslice works
Number of drum samples in memory.
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.
Multisamples
Number of multisamples in memory.
The divided percussive samples will be automatically assigned to
different keys in a multisample, and the multisample to a Sound.
Available Memory
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.
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.
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).
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
When you will import this MIDI Groove to the percussive track
Manual), this sequence will let you adjust the groove’s tempo
without affecting the pitch of the percussive samples.
Mono Time
Remaining sample memory (in seconds). This value is given for
mono samples. With stereo samples, this time has to be halved.
In addition to changing the groove’s tempo without affecting its
pitch, this lets you do the following:
Bytes
•
•
•
change the order in which notes are played
change the timing
Remaining memory for sampling (in Bytes). This value is given
for mono samples. With stereo samples, this time has to be
halved.
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.
Sample Info
Selected Samples
• 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.
Size of the selected sample (in samples).
Samples
Total size of the samples in memory (in samples).
• The Multisample will be automatically saved to the next free
available location.
Sampling Frequency
• Samples will be permanently saved to the internal HD
(KHD_SYSTEM).
Sampling frequency of the selected sample (in Hertz).
• 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).
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.
Warning: All MIDI Grooves will be delete each time the Pa3X is
turned off.
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Sampling operating mode
Time Slice
86
Ex.1 - Generating samples and MIDI Groove data:
Ex.3 - Recombining MIDI notes and samples
Original rhythm sample
120BPM
Kick
Snare
Kick
Kick
Snare
Original pattern
Edit the MIDI data
Execute the Time Slice command
Sample1
Sample3
Sample4
Sample5
Sample2
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.
A multisample, a program and MIDI Groove
data will be created automatically
Sample diagram
C3
This diagram shows the sample waveform and the slices. Here is
how the sample diagram appears before the Slice:
Play in Style Play mode
120BPM
Generated MIDI Groove
Note: Sliced samples and MIDI data are saved with a Write operation.
… and the same diagram after the Slice:
Ex.2 - Varying the groove’s tempo
150BPM
Played closer together,
90BPM
but pitch is unchanged
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.
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Sampling operating mode
87
Time Slice
Slices
Metronome Information
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.
Meter
Use this parameter to specify the Meter of the original sample.
Note: You can have a maximum of 100 slices.
Measures
Slice
Use this parameter to specify the number of measures of the
original sample. Usually, you will load a groove 1- or 2-measures
long.
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.
BPM
This parameter specifies the tempo (in Beats Per Minute) of the
original sample. Pa3X automatically calculates this value based
The Time Slice operation is executed on the sample, from the
“Start” to the “End” point set in the Sample Edit / Sample Record
section.
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.
Extend
Meas.1 Meas.2
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.
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.
Before extending…
Added “tail”
Time Slice
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:
…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.
By
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.
Note: After changing the Release value, you must select the Slice
command again.
Threshold
Caveat: With higher “By” values, the Extend function may add
audible artifacts.
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.
Mode
This parameter specifies if the added “tail” must decay in a linear
way, or sustain for a longer time and then fall suddenly.
Note: After changing the Threshold value, you are not obliged to
select the Slice command again. The Slices value is immediately
changed.
Normal
This option is most suitable for percussive sound
with a short (but not immediate) decay. The “tail”
envelope is linear, and the level decays fast.
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.
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Sampling operating mode
The Time Slice procedure
88
Long
This option is most suitable for cymbals, whose
sound should be sustained up until the next note.
The “tail” envelope is sustained and falls slowly,
then falls suddenly next to the end.
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.
Extend
• To test the full pattern at different speed, play a note from
C2 (half speed) to C3 (original speed). See table above.
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.
• 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.
The Time Slice procedure
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.
Before executing a Slice operation, you must record or load a
execute the Slice operation on this sample.
1. After recording or loading a sample, go to the Time Slice
page.
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-
flawlessly. After editing these parameters, you must execute
the Time Slice again.
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.
Go on experimenting different settings! Editing an audio
groove is a pure matter of experimentation.
The original sample will be sliced, and each generated sam-
ple assigned to a different key:
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.
Separate sliced samples
C3: Full pattern at the
original speed
C2…B2: Full pattern at a
slower speed
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.
Key
Assigned sample/pattern
Speed %
C2
C#2
D2
Full pattern cycling at half the speed
50%
53%
56%
60%
63%
67%
71%
75%
80%
84%
89%
94%
100%
–
D#2
E2
• To improve the quality of the slices, use the Extend func-
F2
8. After saving, you may press RECORD to exit the Sampling
F#2
G2
Full pattern cycling at various speeds
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).
G#2
A2
A#2
B2
C3
Full pattern cycling at the original speed
Separate sliced samples
C#3 and
above
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Sampling operating mode
89
The Extend procedure
The Extend procedure
Multisample: Edit MS
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.
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
mance parameters, like Amplitude Envelope, LFO, Filters, etc…
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).
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.
MS (MultiSample)
Touch this area to open the Choose Multisample window, and
select one of the available multisamples in memory.
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.
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.
7. After saving, you may press RECORD to exit the Sampling
mode.
Multisample Setup
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).
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.
Original Note
Use this parameter to automatically transpose the assigned sam-
ple on the keyboard. When you play this note, the sample sounds
exactly as it was recorded.
up the programming.
The note set with this parameter is also shown in red in the vir-
tual keyboard diagram.
Level
Relative level of the selected zone. This value can only be nega-
tive.
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Sampling operating mode
Multisample: Key Assign
90
Pitch
Page menu
Fine tuning of the selected sample in cents (1 cent = 1/100 of a
semitone).
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.
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
Write
Touch this button to add a new zone (Index) after the last one.
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:
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.
• Write Sample: Saves the sample to the internal HD
more information.
• Write Multisample: Saves the multisample to the internal HD
page 92 for more information.
Multisample: Key Assign
• 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.
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.
Delete
Select this command to open the Delete Sample or Delete Multi-
Sample dialog box (depending on the page you are in):
Sample list
• 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
Keyboard ranges
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.
MS (MultiSample)
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.
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.
Cut
Select this command to cut the selected part of the sample
(inside the “Start” and “End” points).
Keyboard ranges
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.
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Sampling operating mode
91
Page menu
Trim/Crop
Import
Select this command to cut all parts of the sample out of the
selected range (i.e., out of the “Start” and “End” points).
Use the Import command to import complex formats, i.e.,
sounds, multisamples and samples in non-native (i.e., non-Korg)
formats.
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.
With this command, you can import the following formats:
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).
•
“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.
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.
Note: Not all Triton’s PCG data are imported. Insert FX, EQ,
Arpeggio, Combi, Global and Drum Kit data are not loaded.
•
•
“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.
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.
•
“WAVE” is the Microsoft© Windows© preferred format for
audio. The file name must have the “.WAV” extension.
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.
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.
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.
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.
Export
Note: Compressed samples have an asterisk (*) next to their name.
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.
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.
page” on page 94 for more information.
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Sampling operating mode
Write Sample dialog box
92
Compress all samples
Write MultiSample dialog box
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.
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.
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.
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:
Write Sample dialog box
•
Select “Save as a new MultiSample” to save to a new loca-
tion.
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).
•
Select “Save to” to overwrite an existing location. Warning:
The older multisample at the same location will be deleted!
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.
To assign a different name to the sample, touch the
Edit) button to open the Text Edit window.
(Text
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).
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:
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”
Manual), before turning the instrument off.
•
•
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!
Warning: The older Sound at the target 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.
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Sampling operating mode
93
Delete Sample dialog box
Name
Delete Multisample dialog box
To assign a different name to the Sound, touch the
Edit) button to open the Text Edit window.
(Text
Open this dialog box by selecting the Delete command from the
page menu, while you are in any page of the Multisample sec-
tion.
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.
•
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.
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.
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 “MultiSamples” to delete all multisamples. No sam-
ples will be deleted, including those associated with the
deleted multisamples.
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.
•
•
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).
Export Sample page
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.
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:
•
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.
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Sampling operating mode
Export Multisample page
94
Then touch the Save button to see the Export Sample dialog 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
Original Name
Name of the sample being exported.
When you load a .SET folder, all PCM samples in memory are
deleted. To merge samples from several sources, do the follow-
ing.
File Name
Name of the generated file on the storage device.
1. Load a .SET folder containing samples you want to merge
File Type
with other samples.
Either of the file types you can choose as the file format.
2. Load single Sounds from other .SET folders.
WAV
Microsoft Wave format, very common on Win-
dows PCs.
3. Load or import Samples from other sources (Trinity, Tri-
ton, Akai, Wav, Aiff files).
AIFF
Apple’s Audio Interchange File Format, standard
on the Macintosh.
4. Save the .SET folder, over the same or a new .SET folder.
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:
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),
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Voice Processor
Accessing the Voice Processor edit pages
95
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.
Voice Processor Setup: Setup
In this page you can set some general parameters for the Setup.
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:
Global Setting
VPs
Lead Mute
This checkbox allows you to turn the lead voice on or off.
VPs
Voice Vibrato Boost
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.
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.
VPs
Voices Pitch Bend Range
Sets the range in semitones that Pitch Bend information will
alter voice pitch shifts.
Pitch Correction
VPs
(Pitch Correction) On/Off
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.
VPs
Auto-Chromatic Amount
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.
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Voice Processor
Voice Processor Setup: Mic Tone
96
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.
Voice Processor Setup: Mic Tone
Reducing Mud
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).
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.
Lead
VPs
Level
This parameter sets the Lead voice level.
Off
Lead voice is turned off.
-60dB … 0dB Lead voice level.
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.
VPs
Pan
Adjusts panning for the Lead voice. Left/L99 (panned fully left)
to R99/Right (panned fully right).
EQ
The EQ section is different, depending on the Adaptive check-
box status.
VPs
Adaptive
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 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.
VPs
Warmth
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 On
When Adaptive is checked, it allows for simplified editing.
EQ with Adaptive Off
Turning Adaptive off presents manual parametric EQ controls
for users who understand this type of equalization.
VPs
Shape
“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.
There are 3 bands of control:
• Low band shelving
• All band fully parametric peak/dip control
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Voice Processor
Voice Processor Setup: Mic Tone
97
• High band shelving
Compress/DeEss with Adaptive On
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.
When Adaptive is checked, it allows for simplified editing.
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.
VPs
Compress
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.
The 3 Gain (upper) controls allow +/-12 dB of adjustment. The 3
Frequency (lower) controls range from 20 Hz to 20 kHz.
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.
VPs
Low Gain
Boosts or cuts the range of frequencies below the frequency set
by the Low Frequency control.
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.
VPs
Low Frequency
Allows you to define the frequency range for the low shelf by
choosing the highest frequency below which boosting or cutting
is possible.
VPs
High Gain
Boosts or cuts the range of frequencies above the frequency set
by the High Frequency control.
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.
VPs
High Frequency
Defines the frequency range for the high shelf with the selection
of the lowest frequency above which boosting or cutting is possi-
ble.
We typically sing dynamically, like this (capitals are used to show
louder dynamics):
VPs
Mid Gain
“I LOVE to watch you WALK down the STREET”
Boosts or cuts the band of frequencies centered at the setting of
the Mid Frequency control and its associated Mid Width.
At acoustic singing levels with no, or very quiet instrumentation,
this would sound fine. When amplified however, the loud words
become strident and even worse, quiet words can be lost in the
instrument sounds. The louder the amplification system and
band the more pronounced the loud parts become. Compression
seeks to do the following to your dynamics:
VPs
Mid Frequency
Defines the center of the parametric band.
VPs
“I LOVE to watch you WALK down the STREET”
Mid Width (Q)
Applied appropriately, the difference between loud and soft is
reduced without killing the interesting dynamics in your perfor-
mance.
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.
VPs
DeEss Level
Compress/DeEss
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.
VPs
Adaptive
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.
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.
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Voice Processor
Voice Processor Setup: Mic Tone
98
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.
Gate
If your musical accompaniment is loud or you hear feedback, the
Gate control will enable you to make adjustments.
VPs
Adaptive
When set to the factory default of Adaptive, the Gate control
Compress/DeEss with Adaptive Off
helps in two very important ways by:
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.
1. Minimizing feedback
2. Reducing the amount of audible effects processing on
sounds entering the mic other than your voice.
Note: The DeEss Level control will remain unchanged.
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.
VPs
Threshold
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.
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.
VPs
Lead Atten(uation)
VPs
Ratio
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 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.
VPs
Harm(ony) Atten(uation)
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.
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.
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.
VPs
Threshold
(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.
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Voice Processor
Voice Processor Setup: Talk
99
Voice Processor Setup: Talk
Voice Processor Preset: Easy Preset
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.
Preset
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).
SB
Voice Processor 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.
Talk
Tlk
Talk On/Off
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.
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.
VPp
Effects On/Off
Note: When you deactivate the Talk function, the Voice Processor
Preset is recalled. Any unsaved change to the Preset will be lost.
Use these buttons to turn the effects on/off.
VPp
Effect Sets
Mode
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.
Tlk
Auto (AutoTalk)
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.
VPp
Lev(el)
Level of the corresponding effect.
Mixer
Tlk
Master Volume Attenuation knob
Use this knob to reduce the volume of all tracks (Keyboard,
Style, Player, Pad…). 100% corresponds to no level reduction.
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Voice Processor
Voice Processor Preset: Mixer/FX
100
VPp
Delay to Rev
Voice Processor Preset: Mixer/FX
Master Level of the Delay effect going to the Reverb block.
This page contains master level controls for the Voice Processor
as a whole.
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.
μMod
VPp
Mod. Level
Master Level of the μMod block.
VPp
Lead to Mod
Master Level of the Lead voice going to the μMod block.
VPp
Hrm/D to Mod
Master Level of the Harmony and Double effects going to the
μMod block.
Harmony
Delay
VPp
(Harmony) On/Off
This button allows enabling/disabling of the Harmony block. It
is the same control found in the “Easy Preset” page.
VPp
Delay Level
Master Level of the Delay block.
VPp
(Harmony) Type
VPp
Lead to Delay
Type of harmonization. These are the available parameters.
Master Level of the Lead voice going to the Delay block.
Chord
Chords played on the keyboard, received from a
Song in Standard MIDI File format, or from the
MIDI IN.
VPp
Hrm/D to Dly
Master Level of the Harmonyand Double effects going to the
Delay block.
MP3 Audio Chords recognized in a Song in MP3 format.
Scale
Shift
Harmony notes are adapted to a scale.
VPp
Harmony notes are exactly the indicated interval
above or under the Lead voice.
Mod. to Delay
Master Level of the μMod effect going to the Delay block.
Notes
Harmony voices play the notes played on the key-
board, received from a Song in Standard MIDI
File format, or from the MIDI IN.
Reverb
Note: Some of the parameters in this page appear only when a
specified Harmony Type is selected.
VPp
Reverb Level
Master Level of the Reverb block.
VPp
Keyb(oard)
VPp
Lead to Rev
(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.
Master Level of the Lead voice going to the Reverb block.
VPp
Hrm/D to Rev
Note: When this parameter is greyed out, notes or chords cannot
be received from the keyboard or from a Standard MIDI File.
Master Level of the Harmony and Double effects going to the
Reverb block.
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Voice Processor
Voice Processor Preset: Harmony
101
Chord Scan. The area is chosen with the CHORD SCAN-
NING buttons in the control panel.
VPp
Shift
(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.
Lower
Upper
Full
Lower area (under the Split Point).
Upper area (under the Split Point).
The full extension of the keyboard.
VPp
Smooth
VPp
(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.
Set
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.
VPp
Level
Sets the level for the overall Harmony effect in the current pre-
set.
VPp
Pan
VPp
Porta(mento)
Each voice may have a unique pan position. There are 100 possi-
ble steps in each of the left and right pan positions.
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.
When the Notes Harmony Type is selected, you can select
between Narrow, Medium and Wide panning.
VPp
Gender
Voice select buttons V1-V4
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.
Use these buttons to select the individual voice to be pro-
grammed.
Single Voice parameters box
Other Harmony settings
VPp
Voicing
VPp
(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.
Humanize Style
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 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.
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.
VPp
Level
Pitch modulation – A random wave generator wobbles the
pitch in non-periodic ways to simulate even the finest sing-
ers' pitch variation.
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.
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.
VPp
Scale
(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.
•
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.
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Voice Processor
Voice Processor Preset: Double
102
VPp
Amount
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.
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 μMod 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.
VPp
Vibrato Style
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.
VPp
Amount
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.
VPp
LoEQ
VPp
Low-frequency equalization.
(Double) On/Off
This button allows enabling/disabling of the Double block. It is
the same control found in the “Easy Preset” page.
VPp
Lead Level
Level of the Lead voice mixed with the effect.
VPp
Set
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.
VPp
Level
Sets the level for the overall Double effect in the current preset.
VPp
Portamento
Portamento is a delayed response to the pitch movement of your
of the Harmony page.
VPp
Humanize Style
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.
VPp
Humanize Amount
You can vary the amount of humanization for the harmony
mony page.
VPp
Lead Level
Level of the Lead voice mixed with the effect.
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Voice Processor
Voice Processor Preset: Filter & Hard Tune
103
VPp
Gate Threshold
Voice Processor Preset: Filter & Hard Tune
A gate, separate from the main Gate under the “Voice Processor
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.
This page contains the Filter and HardTune effects, which dra-
matically change the sound’s character.
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.
VPp
(HardTune) On/Off
This button allows enabling/disabling of the HardTune block. It
is the same control found in the “Easy Preset” page.
Filter
VPp
Set
This effect uses steep filters to emulate the sound of radios,
phones and devices that generally degrade the audio signal.
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.
VPp
(Filter) On/Off
This button allows enabling/disabling of the Filter block. It is the
same control found in the “Easy Preset” page.
VPp
Rate
VPp
Set
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.
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.
VPp
Level
Sets the level for the overall Filter effect in the current preset.
VPp
VPp
Shift
Routing
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.
Selects where the Filter effect is inserted into the signal path for
maximum flexibility. The options are:
Off
No routing.
VPp
Lead
Filter is inserted on the Lead voice only. Harmo-
nies and Doubling are unaffected.
Window
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.
Harm+Double Filter is inserted on the Harmony+Double path
only.
Voices
Filter is inserted on both the Lead, Harmony and
Doubling voices.
Lead FX
Filter is inserted on the Lead send to the μMod,
Delay and Reverb effect sends. Lead voice will be
clean.
Harmony FX Filter is inserted on the Harmony send to the
effects. Lead and Harmony voices will be clean.
VPp
Low Cut / Hi Cut
Sets the cut-off frequency for these very steep low and high
shelving filters.
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Voice Processor
Voice Processor Preset: μMod
104
Values above 90 add a high amount of gain and cause distortion
and higher audio levels.
Voice Processor Preset: μMod
VPp
Lead Level
μMod is short for micro-modulation. The μMod 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. μMod does a faithful job of emulating classic
detune, chorus, flange and thickening sounds.
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.
VPp
(μMod) On/Off
This button allows enabling/disabling of the μMod block. It is
the same control found in the “Easy Preset” page.
VPp
Delays can be typically be categorized into the two listed catego-
ries below:
Set
Use this menu to choose a pre-programmed μMod Set. This cor-
responds to the option selected in the “Easy Preset” page.
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).
VPp
Level
Sets the mix level for the μMod effect.
VPp
(Delay) On/Off
VPp
Speed
This button allows enabling/disabling of the Delay block. It is the
same control found in the “Easy Preset” page.
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).
VPp
Set
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.
VPp
Detune L/R
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.
VPp
Level
Sets the mix level for the delay effect.
VPp
Depth L/R
VPp
Source
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.
Determines which of the two methods you want to use to set
delay times. These include:
Time
This allows you to set the exact delay time for the
left and right delay lines manually with the Time
L and Time R controls.
VPp
Delay L/R
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.
MIDI
The unit can be set to derive its delay times from
incoming MIDI clock signal.
VPp
Div L/R
VPp
Feedback L/R
When the source is set to MIDI, these parameters divide the
tempo into even (e.g. 1/4 or quarter notes) or syncopated sub-
Re-introduces a portion of the audio output signal of the μMod
block back to the input to create flanges, tube and chorus effects.
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Voice Processor
Voice Processor Preset: Reverb
105
beats (e.g. 1/4 triplets, 1/4 dotted notes) for the left and right
delays.
VPp
(Reverb) On/Off
This button allows enabling/disabling of the Reverb block. It is
the same control found in the “Easy Preset” page.
VPp
Time L/R
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.
VPp
Set
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.
VPp
Feedback L/R
Re-introduces a portion of the audio output signal of the Delay
block back to the input to add echo repeats.
VPp
Level
Sets the mix level for the Reverb effect.
VPp
Hi Cut / Low Cut
VPp
Decay
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.
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.
VPp
Duck Amount
VPp
Pre Delay
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.
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.
VPp
Lead Level
VPp
Hi Color / Lo Color
Level of the Lead voice mixed with the 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.
Voice Processor Preset: Reverb
VPp
Duck Amount
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.
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.
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.
VPp
Lead Level
Level of the Lead voice mixed with the effect.
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Effects
Dynamic Modulation sources
106
Effects
Pa3X is equipped with four powerful Effect Processors for the
internal MIDI tracks (Upper, Lower, Style, Song, Pads).
Modulation source
Note
Damper: #64
Prta.SW: #65
Sostenu: #66
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
Portamento Switch
Sostenuto Pedal
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.
Modulation source
Note
Off
No modulation
Gate1
Gate1+Dmpr
Gate2
Some notes on the Gate parameters follow.
Gate2+Dmpr
Note Nr
Note Number
Gate1, Gate1+Dmpr (Gate1+Damper)
Velocity
Note Velocity
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.
Expo Velocity
AfterTouch
JS X
Exponential Note Velocity
After Touch
Joystick Left/Right
Joystick Forward
Joystick Backward
Gate1,Gate1+Dmpr
Dmpr
3
1
2
2
1
3
JS+Y: CC#01
JS-Y: CC#02
MIDI(CC#04)
MIDI(CC#12)
MIDI(CC#13)
Ribb.(CC#16)
MIDI(CC#18)
MIDI(CC#17)
MIDI(CC#19)
MIDI(CC#20)
MIDI(CC#21)
MIDI(CC#17+)
MIDI(CC#19+)
MIDI(CC#20+)
MIDI(CC#21+)
Note
Damper Pedal
On
Off
Gate1
Gate1+Dmpr
Time
Ribbon Controller
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.)
Gate2,Gate2+Dmpr
Dmpr
3
1
2
2
1
3
Note
Damper Pedal
On
Off
Gate2
Gate2+Dmpr
Time
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Effects
Dynamics (Dynamic)
107
Compressor - Sensitivity
Level
Dynamics (Dynamic)
Wet
Sensitivity=100
Sensitivity=40
Dry
0: No Effect
Time
Select this option when you do not use any effects.
c: Attack
This parameter controls the attack level.
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.
Compressor - Attack
Level
Attack=80
Attack=20
Wet
Stereo In - Stereo Out
Dry
Left
FX Amt
EQ Trim
LEQ
HEQ
Time
Compressor
Output Level
Envelope - Control
Envelope - Control
Envelope Select
2: Dyn. Compressor
Output Level
Compressor
EQ Trim
LEQ
HEQ
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.
Right
FX Amt
L/R Mix,
Determines whether the left and
right channels are linked or used
separately
Envelope
Select
a
L/R Individ-
ually
b
c
Sensitivity
Attack
1...100
1...100
0...100
Sets the sensitivity
Sets the attack level
Sets the EQ input level
Wet: Mono In - Mono Out
Left
/
Dry: Stereo In - Stereo Out
d
EQ Trim
Wet / Dry
Low,
Mid-Low
Selects the cutoff frequency (low or
mid-low) of the low-range equalizer
Pre LEQ Fc
e
f
Selects the cutoff frequency (high
or mid-high) of the high-range
equalizer
Compressor
+
High,
Output Level
Pre HEQ Fc
Mid-High
Envelope - Control
Pre LEQ Gain
[dB]
Right
–15.0...+15.0
–15.0...+15.0
Sets the gain of the Low EQ
Sets the gain of the High EQ
Wet / Dry
Pre HEQ Gain
[dB]
Sets the output level of the
compressor
Output Level 0...100
Sensitivity 1...100
Sets the sensitivity
Sets the attack level
Selects the modulation source for
the compressor output level
Attack
Level
1...100
0...100
g
h
Src
Off...Tempo
–100...+100
Sets the output level of the compressor
Sets the modulation amount for the
compressor output level
Amt
Wet/Dry
Src
Dry, 1 : 99... Sets the Balance between the wet and dry
99 : 1, Wet signal
Wet/Dry
Source
Dry, 1:99...99:1, Sets the Balance between the wet
Selects the modulation source for the
Off...Tempo
Wet
and dry signal
compressor output level
Selects a modulation source for
Wet/Dry
Off...Tempo
Sets the modulation amount for the
–100...+100
Amount
compressor output level
Sets the modulation amount for
Wet/Dry
Amt
–100...+100
3: Stereo Limiter
a: Envelope Select
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.
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.
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Effects
Dynamics (Dynamic)
108
Limiter - Threshold / Ratio
Ratio=1.0 : 1
Stereo In - Stereo Out
Left
FX Amt
Gain Adjust
Output Level
Limiter
Side PEQ
Ratio=2.0 : 1
Ratio=4.0 : 1
Envelope - Control
Envelope - Control
Trigger Monitor
Threshold
+
Ration=Inf : 1
Envelope Select
Limiter
Envelope Source
Gain Adjust
Right
FX Amt
FX Control BUS 1
Louder
FX Control BUS 2
Input Level
Selects from linking both channels,
controlling only from left channel,
only from the right channel, or
controlling each channel individ-
ually
Ratio=1.0 : 1
Ratio=2.0 : 1
Ratio=4.0 : 1
Dry
Level
L/R Mix,
Envelope
Select
L Only, R Only,
L/R Individ-
ually
a
Threshold
1.0 : 1…
50.0 : 1,
Inf : 1
Ratio=Inf : 1
b
Ratio
Sets the signal compression ratio
Time
Sets the level above which the
compressor is applied
c
v
Threshold [dB] –40...0
Attack
1...100
1...100
Sets the attack time
Sets the release time
Release
Gain Adjust
[dB]
–Inf,
–38...+24
Sets the output gain
Selects the modulation source for
the output gain
e
f
Src
Off...Tempo
–63...+63
Sets the modulation amount of the
output gain
Amt
Toggles between on/off of the
trigger signal’s EQ
Side PEQ Insert Off, On
Trigger
Off, On
Monitor
Switches between effect output
monitor and trigger signal monitor
Side PEQ
Cutoff [Hz]
Sets the EQ center frequency for the
trigger signal
20...12.00k
Sets the EQ bandwidth for the
trigger signal
g
Q
0.5...10.0
Sets the EQ gain for the trigger
signal
Gain [dB]
Wet/Dry
–18.0...+18.0
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
h
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
a: Envelope Select
When L/R Mix is selected for this parameter, the left and right
channels are linked to control the Limiter using the mixed sig-
nal. If L Only (or R Only) is selected, the left and right channels
are linked, and the Limiter is controlled via only the left (or
right) channel.
With L/R individually, the left and right channels control the
Limiter individually.
b: Ratio
c: Threshold [dB]
e: Gain Adjust [dB]
This parameter sets the signal compression “Ratio”. Compres-
sion is applied only when the signal level exceeds the “Thresh-
old” value.
Adjust the output level using the “Gain Adjust” parameter, since
compression causes the entire level to be reduced.
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Effects
Dynamics (Dynamic)
109
d: Attack
d: Release
Gain Adjust
[dB]
–Inf,
Sets the output gain
–38...+24
Selects the modulation source for
the output gain
h
i
Src
Off...Tempo
–63...+63
These parameters set the attack time and release time. A higher
attack time will cause the compression to be applied more slowly.
Sets the modulation amount of the
output gain
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Limiter - Attack / Release
Wet/Dry
signal
Threshold
Src
Off...Tempo
–100...+100
Dry
Amt
Amount of modulation source
e: Low Offset [dB]
f: Mid Offset [dB]
g: High Offset [dB]
Ratio=Inf : 1
Attack=1
Release=1
Wet
Wet
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.
Ratio=Inf : 1
Attack=100
Release=100
Release
5: St.MasteringLimtr
Attack
(Stereo Mastering Limiter)
This is a stereo limiter that is optimized for mastering songs.
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.
Stereo In - Stereo Out
Left
FX Amt
Out Ceiling
Limiter
Usually, set this to Off.
+
Envelope - Control
f: Side PEQ Insert
g: Side PEQ Cutoff [Hz]
g: Q
Limiter
Out Ceiling
Right
FX Amt
g: Gain [dB]
Sets the level above which the
compressor is applied
a
Threshold [dB] –30.0...0.0
These parameters are used to set the EQ applied to the trigger
signal.
Out Ceiling
–30.0...0.0
[dB]
b
c
Sets the output gain
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.
Release [msec] 0.50...1000.0
Sets the release time
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
d
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Stereo In - Stereo Out
Band-Pass Filters
Low
Left
Limiter
FX Amt
Gain Adjust
Envelope - Control
Envelope Source
Mid Low Offset
Delay
Gate
+
Limiter
Side PEQ
Gain Adjust
Envelope - Control
Mid Offset
Envelope - Control
Envelope - Control
Trigger Monitor
High
+
Limiter
Envelope - Control
High Offset
Envelope Select
Delay
Gate
Right
FX Amt
-mod
Gain Adjust
D
Right
FX Amt
FX Control BUS 1
FX Control BUS 2
1.0 : 1...50.0 : 1,
Inf : 1
a
Ratio
Sets the signal compression ratio
Sets the level above which the
compressor is applied
b
Threshold [dB] –40...0
Selects the source to control the
Envelope
Source
c
d
e
f
Attack
1...100
1...100
Sets the attack time
a
D-mod, Input gate: D-mod control, or use the
input signal as a trigger
Release
Sets the release time
L/R Mix,
L Only,
Low Offset [dB] –40...0
Mid Offset [dB] –40...0
Gain of the low-range trigger signal
Gain of the mid-range trigger signal
Envelope
Select
Selects the control signal: left and
right linked, left only, or right only
R Only
b
High Offset
–40...0
Selects the source that will control
the gate when Envelope Src = D-
mod
g
Gain of the high-range trigger signal
[dB]
Src
Off...Tempo
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Effects
EQ and Filters (EQ/Filter)
110
Sets the level at which gating is
applied
Threshold
0...100
c
EQ and Filters (EQ/Filter)
Polarity
Attack
+, –
Switches the polarity of gating
Sets the attack time
Sets the release time
1...100
1...100
d
e
Release
Delay Time
[msec]
Sets the delay time for the gate
input
0...100
7: St.Parametric4EQ
Switches the trigger signal equalizer
on/off
(Stereo Parametric 4-Band EQ)
Side PEQ Insert Off, On
f
Trigger
Off, On
Monitor
Switches between monitoring the
effect output and the trigger signal
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.
Side PEQ
Cutoff [Hz]
Sets the center frequency of the
equalizer for the trigger signal
20...12.00k
Sets the bandwidth of the equalizer
for the trigger signal
g
Q
0.5...10.0
Stereo In - Stereo Out
Left
Sets the gain of the equalizer for the
trigger signal
FX Amt
Band1 Band2 Band3 Band4
Gain [dB]
Wet/Dry
–18.0...+18.0
PEQ
PEQ
PEQ
PEQ
Trim
Trim
Dry, 1:99...99:1, Balance between the wet and dry
Wet
LEQ
HEQ
signal
h
LEQ
PEQ
HEQ
PEQ
Src
Off...Tempo
–100...+100
PEQ
PEQ
Amt
Amount of modulation source
Right
FX Amt
-mod
D
c: Threshold
d: Attack
d: Release
a
Trim
0...100
Sets the input level
Peaking,
Shelving-Low
Selects the type of Band 1
b
Band1 Type
“Threshold” specifies the level at which gating occurs when
“Envelope Select” is set to L/R Mix, L Only, or R Only.
Peaking,
Shelving-High
c
Band4 Type
Band2
Dynamic Gain Off...Tempo
Src
Selects the type of Band 4
“Attack” and “Release” specify the attack time and release time of
the gate.
Selects the modulation source of the
Band 2 gain
d
Sets the modulation amount of
Band 2 gain
Gate - Threshold
Amt [dB]
–18.0...+18.0
20...1.00k
Output Level
Band1 Cutoff
[Hz]
Sets the center frequency of Band 1
e
f
Q
0.5...10.0
Sets the bandwidth of Band 1
Sets the gain of Band 1
Threshold
Gain [dB]
–18.0...+18.0
Band2 Cutoff
[Hz]
50...10.00k
Sets the center frequency of Band 2
Q
0.5...10.0
Sets the bandwidth of Band 2
Sets the gain of Band 2
Louder
Gain [dB]
–18.0...+18.0
Input Level
Band3 Cutoff
[Hz]
300...10.00k
Sets the center frequency of Band 3
Gate - Attack / Release
g
h
Q
0.5...10.0
Sets the bandwidth of Band 3
Sets the gain of Band 3
Threshold
Gain [dB]
–18.0...+18.0
Band4 Cutoff
[Hz]
500...20.00k
Sets the center frequency of Band 4
Dry
Q
0.5...10.0
Sets the bandwidth of Band 4
Sets the gain of Band 4
Gain [dB]
–18.0...+18.0
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Wet
Attack=1
Release=1
i
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Wet
Attack=100
Release=100
Release
Attack
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.
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Effects
EQ and Filters (EQ/Filter)
111
b: Band1 Type
c: Band4 Type
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
j
Src
Off...Tempo
–100...+100
Selects a filter type for Band 1 and 4.
Amt
Amount of modulation source
Parametric 4EQ - Band1, Band4 Type
a: Type
3dB
+Gain
Band4 Type=Shelving High
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.
Band4 Type=Peaking
0dB
Band1 Type=Shelving Low
Band1 Type=Peaking
3dB
–Gain
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.
Band1 Cutoff
Band4 Cutoff
Parametric 4EQ - Band2 Gain Mod
Band2 Cutoff
9: St.Exciter/Enhncr
-mod
D
+15dB
(Stereo Exciter/Enhancer)
+6dB
0dB
+6dB
0dB
This effect is a combination of the Exciter, which adds a punch
to the sound and the Enhancer, which adds spread and presence.
Band2 Cutoff
–9dB
-mod
D
Stereo In - Stereo Out
Band2 Gain[dB]= +6.0
Band2 Gain Mod Amount[dB]= +9.0
Band2 Gain[dB]= +6.0
Band2 Gain Mod Amount[dB]= –15.0
Left
FX Amt
LEQ HEQ
Exciter
EQ Trim
Delay
e, f, g, h: Q
Depth
Delay
EQ Trim
Exciter
These parameters set the bandwidth of each equalizer. The
higher the value, the narrower the band becomes.
Enhancer
Right
FX Amt
-mod
D
d: Band2 Dynamic Gain Src
d: Amt [dB]
Sets the intensity (depth) of the
Exciter effect
Exciter Blend
–100...+100
Off...Tempo
–100...+100
You can control the gain of Band 2 using the modulation source.
Selects the modulation source of the
Exciter intensity
a
Src
Sets the modulation amount of the
Exciter intensity
8: St. Graphic 7EQ
Amt
(Stereo Graphic 7-Band EQ)
Sets the frequency to be empha-
sized
Emphasis Freq 0...70
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.
Selects the modulation source of the
frequency to be emphasized
b
Src
Off...Tempo
Sets the amount of modulation of the
frequency to be emphasized
Amt
–70...+70
0.0...50.0
0.0...50.0
0...100
Enhancer
Delay L [msec]
Sets the delay time for the Enhancer
left channel
c
Enhancer
Delay R [msec]
Sets the delay time for the Enhancer
right channel
Stereo In - Stereo Out
d
Left
FX Amt
Enhancer
Depth
Sets the determines to what degree
the Enhancer effect is applied
Trim
Band1 Band2 Band3 Band4 Band5 Band6 Band7
Selects the modulation source of the
Enhancer width
e
Src
Off...Tempo
Trim
Sets the modulation amount of the
Enhancer width
Amt
–100...+100
0...100
Band1 Band2 Band3 Band4 Band5 Band6 Band7
Right
f
EQ Trim
Pre LEQ Fc
Sets the 2-band EQ input level
FX Amt
Low,
Mid-Low
Selects the cutoff frequency (low or
mid-low) of the low-range equalizer
g
1:Wide 1, 2:Wide
2, 3:Wide 3,
Selects the cutoff frequency (high or
mid-high) of the high-range
equalizer
High,
Pre HEQ Fc
Mid-High
4:Half Wide 1,
5:Half Wide 2,
Pre LEQ Gain
[dB]
6:Half Wide 3,
7:Low,
8:Wide Low,
9:Mid, 10:Wide
Mid, 11:High,
12:Wide High
Selects a combination of center
frequencies for each band
–15.0...+15.0
–15.0...+15.0
Gain of the Lo EQ
a
Type
h
i
Pre HEQ Gain
[dB]
Gain of the High EQ
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
b
c
d
e
f
Trim
0...100
Sets the input level
Src
Off...Tempo
–100...+100
Band1 [dB]
Band2 [dB]
Band3 [dB]
Band4 [dB]
Band5 [dB]
Band6 [dB]
Band7 [dB]
–18.0...+18.0
–18.0...+18.0
–18.0...+18.0
–18.0...+18.0
–18.0...+18.0
–18.0...+18.0
–18.0...+18.0
Sets the gain of Band 1
Sets the gain of Band 2
Sets the gain of Band 3
Sets the gain of Band 4
Sets the gain of Band 5
Sets the gain of Band 6
Sets the gain of Band 7
Amt
Amount of modulation source
a: Exciter Blend
g
h
i
This parameter sets the depth (intensity) of the Exciter effect.
Positive values give a frequency pattern (to be emphasized) dif-
ferent from negative values.
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Effects
EQ and Filters (EQ/Filter)
112
b: Emphasis Freq
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.
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]
Stereo In - Stereo Out
These parameters set the delay time for the Enhancer left and
right channel. Specifying a slightly different delay time for the
left and right channel will add a stereo image, depth, and width
to the sound.
Left
FX Amt
Wah
Envelope Sens
Sweep Mode
Envelope Shape
+
Auto
D-mod
LFO
Response
-mod
D
LFO
Wah
10: Stereo Isolator
Right
FX Amt
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.
Frequency
Bottom
Sets the lower limit of the wah
center frequency
0...100
a
Sets the upper limit of the wah
center frequency
Frequency Top 0...100
Auto,
Selects the control from auto-wah,
modulation source, and LFO
Sweep Mode
D-mod,
LFO
Stereo In - Stereo Out
Left
Low
Mid
FX Amt
b
Selects the modulation source for
the wah when Sweep Mode=D-mod
Src
Off...Tempo
0...100
Sets the response speed when
Sweep Mode = Auto or D-mod
Trim
Trim
High
Respon
Isolator
Low
Mid
Envelope Sens 0...100
Envelope
Shape
Sets the sensitivity of auto-wah
c
–100...+100
Sets the sweep curve of auto-wah
High
Right
LFO Frequency
[Hz]
FX Amt
0.02...20.00
Off...Tempo
Sets the speed of the LFO
-mod
-mod
-mod
D
D
D
Selects a modulation source for LFO
speed
d
Src
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
a
Trim
0...100
Sets the input level
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
Sets the frequency at which the low
and mid bands are divided
MIDI Sync
Off, On
b
Low/Mid [Hz] 100...500
Mid/High [Hz] 2000...6000
Sets the frequency at which the mid
and high bands are divided
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
c
BPM
e
–Inf,
Low Gain [dB]
–59...+12
Sets the low-frequency gain
Selects the type of notes that
specify the LFO speed
Base Note
r...w
Selects the source that will
modulate low-frequency gain
d
Src
Off...Tempo
–72...+72
Sets the number of notes that
specify the LFO speed
Times
x1...x32
0...100
Sets the amount by which the low-
frequency gain will be modulated
Amt
Resonance
Sets the resonance amount
f
–Inf,
Switches the wah low pass filter on
and off
Mid Gain [dB]
Src
Sets the mid-frequency gain
Low Pass Filter Off, On
–59...+12
Selects the modulation source for
mid-frequency gain
Sets the output level of the effect
sound
e
Off...Tempo
–72...+72
Output Level
Src
0...100
Sets the amount by which the mid-
frequency gain will be modulated
Selects the modulation source that
will control the effect output level
Amt
g
Off...Tempo
–100...+100
–Inf,
–59...+12
Sets the modulation amount of the
effect output level
High Gain [dB]
Src
Sets the high-frequency gain
Amt
Selects the modulation source for
high-frequency gain
Dry, 1:99...99:1, Balance between the wet and dry
f
Off...Tempo
–72...+72
Wet/Dry
Wet
signal
Sets the amount by which the high-
frequency gain will be modulated
h
Amt
Src
Off...Tempo
–100...+100
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Amt
Amount of modulation source
Wet/Dry
signal
g
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
EQ and Filters (EQ/Filter)
113
a: Frequency Bottom
a: Frequency Top
12: St. Vintage Wah
(Stereo Vintage/Custom Wah)
The sweep width and direction of the wah filter are determined
by the “Frequency Top” and “Frequency Bottom” settings.
This effect simulates the tonal character of a vintage wah pedal.
You can customize the tone and range settings.
Sweep Mode=D-mod
Frequency
Frequency
Stereo In - Stereo Out
Left
FX Amt
Top=75
Wah
Bottom=60
Wah
Wah
Envelope Sens
Response
Sweep Mode
Auto
Woo
+
Shape / Invert
Mode
Top=30
-mod
D
Woo
Bottom=25
D-mod
LFO
Preset Setting
-mod
D
-mod
Custom Parameters
LFO
Higher
Higher
D
Wah
Zero
Max
Zero
Max
Right
Sweep Mode=Auto
Wah
FX Amt
Frequency
Bottom=75
Frequency
Top=75
Wah
Wah
Selects either preset or custom
settings
Mode
Preset, Custom
a
Envelope
Shape
Invert
–100...+100
Off, On
Sets the curve of the sweep
Woo
Woo
Inverts the polarity of the sweep
Bottom=25
Top=25
Woo
Sets the lower limit of the wah
center frequency when Mode =
Custom
Frequency
Bottom
0...100
Envelope
Envelope
Time
Time
b
c
Sets the upper limit of the wah
center frequency when Mode =
Custom
Frequency Top 0...100
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.
Resonance
0...100
Sets the lower limit of resonance
amount when Mode=Custom
Bottom
Sets the upper limit of resonance
amount when Mode=Custom
Resonance Top 0...100
Auto,
Selects the control from auto-wah,
modulation source, and LFO
Sweep Mode
D-mod,
LFO
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.
Selects the modulation source for
the wah when Sweep Mode=D-mod
d
Src
Off...Tempo
Sets the center frequency when
Sweep Mode=D-mod and
Source=Off
Manual
0...100
When “Sweep Mode” is set to LFO, the effect uses LFO to sweep
in cycle.
Envelope Sens 0...100
Sets the auto-wah sensitivity
e
f
Sets the speed of response when
Sweep Mode=Auto or D-mod
Response
0...100
c: Envelope Sens
LFO Frequency
[Hz]
0.02...20.00
Off...Tempo
Sets the speed of the LFO
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.
Selects a modulation source for LFO
speed
Src
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
c: Envelope Shape
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
BPM
Off, On
This parameter determines the sweep curve for auto-wah.
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Envelope Shape
Level
g
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Envelope
Sets the number of notes that
specify the LFO speed
x1...x32
0...100
value = 0...+100
value = 0...–100
Sets the output level of the effect
sound
Output Level
Src
Time
Selects the modulation source that
will control the effect output level
h
i
Off...Tempo
–100...+100
d: LFO Frequency [Hz]
e: MIDI Sync
Sets the modulation amount of the
effect output level
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
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.
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
a: Shape
e: BPM
e: Base Note
e: Times
This parameter specifies the sweep curve of the wah. It applies to
all control via auto-wah, modulation source, and LFO, and lets
you adjust subtle nuances of the wah effect.
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.
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Effects
EQ and Filters (EQ/Filter)
114
a: Mode
b: Frequency Bottom
b: Frequency Top
c: Resonance Bottom
c: Resonance Top
LFO Frequency
[Hz]
0.02...20.00
Off...Tempo
Sets the speed of the LFO
Selects the modulation source used
for both LFO speed and step speed
b
c
Src
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
LFO Step Freq
[Hz]
Sets the LFO step speed (speed that
changes in steps
0.05...50.00
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.
–50.00...
+50.00
Sets the modulation amount of LFO
step speed
Amt
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
Off, On
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM
d
13: VOX Wah
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
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.
Sets the number of notes that
specify the LFO speed
x1...x32
Selects the type of notes to specify
the LFO step speed
Step Base Note r...w
e
f
Sets the number of notes to specify
the LFO step speed
Times
x1...x32
Wet: Mono In - Mono Out
Left
/
Dry: Stereo In - Stereo Out
Wet / Dry
Manual
Src
0...100
Sets the filter center frequency
Selects the modulation source for
the filter center frequency
Off...Tempo
Wah
+
Auto Sensitivity
Envelope Attack / Polarity
Auto
Sets the modulation amount for the
filter center frequency
Amt
Depth
Src
–100...+100
0...100
Mode
-mod
D
Sets the modulation depth of filter
center frequency
Pedal(D-mod)
Right
Wet / Dry
Selects the modulation source of
filter modulation
g
h
i
Off...Tempo
Sets the modulation amount of filter
modulation
Type
V847, V848 Selects the type of wah
Amt
–100...+100
0...100
Sets the lower limit of the wah center
frequency page 113
Open
1...100
1...100
Resonance
Sets the resonance amount
-Wet, -
1:99...Dry...99:1
, Wet
Sets the upper limit of the wah center
frequency page 113
Balance between the wet and dry
signal
Close
Mode
Wet/Dry
Pedal(Dmod) Switches between pedal wah and auto-
, Auto
wah
Src
Off...Tempo
–100...+100
Specifies the modulation source that will
use the pedal wah
Pedal Source
Pedal Manual
0...100
Amt
Amount of modulation source
Sets the center frequency for the pedal
wah when the modulation source is not
moved
0...100
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.
Auto Sensitivity 0...100
Auto,
Sets the auto-wah sensitivity
Specifies whether the auto-wah sweep is
normal or inverted
Auto Polarity
D-mod,
LFO
LFO Phase
Auto Attack
Wet/Dry
Sets the auto-wah’s attack speed
0
+90
+180 [degree]
Balance between the wet and dry signal
Table , “Selects a modulation source for
Wet/Dry,” on page 107
Source
Table , “Sets the modulation amount for
Wet/Dry,” on page 107
Amount
–180
–90 0 [degree]
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 Waveform
b: LFO Frequency [Hz]
c: LFO Step Freq [Hz]
Stereo In - Stereo Out
Left
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.
FX Amt
Filter
Filter
Right
FX Amt
LFO Phase
When “LFO Waveform” is set to Random, the “LFO Step Freq”
parameter uses a random LFO cycle.
LFO: Step-Tri/Random
Step-Tri,
Random
LFO Waveform
Selects the LFO Waveform
a
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
–180...+180
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Effects
EQ and Filters (EQ/Filter)
115
Random Filter LFO
15: St. MultiModeFilter
(Stereo Multi Mode Filter)
LFO Frequency
This is a multi-mode filter with four types; low pass, high pass,
band pass, and band reject. You can use LFO or dynamic modu-
lation to vary the cutoff frequency or resonance.
Step Frequency
Step Frequency
Random
Step-Tri
Stereo In - Stereo Out
Left
FX Amt
d: BPM
e: Step Base Note
e: Times
Multimode Filter
Filter Type
Driver
Trim
LPF
Output
HPF
BPF
BRF
The width of an LFO step, or a cycle of random LFO, is obtained
by multiplying the length of a note (r…w) (selected for “Step
Base Note”, in relation to the tempo specified in “BPM,” or the
MIDI Clock tempo if “BPM” is set to MIDI) by the number
specified in the “Times” parameter.
Multimode Filter
Driver
Trim
Output
Right
FX Amt
LFO Phase
LFO Shape
LFO: Tri / Sine
i: Wet/Dry
LPF, HPF, BPF,
Type
Trim
Selects the type of filter
Sets the input level
The effect sound’s phase will be reversed when you set this
parameter in the negative range of values.
BRF
a
0...100
Sets the cutoff frequency (center
frequency)
Cutoff
0...100
Selects the modulation source of
the cutoff
b
Src
Off...Tempo
Sets the modulation amount of the
cutoff
Amt
–100...+100
0...100
Resonance
Src
Sets the resonance amount
Selects the source that will
modulate the amount of resonance
Off...Tempo
c
Sets the amount by which the
resonance will be modulated
Amt
–100...+100
LFO Waveform Triangle, Sine Selects the LFO Waveform
Sets the LFO phase difference
Phase [degree] –180...+180
d
between the left and right
Sets the depth to which the LFO will
modulate the cutoff frequency
Depth
0...100
LFO Frequency
[Hz]
0.02...20.00
Off...Tempo
Sets the speed of the LFO
Selects a modulation source for LFO
speed
e
Src
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
BPM
Off, On
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
f
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Sets the number of notes that
specify the LFO speed
x1...x32
Off, On
Switches distortion on/off within
the filter
Drive SW
g
h
Output Level
Drive Gain
Low Boost
0...100
0...100
0...100
Sets the output level
Sets the distortion amount
Sets the amount of low-range boost
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
i
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
EQ and Filters (EQ/Filter)
116
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.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
+
Stereo In - Stereo Out
Talking Modulator A-I-U-E-O
Left
FX Amt
Envelope Shape
Envelope Sens
Pre LPF
Right
FX Amt
Sine Oscillator
Pitch
Fixed
-mod
Fixed Frequency
Note Interval, Fine
Voice Top: A
Voice Center: I
Voice Bottom: U
D
Sweep Mode
D-mod
LFO
-mod
OSC Mode
D
Note No.
Note (Key Follow)
LFO
Envelope Sens
Pre LPF
Envelope Shape
Right
Switches between modulation
source control and LFO control
FX Amt
a
Sweep Mode
D-mod, LFO
Bottom, 1...49,
Center, 51...99, Voice pattern control
Top
Manual Voice
Control
Determines whether the oscillator
frequency follows the note number
or whether it is fixed
Note (Key
b
a
OSC Mode
Follow), Fixed
Selects the modulation source that
controls the voice pattern
Src
Off...Tempo
A, I, U, E, O
A, I, U, E, O
Sets the pitch difference from the
note number when OSC
Mode=Note (Key Follow)
Note Interval
Note Fine
–48...0
Selects a vowel sound at the top
end of control
c
d
e
Voice Top
Voice Center
b
Fine adjustment of the oscillator
frequency
Selects a vowel sound in the center
of control
–100...+100
10.0...80.0
Fixed
Frequency [Hz]
Sets the oscillator frequency when
OSC Mode=Fixed
Selects a vowel sound at the bottom
end of control
Voice Bottom A, I, U, E, O
Formant Shift –100...+100
Selects the modulation source for
the oscillator frequency when OSC
Mode=Fixed
Sets the frequency to which the
effect is applied
Src
Off...Tempo
–80...+80
1...100
c
f
Sets the Level of resonance of the
voice pattern
Resonance
0...100
Sets the oscillator frequency
modulation amount when OSC
Mode=Fixed
Amt
LFO Frequency
[Hz]
0.02...20.00
Off...Tempo
Sets the speed of the LFO
Sets the upper limit of the frequency
range for which very low harmonics
are added
Envelope Pre
LPF
Selects a modulation source for LFO
speed
d
e
g
Src
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Sets the sensitivity with which very
low harmonics are added
Amt
Envelope Sens 0...100
Envelope
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
Sets the oscillator’s volume
envelope curve
–100...+100
MIDI Sync
BPM
Off, On
Shape
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Wet
signal
f
h
Src
Off...Tempo
–100...+100
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Amt
Amount of modulation source
Sets the number of notes that
specify the LFO speed
x1...x32
a: OSC Mode
b: Note Interval
b: Note Fine
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
i
Src
Off...Tempo
–100...+100
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.
Amt
Amount of modulation source
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.
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Effects
EQ and Filters (EQ/Filter)
117
c: Voice Top
d: Voice Center
e: Voice Bottom
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).
These parameters assign vowels to the top, center, and bottom
position of the controller.
Stereo In - Stereo Out
E.g.: When “Voice Top”=A, “Voice Center”=I, and
“Voice Bottom”=U:
Left
FX Amt
High Damp Output Level
Pre LPF Resolution
Sampling Frequency
Decimator
Decimator
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.”
-mod
LFO
D
Pre LPF
High Damp Output Level
Resolution
Right
FX Amt
If Sweep Mode is set to LFO, the sound will change cyclically
from “a” to “i,” “u,” “i,” then “a.”
Selects whether the harmonic noise
caused by a decrease in sampling
frequency is generated or not
Pre LPF
Off, On
Talking Modulator Control
a
Sets the ratio of cut of the high
range
Voice Bottom
Voice Center
Voice Top
High Damp [%] 0...100
Sampling Freq 1.00k...
A
A
Sets the sampling frequency
[Hz]
48.00k
I
Selects the modulation source of
the sampling frequency
b
Src
Off...Tempo
U
–48.00k...
+48.00k
Sets the modulation amount of the
sampling frequency
Amt
E
LFO Frequency
[Hz]
O
0.02...20.00
Off...Tempo
Sets the speed of the LFO
JS X
Ribbon
-mod
D
+ Max
+ Max
Selects a modulation source for LFO
speed
Zero
– Max
Zero
c
d
e
Src
JS +Y
JS –Y
etc…
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
BPM
Off, On
f: Formant Shift
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
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.
Selects the type of notes that
specify the LFO speed
Base Note
Times
Depth
Src
r...w
Sets the number of notes that
specify the LFO speed
x1...x32
0...100
f: Resonance
Sets the depth of the sampling
frequency LFO modulation
This parameter sets the intensity of resonance for the voice pat-
tern. A larger value will add more character to the sound.
Selects the LFO modulation source
of the sampling frequency
Off...Tempo
–100...+100
Sets the LFO modulation amount of
the sampling frequency
Amt
f
Resolution
4...24
Sets the data bit length
Sets the output level
Output Level
0...100
Selects the modulation source for
the output level
Src
Off...Tempo
–100...+100
g
Sets the modulation amount of the
output level
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
h
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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Effects
118
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.
Overdrive, Amp models, and Mic models
(OD Amp Mic)
20: OD/Hi.Gain Wah
Stereo In - Stereo Out
Left
(Overdrive/Hi.Gain Wah)
FX Amt
EQ Trim
Pre EQ
Analog Record
Simulation
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.
EQ Trim
Pre EQ
Right
FX Amt
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
a
Speed [RPM]
Flutter
33 1/3, 45, 78
0...100
Sets the r.p.m. of a record
Sets the modulation depth
Mode: Overdrive / Hi-Gain
Drive
b
Pre Low-cut
3 Band PEQ
+
Amp Simulation
Driver
Wah
Noise Density
Noise Tone
Noise Level
0...100
0...100
0...100
Sets the noise density
Sets the noise tone
Sets the noise level
Output Level
Direct Mix
c
Right
FX Amt
Selects the modulation source for
the noise level
Src
Off...Tempo
–100...+100
0...100
-mod
D
d
Sets the modulation amount of the
noise level
Amt
Wah
Off, On
Switches Wah on/off
Sets the click noise level
Click Level
Src
Selects the modulation source that
switches the Wah on and off
Src
Off...Tempo
a
Selects the modulation source for
the click noise level
e
Off...Tempo
Selects the switching mode for the
modulation source that switches the
Wah on and off
Toggle,
Moment
Sw
Sets the modulation amount of the
click noise level
Amt
–100...+100
0...100
Wah Sweep
Range
–10...+10
Sets the range of Wah
f
EQ Trim
Sets the EQ input level
b
c
Pre EQ Cutoff
[Hz]
Selects the modulation source that
controls the Wah
300...10.00k
Sets the EQ center frequency
Wah Sweep Src Off...Tempo
g
Q
0.5...10.0
Sets the EQ band width
Sets the EQ gain
Overdrive, Hi- Switches between overdrive and hi-
Gain
Drive Mode
Drive
gain distortion
Gain [dB]
–18.0...+18.0
Sets the degree of distortion
Dry, 1:99...99:1, Balance between the wet and dry
1...100
Wet/Dry
Wet
signal
d
Sets the low range cut amount of
the distortion input
h
Pre Low-cut
Output Level
Src
0...10
Src
Off...Tempo
–100...+100
0...50
Sets the output level
Amt
Amount of modulation source
Selects the modulation source for
the output level
Off...Tempo
e
f
b: Flutter
Sets the modulation amount of the
output level
Amt
–50...+50
This parameter enables you to set the depth of the modulation
caused by a warped turntable.
Sets the center frequency for Low
EQ (shelving type)
Low Cutoff [Hz] 20...1.00k
Gain [dB]
–18...+18
Sets the gain of Low EQ
e: Click Level
Mid1Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 1 (peaking type)
300...10.00k
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.
g
Sets the band width of Mid/High EQ
1
Q
0.5...10.0
Gain [dB]
–18...+18
500...20.00k
Sets the gain of Mid/High EQ 1
Mid2 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 2 (peaking type)
h
i
Sets the band width of Mid/High EQ
2
Q
0.5...10.0
–18...+18
0...50
Gain [dB]
Direct Mix
Sets the gain of Mid/High EQ 2
Sets the amount of the dry sound
mixed to the distortion
Speaker
Simulation
Switches the speaker simulation on/
off
Off, On
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
j
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
119
Overdrive, Amp models, and Mic models (OD Amp Mic)
a: Wah
21: St. Guitar Cabinet
(Stereo Guitar Cabinet)
The Wah parameter switches the wah effect on/off.
This simulates the acoustical character of a guitar amp’s speaker
cabinet.
a: Sw
This parameter sets how the wah effect is switched on and off via
the modulation source.
Stereo In - Stereo Out
Left
FX Amt
When “Sw” = Moment, the wah effect is usually turned off. It is
turned on only when you press the pedal or operate the joystick.
Cabinet Simulator
Trim
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.
Trim
Cabinet Simulator
When “Sw” = Toggle, the wah effect is switched between on and
off each time you press the pedal or operate the joystick.
Right
FX Amt
The switch will be turned on/off each time the value of the
modulation source exceeds 64.
a
Trim
0...100
Sets the input level
Selects the type of the cabinet
Open-back cabinet with one 12"
speaker, typically used for blues
b: Wah Sweep Range
b: Wah Sweep Src
TWEED - 1x12
TWEED - 4x10
BLACK - 2x10
BLACK - 2x12
Open-back cabinet with four 10"
speakers
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.
Open-back cabinet with two 10"
speakers
American open-back cabinet with
two12" speakers
VOX AC15 -
1x12
Vox AC15 open-back cabinet with
one 12" “Blue” speaker
b
Type
d: Pre Low-cut
VOX AC30 -
2x12
Vox AC30 open-back cabinet with
two 12" “Blue” speakers
Cutting the signal in the low range before it is input to the Dis-
tortion will create a sharp distortion.
VOX AD412 -
4x12
VOX AD412 closed-back cabinet
with four 12" speakers
Closed-back classic cabinet with
four 30W 12" speakers
UK H30 - 4x12
UK T75 - 4x12
d: Drive
e: Output Level
Closed-back cabinet with four 75W
12" speakers
Closed-back cabinet with four 30W
12" speakers
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.
US V30 - 4x12
0...100
c
Air
Sets the mic position
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
d
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
120
Overdrive, Amp models, and Mic models (OD Amp Mic)
22: Gtr. Cabinet + NR
24: Bass Amp Model
This simulates the acoustic qualities of a guitar amp’s speaker
cabinet. It also adds a Noise Reduction control.
This simulates a bass amp.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
23: St. Bass Cabinet
(Stereo Bass Cabinet)
Volume
+
Bass Amp Model
This simulates the acoustical character of a bass amp’s speaker
cabinet.
Right
FX Amt
-mod
D
Stereo In - Stereo Out
Left
FX Amt
Cabinet Simulator
Trim
Selects the amplifier type
An amp that is typical of the LA
sound.
LA STUDIO
JAZZ
Trim
A combo amp favored by jazz
bassists.
Cabinet Simulator
Right
An amp distinctive for its eye-
catching gold panel and clean
sound.
FX Amt
GOLD PANEL
a
Amp Type
a
Trim
0...100
Sets the input level
SCOOPED
VALVE2
An amp typical of 80’s sounds.
A tube amp suitable for rock.
Selects the cabinet type
Four 10" speakers / LA sound
cabinet
A tube amp with the ULTRA LO
switch turned ON.
LA - 4x10
VALVE
MODERN -
4x10
Four 10" aluminum-cone speakers /
modern cabinet
A tube amp whose basic character
changes according to the setting of
the value dial.
CLASSIC
Four 10" aluminum-cone speakers /
modern cabinet
METAL - 4x10
Volume
Src
0...100
Sets the output level
CLASSIC - 8x10 Eight 10" speakers / classic cabinet
Selects the modulation source for
the output level
Off...Tempo
b
Four 12" speakers / UK-manufac-
tured cabinet
UK - 4x12
Sets the modulation amount of the
output level
Amt
–100...+100
One 15" speaker / studio combo
STUDIO - 1x15
cabinet
c
Bass
0...100
0...100
0...4
Sets the bass (low range) level
Sets the middle (mid range) level
Sets the mid-frequency range
Sets the treble (high range) level
b
Cabinet Type
One 15" speaker / jazz combo
Middle
Mid Range
Treble
JAZZ - 1x15
cabinet
d
VOX AC100 -
2x15
Two 15" speakers / cabinet for Vox
AC100
e
f
0...100
Sets the presence (high-frequency
tone)
Two 15" speakers / US-manufac-
tured cabinet
Presence
Wet/Dry
0...100
US - 2x15
UK - 4x15
LA - 1x18
Dry, 1:99...99:1, Balance between the wet and dry
Four 15" speakers / UK-manufac-
tured cabinet
Wet
signal
g
One 18" speaker /
LA sound cabinet
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
COMBI - 1x12 One 12" and one 18" speaker combi-
& 1x18 nation cabinet
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
c
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
121
Overdrive, Amp models, and Mic models (OD Amp Mic)
25: Bass Amp+Cabinet
(Bass Amp Model+Cabinet)
26: Tube PreAmp Model
(Tube PreAmp Modeling)
This simulates a bass amp and speaker cabinet.
This effect simulates a two-stage vacuum tube preamp. You can
make individual settings for two vacuum tubes connected in
series. This lets you create the warm sound typical of vacuum
tubes.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Volume
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
+
Bass Amp Model1
Cabinet Simulator
FX Amt
Right
Invert
+
FX Amt
+
Tube Pre Amp1
Tube Pre Amp2
-mod
D
–
Output Level
LA STUDIO,
JAZZ ,
Right
FX Amt
GOLD PANEL
,
Selects the type of the amplifier
Sets the output level
a
Amp Type
SCOOPED,
VALVE2, VALVE,
CLASSIC
Tube1 Low Cut
[Hz]
Sets the cutoff frequency for the low
cut filter of stage 1
Thru, 21...8.00k
a
Volume
Src
0...100
53...20.00k,
Thru
Sets the cutoff frequency for the
high cut filter of stage 1
High Cut [Hz]
Selects the modulation source for
the output level
Off...Tempo
b
Tube1 Gain
[dB]
–24.0...+24.0
Sets the input gain for stage 1
Sets the modulation amount of the
output level
b
Amt
–100...+100
Sets the input/output response for
stage 1
Saturation [%] 0...100
c
Bass
0...100
0...100
0...4
Sets the bass (low range) level
Sets the middle (mid range) level
Sets the mid-frequency range
Sets the treble (high range) level
c
Tube1 Bias
0...100
Sets the bias voltage for stage 1
Middle
Mid Range
Treble
d
Normal,
Wet Invert
d
Tube1 Phase
Turns phase reversal on/off
e
f
0...100
Tube2 Low Cut
[Hz]
Sets the cutoff frequency for the low
cut filter of stage 2
Thru, 21...8.00k
Sets the presence (high-frequency
tone)
Presence
0...100
Off, On
e
f
53...20.00k,
Thru
Sets the cutoff frequency for the
high cut filter of stage 2
High Cut [Hz]
Cabinet
Switches the cabinet simulator on/
off
g
h
Simulater
Tube2 Gain
[dB]
–24.0...+24.0
Sets the input gain for stage 2
LA - 4x10,
MODERN -
4x10,
METAL - 4x10,
CLASSIC -
8x10,
UK - 4x12,
STUDIO - 1x15,
JAZZ - 1x15,
VOX AC100 -
2x15,
US - 2x15,
UK - 4x15,
LA - 1x18,
COMBI - 1x12
& 1x18
Sets the input/output response for
stage 2
Saturation [%] 0...100
Sets the bias voltage for stage 2
g
h
Tube2 Bias
0...100
Tube2 Output
Level [dB]
–48.0...+0.0
Sets the output level
Cabinet Type
Selects the cabinet type
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
i
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
i
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
a: Amp Type
h: Cabinet Type
Recommended Combinations of Bass Amp Models and Cabi-
nets:
Amp Type
Cabinet Type
LA STUDIO
JAZZ
LA - 4x10, LA - 1x18
JAZZ - 1x15
GOLD PANEL
SCOOPED
VALVE2
MODERN - 4x10
METAL - 4x10
CLASSIC - 8x10
CLASSIC - 8x10
COMBI - 1x12 & 1x18
VALVE
CLASSIC
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Effects
122
Overdrive, Amp models, and Mic models (OD Amp Mic)
b, f: Saturation [%]
27: St. Tube PreAmp
(Stereo Tube PreAmp Modeling)
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.
This is a stereo vacuum tube preamp simulator (See “Tube Pre-
Amp Model (Tube PreAmp Modeling)” on page 121.).
Mic/Pre Amp - Saturation
Out
Stereo In - Stereo Out
Left
Saturation = 0
Saturation = 50
FX Amt
+
Tube Pre Amp1
Tube Pre Amp1
Tube Pre Amp2
Output Level
Tube Pre Amp2
Saturation = 100
In
–
Invert
+
–
Right
FX Amt
Bias = 0
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.
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.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Mic/Pre Amp - Bias
FX Amt
Out
Bias = 100
Bias = 50
Bias = 0
+
Mic Simulation
Tube Pre Amp
Output Level
In
Right
FX Amt
Satulation = 50
Vintage
Dynamic, Multi
Condenser,
Percussion
Condenser,
Drums Dynamic,
Vocal Dynamic,
Multi Dynamic,
Vocal
d: Tube1 Phase
a
Mic Type
Selects the type of mic
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.
Condenser,
Vocal Tube,
Kick Dynamic
Close, On, Off,
Far
b
c
Mic Position
Sets the mic placement distance
Tube Low Cut
[Hz]
Sets the frequency of the low cut
filter
Thru, 21...8.00k
53...20.00k,
Thru
Sets the frequency of the high cut
filter
High Cut [Hz]
Sets the input gain to the vacuum
tube preamp
Tube Gain [dB] –24.0...+24.0
Saturation [%] 0...100
d
Sets the input/output response of
the preamp
e
f
Tube Bias
0...100
Sets the bias level of the preamp
Tube Output
Level [dB]
–48.0...+0.0
Sets the output level of the preamp
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
g
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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Effects
123
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
30: Classic Chorus
Chorus, Flanger, and Phaser (Cho/Fln
Phaser)
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.
29: Stereo Chorus
Wet: Mono In - Stereo Out
Left
/
Dry: Stereo In - Stereo Out
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.
Wet / Dry
Stereo
(L-D&R-W)
Output Mode
Mono
+
Chorus
Stereo In - Stereo Out
Right
Left
Wet / Dry
FX Amt
LFO
LEQ
LEQ
HEQ
HEQ
Chorus
Chorus
EQ Trim
EQ Trim
Speed [Hz]
Depth
0.10...10.0
0...100
Sets the speed of LFO
Sets the modulation depth
Sets the sweep frequency
Manual
1...100
Right
FX Amt
Sets the outpu mode
0: Mono
1: ST (L-D& R-W)
LFO Phase
Output Mode 0, 1
LFO: Tri / Sine
Dry, 1:99 ...
Wet/Dry
Source
Balance between the wet and dry signal
99:1, Wet
LFO Waveform Triangle, Sine Selects the LFO Waveform
a
Table , “Selects a modulation source for
Wet/Dry,” on page 107
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
Off...Tempo
–180...+180
0.02...20.00
Off...Tempo
LFO Frequency
[Hz]
Table , “Sets the modulation amount for
Wet/Dry,” on page 107
Sets the speed of the LFO
Amount
–100 ... +100
Selects a modulation source for LFO
speed
b
Src
Wet/Dry
Output Mode
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
For the master effects, “Wet/Dry” adjusts the output level of the
effect sound.
MIDI Sync
BPM
Off, On
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
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.
c
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Sets the number of notes that
specify the LFO speed
x1...x32
0.0...50.0
L Pre Delay
[msec]
Sets the delay time for the left
channel
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.
d
e
R Pre Delay
[msec]
Sets the delay time for the right
channel
0.0...50.0
0...100
Depth
Sets the depth of LFO modulation
Selects the modulation source for
the LFO modulation depth
Src
Off...Tempo
Sets the modulation amount of the
LFO modulation depth
Amt
–100...+100
0...100
f
EQ Trim
Pre LEQ Fc
Sets the EQ input level
Low,
Mid-Low
Selects the cutoff frequency (low or
mid-low) of the low-range equalizer
g
Selects the cutoff frequency (high or
mid-high) of the high-range
equalizer
High,
Mid-High
Pre HEQ Fc
Pre LEQ Gain
[dB]
–15.0...+15.0
–15.0...+15.0
Gain of the Low EQ
Gain of the High EQ
h
i
Pre HEQ Gain
[dB]
-Wet, -
1:99...Dry...99:1
, Wet
Balance between the wet and dry
signal
Wet/Dry
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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Effects
124
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
31: Black Chorus/Flanger
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.
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.
Wet: Mono In - Stereo Out
Left
/
Dry: Stereo In - Stereo Out
Wet / Dry
Stereo In - Stereo Out
Left
Mode & Intensity
Low Level
FX Amt
+
Chorus
+
Chorus/Flanger
Chorus/Flanger
Mono
High Level
High Level
Input Gain
-
High Damp
Feedback
High Damp
Output Mode
Wet / Dry
+
High/Low Split Point
+
Stereo
Right
LFO
Low Level
Right
FX Amt
LFO Phase
Speed [Hz]
Intensity
0.10...10.0
1...100
Sets the LFO speed
LFO: Tri / Sine
Sets the intensity of LFO modulation
Select a mode
0: Chorus
LFO Waveform Triangle, Sine Selects the LFO Waveform
Mode
0, 1, 2
a
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
1: Pitch Modulation
2: Flanger
–180...+180
0.02...20.00
Off...Tempo
LFO Frequency
[Hz]
Width
0...2
Sets the LFO modulation depth
Sets the input gain
Sets the speed of the LFO
Input Gain
1...100
Selects a modulation source for LFO
speed
b
Src
Select a output mode
0: Mono
1: Stereo
Output Mode 0, 1
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
Dry, 1:99 ...
99:1, Wet
Wet/Dry
Source
Balance between the wet and dry signal
MIDI Sync
BPM
Off, On
Table , “Selects a modulation source for
Wet/Dry,” on page 107
Off...Tempo
–100 ... +100
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
c
Table , “Sets the modulation amount for
Wet/Dry,” on page 107
Amount
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Mode
Intensity
Sets the number of notes that
specify the LFO speed
x1...x32
Pre Delay
[msec]
Sets the delay time from the original
sound
d
e
0.0...50.0
0...100
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.
Depth
Sets the depth of LFO modulation
Selects the modulation source of
the LFO modulation depth
Src
Off...Tempo
Sets the modulation amount of the
LFO modulation depth
Amt
–100...+100
1...100
High/Low Split
Point
Sets the frequency split point
between the low and high range
f
Sets the feed back amount of the
chorus block
Feedback
–100...+100
g
Sets the high range damping
amount of the chorus block
High Damp [%] 0...100
Low Level
High Level
0...100
0...100
Sets the low range output level
h
i
Sets the high range (chorus) output
level
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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Effects
125
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
33: St. Biphase Mod.
34: Multitap Cho/Delay
(Multitap Chorus/Delay)
(Stereo Biphase Modulation)
This stereo chorus effect adds two different LFOs together. You
can set the Frequency and Depth parameters for each LFO indi-
vidually. Depending on the setting of these LFOs, very complex
waveforms will create an analog-type, unstable modulated
sound.
This effect has four chorus blocks with a different LFO phase.
You can create a complex stereo image by setting each block’s
delay time, depth, output level, and pan individually. You can
also fix some of the chorus blocks to combine the chorus and
delay effects.
Stereo In - Stereo Out
FX Amt = 100: Mono In - Stereo Out
/
FX Amt = 0: Stereo In -Stereo Out
Left
Left
FX Amt
FX Amt
Feedback
Chorus/Flanger
High Damp
Tap1 Delay
Tap2 Delay
Tap3 Delay
Tap4 Delay
Level
Level
Pan
Pan
Pan
Pan
Feedback
+
Level
Level
High Damp
Chorus/Flanger
Right
Right
FX Amt
0 [degree]
FX Amt
180 [degree]
180 [degree]
90 [degree]
270 [degree]
LFO1: Tri / Sine
LFO2: Tri / Sine
LFO: Triangle
LFO1
LFO Frequency
0.02...13.00
[Hz]
Triangle, Sine Selects LFO1 waveform
Waveform
a
Sets the speed of the LFO
a
LFO2
Triangle, Sine Selects LFO2 waveform
Tap1 (000)
0...1000
[msec]
Sets the Tap1 (LFO phase=0
degrees) delay time
0 deg,
180 deg
Switches the LFO phase difference
between left and right
Phase Sw
Depth
Level
0...30
0...30
Sets the Tap1 chorus depth
Sets the Tap1 output level
b
LFO1
Frequency [Hz]
0.02...30.00
Off...Tempo
Sets the LFO1 speed
L6...L1, C,
R1...R6
Pan
Sets the Tap1 stereo image
Selects the modulation source of
LFO1&2 speed
b
c
Src
Tap2 (180)
[msec]
Sets the Tap2 (LFO phase=180
degrees) delay time
0...1000
–30.00...
+30.00
Sets the modulation amount of
LFO1 speed
LFO1 Amt
Depth
Level
0...30
0...30
Sets the Tap2 chorus depth
Sets the Tap2 output level
c
d
e
LFO2
Frequency [Hz]
0.02...30.00
Sets the LFO2 speed
L6...L1, C,
R1...R6
–30.00...
+30.00
Sets the modulation amount of
LFO2 speed
Pan
Sets the Tap2 stereo image
Amt
Depth1
Src
Tap3 (090)
[msec]
Sets the Tap3 (LFO phase=90
degrees) delay time
Sets the depth of LFO1
modulation
0...1000
0...100
Depth
Level
0...30
0...30
Sets the Tap3 chorus depth
Sets the Tap3 output level
Selects the modulation source of
LFO1&2 modulation depth
d
Off...Tempo
–100...+100
0...100
Sets the modulation amount of
LFO1 modulation depth
L6...L1, C,
R1...R6
Amt
Pan
Sets the Tap3 stereo image
Sets the depth of LFO2
modulation
Tap4 (270)
[msec]
Sets the Tap4 (LFO phase=270
degrees) delay time
Depth2
Amt
0...1000
e
f
Sets the modulation amount of
LFO2 modulation depth
Depth
Level
0...30
0...30
Sets the Tap4 chorus depth
Sets the Tap4 output level
–100...+100
0.0...50.0
0.0...50.0
–100...+100
0...100
L Pre Delay
[msec]
Sets the delay time for the left
channel
L6...L1, C,
R1...R6
Pan
Sets the Tap4 stereo image
R Pre Delay
[msec]
Sets the delay time for the right
channel
Tap1 Feedback –100...+100
Sets the Tap1 feedback amount
Selects the modulation source of
Tap1 feedback amount and effect
balance
Sets the feedback amount
Feedback
Src
Off...Tempo
–100...+100
f
g
High Damp
[%]
Sets the damping amount in the
high range
Sets the Tap1 feedback amount and
modulation amount
Amt
-Wet, -
1:99...Dry...99:1
, Wet
Balance between the wet and dry
signal
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
Wet/Dry
signal
h
g
Src
Off...Tempo
–100...+100
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Amt
Amount of modulation source
Bi-Phase Modulation LFO
LFO1
LFO2
Depth1
+
Depth2
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Effects
126
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
35: Ensemble
36: Polysix Ensemble
This Ensemble effect has three chorus blocks that use LFO to
create subtle shimmering, and gives three dimensional depth
and spread to the sound, because the signal is output from the
left, right, and center.
This models the ensemble effect built into the classic Korg
PolySix programmable polyphonic synthesizer.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Polysix
Ensemble
+
+
Ensemble
Right
FX Amt
Right
FX Amt
Depth
Src
0...100
Sets the depth of the effect
Shimmer
LFO
Selects the modulation source that
will control the effect depth
Off...Tempo
–100...+100
a
Sets the amount by which the effect
depth will be modulated
Amt
Speed
Src
1...100
Sets the speed of the LFO
Dry, 1:99...99:1, Balance between the wet and dry
Selects a modulation source for LFO
speed
Wet/Dry
Off...Tempo
Wet
signal
a
b
Sets the modulation amount of LFO
speed
Src
Off...Tempo
–100...+100
Amt
Depth
Src
–100...+100
0...100
Amt
Amount of modulation source
Sets the depth of LFO modulation
Selects the modulation source of
the LFO modulation depth
Off...Tempo
b
c
Sets the modulation amount of the
LFO modulation depth
Amt
–100...+100
0...100
Sets the amount of shimmering of
the LFO waveform
Shimmer
Wet/Dry
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
d
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
c: Shimmer
This parameter sets the amount of shimmering of the LFO wave-
form. Increasing this value adds more shimmering, making the
chorus effect more complex and richer.
Ensemble LFO
Level
Shimmer
Time
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Effects
127
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
37: Stereo Flanger
38: Classic 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.
This models a classic analog flanger. It is highly effective for
chording on clavi-type keyboards or electric piano.
Wet: Mono In - Mono Out
Left
/
Dry: Stereo In - Stereo Out
Wet / Dry
Feedback
Stereo In - Stereo Out
+
Flanger
Left
FX Amt
Flanger
Feedback
Right
Wet / Dry
Reset Offset
LFO
LFO Sync
High Damp
Flanger
Speed [Hz]
Depth
0.10...10.0
0...100
Sets the speed of LFO
Right
FX Amt
Sets the depth of LFO
modulation
LFO Phase
LFO Shape
LFO: Tri / Sine
Resonance
Manual
0...100
1...100
Sets the resonance amount
Sets the sweep frequency
Delay Time
[msec]
Sets the delay time from the original
sound
a
b
c
0.0...50.0
Off...Tempo Selects a modulation source for LFO
reset
LFO Reset Source
Reset Offset
LFO Waveform Triangle, Sine Selects the LFO Waveform
Changes the curvature of the LFO
0...100
Sets the offset
LFO Shape
–100...+100
–180...+180
0.02...20.00
Off...Tempo
–Wet...
–1 : 99, Dry,
1 : 99...Wet
Waveform
Balance between the wet and dry
signal
Wet/Dry
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
Table , “Selects a modulation source for
Wet/Dry,” on page 107
Source
Off...Tempo
–100...+100
LFO Frequency
[Hz]
Sets the speed of the LFO
Table , “Sets the modulation amount for
Wet/Dry,” on page 107
Amount
Selects a modulation source for LFO
speed
d
Src
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
BPM
Off, On
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
e
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Sets the number of notes that
specify the LFO speed
x1...x32
0...100
Sets the depth of LFO
modulation
f
Depth
Sets the feedback amount
Feedback
–100...+100
g
Sets the feedback damping amount
in the high range
High Damp [%] 0...100
-Wet, -
Balance between the wet and dry
signal
Wet/Dry
1:99...Dry...99:1
, Wet
h
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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Effects
128
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
39: St. Random Flanger
(Stereo Random Flanger)
40: St. Env. Flanger
(Stereo Envelope Flanger)
The stereo effect uses a step-shape waveform and random LFO
for modulation, creating a unique flanging effect.
This Flanger uses an envelope generator for modulation. You
will obtain the same pattern of flanging each time you play. You
can also control the Flanger directly using the modulation
source.
Stereo In - Stereo Out
Left
FX Amt
Stereo In - Stereo Out
Flanger
Feedback
Left
FX Amt
Flanger
Feedback
High Damp
Flanger
Right
High Damp
Flanger
FX Amt
LFO Phase
LFO: Step-Tri/Random
Right
FX Amt
D-mod
-mod
D
Sweep Mode
EG Attack/Decay
Delay Time
[msec]
Sets the delay time from the original
sound
EG
a
0.0...50.0
Step-Tri,
Random
LFO Waveform
Selects the LFO Waveform
L Dly Bottom
[msec]
Sets the lower limit of the left-
0.0...50.0
0.0...50.0
0.0...50.0
0.0...50.0
b
channel delay time
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
a
–180...+180
0.02...20.00
Off...Tempo
L Dly Top
[msec]
Sets the upper limit of the left-
channel delay time
LFO Frequency
[Hz]
Sets the speed of the LFO
R Dly Bottom
[msec]
Sets the lower limit of the right-
channel delay time
Selects the modulation source used
for both LFO speed and step speed
b
c
Src
R Dly Top
[msec]
Sets the upper limit of the right-
channel delay time
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
Determines whether the flanger is
controlled by the envelope
generator or by the modulation
source
Sweep Mode
EG, D-mod
Off...Tempo
LFO Step Freq
[Hz]
Sets the LFO step speed (speed that
changes in steps)
0.05...50.00
d
–50.00...
+50.00
Sets the modulation amount of LFO
step speed
c
Selects the modulation source that
triggers the EG (when Sweep Mode =
EG), or the modulation source that
causes the flanger to sweep (when
Sweep Mode = D-mod)
Step Amt
Src
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
Off, On
EG Attack
EG Decay
1...100
1...100
Sets the EG attack speed
Sets the EG decay speed
Sets the feedback amount
MIDI,
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
d
e
BPM
40.00...
300.00
e
Feedback
–100...+100
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Sets the feedback damping amount
in the high range
Sets the number of notes that
specify the LFO speed
f
High Damp [%] 0...100
-Wet, -
x1...x32
Selects the type of notes to specify
the LFO step speed
Step Base Note r...w
Balance between the wet and dry
signal
Wet/Dry
1:99...Dry...99:1
, Wet
f
Sets the number of notes to specify
the LFO step speed
g
Times
x1...x32
Src
Off...Tempo
–100...+100
Sets the depth of LFO
modulation
Amt
Amount of modulation source
g
h
Depth
0...100
Sets the feedback amount
Feedback
–100...+100
c: Sweep Mode
c: Src
Sets the feedback damping amount
in the high range
High Damp [%] 0...100
-Wet, -
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.
Balance between the wet and dry
signal
Wet/Dry
1:99...Dry...99:1
, Wet
i
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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Effects
129
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
41: Stereo Phaser
42: Orange 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.
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.
Stereo In - Stereo Out
43: Small Phaser
Left
FX Amt
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.
Phaser
Resonance
High Damp
Phaser
Wet: Mono In - Mono Out
Left
/
Dry: Stereo In - Stereo Out
Right
FX Amt
LFO Phase
Wet / Dry
LFO Shape
LFO: Tri / Sine
Color
+
Phaser
LFO Waveform Triangle, Sine Selects the LFO Waveform
Changes the curvature of the LFO
a
LFO Shape
–100...+100
–180...+180
0.02...20.00
Off...Tempo
Waveform
Right
Wet / Dry
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
LFO
b
LFO Frequency
[Hz]
Sets the speed of the LFO
Speed [Hz]
Color
0.10...10.0
Off, On
Sets the speed of the LFO
Selects a modulation source for LFO
speed
c
d
e
Src
Switches the tone of the phaser sound
page 129
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
–Wet...
–1 : 99, Dry,
1 : 99...Wet
Balance between the wet and dry signal
Wet/Dry
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
BPM
Off, On
Table , “Selects a modulation source for Wet/
Dry,” on page 107
Source
Off...Tempo
–100...+100
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Table , “Sets the modulation amount for Wet/
Dry,” on page 107
Amount
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Color
Sets the number of notes that
specify the LFO speed
x1...x32
0...100
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.
Sets the frequency to which the
effect is applied
Manual
Src
Selects the modulation source for
the LFO modulation
Off...Tempo
Sets the modulation amount of the
LFO modulation
Amt
Depth
Src
–100...+100
0...100
Sets the depth of LFO modulation
Selects the modulation source for
the LFO modulation depth
Off...Tempo
f
Sets the modulation amount of the
LFO modulation depth
Amt
–100...+100
–100...+100
Sets the resonance amount
Resonance
h
Sets the resonance damping
amount in the high range
High Damp [%] 0...100
-Wet, -
Balance between the wet and dry
signal
Wet/Dry
1:99...Dry...99:1
, Wet
j
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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Effects
130
Chorus, Flanger, and Phaser (Cho/Fln Phaser)
44: St. Random Phaser
(Stereo Random Phaser)
45: St. Env. Phaser
(Stereo Envelope Phaser)
This is a stereo phaser. The effect uses a step-shape waveform
and random LFO for modulation, creating a unique phasing
effect.
This stereo phaser uses an envelope generator for modulation.
You will obtain the same pattern of phasing each time you play.
You can also control the Phaser directly using the modulation
source.
Stereo In - Stereo Out
Left
Stereo In - Stereo Out
FX Amt
Left
FX Amt
Phaser
Phaser
Resonance
Resonance
High Damp
Phaser
High Damp
Phaser
Right
FX Amt
LFO Phase
Right
FX Amt
LFO: Step-Tri/Random
D-mod
-mod
D
Sweep Mode
EG Attack/Decay
EG
Step-Tri, Step-
Sin, Random
LFO Waveform
Selects the LFO Waveform
Sets the lower limit of the frequency
L Manu
a
b
c
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
0...100
0...100
0...100
0...100
range for the effect on the left
channel
–180...+180
Bottom
a
LFO Frequency
[Hz]
Sets the upper limit of the frequency
range for the effect on the left
channel
0.02...20.00
Off...Tempo
Sets the speed of the LFO
L Manu Top
Selects the modulation source
commonly used for LFO speed and
step speed
Src
Sets the lower limit of the frequency
range for the effect on the right
channel
R Manu
Bottom
–20.00...
+20.00
Sets the modulation amount of LFO
speed
b
Amt
Sets the upper limit of the frequency
range for the effect on the right
channel
R Manu Top
LFO Step Freq
[Hz]
0.05...50.00
Sets the LFO step speed
Determines whether the flanger is
controlled by the envelope
generator or by the modulation
source
–50.00...
+50.00
Sets the modulation amount of LFO
step speed
Amt
Sweep Mode
EG, D-mod
Off...Tempo
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
Off, On
Selects the modulation source that
triggers the EG (when EG is selected
for Sweep Mode), or modulation
source that causes the flanger to
sweep (when D-mod is selected for
Sweep Mode)
c
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Src
BPM
d
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Sets the EG attack speed
Sets the EG decay speed
Sets the resonance amount
EG Attack
EG Decay
Resonance
1...100
Sets the number of notes that
specify the LFO speed
d
x1...x32
1...100
Selects the type of notes to specify
the LFO step speed
Step Base Note r...w
e
f
–100...+100
e
f
Sets the number of notes to specify
the LFO step speed
Sets the resonance damping
amount in the high range
Times
x1...x32
High Damp [%] 0...100
-Wet, -
Sets the frequency to which the
effect is applied
Manual
Src
0...100
Balance between the wet and dry
signal
Wet/Dry
1:99...Dry...99:1
, Wet
Selects the modulation source for
the LFO modulation
Off...Tempo
g
Src
Off...Tempo
–100...+100
Sets the modulation amount of the
LFO modulation
Amt
–100...+100
0...100
Amt
Amount of modulation source
g
h
Depth
Sets the depth of LFO modulation
Sets the resonance amount
Resonance
–100...+100
Sets the resonance damping
amount in the high range
High Damp [%] 0...100
-Wet, -
Balance between the wet and dry
signal
Wet/Dry
1:99...Dry...99:1
, Wet
i
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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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
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.
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.
Stereo In - Stereo Out
Left
FX Amt
Vibrato
Vibrato
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
Right
FX Amt
LFO: Tri / Sine
AutoFade
LFO Shape
Fade-In Delay
LFO Frequency
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.
Selects the modulation source that
starts AutoFade
a
AUTOFADE Src Off...Tempo
Fade-In Delay
00...2000
[msec]
Sets the fade-in delay time
b
Sets the rate of fade-in
AutoFade
AUTOFADE
Fade-In Rate
1...100
Source=Gate1
LFO Freq. Mod=AUTOFADE
LFO Frequency[Hz]=1.0
Amount=+3.0
LFO Waveform Triangle, Sine Selects the LFO Waveform
Changes the curvature of the LFO
c
Gate1 Signal
LFO Shape
–100...+100
Waveform
Switches between D-mod and
AUTOFADE for the LFO frequency
modulation
All Note Off
Note On
LFO Frequency D-mod,
d
Mod
AUTOFADE
LFO Frequency
=1.0+3.0=4.0Hz
Fade-In Rate
Fade-In Dealy
LFO Frequency
[Hz]
AUTOFADE
0.02...20.00
Off...Tempo
Sets the speed of the LFO
LFO Frequency
=1.0Hz
Selects a modulation source for LFO
speed
e
Src
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
Off, On
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM
f
Selects the type of notes that specify
the LFO speed
Base Note
r...w
Sets the number of notes that
specify the LFO speed
Times
Depth
Src
x1...x32
0...100
Sets the depth of LFO modulation
Selects the modulation source of the
LFO modulation depth
Off...Tempo
g
h
Sets the modulation amount of the
LFO modulation depth
Amt
–100...+100
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
132
Modulation and Pitch Shift (Mod./P.Shift)
47: St. Auto Fade Mod.
48: 2Voice Resonator
This effect resonates the input signal at a specified pitch. You can
set the pitch, output level, and pan settings for two resonators
individually. You can control the resonance intensity via an LFO.
(Stereo Auto Fade Modulatiom)
This stereo chorus/flanger effect enables you to control the LFO
speed and effect balance using auto fade, and you can spread the
sound by offsetting the phase of the left and right LFOs from
each other.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
High Damp
Resonator
Level Pan
Stereo In - Stereo Out
Trim
Left
FX Amt
Resonance
+
Delay
Resonator
Invert: On/Off
Level
Pan
Trim
High Damp
Feedback
Right
FX Amt
High Damp
Delay
-mod
D
LFO
Pitch, Fine [cents]
Right
Control Mode
FX Amt
Manual
LFO Phase
LFO Shape
LFO: Tri / Sine
AutoFade
LFO Frequency
FX Amt
Manual, LFO,
D-mod
Switches the controls of resonance
intensity
Control Mode
a
LFO/D-mod
Invert
Reverses the Voice 1 and 2 control
when LFO/D-mod is selected
Off, On
Selects the modulation source that
starts AutoFade
AUTOFADE Src Off...Tempo
LFO Frequency
[Hz]
0.02...20.00
Off...Tempo
Sets the speed of the LFO
Fade-In Delay
00...2000
[msec]
Sets the fade-in delay time
a
b
Selects the modulation source that
controls resonance intensity
D-mod Src
Sets the rate of fade-in
Rate
1...100
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
Off, On
Switches between D-mod and
AUTOFADE for the LFO frequency
modulation
LFO Frequency D-mod,
Mod
AUTOFADE
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM
b
c
Switches between D-mod and
AUTOFADE for the effect balance
modulation
D-mod,
AUTOFADE
Selects the type of notes that
specify the LFO speed
Wet/Dry Mod
Base Note
Times
r...w
Sets the number of notes that
specify the LFO speed
x1...x32
–100...+100
LFO Waveform Triangle, Sine Selects the LFO Waveform
Changes the curvature of the LFO
c
Sets the amount of resonance
intensity control via LFO/D-mod
LFO Shape
–100...+100
–180...+180
0.02...20.00
Off...Tempo
Waveform
Mod. Depth
d
e
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
d
Trim
0...100
C0...B8
Sets the input level at the resonator
Sets the voice1 Pitch for resonance
Voice1: Pitch
LFO Frequency
[Hz]
Sets the speed of the LFO
Fine-adjusts the voice 1 pitch for
resonance
Fine [cents]
Level
–50...+50
0...100
Selects a modulation source for LFO
speed
e
Src
Sets the Voice1 output level
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Voice1:
Resonance
Sets the intensity of resonance
when Control Mode = Manual
Amt
–100...+100
L Delay Time
[msec]
Sets the damping amount of
0.0...500.0
Sets the left channel delay time
Sets the right channel delay time
f
High Damp [%] 0...100
resonant sound in the high range
f
R Delay Time
[msec]
L6...L1, C,
0.0...500.0
0...200
Pan
Sets the Voice1 stereo image
R1...R6
C0...B8
g
Depth
Sets the depth of LFO modulation
Sets the feedback amount
Voice2: Pitch
Fine [cents]
Level
Sets the voice 2 Pitch for resonance
Fine-adjusts the voice 2 pitch for
resonance
Feedback
–100...+100
g
h
–50...+50
0...100
h
Sets the feedback damping amount
in the high range
Sets the Voice2 output level
High Damp [%] 0...100
-Wet, -
Voice2:
Resonance
Sets the intensity of resonance
when Control Mode = Manual
–100...+100
Balance between the wet and dry
signal
Sets the damping amount of
resonant sound in the high range
Wet/Dry
1:99...Dry...99:1
, Wet
High Damp [%] 0...100
i
L6...L1, C,
R1...R6
Pan
Sets the Voice2 stereo image
Src
Off...Tempo
–100...+100
Dry, 1:99...99:1, Balance between the wet and dry
Amt
Amount of modulation source
Wet/Dry
Wet
signal
i
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
133
Modulation and Pitch Shift (Mod./P.Shift)
a: Control Mode
f: Voice 1: Resonance
h: Voice 2: Resonance
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.
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.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
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.
+
Doppler
Pan Depth
Right
FX Amt
LFO
-mod
Trigger
D
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.
LFO Mode = 1-Shot
LFO Mode
Src
Loop, 1-Shot
Off...Tempo
Switches LFO operation mode
a
Selects the modulation source of
LFO reset
Switches between LFO reset on and
off when LFO Mode is set to Loop
a: LFO/D-mod Invert
b
LFO Sync
Off, On
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).
LFO Frequency
[Hz]
0.02...20.00
Off...Tempo
Sets the speed of the LFO
Selects a modulation source for LFO
speed
c
d
e
Src
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
BPM
Off, On
f: Voice 1: Pitch
f: Fine [cents]
h: Voice 2: Pitch
h: Fine [cents]
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
The Pitch parameter specifies the pitch of resonance by note
name. The “Fine” parameter allows for fine adjustment in steps
of cents.
Sets the number of notes that
specify the LFO speed
x1...x32
Sets the pitch variation of the
moving sound
Pitch Depth
Src
0...100
Selects the modulation source of
pitch variation
Off...Tempo
–100...+100
–100...+100
Off...Tempo
–100...+100
g: High Damp [%]
i: High Damp [%]
Sets the modulation amount of
pitch variation
Amt
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.
Sets the panning of the moving
sound
Pan Depth
Src
Selects the modulation source of
panning
f
Sets the modulation amount of
panning
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
g
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
When “LFO Mode” is set to 1-Shot, the Doppler effect is created
only once when the modulation source specified in the “Src”
field is turned on. At this time if you do not set the “Src” param-
eter, the Doppler effect will not be created, and no effect sound
will be output.
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Effects
134
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.
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.
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.
Scratch Source
Start
Playback Position
End
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.
Recorded Sound
Scratch Source
Scratch!
Zero
JS X
-mod
D
+ Max
Ribbon
– Max
Zero
Doppler - Pitch / Pan Depth
Pitch
JS+Y
JS–Y
etc…
+ Max
Pan Depth
= (+) value
Pan Depth
= (–) value
c: Envelope Select
c: Src
Original Pitch
Pitch Depth
d: Threshold
Center
Left
Right
When “Envelope Select” is set to D-mod, the input signal will be
recorded only when the modulation source value is 64 or higher.
Pan Depth
< <<<<<< >>>>>> >
Volume
<
<
<
<
>
>
>
>
Louder
Louder
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.
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.
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.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
f: Direct Mix
Direct
Mix
+
Scratch
Scratch
Rec Control
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.
Right
FX Amt
D-mod
-mod
D
Envelope Control
Input
Envelope Select
-mod
D
Set Wet/Dry to 100 to use this parameter effectively.
Selects the modulation source for
simulation control
a
Scratch Source Off...Tempo
Sets the speed of the response to
the Scratch Src
b
Response
0...100
Selects whether the start and end of
recording is controlled via the
modulation source or the input
signal level
Envelope
Select
D-mod, Input
c
Selects the modulation source that
controls recording when Envelope
Select is set to D-mod
Src
Off...Tempo
Sets the recording start level when
Envelope Select is set to Input
d
e
Threshold
Response
0...100
0...100
Sets the speed of the response to
the end of recording
Always On,
Always Off,
Cross Fade
f
Direct Mix
Wet/Dry
Selects how a dry sound is mixed
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
g
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
135
Modulation and Pitch Shift (Mod./P.Shift)
51: Grain Shifter
52: Stereo Tremolo
This effect cuts extremely short samples (“grains”) from the
input signal waveform and plays them repeatedly, giving a
mechanical character to the sound.
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.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Stereo In - Stereo Out
FX Amt
Left
FX Amt
Tremolo
Tremolo
+
Grain Shifter
Sample Cycle
Right
FX Amt
Right
LFO
FX Amt
LFO Phase
-mod
Trigger
D
LFO: Tri/Sin/Vintage/Up/Down
LFO Shape
Triangle, Sine,
Duration
Src
0...100
Sets the duration of the grain
Selects the source that will
LFO Waveform Vintage, Up,
Down
Selects the LFO Waveform
Off...Tempo
–100...+100
Off...Tempo
0.02...20.00
Off...Tempo
a
a
modulate the duration of the grain
Changes the curvature of the LFO
Waveform
LFO Shape
–100...+100
–180...+180
0.02...20.00
Off...Tempo
Sets the amount by which the grain
duration will be modulated
Amt
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
b
Selects the modulation source that
will reset the LFO
b
LFO Sync Src
LFO Frequency
[Hz]
Sets the speed of the LFO
LFO Sample
Cycle [Hz]
Sets the frequency at which the
grain will be switched
Selects a modulation source for LFO
speed
c
Src
Selects a modulation source for LFO
speed
c
Src
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
Off, On
MIDI Sync
BPM
Off, On
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM
d
d
e
Selects the type of notes that
specify the LFO speed
Base Note
r...w
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Sets the number of notes that
specify the LFO speed
Times
Depth
Src
x1...x32
Sets the number of notes that
specify the LFO speed
x1...x32
0...100
Sets the depth of LFO modulation
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
Selects the modulation source of
the depth of modulation
signal
Off...Tempo
e
f
Src
Off...Tempo
–100...+100
Sets the modulation amount of the
depth of modulation
Amt
–100...+100
Amt
Amount of modulation source
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
signal
a: Duration
c: LFO Sample Cycle [Hz]
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
a: LFO Waveform
This parameter sets the basic shape of the LFO. The Vintage
waveform models classic guitar-amp tremolo.
Sample Cycle / Duration
Tremolo - LFO Waveform
Sample Cycle
Duration
Triangle
Sine
Vintage
Up
Down
In
Out
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.
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Effects
136
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.
Stereo In - Stereo Out
Left
Wet / Dry
Tremolo
Tremolo
Stereo In - Stereo Out
Left
FX Amt
Tremolo
Right
Wet / Dry
Spread
Tremolo
LFO
Right
FX Amt
LFO Phase
LFO Shape
LFO: Tri/Sin/Vintage
Speed [Hz]
Depth
0.10...10.0
0...100
Sets the tremolo speed
Select the tremolo depth
Envelope
Envelope Shape
Envelope Sens
+
Sets the width of the stereo image of the
effect sound
Spread
0...100
Sets the envelope’s sensitivity to the
input signal
Envelope Sens 0...100
Envelope
Level Adjust 1...100
–Wet...
Wet/Dry
Sets the output level
a
–100...+100
Sets the envelope’s curvature
Selects the LFO Waveform
–1 : 99, Dry, Balance between the wet and dry signal
1 : 99...Wet
Shape
Triangle, Sine,
Vintage
LFO Waveform
Table , “Selects a modulation source for Wet/
Dry,” on page 107
Source
Off...Tempo
b
c
Changes the curvature of the LFO
Waveform
LFO Shape
–100...+100
–180...+180
0.02...20.00
Table , “Sets the modulation amount for Wet/
Dry,” on page 107
Amount
–100...+100
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
LFO Frequency
[Hz]
Sets the speed of the LFO
d
e
Sets the amount added to or
subtracted from the Frequency
when the envelope is at maximum
Envelope
–20.00...
+20.00
Amount [Hz]
Depth
0...100
Sets the initial amount of tremolo
Sets the amount added to or
subtracted from the Depth when
the envelope is at maximum
Envelope
Amount
–100...+100
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
f
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
Shimmer
Level
Dry Envelope
LFO Frequency[Hz]=8.0
Envelope Amount[Hz]= –7.0Hz
Depth=100
Envelope Amount= –100
Time
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Effects
137
Modulation and Pitch Shift (Mod./P.Shift)
Stereo Auto Pan - LFO Phase
LFO Phase = 180 degrees
L-In
55: Stereo Auto Pan
LFO Phase = 0 degrees
LFO Phase = 90 degrees
L-In
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.
L-In
R-In
R-In
R-In
L-In
L-In
R-In
L-In
R-In
R-In
L-In
L-In
R-In
L-In
R-In
R-In
L-In
R-In
L-In
Stereo In - Stereo Out
L-In
R-In
L-In
Left
FX Amt
R-In
L-In
R-In
L-In
Pan
R-In
R-In
Depth
Left
Right
Center
Output Stereo Image
Pan
Right
FX Amt
LFO Phase
56: St. Phaser + Trml
(Stereo Phaser + Tremolo)
LFO: Tri / Sin
LFO Shape
LFO Waveform Triangle, Sine Selects the LFO Waveform
Changes the curvature of the LFO
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
LFO Shape
–100...+100
–180...+180
0.02...20.00
Off...Tempo
Waveform
LFO Phase
[degree]
Sets the LFO phase difference
between the left and right
b
LFO Frequency
[Hz]
Sets the speed of the LFO
Stereo In - Stereo Out
Selects a modulation source for LFO
speed
Left
c
Src
FX Amt
Phaser
Phaser
Tremolo
Tremolo
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
Phaser FX Amt
Resonance
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
Phaser FX Amt
MIDI Sync
Off, On
MIDI,
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Right
BPM
40.00...
300.00
FX Amt
d
LFO Type
LFO
LFO Shape
Selects the type of notes that specify
the LFO speed
LFO Phase
Base Note
r...w
Sets the number of notes that
specify the LFO speed
Times
Depth
Src
x1...x32
Selects the type of the tremolo and
phaser LFOs
0...100
Sets the depth of LFO modulation
Phs - Trml,
...
Phs LR - Trml
LR
Phaser - Tremolo,
Phaser - Tremolo Spin,
Phaser - Tremolo LR,
Phaser LR - Tremolo,
Phaser LR - Tremolo Spin, Phaser LR -
Tremolo LR
Selects the modulation source of the
depth of modulation
Type
Off...Tempo
e
f
a
Sets the modulation amount of the
depth of modulation
Amt
–100...+100
Dry, 1:99...99:1, Balance between the wet and dry
LFO Phase
[degree]
Sets the phase difference between
the tremolo and phaser LFOs
Wet/Dry
–180...+180
0.02...20.00
Off...Tempo
Wet
signal
LFO Frequency
[Hz]
Src
Off...Tempo
–100...+100
Sets the speed of the LFO
Amt
Amount of modulation source
Selects a modulation source for LFO
speed
b
Src
–20.00...
+20.00
Sets the LFO speed modulation
amount
a: LFO Shape
Amt
You can change the panning curve by modifying the LFO’s
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
BPM
Off, On
Shape.
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
b: LFO Phase [degree]
c
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.
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Sets the number of notes that
specify the LFO speed
x1...x32
Phaser Manual 0...100
Sets the phaser frequency range
Sets the phaser resonance amount
Sets the phaser modulation depth
d
e
Resonance
–100...+100
Phaser Depth 0...100
You’ll only hear the effect of this parameter if the input is true
stereo, with different signals in the left and right channels.
Selects the modulation source for
the phaser modulation depth
Src
Off...Tempo
Sets the modulation amount for the
phaser modulation depth
Amt
–100...+100
–Wet, –2 :
98...Dry... 2 : 98,
Wet
Phaser Wet/
Dry
Sets the balance between the
phaser effect and dry sounds
f
Sets the degree of the tremolo LFO
shaping
g
Tremolo Shape –100...+100
Tremolo Depth 0...100
Sets the tremolo modulation depth
Selects the modulation source for
the tremolo modulation depth
Src
Off...Tempo
–100...+100
h
Sets the modulation amount of the
tremolo modulation depth
Amt
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Effects
138
Modulation and Pitch Shift (Mod./P.Shift)
Dry, 1:99...99:1, Balance between the wet and dry
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
Wet/Dry
Wet
signal
MIDI Sync
BPM
Off, On
i
Src
Off...Tempo
–100...+100
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Amt
Amount of modulation source
e
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
a: Type
a: LFO Phase [degree]
Sets the number of notes that
specify the LFO speed
x1...x32
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.
Sets the depth of LFO modulation
for the oscillator frequency
LFO Depth
Src
0...100
Selects the modulation source of
the depth of modulation
f
Off...Tempo
–100...+100
Sets the modulation amount of the
depth of modulation
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
f: Phaser Wet/Dry
i: Wet/Dry
g
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
a: OSC Mode
This parameter determines whether or not the oscillator fre-
quency follows the note number.
57: St. Ring Modulator
(Stereo Ring Modulator)
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.
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.
b: Fixed Frequency [Hz]
This parameter sets the oscillator frequency when “OSC Mode”
is set to Fixed.
Stereo In - Stereo Out
Left
FX Amt
Pre LPF
Ring Modulator
c: Note Offset
c: Note Fine
Pre LPF
Ring Modulator
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.
Right
FX Amt
Sine Oscillator
Pitch
Fixed
Fixed Frequency
Note No.
OSC Mode
Note Offset, Fine
Note (Key Follow)
LFO
Switching between specifying the
oscillator frequency and using a
note number
Fixed, Note
(Key Follow)
OSC Mode
a
Sets the damping amount of the
high range input to the ring
modulator
Pre LPF
0...100
Fixed
Sets the oscillator frequency when
OSC Mode is set to Fixed
0...12.00k
Off...Tempo
Frequency [Hz]
Selects the modulation source for
the oscillator frequency when OSC
Mode is set to Fixed
Src
b
Sets the modulation amount of the
oscillator frequency when OSC
Mode is set to Fixed
–12.00k...
+12.00k
Amt
Sets the pitch difference from the
original note when OSC Mode is set to
Note (Key Follow)
Note Offset
Note Fine
–48...+48
c
–100...+100
0.02...20.00
Fine-adjusts the oscillator frequency
LFO Frequency
[Hz]
Sets the speed of the LFO
Selects a modulation source for LFO
speed
d
Src
Off...Tempo
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
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Effects
139
Modulation and Pitch Shift (Mod./P.Shift)
58: Detune
59: Pitch Shifter
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.
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.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Input Level
High Damp
Input Level
+
Delay
Detune
High Damp
Delay
+
Pitch Shifter
Feedback
Post
Pre
Feedback Position
Input Level
Feedback
Right
Input Level
FX Amt
Right
FX Amt
Pitch Shift
[cents]
Sets the pitch difference from the
input signal
–100...+100
Slow, Medium, Switches Pitch Shifter mode
Fast
a
Mode
Selects a modulation source for
pitch shift
a
Src
Off...Tempo
–100...+100
Pitch Shift [1/
2tone]
Sets the pitch shift amount by steps
of a semitone
–24...+24
Sets the modulation amount for
pitch shift
Amt
Selects the modulation source of
pitch shift amount
b
Src
Off...Tempo
–24...+24
Delay Time
[msec]
b
c
0...1000
Sets the delay time
Sets the modulation amount of
pitch shift amount
Amt
Feedback
–100...+100
Sets the feedback amount
Sets the damping amount in the
high range
Sets the pitch shift amount by steps
of a cent
High Damp [%] 0...100
Input Level
Fine [cents]
Amt
–100...+100
–100...+100
0...2000
c
Sets the modulation amount of the
input level
Sets the modulation amount of
pitch shift amount
–100...+100
Dmod [%]
d
e
Selects the modulation source for
the input level
Delay Time
[msec]
Src
Off...Tempo
d
e
Sets the delay time
Dry, 1:99...99:1, Balance between the wet and dry
Feedback
Position
Wet/Dry
Pre, Post
Switches the feedback connection
Sets the feedback amount
Wet
signal
Src
Off...Tempo
–100...+100
Feedback
–100...+100
f
Amt
Amount of modulation source
Sets the damping amount in the
high range
High Damp [%] 0...100
Input Level
Sets the modulation amount of the
input level
d: Input Level Dmod [%]
d: Src
–100...+100
Dmod [%]
g
Selects the modulation source for
the input level
Src
Off...Tempo
This parameter sets the dynamic modulation of the input level.
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Input Level Dmod
Input Level
x1.0
Input Level
x1.0
h
Src
Off...Tempo
–100...+100
Input Level Dmod= –50
Input Level Dmod= –100
Amt
Amount of modulation source
Input Level Dmod= +50
Input Level Dmod= +100
x0.5
x0.5
a: Mode
-mod
D
-mod
D
Higher
Higher
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.
Zero
Max
Zero
Max
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
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Effects
140
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.
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.
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.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
+
Pitch Shifter
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Pan
Right
Input Level
FX Amt
High Damp
Delay
+
Pitch Shifter
LFO: Tri / Sqr
Post
Pre
Feedback Position
Feedback
Input Level
BPM
Pitch Shift
[cents]
Sets the pitch difference from the
a
–100...+100
Right
Tempo
input signal
FX Amt
Triangle,
Square
Base Note x Times
b
LFO Waveform
Selects the LFO Waveform
BPM
LFO Frequency
[Hz]
0.02...20.00
Off...Tempo
Sets the speed of the LFO
Slow, Medium, Switches Pitch Shifter mode
Fast
a
Mode
Selects a modulation source for LFO
speed
c
d
e
Src
Pitch Shift [1/
2tone]
Sets the pitch shift amount in steps
of a semitone
–24...+24
–20.00...
+20.00
Sets the modulation amount of LFO
speed
Amt
Selects the modulation source of
pitch shift amount
b
Src
Off...Tempo
–24...+24
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
BPM
Off, On
Sets the modulation amount of
pitch shift amount
Amt
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Sets the pitch shift amount in steps
of one cent
Fine [cents]
Amt
–100...+100
–100...+100
c
Sets the modulation amount of
pitch shift amount
Selects the type of notes that
specify the LFO speed
Base Note
Times
Depth
Src
r...w
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Sets the number of notes that
specify the LFO speed
BPM
x1...x32
d
Sets the LFO modulation depth for
pitch shift amount
Displays an error message when the
delay time exceeds the upper limit
–100...+100
Off...Tempo
–100...+100
Time Over?
---, OVER!
r...w
Selects the modulation source of
the depth of modulation
Delay Base
Note
Selects the type of notes to specify
the delay time
e
f
Sets the modulation amount of the
depth of modulation
Sets the number of notes to specify
the delay time
Amt
Times
x1...x32
Pre, Post
–100...+100
L, 1 : 99...99 : 1, Sets the panning effect sound and
dry sound separately
Feedback
Position
Switches the feedback
connection
f
Pan
R
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Sets the feedback amount
Wet/Dry
Feedback
signal
g
g
Sets the damping amount in the
high range
Src
Off...Tempo
–100...+100
High Damp [%] 0...100
Input Level
Amt
Amount of modulation source
Sets the modulation amount of the
input level
–100...+100
Dmod [%]
h
i
a: Pitch Shift [cents]
e: Depth
Selects the modulation source for
the input level
Src
Off...Tempo
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
These parameters set the amount of pitch shift and amount of
modulation by means of the LFO.
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Pitch Shift Mod - Pitch Shift / Depth
Pitch
d: BPM
e: Delay Base Note
e: Times
LFO Waveform=Triangle
Depth (+value)
Pitch Shift (+ value)
Original Pitch
LFO Waveform=Square
Depth (–value)
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?
g: Pan
h: Wet/Dry
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.
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.
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Effects
141
Modulation and Pitch Shift (Mod./P.Shift)
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.
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.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
FX Amt
Horn
+
Vibrato/Chorus
Mic Distance
Mic Spread
Rotary Speaker
Rotor
Horn/Rotor
Balance
+
Preset Setting
Custom Parameters
Mode
Right
Speaker Simulation
FX Amt
Right
FX Amt
-mod
Mode Switch: Rotate/Stop
Speed Switch: Slow/Fast
Manual Speed Control
D
D
D
-mod
-mod
a
Input Trim
0...100
Sets the input level
Selects either preset or custom
settings
b
Control Mode Preset, Custom
Selects the effect type when
Mode=Preset
V1/V2/V3 are variations of vibrato,
and C1/C2/C3 are variations of
chorus
Switches between speaker rotation
and stop
Mode Switch
Src
Rotate, Stop
Off...Tempo
V1, C1, V2, C2,
Preset Type
V3, C3
Selects a modulation source for
Rotate/Stop
a
c
Sets the switch mode for Rotate/
Stop modulation
Selects the modulation source that
will change the effect type
Toggle,
Src
Off...Tempo
–5...+5
Mode
Moment
Sets the modulation amount for
changing the effect type
Amt
Switches the speaker rotation speed
between slow and fast
Speed Switch Slow, Fast
Vibrato,
1:99...99:1,
Chorus
Sets the mix level of the direct
sound when Mode=Preset
Selects a modulation source for
Slow/Fast
Custom Mix
Src
Src
Off...Tempo
b
Sets the switch mode for Slow/Fast
modulation
Selects the modulation source that
will control the mix level of the
direct sound
Toggle,
Moment
Mode
d
Off...Tempo
–100...+100
Manual Speed
Ctrl
Sets a modulation source for direct
control of rotation speed
Sets the modulation amount for
controlling the mix level of the
direct sound
c
Off...Tempo
0...100
Amt
Hore
Acceleration
How quickly the horn rotation
speed in the high range is switched
Custom Depth 0...100
Sets the vibrato depth
Adjusts the (high-range side) horn
rotation speed. Standard value is
1.00. Selecting “Stop” will stop the
rotation
Selects the modulation source that
will control vibrato depth
d
Src
Off...Tempo
Stop,
e
f
Hore Ratio
0.50...2.00
Sets the modulation amount for
controlling the vibrato depth
Amt
–100...+100
0.02...20.00
Off...Tempo
Determines how quickly the rotor
rotation speed in the low range is
switched
Rotor
Acceleration
Custom Speed
[Hz]
0...100
Sets the vibrato speed
Selects the modulation source for
controlling the vibrato speed
e
Adjusts the (low-frequency) rotor
speed. Standard value is 1.00.
Selecting “Stop” will stop the
rotation
Src
Stop,
0.50...2.00
Rotor Ratio
–20.00...
+20.00
Sets the modulation amount for
controlling the vibrato speed
Amt
Sets the level balance between the
high-frequency horn and low-
frequency rotor
Dry, 1:99...99:1, Balance between the wet and dry
Horn/Rotor
Balance
Rotor, 1...99,
Horn
Wet/Dry
f
Wet
signal
g
Src
Off...Tempo
–100...+100
Sets the distance between the
microphone and rotary speaker
Mic Distance
Mic Spread
Wet/Dry
0...100
0...100
Amt
Amount of modulation source
g
Sets the angle of left and right
microphones
b: Control Mode
c: Preset Type
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
h
d: Custom Mix
e: Custom Depth
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
f: Custom Speed [Hz]
a: Mode
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.
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.
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.
When Mode = Moment, the speaker rotates by default, and
stops only when you press the pedal or move the joystick. Via
MIDI, modulation values above 64 make the speaker rotate, and
values below 64 make it stop.
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Effects
Delay
142
b: Speed Switch
Delay
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.
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.
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.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In -Stereo Out
FX Amt
L Delay
Level
Input Level D-mod
c: Manual Speed Ctrl
+
Spread
C Delay
High Damp
Low Damp
Level
Level
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.
Feedback
R Delay
Input Level D-mod
Right
FX Amt
L Delay Time
[msec]
0...2730
0...50
Sets the delay time of TapL
Sets the output level of TapL
Sets the delay time of TapC
Sets the output level of TapC
Sets the delay time of TapR
Sets the output level of TapR
d: Horn Acceleration
e: Rotor Acceleration
a
b
c
Level
C Delay Time
[msec]
0...2730
0...50
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.
Level
R Delay Time
[msec]
0...2730
0...50
Level
Feedback
(C Delay)
g: Mic Distance
g: Mic Spread
–100...+100
Sets the feedback amount of TapC
Selects the modulation source of the
TapC feedback amount
d
e
Src
Off...Tempo
–100...+100
This is a simulation of stereo microphone settings.
Sets the modulation amount of the
TapC feedback amount
Amt
Rotary Speaker - Mic Placement
Sets the damping amount in the
high range
High Damp [%] 0...100
Mic Spread
Microphone
Microphone
Sets the damping amount in the low
range
Low Damp [%] 0...100
Input Level
Mic Distance
Mic Distance
Sets the modulation amount of the
input level
–100...+100
Dmod [%]
f
Selects the modulation source for
the input level
Src
Off...Tempo
0...50
Sets the width of the stereo image of
the effect sound
g
Spread
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Rotary Speaker (Top View)
h
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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Effects
143
Delay
65: Stereo/CrossDelay
This is a stereo delay, and can by used as a cross-feedback delay
effect in which the delay sounds cross over between the left and
right by changing the feedback routing.
66: St. Multitap Delay
(Stereo Multitap Delay)
The left and right Multitap Delays have two taps respectively.
Changing the routing of feedback and tap output allows you to
create various patterns of complex effect sounds.
Stereo In - Stereo Out
Left
FX Amt
Stereo In - Stereo Out
High Damp Low Damp
Left
Delay
FX Amt
Input Level D-mod
Feedback
Stereo/Cross
Feedback
Spread
Delay
(2)
Input Level D-mod
Input Level D-mod
(1)
High Damp Low Damp
Mode
High Damp Low Damp
Input Level D-mod
Tap1=(1)
Tap2=(2)
Mode
(2)
Spread
Tap1 Level
Delay
Stereo/Cross
High Damp Low Damp
(1)
Delay
Right
FX Amt
Feedback
Right
FX Amt
Switches between stereo delay and
cross-feedback delay
a
b
c
Stereo/Cross
Stereo, Cross
0.0...1360.0
0.0...1360.0
–100...+100
Off...Tempo
–100...+100
–100...+100
–100...+100
Normal, Cross
Feedback,
L Delay Time
[msec]
Sets the delay time for the left
channel
Switches the left and right delay
routing
a
Mode
Cross Pan1,
Cross Pan2
R Delay Time
[msec]
Sets the delay time for the right
channel
Tap1 Time
[msec]
b
c
0.0...1360.0
0.0...1360.0
0...100
Sets the Tap1 delay time
Sets the feedback amount for the
left channel
L Feedback
Src
Tap2 Time
[msec]
Sets the Tap2 delay time
Sets the Tap1 output level
Selects the modulation source of
feedback amount
d
e
d
Tap1 Level
Sets the modulation amount of the
left channel feedback
Amt L
Feedback
(Tap2)
–100...+100
Off...Tempo
–100...+100
Sets the Tap2 feedback amount
Sets the feedback amount for the
right channel
R Feedback
Amt R
Selects the modulation source of
the Tap2 feedback amount
e
Src
Sets the modulation amount of the
right channel feedback
Sets the modulation amount of the
Tap2 feedback amount
Amt
Sets the damping amount in the
high range
f
High Damp [%] 0...100
Sets the damping amount in the
high range
f
High Damp [%] 0...100
Sets the damping amount in the low
range
g
Low Damp [%] 0...100
Input Level
Sets the damping amount in the low
range
g
Low Damp [%] 0...100
Input Level
Sets the modulation amount of the
input level
–100...+100
Dmod [%]
Sets the modulation amount of the
input level
h
i
–100...+100
Dmod [%]
Selects the modulation source for
the input level
Src
Off...Tempo
–50...+50
h
i
Selects the modulation source for
the input level
Src
Off...Tempo
–100...+100
Sets the width of the stereo image
of the effect sound
Spread
Sets the width of the stereo image
of the effect sound
Spread
Src
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Selects the modulation source of
the effect sound’s stereo image
width
Off...Tempo
–100...+100
j
Src
Off...Tempo
–100...+100
Sets the modulation amount of the
effect sound’s stereo image width
Amt
Amount of modulation source
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
j
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Mode: Normal
Mode: Cross Feedback
Mode: Cross Pan1
Mode: Cross Pan2
a: Mode
You can change how the left and right delay signals are panned
by modifying the routing of the left and right delay as shown in
the figure above. You need to input different sounds to each
channel in order for this parameter to be effective.
d: Tap1 Level
This parameter sets the output level of Tap1. Setting a different
level from Tap2 will add a unique touch to a monotonous delay
and feedback.
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Effects
Delay
144
d: LFO Sync
d: Src
g: L LFO Phase [deg]
h: R LFO Phase [deg]
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.
If “LFO Sync” is On, the LFO will be reset by the modulation
source that is received.
Stereo In - Stereo Out
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.
Left
FX Amt
Delay
Feedback
“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.
Delay
Right
FX Amt
D-mod
-mod
Response
L/R: +/+ +/–
LFO Shape
D
LFO Sync
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.
LFO: Tri / Sine
LFO
LFO Phase
Modulation Mode
Switches between LFO modulation
control and modulation source
control
Modulation
Mode
a
LFO, D-mod
D-mod
L/R:+/+,
L/R:+/–
Reversed L/R control by modulation
source
Modulation
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.
Selects the modulation source that
controls delay time
b
Src
Off...Tempo
0...30
Sets the rate of response to the
modulation source
Response
LFO Waveform Triangle, Sine Selects the LFO Waveform
Changes the curvature of the LFO
c
LFO Shape
LFO Sync
Src
–100...+100
Off, On
Waveform
Switches LFO reset off/on
Stereo In - Stereo Out
d
e
Selects the modulation source that
resets the LFO
Left
Off...Tempo
0.02...20.00
FX Amt
High Damp Low Damp
Delay
LFO Frequency
[Hz]
Sets the speed of the LFO
Feedback
Spread
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
High Damp Low Damp
MIDI Sync
BPM
Off, On
Delay
FB
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Right
FX Amt
Out
Control Target
f
Attack, Release
+
Envelope
Threshold
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Sets the number of notes that
specify the LFO speed
Selects from no control, output, and
feedback
x1...x32
Control Target None, Out, FB
a
L LFO Phase
[deg]
Sets the phase obtained when the
left LFO is reset
Polarity
+, –
Reverses level control
–180...+180
0...200
Sets the level to which the effect is
applied
g
h
i
Threshold
0...100
Sets the depth of the left LFO
modulation
b
L Depth
Offset
0...100
1...100
1...100
Sets the offset of level control
R LFO Phase
[deg]
Sets the phase obtained when the
right LFO is reset
–180...+180
0...200
c
Attack
Release
Sets the attack time of level control
Sets the release time of level control
d
Sets the depth of the right LFO
modulation
R Depth
L Delay Time
[msec]
Sets the delay time for the left
channel
e
0.0...1360.0
L Delay Time
[msec]
Sets the delay time for the left
channel
0.0...1000.0
–100...+100
0.0...1000.0
–100...+100
R Delay Time
[msec]
Sets the delay time for the right
channel
f
0.0...1360.0
–100...+100
Sets the feedback amount of left
delay
L Feedback
g
Feedback
Sets the feedback amount
R Delay Time
[msec]
Sets the delay time for the right
channel
Sets the damping amount in the
high range
High Damp [%] 0...100
Low Damp [%] 0...100
j
h
i
Sets the feedback amount of right
delay
Sets the damping amount in the low
range
R Feedback
-Wet, -
1:99...Dry...99:1
, Wet
Sets the width of the stereo image
of the effect sound
Balance between the wet and dry
signal
Wet/Dry
Spread
–100...+100
k
Dry, 1:99...99:1, Balance between the wet and dry
Src
Off...Tempo
–100...+100
Wet/Dry
Wet
signal
Amt
Amount of modulation source
j
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
b: D-mod Modulation
When the modulation source is used for control, this parameter
reverses the left and right modulation direction.
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Effects
145
Delay
a: Control Target
69: St. AutoPanningDly
(Stereo Auto Panning Delay)
This stereo delay effect pans the delay sound left and right using
the LFO.
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
Stereo In - Stereo Out
Left
FX Amt
High Damp Low Damp
Pan
Pan
Delay
Delay
Feedback
Depth
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).
High Damp Low Damp
Right
FX Amt
LFO Phase
LFO: Tri / Sin
LFO Shape
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.
L Delay Time
[msec]
Sets the delay time for the left
channel
0.0...1360.0
–100...+100
0.0...1360.0
–100...+100
a
Sets the feedback amount for the
left channel
L Feedback
R Delay Time
[msec]
Sets the delay time for the right
channel
b
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.
Sets the feedback amount for the
right channel
R Feedback
Sets the damping amount in the
high range
High Damp [%] 0...100
Low Damp [%] 0...100
c
Sets the damping amount in the low
range
The “Attack” and “Release” parameters specify attack time and
release time of delay level control.
LFO Waveform Triangle, Sine Selects the LFO Waveform
Changes the curvature of the LFO
d
LFO Shape
–100...+100
Waveform
Dynamic Delay
Level
Sets the LFO phase difference
between the left and right
e
f
Phase [degree] –180...+180
Panning Freq
0.02...20.00
[Hz]
Dry
Sets the panning speed
Threshold
Switches between using the
frequency of the panning speed and
using the tempo and notes
MIDI Sync
BPM
Off, On
Release
Envelope
Attack
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
(Ducking Delay)
Delay Time
g
Wet
Selects the type of notes to specify
the delay time for the panning
speed
Base Note
Times
r...w
Target=Output Level
Polarity= (–)
Sets the number of notes to specify
the delay time for the panning
speed
x1...x32
Wet
Target=Output Level
Polarity= (+)
Panning Depth 0...100
Sets the panning width
Selects the modulation source for
the panning width
Time
Src
Off...Tempo
–100...+100
h
i
Set the modulation amount of the
panning width
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Delay
146
d: FB Amt
e: FB Amt
f: FB Amt
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.
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.”
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
(3)
(2)
Feedback
71: Classic Tape Echo
(1)
Feedback Amt
Tape
Level Pan
Delay
+
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.
Saturation
Trim Pre Tone
High / Low Damp
Tap2/3
Position
Wah Flatter
Delay Time
Right
FX Amt
-mod
D
Wet: Mono In - Mono Out
Left
/
Dry: Stereo In - Stereo Out
Delay (Tap1)
[msec]
Sets the delay time (tap1)
0...2700
Wet / Dry
Selects the modulation source of the
delay time
a
Src
Off...Tempo
Input Level
D-mod
Tone
Low Damp
–2700...
+2700
Sets the modulation amount of
delay time
+
Delay
Amt
Feedback
Sets the position of Tap 2 relative to
the Tap 1 delay time the depth of
pitch variation
Tap2 Position
[%]
b
c
0...100
0...100
Right
Wet / Dry
Sets the position of Tap 3 relative to
the Tap 1 delay time the depth of
pitch variation
Tap3 Position
[%]
Time [ms]
0...539
Sets the delay time
Tap1 Level
Pan
0...100
Sets the Tap1 output level
Feedback
Tone
0...100
1...100
Sets the amount of feedback
d
e
f
L, 1...99, R
–100...+100
0...100
Sets the stereo image of tap1
Sets the Tap1 feedback amount
Sets the Tap2 output level
Sets the tone of the delay sound
FB Amt
Tap2 Level
Pan
Sets the damping amount in the low
range
Low Damp [%]
0...100
L, 1...99, R
–100...+100
0...100
Sets the stereo image of tap2
Sets the Tap2 feedback amount
Sets the Tap3 output level
Sets the modulation amount of the
Input Lvl Dmod [%] –100...+100
FB Amt
Tap3 Level
Pan
Selects the modulation source for
the input levelpage 139
Source
Off...Tempo
L, 1...99, R
–100...+100
Sets the stereo image of tap3
Sets the Tap3 feedback amount
Dry, 1 : 99... Balance between the wet and dry
Wet/Dry
Source
FB Amt
99 : 1, Wet
signal
Sets the amount of feedback for
Taps 1, 2, and 3
Table , “Selects a modulation source
for Wet/Dry,” on page 107
Feedback
0...100
Off...Tempo
g
Selects the modulation source of
feedback amount
Table , “Sets the modulation amount
for Wet/Dry,” on page 107
Src
Off...Tempo
–100...+100
Amount
–100...+100
Amt
Sets the feedback amount
Sets the damping amount in the
high range
High Damp [%] 0...100
Low Damp [%] 0...100
72: Auto Reverse
This effect records the input signal and automatically plays it in
reverse (the effect is similar to a tape reverse sound).
h
Sets the damping amount in the low
range
i
j
Saturation
Input Trim
Pre Tone
0...100
0...100
0...100
Sets the distortion amount
Sets the input gain
Sets the tone of the input
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Wow Flutter
[Hz]
Sets the frequency at which pitch
variation will occur
FX Amt
0.02...1.00
0...100
k
l
Wow Flutter
depth
Direct
Sets the depth of pitch variation
+
Auto Reverse
Mix
Rec/Reverse Play
Control
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Right
FX Amt
Src
Off...Tempo
–100...+100
D-mod
Input
-mod
D
Envelope Control
Amt
Amount of modulation source
Envelope Select
a: Delay (Tap1) [msec]
a: Src
a: Amt
Sets the recording mode
a
Rec Mode
Single, Multi
20...2640
Reverse Time
[msec]
Sets the maximum duration of the
reverse playback
b
b: Tap2 Position [%]
b: Tap3 Position [%]
Selects whether the start and end of
recording is controlled via the
modulation source or the input
signal level
Envelope
Select
D-mod, Input
Off...Tempo
c
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.
Selects the modulation source that
controls recording when Envelope
Select is set to D-mod
Src
Sets the recording start level when
Envelope Select is set to Input
d
e
Threshold
Response
0...100
0...100
Sets the speed of the response to
the end of recording
Always On,
Always Off,
Cross Fade
f
Direct Mix
Selects how a dry sound is mixed
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Effects
147
Delay
Dry, 1:99...99:1, Balance between the wet and dry
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.
Wet/Dry
Wet
signal
g
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
a: Rec Mode
b: Reverse Time [msec]
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In -Stereo Out
FX Amt
Pan
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.
Input Level D-mod
+
Delay
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.
High Damp Low Damp
Input Level D-mod
Feedback
Right
FX Amt
Tempo
BPM
BPM
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.
Rythm Pattern
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.
MIDI,
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
a
BPM
40.00...
300.00
3
Rhythm
Pattern
Selects a rhythm pattern
b
x...eee
Tap1 Pan
Tap2 Pan
Tap3 Pan
Tap4 Pan
Feedback
L, 1...99, R
L, 1...99, R
L, 1...99, R
L, 1...99, R
–100...+100
Sets the panning of Tap1
Sets the panning of Tap2
Sets the panning of Tap3
Sets the panning of Tap4
Sets the feedback amount
Mode/Reverse Time
c
Rec
Reverse Rec
Reverse
Envelope Select = Input
Input
Selects the modulation source of
feedback amount
Time
d
Src
Off...Tempo
–100...+100
Amt
Sets the feedback amount
Mode = Single
Mode = Multi
Sets the damping amount in the
high range
High Damp [%] 0...100
e
f
Sets the damping amount in the low
range
Low Damp [%] 0...100
Input Level
Sets the modulation amount of the
input level
–100...+100
Dmod [%]
Selects the modulation source for
the input level
Src
Off...Tempo
Reverse Time
Reverse Time
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
c: Envelope Select
c: Src
d: Threshold
g
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
These parameters select the source to control the start and end
of recording.
a: BPM
b: Rhythm Pattern
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.
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.
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.
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Effects
Delay
148
74: L/C/R BPM Delay
75: Stereo 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.
This stereo delay enables you to set the delay time to match the
song tempo.
Stereo In - Stereo Out
Left
FX Amt
High Damp Low Damp
Delay
Input Level D-mod
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In -Stereo Out
Feedback
FX Amt
High Damp Low Damp
Input Level D-mod
Delay
L Delay
Level
Input Level D-mod
Right
Tempo
FX Amt
+
C Delay
Spread
High Damp Low Damp
Input Level D-mod
Level
Level
Feedback
R Delay
BPM
Base Note x Times
Adjust [%]
Adjust [%]
BPM
Base Note x Times
Right
FX Amt
Tempo
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM
Base Note x Times
BPM
BPM
Base Note x Times
Base Note x Times
Display the error message if the left
channel delay time exceeds the
upper limit
a
Time Over? L
R
---, OVER!
---, OVER!
MIDI,
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM
Time Over?
40.00...
300.00
Display the error message if the
right channel delay time exceeds
the upper limit
a
Displays an error message when the
delay time exceeds the upper limit
---, OVER!
L Delay Base
Note
Selects the type of notes to specify
the left channel delay time
r...w
L Delay Base
Note
Selects the type of notes to specify
the delay time for TapL
r...w
Sets the number of notes to specify
the left channel delay time
b
c
Times
x1...x32
b
Sets the number of notes to specify
the delay time for TapL
Times
x1...x32
0...50
r...w
Fine-adjust the left channel delay
time
Adjust [%]
–2.50...+2.50
r...w
Level
Sets the output level of TapL
R Delay Base
Note
Selects the type of notes to specify
the right channel delay time
C Delay Base
Note
elects the type of notes to specify
the delay time for TapC
Sets the number of notes to specify
the right channel delay time
c
Sets the number of notes to specify
the delay time for TapC
Times
x1...x32
Times
Level
x1...x32
0...50
r...w
Fine-adjust the right channel delay
time
Sets the output level of TapC
Adjust [%]
L Feedback
Src
–2.50...+2.50
–100...+100
Off...Tempo
–100...+100
–100...+100
–100...+100
R Delay Base
Note
Selects the type of notes to specify
the delay time for TapR
Sets the feedback amount for the
left channel
d
Sets the number of notes to specify
the delay time for TapR
Times
Level
x1...x32
0...50
Selects the modulation source of
feedback amount
d
e
Sets the output level of TapR
Sets the modulation amount of the
left channel feedback
Amt L
Feedback
(C Delay)
–100...+100
Sets the feedback amount of TapC
Sets the feedback amount for the
right channel
R Feedback
Amt R
Selects the modulation source for
the TapC feedback
e
f
Src
Off...Tempo
–100...+100
Sets the modulation amount of the
right channel feedback
Sets the modulation amount of the
TapC feedback
Amt
Sets the damping amount in the
high range
f
High Damp [%] 0...100
Sets the damping amount in the
high range
High Damp [%] 0...100
Sets the damping amount in the low
range
g
Low Damp [%] 0...100
Input Level
Sets the damping amount in the low
range
Low Damp [%] 0...100
Input Level
Sets the modulation amount of the
input level
–100...+100
Sets the modulation amount of the
input level
Dmod [%]
–100...+100
h
i
Dmod [%]
Selects the modulation source for
the input level
g
h
Src
Off...Tempo
Selects the modulation source for
the input level
Src
Off...Tempo
0...50
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Sets the width of the stereo image of
the effect sound
Wet
signal
Spread
Src
Off...Tempo
–100...+100
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
Amt
Amount of modulation source
signal
i
Src
Off...Tempo
–100...+100
a: Time Over? L, R
Amt
Amount of modulation source
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.
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.
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Effects
149
Delay
76: St.BPM Mtap Delay
77: St.BPM Mod. Delay
(Stereo BPM Multi tap Delay)
(Stereo BPM Modulation Delay)
This four-tap delay enables you to select a tempo and rhythm
pattern to set up each tap.
This is a stereo modulation delay that lets you synchronize the
delay time to the tempo of the song.
Stereo In - Stereo Out
Stereo In - Stereo Out
Left
Left
FX Amt
FX Amt
Feedback
Delay
Delay
(2)
Input Level D-mod
Input Level D-mod
(1)
High Damp Low Damp
Mode
Tap1 Level
Tap1=(1)
Tap2=(2)
Feedback
Mode
(2)
Spread
High Damp Low Damp (1)
Delay
Delay
Feedback
Right
Right
FX Amt
FX Amt
Tempo
BPM
BPM
Tempo
BPM
Base Note x Times
Base Note x Times
Base Note x Times
BPM
Base Note x Times
D-mod
-mod
Response
LFO: Tri / Sine
L/R: +/+ +/–
LFO Shape
D
Normal, Cross
Feedback,
LFO Sync
LFO
LFO Phase
Switches the left and right delay
routing
Modulation Mode
a
Mode
BPM
Cross Pan1,
Cross Pan2
MIDI,
40.00...
300.00
MIDI syncs to the system tempo;
40–300 sets the tempo manually for
this individual effect
Switches between LFO modulation
control and modulation source
control
Modulation
Mode
a
LFO, D-mod
Displays an error message when the
delay time for Tap1 exceeds the
upper limit
D-mod
L/R:+/+,
L/R:+/–
Reversed L/R control by modulation
source
b
Time Over? 1
2
---, OVER!
---, OVER!
Modulation
Selects the modulation source that
controls delay time
b
Src
Off...Tempo
0...30
Displays an error message when the
delay time for Tap2 exceeds the
upper limit
Sets the rate of response to the
modulation source
Response
Tap 1 Base
Note
Selects the type of notes to specify
the delay time for Tap1
r...w
LFO Waveform Triangle, Sine Selects the LFO Waveform
Changes the curvature of the LFO
c
c
Sets the number of notes to specify
the delay time for Tap1
LFO Shape
LFO Sync
Src
–100...+100
Off, On
Times
x1...x32
r...w
Waveform
Switches LFO reset off/on
Tap 2 Base
Note
Selects the type of notes to specify
the delay time for Tap2
d
e
d
e
Selects the modulation source that
resets the LFO
Sets the number of notes to specify
the delay time for Tap2
Off...Tempo
0.02...20.00
Times
x1...x32
0...100
LFO Frequency
[Hz]
Sets the Tap1 output level
Sets the speed of the LFO
Tap1 Level
When this is on, the LFO speed is set
by BPM, Base Note, and Times,
instead of Frequency
Feedback
(Tap2)
–100...+100
Off...Tempo
–100...+100
Sets the Tap2 feedback amount
MIDI Sync
BPM
Off, On
Selects the modulation source of
the Tap2 feedback amount
f
Src
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Sets the modulation amount of the
Tap2 feedback amount
f
Amt
Selects the type of notes that
specify the LFO speed
Base Note
Times
r...w
Sets the damping amount in the
high range
High Damp [%] 0...100
g
h
Sets the number of notes that
specify the LFO speed
x1...x32
–180...+180
0...200
Sets the damping amount in the
low range
Low Damp [%] 0...100
Input Level
L LFO Phase
[deg]
Sets the phase obtained when the
left LFO is reset
Sets the modulation amount of the
input level
–100...+100
Dmod [%]
g
h
Sets the depth of the left LFO
modulation
Depth
Selects the modulation source for
the input level
Src
Off...Tempo
–100...+100
R LFO Phase
[deg]
Sets the phase obtained when the
right LFO is reset
–180...+180
0...200
Sets the width of the stereo image
of the effect sound
Spread
Src
Sets the depth of the right LFO
modulation
Depth
Selects the modulation source of
the effect sound’s stereo image
width
i
j
Off...Tempo
–100...+100
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM(Delay)
Sets the modulation amount of the
effect sound’s stereo image width
Amt
Display the error message if the left
channel delay time exceeds the
upper limit
Dry, 1:99...99:1, Balance between the wet and dry
Wet
i
Time Over? L
R
---, OVER!
---, OVER!
Wet/Dry
signal
Display the error message if the
right channel delay time exceeds
the upper limit
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
L Delay Base
Note
Selects the type of notes to specify
the left channel delay time
r...w
Sets the number of notes to specify
the left channel delay time
j
Times
x1...x32
–100...+100
r...w
Sets the feedback amount of left
delay
Feedback
R Delay Base
Note
Selects the type of notes to specify
the right channel delay time
Sets the number of notes to specify
the right channel delay time
k
Times
x1...x32
–100...+100
Sets the feedback amount of right
delay
Feedback
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Effects
Delay
150
-Wet, -
78: St.BPMAutoPanDly
Balance between the wet and dry
signal
Wet/Dry
1:99...Dry...99:1
, Wet
(Stereo BPM Auto Panning Delay)
l
Src
Off...Tempo
–100...+100
This stereo auto panning delay enables you to set the delay time
to match the song tempo.
Amt
Amount of modulation source
Stereo In - Stereo Out
i: Time Over? L, R
Left
FX Amt
High Damp Low Damp
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.
Pan
Pan
Delay
Delay
Feedback
Depth
High Damp Low Damp
Right
Tempo
FX Amt
BPM
Base Note x Times
Base Note x Times
BPM
LFO Phase
LFO: Tri / Sin
LFO Shape
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM
Display the error message if the left
channel delay time exceeds the
upper limit
a
Time Over? L
R
---, OVER!
---, OVER!
Display the error message if the
right channel delay time exceeds
the upper limit
L Delay Base
Note
Selects the type of notes to specify
the left channel delay time
r...w
Sets the number of notes to specify
the left channel delay time
b
Times
x1...x32
–100...+100
r...w
Sets the feedback amount for the
left channel
Feedback
R Delay Base
Note
Selects the type of notes to specify
the right channel delay time
Sets the number of notes to specify
the right channel delay time
c
Times
x1...x32
–100...+100
Sets the feedback amount for the
right channel
Feedback
Sets the damping amount in the
high range
High Damp [%] 0...100
Low Damp [%] 0...100
d
Sets the damping amount in the low
range
LFO Waveform Triangle, Sine Selects the LFO Waveform
Changes the curvature of the LFO
Shape
–100...+100
–180...+180
0.02...20.00
e
f
Waveform
Sets the LFO phase difference
between the left and right
LFO Phase
Panning Freq
[Hz]
Sets the panning speed
When this is on, the pan LFO speed
is set by BPM, Base Note, and Times,
instead of Frequency
MIDI Sync
BPM
Off, On
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
g
Selects the type of notes to specify
the delay time for the panning
speed
Base Note
Times
r...w
Sets the number of notes to specify
the delay time for the panning
speed
x1...x32
Panning Depth 0...100
Sets the panning width
Selects the modulation source for
the panning width
Src
Off...Tempo
–100...+100
h
i
Set the modulation amount of the
panning width
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
151
Delay
a: Tap1 Dmod Src
b: Tap1 Delay Note
b: Times
c: Tap1 Dmod Note
c: Times
79: Tape Echo BPM
This is a tape echo that lets you synchronize the delay time to the
tempo of the song.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
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.”
(3)
(2)
Feedback
(1)
Feedback Amt
Tape
Level Pan
Delay
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.
+
Saturation
Trim Pre Tone
BPM
High / Low Damp
Wah Flatter
Tap2/3 Position
Right
FX Amt
Tempo
Delay Time
Base Note x Times
BPM
-mod
D
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.
MIDI,
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM (Delay)
40.00...
300.00
a
Selects the modulation source of
the delay time
Tap1 Dmod Src Off...Tempo
Tap1 Delay
r...w
Selects the type of notes to specify
the delay time (tap1)
Note
Sets the number of notes to specify
the delay time (tap1)
b
Times
x1...x32
Displays an error message when the
delay time exceeds the upper limit
Time Over?
---, OVER!
Selects the note value used to
specify the delay time when the
modulation is at maximum
Tap1 Dmod
Note
r...w
c
Specifies the number of notes used
to specify the delay time when the
modulation is at maximum
Times
x1...x32
0...100
0...100
Sets the position of Tap 2 relative to
the Tap 1 delay time the depth of
pitch variation
Tap2 Position
[%]
d
e
Sets the position of Tap 3 relative to
the Tap 1 delay time the depth of
pitch variation
Tap3 Position
[%]
Tap1 Level
Pan
0...100
Sets the Tap1 output level
f
L, 1...99, R
–100...+100
0...100
Sets the stereo image of tap1
Sets the Tap1 feedback amount
Sets the Tap2 output level
FB Amt
Tap2 Level
Pan
g
h
L, 1...99, R
–100...+100
0...100
Sets the stereo image of tap2
Sets the Tap2 feedback amount
Sets the Tap3 output level
FB Amt
Tap3 Level
Pan
L, 1...99, R
–100...+100
Sets the stereo image of tap3
Sets the Tap3 feedback amount
FB Amt
Sets the amount of feedback for
Taps 1, 2, and 3
Feedback
Src
0...100
Selects the modulation source of
feedback amount
i
Off...Tempo
–100...+100
Sets the depth by which feedback
amount will be modulated
Amt
Sets the damping amount in the
high range
High Damp [%] 0...100
Low Damp [%] 0...100
j
Sets the damping amount in the low
range
k
l
Saturation
Input Trim
Pre Tone
0...100
0...100
0...100
Sets the distortion amount
Sets the input gain
Sets the tone of the input
Wow Flutter
[Hz]
Sets the frequency at which pitch
variation will occur
0.02...1.00
0...100
m
n
Wow Flutter
depth
Sets the depth of pitch variation
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
152
Reverb and Early Reflections (Reverb ER)
b: Pre Delay [msec]
b: Pre Delay Thru [%]
Reverb and Early Reflections (Reverb ER)
80: Reverb Hall
This hall-type reverb simulates the reverberation of mid-size
concert halls or ensemble halls.
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.
Reverb - Hall / Plate Type
Level
Dry
81: Reverb SmoothHall
Reverb
This hall-type reverb simulates the reverberation of larger halls
and stadiums, and creates a smooth release.
Pre Delay Thru
Time
82: Reverb Wet Plate
Pre Delay
Reverb Time
This plate reverb simulates warm (dense) reverberation.
84: Reverb Room
83: Reverb Dry Plate
This plate reverb simulates dry (light) reverberation.
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.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Pre Delay Thru
FX Amt
EQ Trim
LEQ
HEQ
+
Pre Delay
Reverb
EQ Trim
Right
FX Amt
Reverb Time
[sec]
0.1...10.0
Sets the reverberation time
a
Sets the damping amount in the
high range
High Damp [%] 0...100
Pre Delay
0...200
Sets the delay time from the dry
sound
[msec]
b
c
Pre Delay Thru
0...100
Sets the mix ratio of non-delay
sound
[%]
EQ Trim
0...100
Sets the EQ input level
Low,
Mid-Low
Selects the cutoff frequency (low or
mid-low) of the low-range equalizer
Pre LEQ Fc
d
e
Selects the cutoff frequency (high or
mid-high) of the high-range
equalizer
High,
Pre HEQ Fc
Mid-High
Pre LEQ Gain
[dB]
–15.0...+15.0
–15.0...+15.0
Sets the gain of Low EQ
Sets the gain of High EQ
Pre HEQ Gain
[dB]
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
f
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
153
Reverb and Early Reflections (Reverb ER)
85: Reverb BrightRoom
86: Reverb Spring
This room-type reverb emphasizes the early reflections that
make the sound brighter.
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.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
ER Level
87: Early Reflections
ERs
EQ Trim
Pre Delay Thru
LEQ
HEQ
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.
Reverb Level
+
Pre Delay
Reverb
ERs
EQ Trim
ER Level
Right
FX Amt
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Reverb Time
[sec]
0.1...3.0
Sets the reverberation time
EQ Trim
a
LEQ
HEQ
Sets the damping amount in the
high range
High Damp [%] 0...100
Pre Delay
+
Early Reflections
Pre Delay
0...200
Sets the delay time from the dry
sound
EQ Trim
[msec]
b
Right
Pre Delay Thru
0...100
Sets the mix ratio of non-delay
sound
FX Amt
[%]
c
d
e
ER Level
0...100
0...100
0...100
Sets the level of early reflections
Sets the reverberation level
Sharp, Loose,
Modulated,
Reverse
Selects the decay curve for the early
reflection
Reverb Level
EQ Trim
a
Type
Sets the EQ input level
Sets the time length of early
reflection
b
c
ER Time [msec] 10...800
Low,
Mid-Low
Selects the cutoff frequency (low or
mid-low) of the low-range equalizer
Pre LEQ Fc
Pre Delay
0...200
Sets the time taken from the original
sound to the first early reflection
f
Selects the cutoff frequency (high or
mid-high) of the high-range
equalizer
[msec]
High,
Mid-High
Pre HEQ Fc
Sets the input level of EQ applied to
the effect sound
d
EQ Trim
0...100
Pre LEQ Gain
[dB]
–15.0...+15.0
–15.0...+15.0
Sets the gain of Low EQ
Sets the gain of High EQ
Low,
Mid-Low
Selects the cutoff frequency (low or
mid-low) of the low-range equalizer
Pre LEQ Fc
g
Pre HEQ Gain
[dB]
e
f
Selects the cutoff frequency (high or
mid-high) of the high-range
equalizer
High,
Mid-High
Pre HEQ Fc
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
signal
Pre LEQ Gain
[dB]
–15.0...+15.0
–15.0...+15.0
Gain of the Low EQ
Gain of the High EQ
h
Src
Off...Tempo
–100...+100
Pre HEQ Gain
[dB]
Amt
Amount of modulation source
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
c: ER Level
d: Reverb Level
g
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
a: Type
This parameter selects the decay curve for the early reflection.
Early Reflections - Type
Reverb - Room Type
Level
Dry
ER
(Early Reflections)
Sharp
Reverb
Time
Loose
Pre Delay Thru
Pre Delay
Reverb Time
Modulated
Reverse
Dry
ER Time
Pre Delay
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Effects
Mono-Mono Serial (Mono-Mono)
154
89: P4EQ - Wah
(Parametric 4-Band EQ -
Wah/Auto Wah)
Mono-Mono Serial (Mono-Mono)
This effect combines a mono four-band parametric equalizer
and a wah. You can change the order of the connection.
88: P4EQ - Exciter
(Parametric 4-Band EQ - Exciter)
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
This effect combines a mono four-band parametric equalizer
and an exciter.
FX Amt
Routing
Parametric 4Band EQ
Trim
Wah/Auto Wah
Wah
+
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Parametric 4Band EQ
Trim
Exciter
Exciter
Right
Sweep Mode
FX Amt
Envelope
+
Auto
D-mod
LFO
-mod
D
LFO
Right
FX Amt
P4EQ
[E]Trim
0...100
Sets the parametric EQ input level
P4EQ
a
P4EQ Wah,
Wah P4EQ
Changes the order of the parametric
equalizer and wah connection
Routing
a
[E]Trim
0...100
Sets the parametric EQ input level
Sets the center frequency of Band 1
[E]B1 Cutoff
[Hz]
[E]B1 Cutoff
[Hz]
20...1.00k
20...1.00k
Sets the center frequency of Band 1
b
b
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 1
Sets the gain of Band 1
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 1
Sets the gain of Band 1
Gain [dB]
Gain [dB]
[E]B2 Cutoff
[Hz]
[E]B2 Cutoff
[Hz]
50...5.00k
Sets the center frequency of Band 2
50...5.00k
Sets the center frequency of Band 2
c
d
e
c
d
e
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 2
Sets the gain of Band 2
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 2
Sets the gain of Band 2
Gain [dB]
Gain [dB]
[E]B3 Cutoff
[Hz]
[E]B3 Cutoff
[Hz]
300...10.00k
Sets the center frequency of Band 3
300...10.00k
Sets the center frequency of Band 3
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 3
Sets the gain of Band 3
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 3
Sets the gain of Band 3
Gain [dB]
Gain [dB]
[E]B4 Cutoff
[Hz]
[E]B4 Cutoff
[Hz]
500...20.00k
Sets the center frequency of Band 4
500...20.00k
Sets the center frequency of Band 4
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 4
Sets the gain of Band 4
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 4
Sets the gain of Band 4
Gain [dB]
Gain [dB]
EXCITER
WAH
[X]Exciter
Sets the intensity (depth) of the
Exciter effect
[W]Frequency
Bottom
Sets the lower limit of the wah
center frequency
f
–100...+100
0...70
0...100
Blend
f
[X]Emphasis
Freq
Sets the frequency range to be
emphasized
Sets the upper limit of the wah
center frequency
g
Frequency Top 0...100
Dry, 1:99...99:1, Balance between the wet and dry
Auto,
[W]Sweep
D-mod,
Wet/Dry
Selects the control from auto-wah,
modulation source, and LFO
Wet
signal
Mode
LFO
g
h
h
Src
Off...Tempo
–100...+100
Selects the modulation source for
the wah when Sweep Mode=D-mod
Src
Off...Tempo
Amt
Amount of modulation source
[W]LFO
0.02...20.00
0...100
Sets the speed of the LFO
Frequency [Hz]
Resonance
Sets the resonance amount
Switches the wah low pass filter on
and off
LPF
Off, On
Dry,1 : 99... 99 :
1, Wet
[W] Wet/Dry
Src
Sets the wah effect balance
Selects the Wet/Dry modulation
source for the wah
i
j
Off...Tempo
–100...+100
Sets the Wet/Dry modulation
amount for the wah
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
155
90: P4EQ - Cho/Flng
(Parametric 4-Band EQ - Chorus/Flanger)
91: P4EQ - Phaser
(Parametric 4-Band EQ - Phaser)
This effect combines a mono four-band parametric equalizer
and a chorus/flanger.
This effect combines a mono four-band parametric equalizer
and a phaser.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
FX Amt
Parametric 4Band EQ
Trim
Chorus/Flanger
Parametric 4Band EQ
Trim
Phaser
+
+
Chorus/Flanger
Feedback
Phaser
Normal
Output Mode
Wet Invert
Normal
+
–
+
–
Output Mode
Wet Invert
Resonance
Cho/Flng FX Amt
Phaser FX Amt
Right
Right
FX Amt
FX Amt
LFO: Tri / Sine
LFO: Tri / Sine
P4EQ
P4EQ
a
[E]Trim
0...100
Sets the parametric EQ input level
Sets the center frequency of Band 1
a
[E]Trim
0...100
Sets the parametric EQ input level
Sets the center frequency of Band 1
[E]B1 Cutoff
[Hz]
[E]B1 Cutoff
[Hz]
20...1.00k
20...1.00k
b
b
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 1
Sets the gain of Band 1
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 1
Sets the gain of Band 1
Gain [dB]
Gain [dB]
[E]B2 Cutoff
[Hz]
[E]B2 Cutoff
[Hz]
50...5.00k
Sets the center frequency of Band 2
50...5.00k
Sets the center frequency of Band 2
c
d
e
c
d
e
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 2
Sets the gain of Band 2
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 2
Sets the gain of Band 2
Gain [dB]
Gain [dB]
[E]B3 Cutoff
[Hz]
[E]B3 Cutoff
[Hz]
300...10.00k
Sets the center frequency of Band 3
300...10.00k
Sets the center frequency of Band 3
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 3
Sets the gain of Band 3
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 3
Sets the gain of Band 3
Gain [dB]
Gain [dB]
[E]B4 Cutoff
[Hz]
[E]B4 Cutoff
[Hz]
500...20.00k
Sets the center frequency of Band 4
500...20.00k
Sets the center frequency of Band 4
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 4
Sets the gain of Band 4
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 4
Sets the gain of Band 4
Gain [dB]
Gain [dB]
CHORUS/FLANGER
PHASER
[P]LFO
Frequency [Hz]
[F]LFO
0.02...20.00
Sets the speed of the LFO
0.02...20.00
Sets the speed of the LFO
Frequency [Hz]
f
f
LFO Waveform Triangle, Sine Selects the LFO Waveform
[F]Delay Time
LFO Waveform Triangle, Sine Selects the LFO Waveform
Sets the frequency to which the
0.0...1350.0
0...100
Sets the delay time
[P]Manual
Depth
0...100
[msec]
Depth
effect is applied
g
Sets the depth of LFO modulation
Sets the feedback amount
g
0...100
Sets the depth of LFO modulation
Sets the resonance amount
Feedback
–100...+100
Resonance
–100...+100
-Wet, -
1:99...Dry...99:1
, Wet
-Wet, -
[F]Cho/Flng
Wet/Dry
Sets the effect balance of the
chorus/flanger
[P]Phaser Wet/
Dry
1:99...Dry...99:1 Sets the phaser effect balance
, Wet
h
Selects the Wet/Dry modulation
source for the chorus/flanger
h
Selects the Wet/Dry modulation
Off...Tempo
Src
Off...Tempo
–100...+100
Src
source for the phaser
Sets the Wet/Dry modulation
amount for the chorus/flanger
Sets the Wet/Dry modulation
–100...+100
Amt
Amt
amount for the phaser
[F]Output
Mode
Normal,
Selects the output mode for the
chorus/flanger
[P]Output
Mode
Normal,
i
j
i
j
Selects the phaser output mode
Wet Invert
Wet Invert
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
Wet/Dry
signal
signal
Src
Off...Tempo
–100...+100
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Amt
Amount of modulation source
i: Output Mode
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.
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Effects
Mono-Mono Serial (Mono-Mono)
156
92: P4EQ - Mt. Delay
(Parametric 4-Band EQ -
Multitap Delay)
This effect combines a mono four-band parametric equalizer
and a multitap delay.
93: Comp - Wah
(Compressor - Wah/Auto Wah)
This effect combines a mono compressor and a wah. You can
change the order of the connection.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Routing
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Compressor
LEQ HEQ
Wah/Auto Wah
FX Amt
EQ Trim
Parametric 4Band EQ
Trim
Multitap Delay
Feedback
+
Comp
Wah
FX Amt
Output Level
+
Delay
(1)
(2)
High Damp
Mt.Dly FX Amt
Right
Sweep Mode
Envelope
FX Amt
Envelope - Control
Auto
D-mod
Right
-mod
D
FX Amt
LFO
LFO
P4EQ
a
COMPRESSOR
Sets the parametric EQ input
level
[E]Trim
0...100
[C]
a
1...100
1...100
Sets the sensitivity
Sets the attack level
Sensitivity
[E]B1 Cutoff
Sets the center frequency of
Band 1
20...1.00k
[Hz]
[C]Attack
b
b
c
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 1
Sets the gain of Band 1
Output Level
[C]EQ Trim
0...100
0...100
Sets the compressor output level
Sets the EQ input level
Gain [dB]
c
d
[E]B2 Cutoff
[Hz]
Sets the center frequency of
Band 2
[C]Pre LEQ
Gain [dB]
50...5.00k
–15...+15
–15...+15
Sets the gain of Low EQ
Sets the gain of High EQ
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 2
Sets the gain of Band 2
Pre HEQ Gain
[dB]
Gain [dB]
WAH
[E]B3 Cutoff
[Hz]
Sets the center frequency of
Band 3
300...10.00k
[W]Frequency
Bottom
Sets the lower limit of the wah
center frequency
0...100
d
e
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 3
Sets the gain of Band 3
e
Sets the upper limit of the wah
center frequency
Gain [dB]
Frequency Top 0...100
[E]B4 Cutoff
[Hz]
Sets the center frequency of
Band 4
500...20.00k
Auto,
[w]Sweep
D-mod,
Mode
Selects the control from auto-wah,
modulation source, and LFO
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 4
Sets the gain of Band 4
LFO
f
Gain [dB]
Selects the modulation source for
the wah when Sweep Mode=D-mod
Src
Off...Tempo
MULTITAP DELAY
[D]Tap1Time
[W]LFO
Frequency [Hz]
0.02...20.00
0...100
Sets the speed of the LFO
0.0...1360.0 Sets the Tap1 delay time
[msec]
f
g
Resonance
Sets the resonance amount
Sets the Tap1 output level
0...100
Tap1 Level
Switches the wah low pass filter on
and off
LPF
Off, On
[D]Tap2Time
[msec]
0.0...1360.0 Sets the Tap2 delay time
Dry,
1 : 99...99 : 1,
Wet
g
[W]Wet/Dry
Sets the wah effect balance
Feedback
(Tap2)
–100...+100 Sets the Tap2 feedback amount
h
Selects the Wet/Dry modulation
source for the wah
[D]High
h
Sets the damping amount in
the high range
Src
Off...Tempo
–100...+100
0...100
Damp [%]
Sets the Wet/Dry modulation
amount for the wah
Dry,
Amt
[D]Mt.Delay
Wet/Dry
Sets the multitap delay effect
1:99...99:1,
balance
Wet
Comp Wah,
Wah Comp
Switches the order of the
compressor and wah
i
j
Routing
Wet/Dry
Selects the Wet/Dry
Off...Tempo modulation source for the
multitap delay
i
Src
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
Sets the Wet/Dry modulation
–100...+100
Amt
Src
Off...Tempo
–100...+100
amount for the multitap delay
Dry,
Amt
Amount of modulation source
Balance between the wet and
Wet/Dry
1:99...99:1,
dry signal
Wet
j
Off...Tempo
Src
Amt
–100...+100 Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
157
94: Comp - Amp Sim
95: Comp - OD/HiGain
(Compressor - Amp Simulation)
(Compressor - Overdrive/Hi.Gain)
This effect combines a mono compressor and an amp simula-
tion. You can change the order of the effects.
This effect combines a mono compressor and an overdrive/high-
gain distortion. You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
FX Amt
Routing
Routing
Compressor
Amp Simulation
Compressor
Overdrive / Hi-Gain
EQ Trim LEQ HEQ
3 Band PEQ
+
Comp
Amp Simulation Filter
+
Comp
Driver
FX Amt
Output Level
Output Level
Output Level
Mode: Overdrive / Hi-Gain
Drive
Right
Right
FX Amt
FX Amt
Envelope - Control
Envelope - Control
COMPRESSOR
COMPRESSOR
[C]
a
[C]
a
1...100
Sets the sensitivity
Sets the attack level
1...100
Sets the sensitivity
Sets the attack level
Sets the compressor output level
Sensitivity
Sensitivity
[C]Attack
b
1...100
0...100
0...100
[C]Attack
b
1...100
0...100
Output Level
Sets the compressor output level
Sets the EQ input level
Output Level
c
[C]EQ Trim
OD/HI-GAIN
[O]
[C]Pre LEQ
Gain [dB]
Overdrive, Hi- Switches between overdrive and
Gain
–15...+15
–15...+15
Sets the gain of Low EQ
Sets the gain of High EQ
Drive Mode
high-gain distortion
d
c
Pre HEQ Gain
[dB]
Sets the degree of distortion
Drive
1...100
AMP SIM
[O]Output
Level
0...50
Sets the overdrive output level
[A]Amplifier
e
f
SS, EL84, 6L6
Selects the type of guitar amplifier
Type
Selects the modulation source for
the overdrive output level
d
Src
Off...Tempo
–50...+50
Comp Amp,
Amp Comp
Switches the order of the
compressor and amp simulation
Routing
Sets the modulation amount of the
overdrive output level
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
signal
[O]Low Cutoff
[Hz]
Sets the center frequency for Low
EQ (shelving type)
20...1.00k
–18...+18
e
f
g
Src
Off...Tempo
–100...+100
Gain [dB]
Sets the gain of Low EQ
Amt
Amount of modulation source
[O]Mid1 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 1 (peaking type)
300...10.00k
Sets the band width of Mid/High EQ
1
Q
0.5...10.0
Gain [dB]
–18...+18
500...20.00k
Sets the gain of Mid/High EQ 1
[O]Mid2 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 2 (peaking type)
g
h
Sets the band width of Mid/High EQ
2
Q
0.5...10.0
–18...+18
Gain [dB]
Sets the gain of Mid/High EQ 2
Dry,
1 : 99...99 : 1,
Wet
[O]Wet/Dry
Sets the overdrive effect balance
Selects the Wet/Dry modulation
source for the overdrive
Src
Off...Tempo
–100...+100
Sets the Wet/Dry modulation
amount for the overdrive
Amt
Comp OD/
HG, OD/HG
Comp
Switches the order of the
compressor and overdrive
i
j
Routing
Wet/Dry
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
158
96: Comp - P4EQ
(Compressor - Parametric 4-Band EQ)
97: Comp - Cho/Flng
(Compressor - Chorus/Flanger)
This effect combines a mono compressor and a four-band para-
metric equalizer. You can change the order of the effects.
This effect combines a mono compressor and a chorus/flanger.
You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
FX Amt
Routing
Routing
Parametric 4Band EQ
Trim
Compressor
Chorus/Flanger
Compressor
LEQ HEQ
EQ Trim
+
Comp
Chorus/Flanger
Feedback
+
Comp
Normal
Output Mode
+
–
Output Level
Output Level
Wet Invert
Cho/Flng FX Amt
Right
Right
FX Amt
FX Amt
Envelope - Control
LFO: Tri / Sine
Envelope - Control
COMPRESSOR
COMPRESSOR
[C]
a
[C]
a
1...100
Sets the sensitivity
Sets the attack level
1...100
Sets the sensitivity
Sets the attack level
Sensitivity
Sensitivity
[C]Attack
b
1...100
0...100
0...100
[C]Attack
b
1...100
0...100
Output Level
Sets the compressor output level
Sets the EQ input level
Output Level
Sets the compressor output level
c
[C]EQ Trim
P4EQ
[C]Pre LEQ
Gain [dB]
c
[E]Trim
0...100
Sets the parametric EQ input level
Sets the center frequency of Band 1
–15...+15
Sets the gain of Low EQ
Sets the gain of High EQ
[E]B1 Cutoff
[Hz]
d
20...1.00k
Pre HEQ Gain
[dB]
–15...+15
d
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 1
Sets the gain of Band 1
CHORUS/FLANGER
[F]LFO
Gain [dB]
0.02...20.00
Sets the speed of the LFO
[E]B2 Cutoff
[Hz]
Frequency [Hz]
50...5.00k
Sets the center frequency of Band 2
e
LFO Waveform Triangle, Sine Selects the LFO Waveform
[F]Delay Time
[msec]
Depth
e
f
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 2
Sets the gain of Band 2
0.0...1350.0
0...100
Sets the delay time
Gain [dB]
[E]B3 Cutoff
[Hz]
f
Sets the depth of LFO modulation
Sets the feedback amount
300...10.00k
Sets the center frequency of Band 3
Feedback
–100...+100
-Wet, -
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 3
Sets the gain of Band 3
Gain [dB]
Sets the effect balance of the
[F]Cho/Flng
Wet/Dry
1:99...Dry...99:1 chorus/flanger
[E]B4 Cutoff
[Hz]
500...20.00k
Sets the center frequency of Band 4
, Wet
,
g
h
g
Selects the Wet/Dry modulation
source for the chorus/flanger
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 4
Sets the gain of Band 4
Src
Off...Tempo
Gain [dB]
Sets the Wet/Dry modulation
amount for the chorus/flanger
Amt
–100...+100
Comp P4EQ, Switches the order of the
P4EQ Comp compressor and parametric EQ
Routing
Wet/Dry
[F]Output
Mode
Normal,
Wet Invert
Selects the output mode for the
chorus/flanger
h
i
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
Comp
Switches the order of the
compressor and chorus/flanger
i
Routing
Wet/Dry
Flanger,
Src
Off...Tempo
–100...+100
Flanger Comp
Amt
Amount of modulation source
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
j
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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Effects
Mono-Mono Serial (Mono-Mono)
159
98: Comp - Phaser
(Compressor - Phaser)
99: Comp - Mt. Delay
(Compressor - Multitap Delay)
This effect combines a mono compressor and a phaser. You can
change the order of the effects.
This effect combines a mono compressor and a multitap delay.
You can change the order of the effects.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
FX Amt
Routing
Routing
Compressor
Multitap Delay
Compressor
Phaser
EQ Trim LEQ HEQ
EQ Trim LEQ HEQ
Feedback
+
Comp
Phaser
+
Comp
High Damp
Output Level
Delay
(1)
(2)
Normal
Output Mode
Wet Invert
+
–
Output Level
Mt.Dly FX Amt
Resonance
Phaser FX Amt
Right
Right
FX Amt
FX Amt
LFO: Tri / Sine
Envelope - Control
Envelope - Control
COMPRESSOR
COMPRESSOR
[C]
a
[C]
1...100
1...100
Sets the sensitivity
Sets the attack level
a
1...100
Sets the sensitivity
Sets the attack level
Sensitivity
Sensitivity
[C]Attack
b
[C]Attack
1...100
0...100
0...100
b
c
Output Level
[C]EQ Trim
0...100
0...100
Sets the compressor output level
Sets the EQ input level
Output Level
[C]EQ Trim
Sets the compressor output level
Sets the EQ input level
c
[C]Pre LEQ
Gain [dB]
[C]Pre LEQ
Gain [dB]
–15...+15
–15...+15
Sets the gain of Low EQ
Sets the gain of High EQ
–15...+15
–15...+15
Sets the gain of Low EQ
Sets the gain of High EQ
d
d
Pre HEQ Gain
[dB]
Pre HEQ Gain
[dB]
PHASER
MULTITAP DELAY
[D]Tap1 Time
[P]LFO
0.02...20.00
Sets the speed of the LFO
0.0...1360.0
0...100
Sets the Tap1 delay time
Sets the Tap1 output level
Frequency [Hz]
[msec]
e
f
e
LFO Waveform Triangle, Sine Selects the LFO Waveform
Sets the frequency to which the
Tap1 Level
[P]Manual
Depth
0...100
effect is applied
[D]Tap2 Time
0.0...1360.0
–100...+100
0...100
Sets the Tap2 delay time
[msec]
0...100
Sets the depth of LFO modulation
Sets the resonance amount
f
Feedback
(Tap2)
Sets the Tap2 feedback amount
Resonance
–100...+100
-Wet, -
[D]High Damp
[%]
Sets the damping amount in the
high range
g
[P]Phaser Wet/
Dry
1:99...Dry...99:1 Sets the phaser effect balance
, Wet
Dry,
1 : 99...99 : 1,
Wet
[D]Mt.Delay
Wet/Dry
Sets the multitap delay effect
balance
g
Selects the Wet/Dry modulation
Off...Tempo
Src
source for the phaser
h
Selects the Wet/Dry modulation
source for the multitap delay
Sets the Wet/Dry modulation
–100...+100
Src
Off...Tempo
–100...+100
Amt
amount for the phaser
Sets the Wet/Dry modulation
amount for the multitap delay
[F]Output
Mode
Normal,
Amt
h
i
Selects the phaser output mode
Wet Invert
Comp
Switches the order of the
Comp Phaser,
Mt.Delay,
Mt.Delay
Comp
Switches the order of the
Routing
Wet/Dry
compressor and phaser
Phaser Comp
i
j
Routing
Wet/Dry
compressor and multitap delay
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
signal
j
Src
Off...Tempo
–100...+100
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
160
a: [L]Ratio
a: Threshold [dB]
c: [L]Gain Adjust [dB]
100: Limiter - P4EQ
(Limiter - Parametric 4-Band EQ)
This effect combines a mono limiter and a four-band parametric
equalizer. You can change the order of the effects.
This parameter sets the signal compression “[L]Ratio”. Compres-
sion is applied only when the signal level exceeds the “Thresh-
old” value.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Adjust the output level using the “Gain Adjust” parameter, since
compression causes the entire level to be reduced.
Routing
Limiter
Parametric 4Band EQ
Trim
+
Limiter
Limiter - Threshold / Ratio
Gain Adjust
Ratio=1.0 : 1
Output Level
Right
FX Amt
Ratio=2.0 : 1
Envelope - Control
Threshold
Ratio=4.0 : 1
Ration=Inf : 1
LIMITER
[L]Ratio
1.0 : 1...
50.0 : 1, Inf : 1
Sets the signal compression ratio
a
Sets the level above which the
compressor is applied
Louder
Threshold [dB] –40...0
Input Level
[L]Attack
Release
1...100
1...100
Sets the attack time
Ratio=1.0 : 1
Ratio=2.0 : 1
Ratio=4.0 : 1
Dry
Level
b
c
Sets the release time
Sets the limiter output gain
[L]Gain Adjust –Inf,
[dB] –38...+24
Threshold
P4EQ
Ratio=Inf : 1
d
[E]Trim
0...100
Sets the parametric EQ input level
Sets the center frequency of Band 1
[E]B1 Cutoff
[Hz]
20...1.00k
Time
e
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 1
Sets the gain of Band 1
Gain [dB]
[E]B2 Cutoff
[Hz]
50...5.00k
Sets the center frequency of Band 2
f
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 2
Sets the gain of Band 2
Gain [dB]
[E]B3 Cutoff
[Hz]
300...10.00k
Sets the center frequency of Band 3
g
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 3
Sets the gain of Band 3
Gain [dB]
[E]B4 Cutoff
[Hz]
500...20.00k
Sets the center frequency of Band 4
h
i
Q
0.5...10.0
–18...+18
Sets the bandwidth of Band 4
Sets the gain of Band 4
Gain [dB]
Limiter P4EQ, Switches the order of the limiter and
P4EQ Limiter parametric EQ
Routing
Wet/Dry
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
j
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
161
101: Limiter - Cho/Flng
(Limiter - Chorus/Flanger)
This effect combines a mono limiter and a chorus/flanger. You
can change the order of the effects.
102: Limiter - Phaser
This effect combines a mono limiter and a phaser. You can
change the order of the effects.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Routing
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Limiter
Phaser
FX Amt
Routing
Limiter
Chorus/Flanger
+
Limiter
Phaser
Normal
Output Mode
Wet Invert
Gain Adjust
+
–
+
Limiter
Chorus/Flanger
Resonance
Normal
Output Mode
Wet Invert
EQ Trim
LEQ HEQ
Phaser FX Amt
+
–
Gain Adjust
Right
Feedback
FX Amt
Cho/Flng FX Amt
Envelope - Control
LFO: Tri / Sine
Right
FX Amt
LFO: Tri / Sine
Envelope - Control
LIMITER
[L]Ratio
1.0 : 1...
LIMITER
[L]Ratio
Sets the signal compression ratio
50.0 : 1, Inf : 1
a
1.0 : 1...
Sets the signal compression ratio
Sets the level above which the
compressor is applied
50.0 : 1, Inf : 1
Threshold [dB] –40...0
a
Sets the level above which the
compressor is applied
Threshold [dB] –40...0
[L]Attack
Release
1...100
1...100
Sets the attack time
b
c
Sets the release time
Sets the limiter output gain
[L]Attack
Release
1...100
1...100
Sets the attack time
b
c
[L]Gain Adjust –Inf,
[dB] –38...+24
Sets the release time
Sets the limiter output gain
[L]Gain Adjust –Inf,
[dB] –38...+24
PHASER
[P]LFO
Frequency [Hz]
CHORUS/FLANGER
[F]LFO
0.02...20.00
Sets the speed of the LFO
d
0.02...20.00
Sets the speed of the LFO
LFO Waveform Triangle, Sine Selects the LFO Waveform
Sets the frequency to which the
Frequency [Hz]
d
LFO Waveform Triangle, Sine Selects the LFO Waveform
[F]Delay Time
[P]Manual
Depth
0...100
effect is applied
0.0...1350.0
0...100
Sets the delay time
e
0...100
Sets the depth of LFO modulation
Sets the resonance amount
[msec]
Depth
e
Sets the depth of LFO modulation
Sets the feedback amount
Resonance
–100...+100
Feedback
–100...+100
0...100
-Wet, -
[P]Phaser Wet/
Dry
1:99...Dry...99:1 Sets the phaser effect balance
, Wet
f
[F]EQ Trim
Sets the EQ input level
Sets the gain of Low EQ
[F]Pre LEQ
Gain [dB]
f
Selects the phaser’s Wet/Dry
Off...Tempo
–15...+15
Src
modulation source
g
Pre HEQ Gain
[dB]
Sets the phaser’s Wet/Dry
–100...+100
–15...+15
Sets the gain of High EQ
Amt
modulation amount
-Wet, -
[P]Output
Mode
Normal,
[F]Cho/Flng
Wet/Dry
Sets the effect balance of the
chorus/flanger
g
h
Selects the phaser output mode
Wet Invert
1:99...Dry...99:1
, Wet
Limiter
Switches the order of the limiter and
h
Selects the Wet/Dry modulation
source for the chorus/flanger
Routing
Wet/Dry
Phaser, Phaser
phaser
Src
Off...Tempo
–100...+100
Limiter
Sets the Wet/Dry modulation
amount for the chorus/flanger
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Amt
signal
[F]Output
Mode
Normal,
Selects the output mode for the
chorus/flanger
i
Src
Off...Tempo
–100...+100
Wet Invert
Limiter
Flanger,
Flanger
Limiter
Amt
Amount of modulation source
i
j
Switches the order of the limiter and
chorus/flanger
Routing
Wet/Dry
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
162
103: Limiter - Mt.Delay
(Limiter - Multitap Delay)
104: Exciter - Comp
(Exciter -Compressor)
This effect combines a mono limiter and a multitap delay. You
can change the order of the effects.
This effect combines a mono exciter and a compressor. You can
change the order of the effects.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Routing
FX Amt
Routing
Multitap Delay
Limiter
Exciter
Compressor
Feedback
EQ Trim LEQ HEQ
+
Limiter
Delay
(1)
+
Exciter
Comp
(2)
Gain Adjust High Damp
Output Level
Mt.Dly FX Amt
Right
Right
FX Amt
FX Amt
Envelope - Control
Envelope - Control
LIMITER
[L]Ratio
EXCITER
1.0 : 1...
[X]Exciter
Blend
Sets the intensity (depth) of the
Exciter effect
Sets the signal compression ratio
a
–100...+100
50.0 : 1, Inf : 1
a
Sets the level above which the
compressor is applied
[X]Emphasis
Frequency
Sets the frequency range to be
emphasized
Threshold [dB] –40...0
b
c
0...70
[L]Attack
Release
1...100
1...100
Sets the attack time
[X]EQ Trim
0...100
–15...+15
Sets the EQ input level
b
c
Sets the release time
Sets the limiter output gain
[X]Pre LEQ
Gain [dB]
Sets the gain of Low EQ
[L]Gain Adjust –Inf,
[dB] –38...+24
d
Pre HEQ Gain
[dB]
–15...+15
Sets the gain of High EQ
MULTITAP DELAY
[D]Tap1 Time
COMPRESSOR
0.0...1360.0
0...100
Sets the Tap1 delay time
Sets the Tap1 output level
Sets the Tap2 delay time
Sets the Tap2 feedback amount
[msec]
[C]
e
d
1...100
Sets the sensitivity
Sets the attack level
Sensitivity
Tap1 Level
[C]Attack
1...100
0...100
[D]Tap2 Time
f
0.0...1360.0
–100...+100
0...100
[msec]
Output Level
Sets the compressor output level
e
Feedback
Exciter Comp, Switches the order of the exciter and
Comp Exciter compressor
g
Routing
Wet/Dry
[D]High Damp
[%]
Sets the damping amount in the
high range
f
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
[D]Mt.Delay
Wet/Dry
Dry, 1:99...99:1, Sets the multitap delay effect
Wet
balance
h
Src
Off...Tempo
–100...+100
Selects the multitap delay’s Wet/Dry
modulation source
g
Src
Off...Tempo
Amt
Amount of modulation source
Sets the multitap delay’s Wet/Dry
modulation amount
Amt
–100...+100
Limiter
Mt.Delay,
Mt.Delay
Limiter
Switches the order of the limiter and
multitap delay
h
i
Routing
Wet/Dry
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
163
105: Exciter - Limiter
This effect combines a mono exciter and a limiter. You can
change the order of the effects.
106: Exciter - Cho/Flng
(Exciter - Chorus/Flanger)
This effect combines a mono limiter and a chorus/flanger.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Routing
FX Amt
Limiter
Exciter
Exciter
Chorus/Flanger
EQ Trim LEQ HEQ
EQ Trim LEQ HEQ
+
Limiter
Exciter
+
Exciter
Chorus/Flanger
Feedback
Normal
Output Mode
Gain Adjust
+
–
Wet Invert
Cho/Flng FX Amt
Right
Right
FX Amt
FX Amt
Envelope - Control
LFO: Tri / Sine
EXCITER
EXCITER
[X]Exciter
Blend
Sets the intensity (depth) of the
Exciter effect
[X]Exciter
Blend
Sets the intensity (depth) of the
Exciter effect
a
–100...+100
a
–100...+100
[X]Emphasis
Frequency
Sets the frequency range to be
emphasized
[X]Emphasis
Frequency
Sets the frequency range to be
emphasized
b
c
0...70
b
c
0...70
[X]Trim
0...100
–15...+15
Sets the EQ input level
[X]Trim
0...100
–15...+15
Sets the EQ input level
[X]Pre LEQ
Gain [dB]
[X]Pre LEQ
Gain [dB]
Sets the gain of Low EQ
Sets the gain of Low EQ
d
d
Pre HEQ Gain
[dB]
Pre HEQ Gain
[dB]
–15...+15
Sets the gain of High EQ
–15...+15
Sets the gain of High EQ
Sets the speed of the LFO
LIMITER
CHORUS/FLANGER
1.0 : 1...
50.0 : 1, Inf : 1
[F]LFO
Frequency [Hz]
e
[L]Ratio
Sets the signal compression ratio
0.02...20.00
e
f
[L]Threshold
[dB]
Sets the level above which the
compressor is applied
LFO Waveform Triangle, Sine Selects the LFO Waveform
[F]Delay Time
[msec]
Depth
f
–40...0
0.0...1350.0
0...100
Sets the delay time
g
[L]Attack
Release
1...100
1...100
Sets the attack time
Sets the release time
Sets the limiter output gain
Sets the depth of LFO modulation
Sets the feedback amount
[L]Gain Adjust –Inf,
[dB]
h
i
Feedback
–100...+100
–38...+24
Exciter
Limiter, Limiter
Exciter
-Wet, -
1:99...Dry...99:1
, Wet
Switches the order of the exciter
and limiter
[F]Cho/Flng
Wet/Dry
Sets the effect balance of the
chorus/flanger
Routing
Dry, 1:99...99:1, Balance between the wet and dry
g
Selects the Wet/Dry modulation
source for the chorus/flanger
Wet/Dry
Src
Off...Tempo
–100...+100
Wet
signal
j
Sets the Wet/Dry modulation
amount for the chorus/flanger
Src
Off...Tempo
–100...+100
Amt
Amt
Amount of modulation source
[F]Output
Mode
Normal,
Wet Invert
Selects the output mode for the
chorus/flanger
h
i
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
164
107: Exciter - Phaser
This effect combines a mono limiter and a phaser.
108: Exciter - Mt.Delay
(Exciter - Multitap Delay)
This effect combines a mono exciter and a multitap delay.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Phaser
FX Amt
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Exciter
FX Amt
Exciter
Multitap Delay
Feedback
EQ Trim LEQ HEQ
+
Exciter
Phaser
Normal
Output Mode
Wet Invert
EQ Trim LEQ HEQ
+
–
+
Delay
(1)
Exciter
(2)
Resonance
High Damp
Phaser FX Amt
Mt.Dly FX Amt
Right
FX Amt
LFO: Tri / Sine
Right
FX Amt
EXCITER
EXCITER
[X]Exciter
Blend
Sets the intensity (depth) of the
Exciter effect
a
–100...+100
[X]Exciter
Blend
Sets the intensity (depth) of the
Exciter effect
a
–100...+100
[X]Emphasis
Frequency
Sets the frequency range to be
emphasized
b
c
0...70
[X]Emphasis
Frequency
Sets the frequency range to be
emphasized
b
c
0...70
[X]Trim
0...100
–15...+15
Sets the EQ input level
[X]Trim
0...100
–15...+15
Sets the EQ input level
[X]Pre LEQ
Gain [dB]
Sets the gain of Low EQ
[X]Pre LEQ
Gain [dB]
Sets the gain of Low EQ
d
Pre HEQ Gain
[dB]
d
–15...+15
Sets the gain of High EQ
Sets the speed of the LFO
Pre HEQ Gain
[dB]
–15...+15
Sets the gain of High EQ
PHASER
MULTITAP DELAY
[P]LFO
0.02...20.00
[D]Tap1 Time
Frequency [Hz]
e
f
0.0...1360.0
0...100
Sets the Tap1 delay time
Sets the Tap1 output level
Sets the Tap2 delay time
[msec]
e
LFO Waveform Triangle, Sine Selects the LFO Waveform
Sets the frequency to which the
Tap1 Level
[P]Manual
Depth
0...100
[D]Tap2 Time
[msec]
effect is applied
0.0...1360.0
0...100
Sets the depth of LFO modulation
Sets the resonance amount
f
Feedback
(Tap2)
–100...+100
0...100
Sets the Tap2 feedback amount
Resonance
–100...+100
-Wet, -
[D]High Damp
[%]
Sets the damping amount in the
high range
g
[P]Phaser Wet/
Dry
1:99...Dry...99:1, Sets the phaser effect balance
Wet
[D]Mt.Delay
Wet/Dry
Dry, 1:99...99:1, Sets the multitap delay effect
Wet
balance
g
Selects the Wet/Dry modulation
Off...Tempo
Src
Selects the Wet/Dry modulation
source for the multitap delay
source for the phaser
h
i
Src
Off...Tempo
Sets the Wet/Dry modulation
–100...+100
Amt
Sets the Wet/Dry modulation
amount for the multitap delay
amount for the phaser
Amt
–100...+100
[P]Output
Mode
Normal,
h
i
Selects the phaser output mode
Wet Invert
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Src
Off...Tempo
–100...+100
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
165
109: OD/HG - Amp Sim
(Overdrive/Hi.Gain -
110: OD/HG - Cho/Flng
(Overdrive/Hi.Gain - Chorus/Flanger)
Amp Simulation)
This effect combines a mono overdrive/high-gain distortion and
a chorus/flanger. You can change the order of the effects.
This effect combines a mono overdrive/high-gain distortion and
an amp simulation. You can change the order of the effects.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Routing
Overdrive / Hi-Gain
Chorus/Flanger
FX Amt
Routing
Overdrive / Hi-Gain
Amp Simulation
3 Band PEQ
Driver
+
Chorus/Flanger
Feedback
Normal
3 Band PEQ
Driver
Output Level
+
–
Output Mode
+
Amp Simulation Filter
Wet Invert
Cho/Flng FX Amt
Mode: Overdrive / Hi-Gain
Drive
Output Level
Mode: Overdrive / Hi-Gain
Drive
Right
FX Amt
LFO: Tri / Sine
Right
FX Amt
OD/HI-GAIN
[O]Drive Mode
OD/HI-GAIN
Overdrive, Hi- Switches between overdrive and
Overdrive, Hi- Switches between overdrive and
Gain
high-gain distortion
[O]Drive Mode
a
Gain
high-gain distortion
a
Sets the degree of distortion
Drive
1...100
Drive
1...100
Sets the degree of distortion
[O]Output
Level
[O]Output
Level
0...50
Sets the overdrive output level
0...50
Sets the overdrive output level
Selects the modulation source for
the overdrive output level
Selects the modulation source for
the overdrive output level
b
Src
Off...Tempo
–50...+50
b
Src
Off...Tempo
–50...+50
Sets the modulation amount of the
overdrive output level
Sets the modulation amount of the
overdrive output level
Amt
Amt
[O]Low Cutoff
[Hz]
Sets the center frequency for Low
EQ (shelving type)
[O]Low Cutoff
[Hz]
Sets the center frequency for Low
EQ (shelving type)
20...1.00k
–18...+18
20...1.00k
–18...+18
e
f
e
f
Gain [dB]
Sets the gain of Low EQ
Gain [dB]
Sets the gain of Low EQ
[O]Mid1 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 1 (peaking type)
[O]Mid1 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 1 (peaking type)
300...10.00k
300...10.00k
Sets the band width of Mid/High EQ
1
Sets the band width of Mid/High EQ
1
Q
0.5...10.0
Q
0.5...10.0
Gain [dB]
–18...+18
500...20.00k
Sets the gain of Mid/High EQ 1
Gain [dB]
–18...+18
500...20.00k
Sets the gain of Mid/High EQ 1
[O]Mid2 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 2 (peaking type)
[O]Mid2 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 2 (peaking type)
g
Sets the band width of Mid/High EQ
2
g
Sets the band width of Mid/High EQ
2
Q
0.5...10.0
–18...+18
Q
0.5...10.0
–18...+18
Gain [dB]
Sets the gain of Mid/High EQ 2
Gain [dB]
Sets the gain of Mid/High EQ 2
AMP SIM
CHORUS/FLANGER
[A]Amplifier
[F]LFO
h
i
SS, EL84, 6L6
Selects the type of guitar amplifie
0.02...20.00
Sets the speed of the LFO
Type
Frequency [Hz]
h
i
OD/HG Amp, Switches the order of the overdrive
Amp OD/HG and amp
LFO Waveform Triangle, Sine Selects the LFO Waveform
[F]Delay Time
[msec]
Depth
Routing
0.0...1350.0
0...100
Sets the delay time
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
signal
Sets the depth of LFO modulation
Sets the feedback amount
j
Src
Off...Tempo
–100...+100
Feedback
–100...+100
Amt
Amount of modulation source
-Wet, -
1:99...Dry...99:1
, Wet
[F]Cho/Flng
Wet/Dry
Sets the effect balance of the
chorus/flanger
j
Selects the Wet/Dry modulation
source for the chorus/flanger
Src
Off...Tempo
–100...+100
Sets the Wet/Dry modulation
amount for the chorus/flanger
Amt
[F]Output
Mode
Normal, Wet
Invert
Selects the output mode for the
chorus/flanger
OD/HG
Flanger,
k
l
Switches the order of the overdrive
Routing
Wet/Dry
Flanger OD/ and chorus / flanger
HG
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
166
111: OD/HG - Phaser
(Overdrive/Hi.Gain - Phaser)
112: OD/HG - Mt.Delay
(Overdrive/Hi.Gain - Multitap Delay)
This effect combines a mono overdrive/high-gain distortion and
a phaser. You can change the order of the effects.
This effect combines a mono overdrive/high-gain distortion and
a multitap delay.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
FX Amt
Routing
Overdrive / Hi-Gain
Multitap Delay
Overdrive / Hi-Gain
3 Band PEQ
Phaser
3 Band PEQ
Feedback
Delay
+
Driver
+
Phaser
Driver
(2)
(1)
Normal
Output Mode
High Damp
Output Level
Output Level
+
–
Mt.Dly FX Amt
Wet Invert
Mode: Overdrive / Hi-Gain
Drive
Resonance
Mode: Overdrive / Hi-Gain
Drive
Phaser FX Amt
Right
Right
FX Amt
FX Amt
LFO: Tri / Sine
OD/HI-GAIN
[O]Drive Mode
OD/HI-GAIN
[O]Drive Mode
Overdrive, Hi- Switches between overdrive and
Gain
high-gain distortion
Overdrive, Hi- Switches between overdrive and
a
Gain
high-gain distortion
Sets the degree of distortion
a
Drive
1...100
Sets the degree of distortion
Drive
1...100
[O]Output
Level
0...50
Sets the overdrive output level
[O]Output
Level
0...50
Sets the overdrive output level
Selects the modulation source for
the overdrive output level
b
Src
Off...Tempo
–50...+50
Selects the modulation source for
the overdrive output level
b
Src
Off...Tempo
–50...+50
Sets the modulation amount of the
overdrive output level
Amt
Sets the modulation amount of the
overdrive output level
Amt
[O]Low Cutoff
[Hz]
Sets the center frequency for Low
EQ (shelving type)
20...1.00k
–18...+18
[O]Low Cutoff
[Hz]
Sets the center frequency for Low
EQ (shelving type)
e
f
20...1.00k
–18...+18
e
f
Gain [dB]
Sets the gain of Low EQ
Gain [dB]
Sets the gain of Low EQ
[O]Mid1 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 1 (peaking type)
300...10.00k
[O]Mid1 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 1 (peaking type)
300...10.00k
Sets the band width of Mid/High EQ
1
Q
0.5...10.0
Sets the band width of Mid/High EQ
1
Q
0.5...10.0
Gain [dB]
–18...+18
500...20.00k
Sets the gain of Mid/High EQ 1
Gain [dB]
–18...+18
500...20.00k
Sets the gain of Mid/High EQ 1
[O]Mid2 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 2 (peaking type)
[O]Mid2 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 2 (peaking type)
g
Sets the band width of Mid/High EQ
2
Q
0.5...10.0
–18...+18
g
Sets the band width of Mid/High EQ
2
Q
0.5...10.0
–18...+18
Gain [dB]
Sets the gain of Mid/High EQ 2
Gain [dB]
Sets the gain of Mid/High EQ 2
MULTITAP DELAY
[D]Tap1 Time
PHASER
[P]LFO
Frequency [Hz]
0.0...1360.0
0...100
Sets the Tap1 delay time
Sets the Tap1 output level
[msec]
0.02...20.00
Sets the speed of the LFO
h
h
Tap1 Level
LFO Waveform Triangle, Sine Selects the LFO Waveform
Sets the frequency to which the
[D]Tap2 Time
0.0...1360.0
–100...+100
0...100
Sets the Tap2 delay time
[P]Manual
Depth
0...100
[msec]
effect is applied
i
Feedback
Sets the Tap2 feedback amount
i
0...100
Sets the depth of LFO modulation
Sets the resonance amount
[D]High Damp
[%]
Sets the damping amount in the
high range
j
Resonance
–100...+100
[D]Mt.Delay
Wet/Dry
Dry, 1:99...99:1, Sets the multitap delay effect
-Wet, -
[P]Phaser Wet/
Dry
Wet
balance
1:99...Dry...99:1 Sets the phaser effect balance
, Wet
Selects the Wet/Dry modulation
source for the multitap delay
k
l
Src
Off...Tempo
j
Selects the Wet/Dry modulation
Off...Tempo
Src
source for the phaser
Sets the Wet/Dry modulation
amount for the multitap delay
Amt
–100...+100
Sets the Wet/Dry modulation
–100...+100
Amt
amount for the phaser
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
[P]Output
Mode
Normal,
Selects the phaser output mode
Wet Invert
Src
Off...Tempo
–100...+100
k
l
OD/HG
Phaser, Phaser
and phaser
OD/HG
Switches the order of the overdrive
Routing
Wet/Dry
Amt
Amount of modulation source
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
167
113: Wah - Amp Sim
(Wah - Amp Simulation)
114: Decimator - Amp
(Decimator - Amp Simulation)
This effect combines a mono wah and an amp simulation. You
can change the order of the effects.
This effect combines a mono decimator and an amp simulation.
You can change the order of the effects.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Routing
FX Amt
Routing
Wah/Auto Wah
Amp Simulation
Decimator
Amp Simulation
Output Level
Resolution
+
Amp Simulation Filter
Wah
+
Amp Simulation Filter
Decimator
FX Amt
High Damp
Pre LPF
Right
Sweep Mode
Right
FX Amt
FX Amt
Envelope
Auto
D-mod
-mod
D
LFO
LFO
DECIMATOR
[D]Pre LPF
Turn the harmonic noise caused by
lowered sampling on and off
Off, On
0...100
WAH
a
a
High Damp
[%]
Sets the ratio of high-range damping
[W]
Sets the lower limit of the wah
center frequency
Frequency
Bottom
0...100
[D]Sampling
Freq [Hz]
1.00k...48.00k Sets the sampling frequency
b
c
Sets the upper limit of the wah
center frequency
Frequency Top 0...100
Resolution
4...24
Sets the data bit length
[D]Output
Level
Auto,
[W]Sweep
D-mod,
0...100
Sets the decimator output level
Selects the control from auto-wah,
modulation source, and LFO
Mode
LFO
b
c
AMP SIM
Selects the modulation source for
the wah when Sweep Mode=D-mod
[A]Amplifier
Src
Off...Tempo
d
SS, EL84, 6L6 Selects the type of guitar amplifier
Type
[W]LFO
Frequency [Hz]
Decimator
0.02...20.00
0...100
Sets the speed of the LFO
Switches the order of the decimator and
e
Routing
Amp, Amp
amp simulation
Decimator
Resonance
Sets the resonance amount
Dry,
Switches the wah low pass filter on
and off
LPF
Off, On
Wet/Dry
1:99...99:1,
Wet
Balance between the wet and dry signal
Dry, 1:99...99:1,
Wet
f
[W]Wet/Dry
Src
Sets the wah effect balance
Src
Off...Tempo
Selects the Wet/Dry modulation
source for the wah
d
Off...Tempo
–100...+100
Amt
–100...+100 Amount of modulation source
Sets the Wet/Dry modulation
amount for the wah
Amt
AMP SIM
[A]Amplifier
e
f
SS, EL84, 6L6
Selects the type of guitar amplifier
Type
Wah Amp,
Amp Wah
Switches the order of the wah and
amp simulation
Routing
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
g
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
168
115: Decimator - Comp
(Decimator - Compressor)
116: AmpSim - Tremolo
(Amp Simulation- Tremolo)
This effect combines a mono decimator and a compressor. You
can change the order of the effects.
This effect combines a mono amp simulation and a tremolo.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Amp Simulation
Tremolo
FX Amt
Routing
Compressor
Decimator
+
Amp Simulation Filter
Tremolo
Resolution
Output Level
+
Comp
Decimator
Pre LPF
High Damp
Output Level
Right
FX Amt
LFO: Tri/Sin/Vintage/Up/Down
LFO Shape
Right
FX Amt
Envelope - Control
AMP SIM
[A]Amplifier
Type
DECIMATOR
a
SS, EL84, 6L6
Selects the type of guitar amplifier
Selects the LFO Waveform
Turn the harmonic noise caused by
lowered sampling on and off
[D]Pre LPF
Off, On
TREMOLO
a
Triangle, Sine,
Vintage, Up,
Down
Sets the ratio of high-range
damping
[T]LFO
High Damp [%] 0...100
[D]Sampling
Waveform
LFO Shape
b
1.00k...48.00k
Sets the sampling frequency
Sets the data bit length
Changes the curvature of the LFO
Waveform
Freq [Hz]
b
c
–100...+100
Resolution
4...24
[T]LFO
Frequency [Hz]
c
0.02...20.00
0...100
Sets the speed of the LFO
[D]Output
Level
0...100
Sets the decimator output level
d
[T]Depth
Sets the depth of LFO modulation
COMPRESSOR
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
[C]
d
signal
1...100
Sets the sensitivity
Sensitivity
e
Src
Off...Tempo
–100...+100
[C]Attack
e
1...100
0...100
Sets the attack level
Output Level
Sets the compressor output level
Amt
Amount of modulation source
Decimator
Comp,
Switches the order of the decimator
and compressor
f
Routing
Wet/Dry
Comp
Decimator
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
g
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
169
117: Cho/Flng - Mt.Dly
118: Phaser - Cho/Flng
(Phaser - Chorus/Flanger)
(Chorus/Flanger - Multitap Delay)
This effect combines a mono chorus/flanger and a multitap
delay.
This effect combines a mono phaser and a chorus/flanger.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Chorus/Flanger
FX Amt
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Phaser
FX Amt
Chorus/Flanger
Multitap Delay
+
Phaser
Chorus/Flanger
Normal
Output Mode
Wet Invert
EQ
Feedback
Delay (2)
LEQHEQ
+
–
Trim
+
Chorus/Flanger
Phaser
FX Amt
Resonance
Feedback
EQ
Trim
(1)
Cho/Flng
FX Amt
Mt.Dly
FX Amt
LEQ HEQ
Cho/Flng
FX Amt
High Damp
Feedback
Right
FX Amt
LFO: Tri / Sine
LFO: Tri / Sine
Right
FX Amt
LFO: Tri / Sine
PHASER
[P]LFO
CHORUS/FLANGER
[F]LFO
a
0.02...20.00
Sets the speed of the LFO
Frequency [Hz]
a
0.02...20.00
Sets the speed of the LFO
LFO Waveform Triangle, Sine Selects the LFO Waveform
Frequency [Hz]
Sets the frequency to which the
effect is applied
LFO Waveform Triangle, Sine Selects the LFO Waveform
[F]Delay Time
[P]Manual
Depth
0...100
0.0...1350.0
0...100
Sets the delay time
b
c
0...100
Sets the depth of LFO modulation
Sets the resonance amount
[msec]
Depth
b
Sets the depth of LFO modulation
Sets the feedback amount
Resonance
–100...+100
-Wet, -
Feedback
–100...+100
0...100
[P]Phaser Wet/
Dry
1:99...Dry...99:1 Sets the phaser effect balance
, Wet
c
[F]EQ Trim
Sets the EQ input level
Sets the gain of Low EQ
[F]PreLEQ Gain
[dB]
CHORUS/FLANGER
[F]LFO
–15...+15
d
0.02...20.00
Sets the speed of the LFO
PreHEQ Gain
[dB]
Frequency [Hz]
–15...+15
Sets the gain of High EQ
d
LFO Waveform Triangle, Sine Selects the LFO Waveform
[F]Delay Time
–Wet...–1 : 99,
Dry,
1 : 99...Wet
[F]Cho/Flng
Wet/Dry
Sets the effect balance of the
chorus/flanger
e
0.0...1350.0
0...100
Sets the delay time
[msec]
Depth
e
Sets the depth of LFO modulation
Sets the feedback amount
MULTITAP DELAY
[D]Tap1 Time
Feedback
–100...+100
0...100
0.0...1360.0
0...100
Sets the Tap1 delay time
Sets the Tap1 output level
[msec]
a
f
[F]EQ Trim
Sets the EQ input level
Sets the gain of Low EQ
Tap1 Level
[F]PreLEQ Gain
[dB]
–15...+15
[D]Tap2 Time
0.0...1360.0
–100...+100
0...100
Sets the Tap2 delay time
g
[msec]
b
c
PreHEQ Gain
[dB]
–15...+15
Sets the gain of High EQ
Feedback
Sets the Tap2 feedback amount
-Wet, -
1:99...Dry...99:1
, Wet
[D]High Damp
[%]
Sets the damping amount in the
high range
[F]Cho/Flng
Wet/Dry
Sets the effect balance of the
chorus/flanger
[D]Mt.DelayWe Dry, 1:99...99:1, Sets the multitap delay effect
h
Selects the Wet/Dry modulation
source for the chorus/flanger
t/Dry
Wet
balance
Src
Off...Tempo
–100...+100
Selects the Wet/Dry modulation
source for the multitap delay
d
e
Src
Off...Tempo
Sets the Wet/Dry modulation
amount for the chorus/flanger
Amt
Sets the Wet/Dry modulation
amount for the multitap delay
Amt
–100...+100
[F]Output
Mode
Normal,
Wet Invert
Selects the output mode for the
chorus/flanger
i
j
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
Wet/Dry
Wet
signal
Src
Off...Tempo
–100...+100
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Amt
Amount of modulation source
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Effects
Mono-Mono Serial (Mono-Mono)
170
f: [G]Envelope Select
f: Src
g: [G]Input Reverb Mix
g: Threshold
119: Reverb - Gate
This effect combines a mono reverb and a gate.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Reverb
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.
FX Amt
EQ Trim
+
Pre Delay
Reverb
Gate
Reverb
Balance
LEQ HEQ
Right
FX Amt
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.
Input Reverb Mix
Input
Envelope - Control
Gate+Dmpr
D-mod
Envelope Select
Gate
REVERB
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.
[R]Reverb Time
[sec]
0.1...10.0
Sets the reverberation time
a
Sets the damping amount in the
high range
High Damp [%] 0...100
[R]Pre Delay
0...200
Sets the delay time of the reverb
sound and gate control signal
b
c
[msec]
[R]EQ Trim
0...100
Sets the EQ input level
Reverb Balance 0...100
Sets the reverb effect balance
Low,
Mid-Low
Selects the cutoff frequency (low or
mid-low) of the low-range equalizer
[R]PreLEQ Fc
d
Selects the cutoff frequency (high or
mid-high) of the high-range
equalizer
High,
Mid-High
Pre HEQ Fc
[R]PreLEQ Gain
[dB]
–15.0...+15.0
–15.0...+15.0
Sets the gain of Low EQ
Sets the gain of High EQ
e
Pre HEQ Gain
[dB]
GATE
Switches between modulation
[G]Envelope
D-mod, Input source control and input signal
control
Select
Src
f
Selects the modulation source that
controls the gate when Envelope
Select is set to D-mod
Off...Tempo
0...100
Sets the balance between the dry
and reverb sounds of the gate
control signal
[G]Input
Reverb Mix
g
Sets the gate threshold level
Threshold
[G]Polarity
0...100
+, –
Switches between non-invert and
invert of the gate on/off state
h
i
[G]Attack
Release
1...100
1...100
Sets the attack time
Sets the release time
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
j
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Double Size
171
121: PianoBody/Damper
Double Size
(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.
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.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Stereo In - Stereo Out
+
Band-Pass Filters
Left
Piano
Body/Damper
Simulation
Low
FX Amt
Limiter
Limiter
Limiter
Envelope - Control
Envelope - Control
Mid
Gain Adjust
High
Right
FX Amt
Envelope - Control
Envelope - Control
Limiter
Limiter
Limiter
-mod
Low
Damper
Gain Adjust
D
Envelope - Control
Envelope - Control
Mid
High
Right
Sound Board
0...100
Sets the intensity of resonance of
FX Amt
a
Offset
Depth
the sound board
Sets the intensity of the string
resonance created when the
damper pedal is pressed
Damper Depth 0...100
1.0 : 1...
50.0 : 1, Inf : 1
a
Ratio
Sets the signal compression ratio
b
Selects the modulation source of
damper effect
Sets the level above which the
compressor is applied
Src
Off...Tempo
b
Threshold [dB] –40...0
c
d
e
Tone
1...100
0...36
Sets tonal quality of effect sound
Sets the mid range of tonal quality
Fine tuning
c
Attack
1...100
1...100
Sets the attack time
Sets the release time
Mid Shape
Tune
d
Release
–50...+50
Sets the low range gain of trigger
signal
e
f
Low Offset [dB] –40...0
Mid Offset [dB] –40...0
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Sets the mid range gain of trigger
signal
f
Src
Off...Tempo
–100...+100
High Offset
–40...0
Sets the high range gain of trigger
signal
g
[dB]
Amt
Amount of modulation source
Gain Adjust
[dB]
–Inf,
Sets the output gain
–38...+24
a: Sound Board Depth
Selects the modulation source for
the output gain
h
i
Src
Off...Tempo
–63...+63
This parameter sets the intensity of resonance of the piano
sound board.
Sets the modulation amount of the
output gain
Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
b: Damper Depth
b: Src
Wet
signal
Src
Off...Tempo
–100...+100
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).
Amt
Amount of modulation source
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.
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Effects
Double Size
172
122: OD/HyperGain Wah
(Overdrive/Hyper Gain Wah)
This distortion effect has two modes: overdrive and hyper-gain
that produces a strong distortion. A higher high-gain setting is
required for this effect relative to a normal-size effect.
123: GuitarAmp + P4EQ
(Guitar Amp Model +
Parametric 4-Band EQ)
This combines a guitar amp simulation (which even faithfully
replicates the distortion and tone control circuitry) with a four-
band equalizer.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
By using this in conjunction with “St. Guitar Cabinet (Stereo
Guitar Cabinet)” on page 119, you can obtain an even more real-
istic guitar sound that simulates a guitar amp + speaker cabinet.
Mode: Overdrive / Hyper-Gain
Drive
Pre Low-cut
3 Band EQ
+
Wah
Amp Simulation
Driver
Output Level
Direct Mix
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Right
FX Amt
-mod
D
Volume
+
Guitar Amp Model
Parametric 4Band EQ
Wah
Src
Off, On
Switches Wah on/off
Selects the modulation source that
switches the Wah on and off
Off...Tempo
Right
a
FX Amt
Selects the switching mode for the
modulation source that switches the
Wah on and off
-mod
D
Toggle,
Moment
Sw
Wah Sweep
Range
–10...+10
Sets the range of Wah
VOX AC15,
VOX AC15TB,
VOX AC30,
VOX AC30TB,
UK BLUES, UK
70'S,
b
Selects the modulation source that
controls the Wah
Wah Sweep Src Off...Tempo
Overdrive,
Drive Mode
Switches between overdrive and hi-
gain distortion
c
UK 80'S,
Hyper-Gain
UK 90'S,
Amp Type
Selects the type of the amplifier
Sets the degree of distortion
UK MODERN,
US MODERN,
US HIGAIN,
a
Drive
1...120
d
Sets the low range cut amount of
the distortion input
Pre Low-cut
Output Level
Src
0...10
BOUTIQUE OD,
BOUTIQUE CL,
BLACK 2x12,
TWEED - 1x12,
TWEED - 4x10
0...50
Sets the output level
Selects the modulation source for
the output level
Off...Tempo
e
f
Drive Gain
Volume
0...100
0...100
Sets the input gain
Sets the output level
Sets the modulation amount of the
output level
Amt
–50...+50
Low Cutoff
[Hz]
Sets the center frequency for Low
EQ (shelving type)
Selects the modulation source for
the output level
20...1.00k
–18...+18
Src
Off...Tempo
–100...+100
b
c
Gain [dB]
Sets the gain of Low EQ
Sets the modulation amount of the
output level
Amt
Mid1 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 1 (peaking type)
300...10.00k
Bass
0...100
0...100
0...100
Sets the bass (low range) level
Sets the middle (mid range) level
Sets the treble (high range) level
g
Sets the band width of Mid/High EQ
1
Middle
Treble
Q
0.5...10.0
Gain [dB]
–18...+18
500...20.00k
Sets the gain of Mid/High EQ 1
d
e
Sets the presence (high-frequency
tone)
Presence
0...100
Mid2 Cutoff
[Hz]
Sets the center frequency for Mid/
High EQ 2 (peaking type)
Selects through or on for the
equalizer
Post P4EQ
Thru, On
20...1.00k
h
i
Sets the band width of Mid/High EQ
2
Q
0.5...10.0
–18...+18
0...50
Band1 Cutoff
[Hz]
Sets the center frequency of
Band 1
Gain [dB]
Direct Mix
Sets the gain of Mid/High EQ 2
e
f
Sets the amount of the dry sound
mixed to the distortion
Q
0.5...10.0
–18...+18
Sets Band 1’s bandwidth
Sets the gain of Band 1
Gain [dB]
Speaker
Simulation
Switches the speaker simulation on/
off
Off, On
Band2 Cutoff
[Hz]
Sets the center frequency of
Band 2
50...5.00k
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Q
0.5...10.0
–18...+18
Sets Band 2’s bandwidth
Sets the gain of Band 2
Wet
signal
Gain [dB]
j
Src
Off...Tempo
–100...+100
Band3 Cutoff
[Hz]
Sets the center frequency of
Band 3
300...10.00k
Amt
Amount of modulation source
g
h
Q
0.5...10.0
–18...+18
Sets Band 3’s bandwidth
Sets the gain of Band 3
Gain [dB]
Band4 Cutoff
[Hz]
Sets the center frequency of
Band 4
500...20.00k
Q
0.5...10.0
–18...+18
Sets Band 4’s bandwidth
Sets the gain of Band 4
Gain [dB]
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
i
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Double Size
173
a: Amp Type
d: Presence
combined with a relaxed sustain, making for an enjoyable play-
ing experience.
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.
Wet: Mono In - Mono Out
Left
/
Dry: Stereo In - Stereo Out
Wet / Dry
Volume
This corresponds to the Cut knob control of amps made by the
VOX Corporation.
Guitar Amp Model
+
Right
e: Post P4EQ
Wet / Dry
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.
Drive
0...100
Sets the input gain
Sets the output level
Volume
Bass
0...100
0...100
0...100
0...100
0...100
Dry,
Sets the bass (low range) level
Sets the middle (mid range) level
Sets the treble (high range) level
Middle
Treble
Recommended Combinations of Guitar Amp Models and Cab-
inet Simulators:
Presence
Sets the presence (high-frequency tone)
Amp Type
Cabinet Type
Wet/Dry
1 : 99...99 : 1, Balance between the wet and dry signal
Wet
VOX AC15
VOX AC15 - 1x12
VOX AC15 - 1x12
VOX AC30 - 2x12
VOX AC30 - 2x12
UK H30 - 4x12
Table , “Selects a modulation source for Wet/
Dry,” on page 107
Source
Off...Tempo
VOX AC15TB
VOX AC30
Table , “Sets the modulation amount for Wet/
Dry,” on page 107
Amount
–100...+100
VOX AC30TB
UK BLUES
UK 70'S
UK H30 - 4x12
UK 80'S
UK T75 - 4x12
UK 90'S
UK T75 - 4x12
UK MODERN
US MODERN
US HIGAIN
BOUTIQUE OD
BOUTIQUE CL
BLACK 2x12
TWEED - 1x12
TWEED - 4x10
UK T75 - 4x12, US V30 - 4x12
US V30 - 4x12
US V30 - 4x12, UK T75 - 4x12
UK H30 - 4x12
UK H30 - 4x12
BLACK - 2x12
TWEED - 1x12
TWEED - 4x10
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
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Effects
Double Size
174
128: BassTubeAmp+Cab.
129: St. Mic + PreAmp
(Bass Tube Amp Model + Cabinet)
(Stereo Mic Modeling + PreAmp)
This simulates a bass amp (with gain and drive) and speaker cab-
inet.
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.
FX Amt = 100: Mono In - Mono Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
Stereo In - Stereo Out
Volume
Left
FX Amt
+
Bass Amp Model2
Cabinet Simulator
Mic Simulation
Mic Simulation
Tube Pre Amp
Tube Pre Amp
Drive
Output Level
Right
FX Amt
-mod
D
Right
FX Amt
Selects the type of the amplifier
STUDIO
COMBO
A tube combo ideal for the Motown
sound
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.
a
Amp Type
A 100W tube amp AC100 made by
Vox
VOX AC100
UK MAJOR
0...100
A 200W tube amp made in the UK
Sets the input gain
b
c
Drive Gain
Volume
0...100
Sets the output level
Selects the modulation source for
the output level
Src
Off...Tempo
–100...+100
Sets the modulation amount of the
output level
Amt
FX Amt = 100: Mono In - Stereo Out
/
FX Amt = 0: Stereo In -Stereo Out
d
e
f
Bass
0...100
0...100
0...100
Sets the bass (low range) level
Sets the middle (mid range) level
Sets the treble (high range) level
Left
Feedback
FX Amt
Middle
Treble
Tap1 Delay
Tap2 Delay
Tap3 Delay
Tap4 Delay
Tap5 Delay
Tap6 Delay
+
Sets the presence (high-frequency
tone)
g
h
Presence
0...100
Off, On
Cabinet
Simulator
Switches the cabinet simulator on/
off
Right
FX Amt
0 [degree]
180 [degree]
60 [degree]
240 [degree]
120 [degree]
300 [degree]
LA - 4x10,
Panning Preset
MODERN - 4x10,
METAL - 4x10,
CLASSIC -8x10,
UK - 4x12,
STUDIO - 1x15,
JAZZ - 1x15,
VOX AC100 -
2x15,
LFO: Triangle
-mod
On/Off Control
D
i
j
Cabinet Type
Selects the cabinet type
LFO Frequency
[Hz]
US - 2x15,
UK - 4x15,
LA - 1x18,
COMBI - 1x12 &
1x18
a
0.02...13.00
Sets the speed of the LFO
Tap1 (000)
[msec]
Sets the Tap1 (LFO phase=0
degrees) delay time
0...2000
0...30
Depth
Sets the Tap1 chorus depth
Dry, 1:99...99:1, Balance between the wet and dry
Wet
b
Wet/Dry
Always On,
Always Off,
On Off (Dm),
Off On (Dm)
signal
Selects on, off, or modulation source
for the control of Tap1 output
Status
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Tap2 (180)
[msec]
Sets the Tap2 (LFO phase=180
degrees) delay time
0...2000
Depth
0...30
Sets the Tap2 chorus depth
a: Amp Type
i: Cabinet Type
c
d
e
f
Always On,
Always Off,
On Off (Dm),
Off On (Dm)
Selects on, off, or modulation source
for the control of Tap2 output
Status
Recommended Combinations of Bass Amp Models and Cabi-
nets:
Tap3 (060)
[msec]
Sets the Tap3 (LFO phase=60
degrees) delay time
0...2000
0...30
Depth
Sets the Tap3 chorus depth
Amp Type
Cabinet Type
Always On,
Always Off,
On Off (Dm),
Off On (Dm)
Selects on, off, or modulation source
for the control of Tap3 output
Status
STUDIO COMBO
AC100
STUDIO - 1x15
VOX AC100 - 2x15
UK - 4x15, UK - 4x12
Tap4 (240)
[msec]
Sets the Tap4 (LFO phase=240
degrees) delay time
0...2000
UK MAJOR
Depth
0...30
Sets the Tap4 chorus depth
Always On,
Always Off,
On Off (Dm),
Off On (Dm)
Selects on, off, or modulation source
for the control of Tap4 output
Status
Tap5 (120)
[msec]
Sets the Tap5 (LFO phase=120
degrees) delay time
0...2000
0...30
Depth
Sets the Tap5 chorus depth
Always On,
Always Off,
On Off (Dm),
Off On (Dm)
Selects on, off, or modulation source
for the control of Tap5 output
Status
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Effects
Double Size
175
Tap6 (300)
[msec]
Sets the Tap1 (LFO phase=300
degrees) delay time
131: St. Pitch Shifter
(Stereo Pitch Shifter)
0...2000
0...30
Depth
Sets the Tap6 chorus depth
g
Always On,
Always Off,
On Off (Dm),
Off On (Dm)
Selects on, off, or modulation source
for the control of Tap6 output
This is a stereo pitch shifter. The pitch shift amount for the left
and right channels can be reversed from each other.
Status
1 : L 1 2 3 4 5 6 R,
2 : L 135 246 R,
3 : L 1 3 5 2 4 6 R,
4 : L 1 4 5 6 3 2 R
Selects the stereo panning pattern
for each tap
Stereo In - Stereo Out
h
i
Panning Preset
Left
FX Amt
High Damp
Pitch Shifter
Delay
Tap1 Feedback –100...+100
Sets the Tap1 feedback amount
Input Level
Input Level
Post
Feedback Position
Pre
Pre
Selects the modulation source for
the Tap output level, feedback
amount, and effect balance
Spread
Feedback
Src
Off...Tempo
–100...+100
Post
Pitch Shifter
Delay
High Damp
Sets the modulation amount of Tap1
feedback amount
Amt
Right
FX Amt
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Slow, Medium, Switches Pitch Shifter mode
Fast
j
Mode
Src
Off...Tempo
–100...+100
a
b
c
Normal,
Up/Down
Determines whether or not the L/R
pitch shift amount is inverted
Amt
Amount of modulation source
L/R Pitch
Pitch Shift [1/
2tone]
Sets the pitch shift amount in steps
of a semitone
b, c, d, e, f, g: Status
–24...+24
Selects the modulation source of
pitch shift amount
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)
Src
Off...Tempo
–24...+24
Sets the modulation amount of
pitch shift amount
Amt
Sets the pitch shift amount in steps
of one cent
Fine [cents]
Amt
–100...+100
–100...+100
On→ Off (dm): Output level is switched from on to off depend-
ing on the modulation source.
Sets the modulation amount of
pitch shift amount
Sets the delay time for the left
channel
d
e
L Delay [msec] 0...2000
R Delay [msec] 0...2000
Off→ On (dm): Output level is switched from off to on depend-
ing on the modulation source.
Sets the delay time for the right
channel
Sets the feedback amount
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.
Feedback
–100...+100
f
Sets the damping amount in the
high range
High Damp [%] 0...100
Feedback
Pre, Post
Position
Switches the feedback connection
h: Panning Preset
g
h
Sets the width of the stereo image
of the effect sound
This parameter selects combinations of stereo images of the tap
outputs.
Spread
–100...+100
Input Level
Dmod [%]
Sets the modulation amount of the
input level
–100...+100
Off...Tempo
Selects the modulation source for
the input level
Src
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
i
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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.
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Effects
Double Size
176
132: St. PitchShift BPM
(Stereo Pitch Shifter BPM)
133: Rotary SpeakerOD
(Rotary Speaker Overdrive)
This stereo pitch shifter enables you to set the delay time to
match the song tempo.
This is a stereo rotary speaker effect. It has an internal speaker
simulator that simulates overdrive (recreating the amp distor-
tion) and characteristics of the rotary speaker, producing a very
realistic rotary speaker sound.
Stereo In - Stereo Out
Left
FX Amt
High Damp
Pitch Shifter
Delay
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
Input Level
Input Level
Post
Feedback Position
Pre
Pre
FX Amt
Spread
Feedback
Horn
Post
Pitch Shifter
Delay
Mic Distance
Mic Spread
Horn/Rotor
Balance
Rotary Speaker
Rotor
High Damp
Overdrive
+
Right
Tempo
FX Amt
BPM
Speaker Simulation
Base Note x Times
Base Note x Times
BPM
Right
-mod
FX Amt
On/Off
D
-mod
Mode Switch: Rotate/Stop
D
-mod
D
Slow, Medium, Switches Pitch Shifter mode
Fast
Speed Switch: Slow/Fast
Mode
-mod
D
Manual Speed Control
a
Normal,
Up/Down
Determines whether or not the L/R
pitch shift amount is inverted
L/R Pitch
Overdrive
Src
Off, On
Switches overdrive on/off
Pitch Shift [1/
2tone]
Sets the pitch shift amount in steps
of a semitone
–24...+24
Selects a modulation source to
switch overdrive on/off
Off...Tempo
Selects the modulation source of
pitch shift amount
a
b
Src
Off...Tempo
–24...+24
Sets the switch mode for overdrive
on/off modulation
Toggle,
Moment
Sw
Sets the modulation amount of
pitch shift amount
Amt
Overdrive Gain 0...100
Determines the degree of distortion
Sets the overdrive output level
Sets the pitch shift amount in steps
of one cent
Fine [cents]
–100...+100
b
C
Overdrive
0...100
Level
Sets the modulation amount of
pitch shift amount Sets the
modulation amount of pitch shift
amount
c
Sets the tonal quality of the
overdrive
Amt
–100...+100
Overdrive Tone 0...15
Speaker
Off, On
Switches the speaker simulation on/
off
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
Simulator
BPM
Switches between speaker rotation
and stop
Mode Switch
Src
Rotate, Stop
Display the error message if the left
channel delay time exceeds the
upper limit
Selects a modulation source for
Rotate/Stop
d
Time Over? L
R
---, OVER!
---, OVER!
Off...Tempo
d
e
Sets the switch mode for Rotate/
Stop modulation
Display the error message if the
right channel delay time exceeds
the upper limit
Toggle,
Moment
Sw
Switches the speaker rotation speed
between slow and fast
L Delay Base
Note
Selects the type of notes to specify
the left channel delay time
Speed Switch Slow, Fast
r...w
e
f
Selects a modulation source for
Slow/Fast
Sets the number of notes to specify
the left channel delay time
Src
Sw
Off...Tempo
Times
x1...x32
r...w
Toggle,
Moment
Sets the switch mode for Slow/Fast
modulation
R Delay Base
Note
Selects the type of notes to specify
the right channel delay time
Sets the volume balance between
the high-range horn and low-range
rotor
Sets the number of notes to specify
the right channel delay time
Horn/Rotor
Balance
Rotor, 1...99,
Horn
Times
x1...x32
Pre, Post
–100...+100
–100...+100
f
Feedback
Position
Switches the feedback connection
Manual
SpeedCtrl
Sets a modulation source for direct
control of rotation speed
Off...Tempo
0...100
g
h
i
Sets the width of the stereo image
of the effect sound
Spread
Sets how quickly the horn rotation
speed changes
Horn
Acceleration
Sets the feedback amount
Feedback
g
Adjusts the (high-frequency) horn
rotation speed. Standard value is
1.00. “Stop” stops the rotation
Stop,
0.50...2.00
Sets the damping amount in the
high range
Horn Ratio
High Damp [%] 0...100
Input Level
Sets the modulation amount of the
input level
Rotor
Acceleration
Sets how quickly the rotor speed
changes
–100...+100
0...100
Dmod [%]
Selects the modulation source for
the input level
h
i
Adjusts the (low-frequency) rotor
rotation speed. Standard value is
1.0. “Stop” stops the rotation
Src
Off...Tempo
Stop,
0.50...2.00
Rotor Ratio
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Distance between the microphone
and rotary speaker
Mic Distance
0...100
0...100
j
Src
Off...Tempo
–100...+100
Mic Spread
Wet/Dry
Angle of left and right microphones
Amt
Amount of modulation source
Dry, 1:99...99:1, Balance between the wet and dry
Wet
signal
j
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Double Size
177
a: Sw
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.
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.
Stereo In - Stereo Out
When “Sw” = Moment, overdrive is applied only when you press
the pedal or operate the joystick.
Left
FX Amt
High Damp Low Damp
Delay
Input Level D-mod
Only when the value for the modulation source is 64 or higher, the
overdrive effect is applied.
Stereo/Cross
Stereo/Cross
Spread
Feedback
Delay
High Damp Low Damp
Input Level D-mod
Right
134: L/C/R Long Delay
FX Amt
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.
Switches between stereo delay and
cross-feedback delay
a
b
c
Stereo/Cross
Stereo, Cross
0.0...2730.0
0.0...2730.0
–100...+100
Off...Tempo
–100...+100
–100...+100
–100...+100
L Delay Time
[msec]
Sets the delay time for the left
channel
R Delay Time
[msec]
Sets the delay time for the right
channel
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In -Stereo Out
FX Amt
Sets the feedback amount for the
left channel
L Delay
Level
Input Level D-mod
L Feedback
Src
Selects the modulation source of
feedback amount
+
Spread
C Delay
d
e
High Damp Low Damp
Input Level D-mod
Level
Feedback
Sets the modulation amount of the
left channel feedback
Amt
R Delay
Level
Right
Sets the feedback amount for the
right channel
FX Amt
R Feedback
Amt
Sets the modulation amount of the
right channel feedback
L Delay Time
[msec]
0...5460
0...50
Sets the delay time of TapL
Sets the output level of TapL
Sets the delay time of TapC
Sets the output level of TapC
Sets the delay time of TapR
Sets the output level of TapR
a
b
c
Sets the damping amount in the
high range
f
High Damp [%] 0...100
Level
Sets the damping amount in the low
range
C Delay Time
[msec]
g
Low Damp [%] 0...100
Input Level
0...5460
0...50
Sets the modulation amount of the
input level
Level
–100...+100
Dmod [%]
R Delay Time
[msec]
h
i
0...5460
0...50
Selects the modulation source for
the input level
Src
Off...Tempo
–50...+50
Level
Sets the width of the stereo image of
the effect sound
Feedback
(C Delay)
Spread
–100...+100
Sets the feedback amount of TapC
Selects the modulation source for
the TapC feedback
Dry, 1:99...99:1, Balance between the wet and dry
d
e
Src
Off...Tempo
–100...+100
Wet/Dry
Wet
signal
Sets the modulation amount of the
TapC feedback
j
Amt
Src
Off...Tempo
–100...+100
Sets the damping amount in the
high range
Amt
Amount of modulation source
High Damp [%] 0...100
Sets the damping amount in the low
range
Low Damp [%] 0...100
Input Level
Sets the modulation amount of the
input level
–100...+100
Dmod [%]
f
Selects the modulation source for
the input level
Src
Off...Tempo
0...50
Sets the width of the stereo image
of the effect sound
g
Spread
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
h
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
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178
“Times.” Even in this case, the delay time cannot exceed 10,800
msec.
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.
“Hold” procedure (when Loop Time = Auto)
1. “Rec Src”JS +Y: #01
“Reset Src”JS –Y: #02
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
“Manual REC Control”REC Off
“Manual RST Control”RESET
“Loop Time [msec]”Auto
FX Amt
+
Delay
“MIDI/Tempo Sync”Off
It should be noted that all recordings will be deleted while
Reset is On.
Pan
Loop Time: Auto/ ...5400ms
Right
FX Amt
2. “Manual RST Control”Off
-mod
Tempo
REC Control
D
BPM
Reset is cancelled and the unit enters Rec ready mode.
-mod
RST Control
D
Base Note x Times
BPM
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
Sets Automatic loop time setup
mode or specifies loop time
a
Auto, 1...10800
[msec]
Specifies whether delay time is set
in milliseconds, or as a note value
relative to tempo
Loop BPM
Sync
b
Off, On
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.)
MIDI,
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM
40.00...
300.00
c
An error indication that appears if
delay time exceeds the upper limit
when MIDI/Tempo Sync=On
Time Over?
---, OVER!
Loop Base
Note
Selects the type of notes to specify
the delay time
r...w
d
Sets the number of notes to specify
the delay time
Times
x1...x32
Off...Tempo
REC Control
Src
e
f
Selects control source for recording
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.
RST Control Src Off...Tempo
Selects control source for reset
Sets the recording switch
Manual REC
Control
REC Off,
REC On
g
Manual RST
Control
5. The recorded phrase will be repeated again and again. You
h
i
Off, RESET
Sets the reset switch
can use this to create an accompaniment.
L100...L1, C,
R1...R100
Pan
Sets the stereo image of the effect
6. By pushing the joystick in the +Y direction (forward), you
can also overdub performances over the phrase that is
being held.
Selects the modulation source of
stereo image of the effect
Src
Off...Tempo
–100...+100
Sets the modulation amount of
stereo image of the effect
Amt
Dry, 1:99...99:1, Balance between the wet and dry
e: REC Control Src
Wet/Dry
Wet
signal
g: Manual REC Control
j
Src
Off...Tempo
–100...+100
“REC Control Src” selects the modulation source that controls
recording.
Amt
Amount of modulation source
a: Loop Time [msec]
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.
With Auto, the loop time is automatically set. Otherwise, you
can specify the loop time.
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.
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.
f: RST Control Src
h: Manual RST Control
The “RST Control Src” parameter specifies the modulation
source that controls the reset operation.
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.
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.
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
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Effects
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179
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.
138: St. BPM Long Dly
(Stereo BPM Long Delay)
The stereo delay enables you to match the delay time with the
song tempo.
137: LCR BPM Long Dly
The L/C/R delay enables you to match the delay time with the
song tempo.
Stereo In - Stereo Out
Left
FX Amt
High Damp Low Damp
Delay
Input Level D-mod
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In -Stereo Out
Feedback
FX Amt
Input Level D-mod
High Damp Low Damp
L Delay
Level
Input Level D-mod
Delay
+
C Delay
Spread
High Damp Low Damp
Right
Tempo
Level
FX Amt
Feedback
R Delay
Input Level D-mod
Level
BPM
Adjust [%]
Adjust [%]
Base Note x Times
BPM
Right
Tempo
BPM
Base Note x Times
FX Amt
BPM
Base Note x Times
Base Note x Times
Base Note x Times
MIDI,
40.00...
300.00
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
BPM
Display the error message if the left
channel delay time exceeds the
upper limit
MIDI,
MIDI syncs to the system tempo; 40–
300 sets the tempo manually for this
individual effect
a
Time Over? L
R
---, OVER!
---, OVER!
BPM
40.00...
300.00
a
Display the error message if the
right channel delay time exceeds
the upper limit
Displays an error message when the
delay time exceeds the upper limit
Time Over?
---, OVER!
r...w
L Delay Base
Note
Selects the type of notes to specify
the delay time for TapL
L Delay Base
Note
Selects the type of notes to specify
the left channel delay time
r...w
b
Sets the number of notes to specify
the delay time for TapL
Times
Level
x1...x32
0...50
r...w
Sets the number of notes to specify
the left channel delay time
b
c
Times
x1...x32
Sets the output level of TapL
Fine-adjust the left channel delay
time
Adjust [%]
–2.50...+2.50
r...w
C Delay Base
Note
elects the type of notes to specify
the delay time for TapC
R Delay Base
Note
Selects the type of notes to specify
the right channel delay time
c
Sets the number of notes to specify
the delay time for TapC
Times
x1...x32
0...50
r...w
Sets the number of notes to specify
the right channel delay time
Times
x1...x32
Level
Sets the output level of TapC
R Delay Base
Note
Selects the type of notes to specify
the delay time for TapR
Fine-adjust the right channel delay
time
Adjust [%]
L Feedback
Src
–2.50...+2.50
–100...+100
Off...Tempo
–100...+100
–100...+100
–100...+100
d
Sets the number of notes to specify
the delay time for TapR
Sets the feedback amount for the
left channel
Times
Level
x1...x32
0...50
Sets the output level of TapR
Selects the modulation source of
feedback amount
d
e
Feedback
(C Delay)
–100...+100
Sets the feedback amount of TapC
Sets the modulation amount of the
left channel feedback
L Amt
Selects the modulation source for
the TapC feedback
e
f
Src
Off...Tempo
–100...+100
Sets the feedback amount for the
right channel
R Feedback
R Amt
Sets the modulation amount of the
TapC feedback
Amt
Sets the modulation amount of the
right channel feedback
Sets the damping amount in the
high range
High Damp [%] 0...100
Sets the damping amount in the
high range
f
High Damp [%] 0...100
Sets the damping amount in the low
range
Low Damp [%] 0...100
Input Level
Sets the damping amount in the low
range
g
Low Damp [%] 0...100
Input Level
Sets the modulation amount of the
input level
–100...+100
Dmod [%]
Sets the modulation amount of the
input level
–100...+100
g
h
Dmod [%]
Selects the modulation source for
the input level
h
i
Src
Off...Tempo
0...50
Selects the modulation source for
the input level
Src
Off...Tempo
Sets the width of the stereo image
of the effect sound
Spread
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
Dry, 1:99...99:1, Balance between the wet and dry
Wet
Wet/Dry
Src
Off...Tempo
–100...+100
signal
i
Amt
Amount of modulation source
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
a: Time Over? L, R
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.
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.
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Effects
Vocoder
180
139: Early Reflections
Vocoder
This early reflection effect has more precise early reflections
with twice the maximum length of a normal-size effect (See
“Early Reflections” on page 153.). You can create a very smooth
and dense sound.
The Vocoder can only be assigned to the FX B - Master 2 proces-
sor (usually, the modulating effect for the keyboard tracks).
When this effect is selected, the microphone input no longer
goes to the Voice Processor, but is routed to this FX processor.
FX Amt = 100: Mono In - Stereo Out
Left
/
FX Amt = 0: Stereo In - Stereo Out
FX Amt
EQ Trim
140: Vocoder
LEQ
HEQ
+
Pre Delay
Early Reflections
This effect applies the timbral character of a different signal (the
modulator) to the input signal (the carrier).
A common use of this effect is to produce the sound of various
instruments by inputting a voice to the Modulator via a micro-
phone. A special effect is also achieved by using rhythm or effect
sounds. Strings or distortion guitar sounds with a lot of harmon-
ics are suitable as Carrier signals.
EQ Trim
Right
FX Amt
Sharp, Loose,
Modulated,
Reverse
Selects the decay curve for the early
reflection
a
Type
Sets the time length of early
reflection
b
c
ER Time [msec] 10...1600
FX Amt = 100: Stereo In - Mono Out
/
FX Amt = 0: Stereo In - Stereo Out
Pre Delay
0...200
Sets the time taken from the original
sound to the first early reflection
[msec]
Left
FX Amt
Carrier Trim
Sets the input level of EQ applied to
the effect sound
d
EQ Trim
0...100
+
+
Envelope
Low,
Mid-Low
Selects the cutoff frequency (low or
mid-low) of the low-range equalizer
Modulator Trim
Pre LEQ Fc
Band Pass Filter
e
f
Modulator Select
Selects the cutoff frequency (high or
mid-high) of the high-range
equalizer
High,
Pre HEQ Fc
Mid-High
Modulator Source
Modulator High Mix
Right
FX Amt
Pre LEQ Gain
[dB]
–15.0...+15.0
–15.0...+15.0
Sets the gain of Low EQ
Sets the gain of High EQ
FX Control BUS 1
FX Control BUS 2
Noise Level
Noise
Generator
Pre HEQ Gain
[dB]
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
a
Carrier Trim
0...100
0...100
Input,
Sets the Carrier input level
Wet
signal
Modulator
Trim
g
b
Sets the Modulator input level
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
Modulator
Source
c
Audio In 1,
Selects the modulator input
Audio In 2
L/R Mix,
L Only,
R Only
Selects whether to use the left/right
mix, only left, or only right of the
modulator input
Modulater
Select
d
Sets the height of the frequency for
the vocoder effect
e
f
Formant Shift –2...+2
Sets the speed of the response to
the modulator input
Response
Noise Level
Src
0...100
Sets the noise mix level to the
Carrier
0...100
Selects the modulation source for
the noise mix level
g
Off...Tempo
–100...+100
0...100
Sets the modulation amount for the
noise mix level
Amt
Modulator
High Mix
Sets the high-range output level of
the modulator
h
i
Sets the low-range output level of
the vocoder
Low Gain [dB] –12...+12
High Gain [dB] –12...+12
Sets the high-range output level of
the vocoder
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet
signal
j
Src
Off...Tempo
–100...+100
Amt
Amount of modulation source
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Effects
Vocoder
181
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.
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Factory data
Styles
182
Factory data
Styles
Note: You can remotely select Styles on the Pa3X, by sending it
Bank Select MSB (CC#0), Bank Select LSB (CC#32) and Pro-
gram Change messages on the Control channel (see “MIDI:
MIDI In Channels” on page 211 of the User’s Manual).
#
CC0 CC32
PC
Name
2
1
Soft Ballad 2
Orchestral Bld 1
Orchestral Bld 2
Piano Ballad
Guitar Ballad
Organ Ballad
Moonlight Ballad
Modern Ballad 1
Modern Ballad 2
Ambient Ballad
Funky Ballad
Analog Ballad 1
Analog Ballad 2
Jazzy Ballad
3
2
4
3
#
CC0 CC32
PC
Name
5
4
6
5
Bank: Pop
7
6
1
0
0
0
70's Guitar Pop
Classic Pop
Standard 8 Beat
Standard 16 Beat
Shadow Pop
Pop Rock
8
7
2
1
9
8
3
2
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
9
4
3
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
5
4
6
5
7
6
Vintage Pop 1
Vintage Pop 2
Retro Beat
8
7
9
8
Easy Ballad
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
9
Pop Evergreen
Easy Pop 1
6/8 Ballad 1
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
6/8 Ballad 2
Easy Pop 2
6/8 Brush Bld
Slow 6/8
Pop Shuffle 1
Pop Shuffle 2
Pop Shuffle 3
Guitar Pop
Rock Ballad 1
Rock Ballad 2
Pop Ballad 1
Pop Ballad 2
Blues Ballad
Pop Ska
British Pop
Slow Latin Pop
Modern Beat
Slow Pop 6/8
Pop 12/8
Folk Ballad
Waltz Ballad
Oriental Ballad
Groove Ballad
Blue Ballad
Pop Chart 1
Pop Chart 2
Pop Groove
Kool Beat
Bank: Ballroom
1
2
0
2
0
1
Slow 12/8
Quick Step
Pasodoble
Paso Dance
Jive 1
Easy Beat 1
Easy Beat 2
Real 8 Beat
3
2
4
3
5
4
Real 16 Beat
Soft 8 Beat
6
5
Jive 2
7
6
Argentina Tango
Modern Tango
Slow Waltz 1
Slow Waltz 2
Slow Waltz 3
Organ Waltz
Slow Fox
Soft 16 Beat
Analog Beat 1
Analog Beat 2
8 Beat Analog 1
8 Beat Analog 2
Guitar Beat
Vocal Pop
8
7
9
8
10
11
12
13
14
15
16
9
10
11
12
13
14
15
Organ Foxtrot
Foxtrot 1
Pop Funk
Bank: Ballad
Foxtrot 2
1
0
1
0
Soft Ballad 1
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Factory data
183
Styles
#
CC0 CC32
PC
Name
#
CC0 CC32
PC
Name
17
18
19
20
21
22
23
24
25
26
27
28
29
30
16
17
18
19
20
21
22
23
24
25
26
27
28
29
Slow Band
3
2
Classic Rock
Rolling Blues
50's R&Roll
60's R&Roll
Rock Boogie
Rock Blues
Power Rock
English Rock
Rock & Roll
Hard Rock
Big Band Jump
Big Band Fox
Big Band 40's
Fox Shuffle 1
Fox Shuffle 2
Italian Tango 1
Italian Tango 2
Easy Listening
Twist
4
3
5
4
6
5
7
6
8
7
9
8
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
Hully Gully
50's Fox
Open Rock 1
Open Rock 2
Heavy Rock
Funky Rock
Rock Oldie
Fire Rock
Italian Fox
Irish Fox
Bank: Dance
1
0
3
0
70's Disco Remix
70's Disco 1
70's Disco 2
80's Dance
90's Dance
Electro Dance
Dance Chart 1
Dance Chart 2
Funky Disco 1
Funky Disco 2
Techno
South Shuffle
Surf Rock
2
1
3
2
Rock Cha Cha
4
3
Slow Latin Rock
Latin Rock 1
Latin Rock 2
Slow Rock 1
Slow Rock 2
60's Slow Rock
Rock 6/8
5
4
6
5
7
6
8
7
9
8
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
Steely Rock
Garage
Abbey Rock
SouthStrait Rock
Blues Shuffle
House
Electro House
Ethno House
Drum&Bass
Tribal
Bank: Unplugged
1
2
0
5
0
1
Unplugged Heaven
Acoustic Rock
Club House
Euro Trance
Fashion Funk
Dance Fever
Barry Dance
Sister & Girl
Philly Disco
Miami Disco
Love Disco
Dance Motown
Dance Mix
3
2
Sally Groove
4
3
Unplugged Reggae
UnpluggedBallad1
UnpluggedBallad2
UnpluggedBallad3
UnpluggedBallad4
Easy Strumming
Unplugged Slow
Desert Shuffle
5
4
6
5
7
6
8
7
9
8
10
11
12
13
14
15
16
17
18
19
20
21
22
9
10
11
12
13
14
15
16
17
18
19
20
21
Serenade
Soca Dancing
Disco Gully
Disco Latin
Oriental Dance
Groove It Up
HipHop
Unplugged Gtr 1
Unplugged Gtr 2
Unplugged Gtr 3
Unplugged Gtr 4
Unplugged
Meditando
Unplugged 8 Bt
Unplugged 16 Bt
Unplugged Rock
Unplugged Latin
Bank: Rock
1
2
0
4
0
1
80's Rock
Rock Punch
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Factory data
Styles
184
#
CC0 CC32
PC
Name
#
CC0 CC32
PC
Name
23
24
25
22
23
24
Unplugged Swing
Unplugged 3/4
Acoustic Bld.3/4
27
28
26
27
French March
Irish Waltz
Bank: Latin
Bank: Country
1
0
8
0
Samba Enredo
Samba Brazil
Bossa Nova
Classic Salsa
Classic Mambo
Classic ChaCha
Guajira
1
2
0
6
0
1
Easy Country
Country Blues
Slow Country
West Coast
2
1
3
2
3
2
4
3
4
3
5
4
5
4
Country Hit
6
5
6
5
Finger Pickin
7
6
7
6
Country Strum
Country QuikStep
Country Beat 1
Country Beat 2
Country Ballad 1
Country Ballad 2
Country 3/4
8
7
Guaguancò
Timba
8
7
9
8
9
8
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
9
Afro 6/8
10
11
12
13
14
15
16
17
18
19
20
21
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
Bomba
10
11
12
13
14
15
16
17
18
19
20
Classic Bachata
Classic Merengue
Cumbia
Modern Country
Country Pop
Joropo
Habanera
Bar Country
Guitar Bossa
Meditation Bossa
Organ Bossa
Pop Bossa
Country 8 Beat
Country 16 Beat
Bluegrass
Country Boogie
Country Shuffle
Cool Bossa
Fast Bossa
Orch. Bossa 1
Orch. Bossa 2
Brazilian Samba
Salsa 1
Bank: Traditional
1
0
7
0
1
Italian Waltz 1
Italian Waltz 2
Italian Polka 1
Italian Polka 2
Italian Polka 3
Italian Mazurka 1
Italian Mazurka 2
Italian Mazurka 3
Bavarian Polka 1
Bavarian Polka 2
German Polka 1
German Polka 2
German Waltz 1
German Waltz 2
German March
Heimat Walzer
9/8
2
3
2
Salsa 2
4
3
Mambo
5
4
Pop ChaCha
Rhumba 1
Rhumba 2
Bachata
6
5
7
6
8
7
9
8
Cool Latin Jazz
Latin Big Band
Latin Pop
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
Latin Bolero
Latin Vocal
Sabor
Merengue
Natural Bossa
Bank: Latin Dance
Vahde
2/4 Oyun
1
2
3
4
5
6
7
8
0
9
0
1
2
3
4
5
6
7
Reggaeton 1
Reggaeton 2
Lambada
Ciftetelli
Halay
5/8
Meneaito
Oryantal
Macarena
Turkish Pop
Musette Waltz
French Waltz
Bomba Dance
Tortura Dance
Gipsy Dance
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Factory data
185
Styles
#
CC0 CC32
PC
Name
#
CC0 CC32
PC
Name
9
8
Sambalegre
Samba Dance
Disco Samba
Mambo Party
Mambo 2000
Modern Bachata
Classic Beguine
Modern Beguine
Bayon
Bank: Movie & Show
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
9
1
2
0
11
0
1
ScreenEpicMarch1
ScreenEpicMarch2
Orchestral Movie
Broadway
10
11
12
13
14
15
16
17
18
19
20
21
22
23
3
2
4
3
5
4
Hollywood 1
Hollywood 2
Show Time
6
5
7
6
8
7
Mystery Man
Ritz Swing
Modern Bossa
Disco ChaCha
Calypso
9
8
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
9
Tap Dance
10
11
12
13
14
15
16
17
18
19
20
21
22
23
Movie Ballad
Movie Swing
Safari Swing
Western Movie
Cartoon Time
Horror Movie
Love Movie
Reggae 1
Reggae 2
Latin Club
Andean
Bank: Jazz
1
0
10
0
Swing Band
2
1
Modern Big Band
Big Band Shuffle
Latin Jazz Band
Bigger Band
Medium Big Band1
Medium Big Band2
Fast Big Band
Medium JazzWaltz
Fast Jazz Waltz
Tonewheel Swing
Jazz Quartet
BeBop
Artie's Theme
Love Ballad
3
2
4
3
Army Band
5
4
Christmas Waltz
Chrismas Swing
Theatre Swing
Theatre March
6
5
7
6
8
7
9
8
Bank: Funk & Soul
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
9
1
0
12
0
1
Capital Soul
Soul Power
Level Funk
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
2
3
2
4
3
Kool Funk
Swing Ballad 1
Swing Ballad 2
Swing Ballad 3
Dixieland
5
4
Acoustic Shuffle
Blues
6
5
7
6
Talkin' Jazz
Classic Funk
70's Beat Groove
Funk R&B
8
7
Django
9
8
Organ Swing
Organ Blues
Serenade Band
Jazz Club
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
Al Funk
Elektrik Funk
Urban Funk
Soul
Slow Swing Brush
Orchestral Swing
Jazz Brush
Funky Sisters
Slide Blues
Soft Jazz
Gospel
Jazzy Blues
Gospel Swing
Gospel Shuffle
Rhythm & Blues
Modern Gospel 1
Modern Gospel 2
Motown Shuffle 1
Motown Shuffle 2
Al Swing
Swing Quintet
Moon Swing
5/4 Swing
Stride
Charleston
Vocal Swing
Vocal Jazz
Groove
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Factory data
Styles
186
#
CC0 CC32
PC
Name
#
CC0 CC32
PC
Name
27
28
26
27
Groove Funk
Cool Vocal
Bank: Contemporary
1
0
14
0
Love 4 All
Bank: World
2
1
Dance to Rhythm
Latin Rock Hit
Chill Out
1
0
13
0
Spanish Dance
Flamenco 4/4
Flamenco 3/4
Casatchock
Greek Rumba
Xasapiko
3
2
2
1
4
3
3
2
5
4
Fast Smooth Jazz
Slow Smooth Jazz
Funk & Rock
Funk Groovin'
Ambient RMX
Kyoto Lounge
Ambient Groove
Contemporary Bld
Funky R&B
4
3
6
5
5
4
7
6
6
5
8
7
7
6
Sirtaki
9
8
8
7
Zouk
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
9
9
8
Hawaiian
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
9
Mexican Waltz
Norteno
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
Kebradita
AM : PM
Bolero Ranchero
Mariachi Polka
Mariachi Valz
Mariachi Cumbia
Alpen Schlager
Classic Schlager
Modern Schlager
Vienna Waltz
Tarantella
Little Boy
Island View
Karma
Slow & Jazzy
Take beat
Slow Funk
Swing HipHop
Slow Mood
Hip Hindi Hop
Soft HipHop
Elektro Funk
Jazzy PopFunk
Elektro Pop
Modern Latin
Folk Beat
Rumba Napoletana
Raspa
Mad Ska
Celtic Dream
Celtic Waltz
Celtic Ballad
Scottish Reel
Banda
Wave Jazz
Little Shuffle
Pop Rock Hit
Dance Hit
OrchestralBolero
Minuetto
Baroque
Rap
Orleans
New Age
Cajun
Zydeco
Hora
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Factory data
Style Elements
187
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).
PC
Style Element
PC
Style Element
PC
Style Element
PC
Style Element
PC
Style Element
80
85
90
Intro 1
81
86
91
Intro 2
82
87
92
Intro 3/Count In
Fill 1
83
88
93
Variation 1
Fill 2
84
89
94
Variation 2
Fill 3
Variation 3
Fill 4
Variation 4
Break
Ending 1
Ending 2
Ending 3
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).
PC
Style Element
PC
Style Element
PC
Style Element
PC
Style Element
PC
Style Element
95
Fade In/Out
96
STS Mode
97
Auto Fill
98
Memory
99
Bass Inversion
100
105
Manual Bass
Play/Stop (Ply 2)
101
Tempo Lock
102
Style Change
103
Start/Stop (Style)
104
Play/Stop (Ply 1)
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.
CC#0
CC#32
PC
STS
PC
STS
PC
STS
PC
STS
The same as the Style to which the STS belongs
64
STS 1
65
STS 2
66
STS 3
67
STS 4
Note: The above Control Change and Program Change numbers are given according to the 0-127 numbering system.
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Factory data
Sounds (Bank order)
188
CC00 CC32 PC
Sound Name
Sounds (Bank order)
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
17
14
9
5
5
5
5
4
4
4
4
4
4
4
4
4
4
4
4
5
5
4
4
4
4
4
4
4
4
4
VPM E. Piano
Digi E. Piano
Classic Tines
DW8000 EP
The following table lists all Pa3X Factory Sounds as they appear
in the banks accessed by pressing the SOUND SELECT buttons
on the control panel.
11
43
35
25
26
18
11
20
21
17
12
16
8
Natural EP
Legend: The table also includes MIDI data used to remotely select
the Sounds. CC00: Control Change 0, or Bank Select MSB. CC32:
Control Change 32, or Bank Select LSB. PC: Program Change.
Bank: Sound Select button.
E.Piano RX Noise
EP+Damper 1 DNC
EP+Damper 2 DNC
Tine E.Piano RX
Club E. Piano
Suit E.Piano 1
Suit E.Piano 2
Classic Wurly 1
Classic Wurly 2
Tremolo Wurly
R&B E. Piano
FM Pad EP
CC00 CC32 PC
Factory: Piano
Sound Name
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
10
13
12
3
0
0
0
0
2
2
3
3
0
2
0
0
6
7
7
7
0
0
1
1
2
2
0
0
Grand Piano RX
Concert Grand RX
Grand Piano Live
Grand Piano
8
G.Piano Stack 1
G.Piano Stack 2
Honky-Tonk RX
Ragtime Piano
Grand&MovingPad
E. Grand Phaser
Piano & Strings
Jazz Piano
15
13
9
9
White Pad EP
Thin E. Piano
Tine E. Piano
Dyno Tine EP 1
Dyno Tine EP 2
Studio EP
2
3
19
10
22
7
9
10
7
5
5
Pro Dyno EP
6
Harpsichord RX
Clav RX
6
Pro Stage EP
Bell E. Piano 1
Bell E. Piano 2
5
23
24
6
Synth Clav RX
Clav Wah RX
2
Factory: Mallet & Bell
4
Classic Piano
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
2
7
2
1
2
1
2
6
2
1
1
1
1
2
4
3
1
5
11
12
12
13
9
Vibraphone 1
Marimba
Marimba Key Off
Xylophone
Glockenspiel
Celesta
8
Rock Piano
5
Bright Piano RX
Piano & Pad
4
7
Grand & FM Stack
Piano Layers
6
8
6
Piano & Vibes
Grand RX DEMO
10
12
108
108
9
Music Box
Balaphon
Kalimba 1
Kalimba 2
Sistro
11
Factory: E. Piano
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
27
28
29
31
30
32
33
34
36
38
39
41
37
40
44
42
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Tine EP Phaser
Tine EP Dyno
Tine EP Amp/Phas
Wet Tine EP
10
114
98
14
14
15
12
Orgel
Warm Steel
Vs Bell Boy
Tubular Bell
Bells
Dist. Tine EP
Bell Tine EP
Suit Case88 EP1
Suit Case88 EP2
Wurly Logic
Santur
Mallet Clock
Wurly Amp
Factory: Accordion
Wurly Clean 1
Wurly Clean 2
Reed EP Clean
Wurly AmpChorus
Natural Wurly
Wurly RX Noise
121
121
121
121
121
6
7
22
22
22
22
21
Jazz Harm. DNC
Sweet Harm. DNC
Harmonica DNC
Melodica DNC
5
8
29
Classic Musette
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Factory data
Sounds (Bank order)
189
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
12
9
21
21
21
21
21
21
21
23
21
21
21
22
22
22
21
23
23
21
23
21
21
21
23
23
21
23
23
23
21
21
21
21
23
Cassotto 16'
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
18
14
8
16
16
16
16
17
16
16
16
16
16
16
16
16
19
19
19
19
19
19
19
20
20
20
20
19
Drawbars Fast V.
Drawbars Organ
Jazz Organ
Cassotto
23
11
18
16
17
3
Master Accordion
Sweet Musette
French Musette
2 Voices Musette
3 Voices Musette
Accordion16,8,4'
Cassotto Or.Tune
Acc.Clarinet OT
Fisa Master
17
4
Organ Hi V.
Organ LowPc V.
Organ Low 1 V.
Organ Low 2 V.
Organ Mid V.
Organ HiMix1 V.
Organ HiMix2 V.
Big Theatre Org.
Theatre Organ 1
Theatre Organ 2
Pipe Tutti 1
4
15
16
34
35
30
22
23
6
13
19
8
3
Harmonica AT 1
Harmonica AT 2
Harmonica
4
2
21
2
Acc. Piccolo OT
Accordion 16,8'
Acc.16,8,4' Plus
Fisa 16,8'
8
Pipe Tutti 2
9
Pipe Tutti 3
8
10
4
Pipe Tutti 4
6
Church Pipes
Full Pipes
7
Accordion 16,4'
Fisa 16,4'
5
7
3
Pipe Mixture
Pipe Flute 1
3
Musette 1
4
4
Musette 2
5
Pipe Flute 2
10
1
Tango Accordion
Fisa Tango!
3
Flauto Pipes
Small Pipe
2
24
4
Accordion
7
Positive Organ
Acc.16,8' & Bass
Acc. & Acc. Bass
Accordion Bass
Steirisch.Akk.1
Steirisch.Akk.2
Steirisch.Akk.3
Steirisch.Akk.4
Acc.Voice Change
Factory: Guitar
9
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
20
21
36
37
4
24
24
25
25
29
27
30
30
24
24
25
25
27
27
29
27
25
25
25
25
26
26
27
27
24
24
25
Concert Gtr DNC
Concert Gtr Pro
ClassicSteel DNC
Classic12Str Pro
Lead Guitar DNC
E.Gtr Ch/Dly DNC
Dist. Gtr 1 DNC
Dist. Gtr 2 DNC
RealNylon Gtr ST
Real Nylon Gtr
Classic12Str DNC
Classic 12Str RX
Stra. Gtr 1 DNC
Stra. Gtr 2 DNC
Crunch Gtr DNC
Chorus Gtr DNC
RealSteel Gtr ST
RealFolk Gtr ST1
RealFolk Gtr ST2
Steel Gtr RX
5
25
26
27
28
6
35
13
14
16
17
38
39
32
33
3
Factory: Organ
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
127
13
12
33
10
9
16
18
17
16
17
17
17
16
16
18
18
18
16
16
18
16
18
16
16
Digit.DRAWBARS
Jimmy Organ DNC
Classic Perc.Org
Organ Low+1'V.
Perc. Organ 1
Perc. Organ 2V.
Perc. Organ 3V.
Organ 16+51/3 V.
BX3 Rock 1 V.
11
36
10
1
34
28
29
30
35
7
BX3 Rock 2 V.
5
BX3 Rock 3 V.
12
6
BX3 Rock 4 V.
BX3 Full V.
Jazz Gtr DNC
20
9
BX3 Jazz V.
5
Soft Jazz Guitar
E.Gtr Amp DNC
Single Coil Pro
Nylon Guitar DNC
Natural NylonDNC
RealFolk Gtr DNC
BX3 Jazz Pc. V.
BX3 Gospel V.
Jimmy Organ V.
Gospel Organ V.
Drawbars Slow V.
37
14
18
19
34
21
10
13
19
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Factory data
Sounds (Bank order)
190
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
33
8
25
24
24
24
25
25
25
25
25
27
27
27
27
26
26
27
27
25
25
28
30
27
25
25
27
28
28
30
30
27
28
24
25
25
27
27
30
27
26
27
27
27
27
29
27
27
27
27
28
30
30
28
24
Real 12 Strings
Nylon Gtr Pro1
Nylon Gtr Pro2
Nylon Slide Pro
Steel Guitar Pro
12 Strings Pro
Steel 12 Strings
Real Steel Gtr
Real Folk Gtr
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
13
15
16
18
22
24
25
3
24
25
25
25
24
25
25
120
27
30
27
28
28
28
28
28
28
28
28
Nylon Gtr RX2
Steel Guitar RX1
Steel Guitar RX2
12 Strings RX
11
14
19
17
5
Concert 12Str RX
Pop SteelGtr RX1
Pop SteelGtr RX2
Vox Wah Chick RX
Funky Wah RX
31
32
28
29
30
31
6
12
15
36
11
13
14
15
16
17
18
20
Real El. Gtr ST1
Real El. Gtr ST2
Real El. Guitar1
Real El. Guitar2
JazzGtr SlidePro
Club Jazz Gtr 1
Clean Jazz 1
Power Chords RX
Clean Funk RX1
Clean Funk RX2
Funk Stein RX2
Clean Guitar RX1
Clean Guitar RX2
Clean Guitar RX3
Clean Guitar RX4
Clean Guitar RX5
Clean Guitar RX6
2
22
23
21
22
21
8
Clean Jazz 2
Pop Steel Gtr 1
Pop Steel Gtr 2
5th Mute Gtr
Stereo Dist.Gtr
Solid Guitar
Factory: Strings & Vocal
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
7
5
40
40
40
46
53
53
49
49
49
49
40
40
52
52
52
52
49
49
49
48
48
49
48
44
43
42
41
41
40
40
48
48
48
Real Violin DNC
Violin Expr. DNC
Conc.Violin DNC
Classic Harp
21
13
14
20
12
10
9
Steel Slide Pro1
Steel Slide Pro2
Clean Guitar 1
Funk Stein RX1
Clean Funk RX1
Dist. Guitar RX1
Dist. Guitar RX2
Vintage S. 1
6
2
4
SopranoVox1 DNC
SopranoVox2 DNC
Real Strings 1
Real Strings 2
Movie Str.1 DNC
Movie Str.2 DNC
Violin Expr. 1
5
9
10
7
10
19
6
8
Clean Mute Gtr
Ac.Guitar KeyOff
Steel Guitar 1
Steel Guitar 2
Clean Gtr Pro 1
Clean Gtr Pro 2
Dist. Clean Gtr
Chorus Gtr Pro
Pedal Steel
8
5
2
Violin Expr. 2
4
21
22
20
23
5
Cycle Scat 1
20
13
15
11
18
4
Cycle Scat 2
Scat Voices DNC
Little Boy Voice
Movie Strings 1
Movie Strings 2
Concert Strings
Strings Ens. RX
Concert Str.RX
Full Strings
6
11
22
23
2
24
6
'54 E. Guitar
Single Coil
16
7
Stra. Vel. Pro
New Stra.Guitar
Soft Overdrive
Chorus Guitar
Vintage S. 2
11
1
Ensemble & Solo
Tremolo Strings
Class.Contrabass
Cello
2
3
1
4
1
5
Processed E.Gtr
L&R E.Guitar 1
R&R Guitar
1
Viola Expr.
9
2
Violin & Viola
Violin Expr. 3
4
4
4
Power Chords
Mute Monster
Disto Mute
3
Slow Violin
5
9
Strings Quartet
Chamber Strings
Orchestra Tutti1
9
12
14
12
Nylon Gtr RX1
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Factory data
Sounds (Bank order)
191
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
19
16
17
20
15
18
1
48
48
48
48
48
48
45
45
48
49
48
50
50
52
52
52
52
52
52
52
52
52
52
52
52
52
52
54
91
54
91
54
91
53
Orchestra Tutti2
Orch. & Oboe 1
Orch. & Oboe 2
Orchestra&Flute
Strings & Horns
Strings & Glock.
Pizz. Ensemble
Pizz. Section
Octave Strings
Spiccato Strings
Symphonic Bows
Analog Strings 1
Synth Strings 1
Scat V.& Bass1
Scat V.& Bass2
Wuuh Choir
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
16
2
56
56
56
56
57
57
57
56
56
56
56
57
57
56
56
56
56
58
58
58
Trumpet Pro 3
Trumpet Overb.
Cornet Pro 1
22
23
8
Cornet Pro 2
Trombone Vel. 1
Trombone Vel. 2
Trombone Vel. 3
Flugel Horn Pro
Concert Trumpet
Concert Trp. Pro
Dual Trumpets
Hard Trombone
Trombone Pro Vel
Alp Trumpet
9
10
13
19
20
6
2
8
4
10
5
3
6
11
17
14
18
5
17
18
8
Trumpet
Trumpet Shake Y+
Trumpet Pitch
Alp Tuba
9
Oh-Ah Voices
Femal&Male Scat
Take Voices 1
Ooh Slow Voice
Scat Voices RX
Male Scat
14
4
6
2
Tuba Gold
3
1
Oberkr. Tuba
19
16
15
11
6
Factory: Brass
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
32
4
61
61
61
61
61
61
60
61
60
60
60
61
61
61
61
61
61
61
61
61
61
61
61
61
59
59
61
61
73
60
60
60
Big Band Brass 1
Big Band Brass 2
Tight Brass 1
Tight Brass 2
Tight Brass 3
Tight Brass 4
Trpt. & Horns
Trpts &Trombs
Soft Horns 1
Femal Scat
Grand Choir
27
29
2
Ooh Choir
2
Ooh Voices
12
6
Choir Light
12
5
Synth Voices
Full Vox Pad
9
34
6
2
Vocalesque
7
Fresh Breath
Vocalscape
7
Soft Horns 2
3
8
Soft Horns 3
3
Heaven
28
36
9
Tight Brass Pro
Trumpet Ens2 Y+
Trumpet Ens.
Trombone Ens.
Trombones
3
Airways
Factory: Trumpet & Trbn.
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
24
26
25
15
14
16
17
13
15
4
56
56
56
57
57
57
57
57
56
56
56
59
59
56
57
57
56
56
Jazz Trumpet DNC
Trumpet Expr.DNC
Jazz Cornet DNC
Jazz Trb. 1 DNC
Jazz Trb. 2 DNC
Soft Trb. DNC
10
11
14
7
Dyna Brass 1
Trpts & Brass
Fat Brass
13
30
3
Brass of Power
Glenn & Friends
Glenn & Boys
Sax & Brass
Trb. Expr. DNC
Trombone DNC
Trumpet Expr.1
Trumpet Expr.2
Cornet Expr.
6
5
16
3
Brass & Sax
21
2
Mute Ensemble 1
Mute Ensemble 2
Sforzato Brass
Movie Brass
Wah Trumpet
4
5
Mute Trumpet
Sweet FlugelHorn
Trombone Expr. 1
Trombone Expr. 2
Trumpet Pro 1
Trumpet Pro 2
23
20
6
12
6
Flute Muted
7
2
French Section
Horns & Ensemble
Classic Horns
10
11
4
3
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Factory data
Sounds (Bank order)
192
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
121
121
121
121
121
121
5
4
62
62
61
61
55
61
Synth Brass 1
Electrik Brass
Brass Section
Brass Fall
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
1
3
73
73
73
71
71
71
78
78
78
78
71
71
68
73
71
72
71
71
71
71
Jazz Flute Expr.
Flute Dyn. 5th
Flute Frullato
Jazz Clarinet
31
26
4
4
1
Brass Impact
Brass Hit
8
Clarinet Pro 1
Clarinet Pro 2
Whistle
25
9
1
Factory: Sax
3
Whistle RX1
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
13
14
12
12
9
65
65
65
66
65
65
66
66
64
64
64
64
67
67
65
65
65
65
66
66
66
66
67
65
65
66
Jazz Sax 1 DNC
Jazz Sax 2 DNC
Alto Sax DNC
4
Whistle RX2
2
Whistle Breathe
Clar & Sax Ens.1
Clar & Sax Ens.2
Double Reed
Orchestra Flute
Woodwinds
17
18
1
Tenor Sax DNC
Alto Sax Expr.
Alto Sax RX
10
1
5
Tenor Sax Noise1
Tenor Sax Noise2
Sweet Soprano 1
Sweet Soprano 2
Sweet Soprano 3
Soprano Pro
6
6
1
Small Orchestra
Clarinet Ens.
3
5
4
3
Section Winds 1
Section Winds 2
Reeds & Saxes
1
4
2
10
3
Baritone Sax Pro
Baritone Sax
Factory: Synth Pad
4
5
Sweet Alto Sax 1
Sweet Alto Sax 2
Soft Alto Sax
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
15
13
3
89
91
93
96
101
127
89
89
89
89
89
89
89
91
97
97
97
95
89
91
91
95
90
90
90
101
95
88
96
102
98
63
Warm Pad
6
Choir-Sequence
Techno Stab DNC
Wave-Sequence
Organ Stab DNC
Deep Noise
The Pad
7
8
Alto Sax Pro
4
8
Tenor Sax Expr.2
Tenor Sax Expr.1
Jazz Tenor 1
4
7
4
9
4
10
1
Jazz Tenor 2
6
Dark Pad
Baritone Growl
Cool Sax Ens.
8
Analog Pad 1
Analog Pad 2
OB Pad
11
2
9
Sax Ensemble
Reed of Power
12
13
14
5
11
Dark Anna
Symphonic Ens.
Future Pad
Factory: Woodwind
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
14
15
16
13
2
71
71
71
71
68
73
73
73
78
77
75
75
76
70
72
79
73
73
RealClarinet DNC
JazzClarinet DNC
SoloClarinet DNC
Clarinet DNC
Classic Oboe
Jazz Flute DNC
Orch. Flute DNC
Flute DNC
1
Air Clouds
3
Tinklin Pad
4
Pods In Pad
Vintage Sweep
Money Pad
Tsunami Wave
Ravelian Pad
Meditate
7
5
13
12
11
5
6
8
2
Whistle DNC
Shakuhachi Vel.
Panflute 1 DNC
Panflute 2 DNC
Blown Bottle
Bassoon
4
Super Sweep
Wave Sweep
Cross Sweep
Digi Ice Pad
Cinema Pad
Virtual Traveler
Motion Ocean
Moon Cycles
Bell Pad
3
5
2
6
3
2
1
5
1
1
3
Piccolo
1
1
Ocarina
5
2
Flute Switch
Jazz Flute RX
6
10
4
Big Panner
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Factory data
Sounds (Bank order)
193
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
121
121
121
121
121
121
121
121
121
121
6
5
97
98
89
90
91
91
91
91
93
96
Rave
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
25
9
24
104
104
110
25
Ukulele
Zither
Sitar
Moving Bell
Analog Pad 3
Big Sweep Stab
Fresh Air 1
10
12
2
8
1
Fiddle
11
26
27
1
Mandolin Trem.
Mandolin Ens. 1
Mandolin Ens. 2
Banjo Key Off
Banjo RX
11
4
Fresh Air 2
25
Pop Synth Pad 1
Pop Synth Pad 2
80's Pop Synth
Wave Cycle DNC
25
12
2
105
105
104
107
107
107
107
107
105
105
104
72
4
3
2
Sitar Tambou
Kanoun 1
5
Factory: Synth Lead
2
Kanoun 2
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
12
3
87
80
81
81
87
87
87
80
80
80
87
87
80
81
81
80
89
80
93
81
90
87
90
90
95
84
81
88
87
96
87
80
80
101
Bass Phat Saw
Old Portamento
Power Saw
6
Kanoun Trem. 1
Kanoun Trem. 2
Kanoun Mix
Oud 1
3
5
4
6
Octo Lead
5
2
Electro Lead
Rich Lead
2
Oud 2
3
5
Bouzouki
4
Thin Analog Lead
Dance Lead
Wave Lead
2
Nay
4
2
71
Clarinet G
5
11
12
1
71
Klarnet 1
6
Sine Wave
71
Klarnet 2
5
Express. Lead
HipHop Lead
Analog Lead
Phat Saw Lead
Glide Lead
77
Old Shakuhachi
Kawala
6
1
75
7
2
111
109
109
104
111
111
112
112
105
107
107
107
Hichiriki
8
3
HighlandBagPipes
Uillean BagPipes
Indian Frets
Zurna 1
9
2
9
Gliding Square
Power Synth
Sine Switch
Cosmic
4
3
3
10
1
1
Zurna 2
1
Gamelan
10
7
Fire Wave
3
Garbage Mall
Jaw Harp
Digital PolySix
A Leadload
Noisy Stabb
Mega Synth
Dark Element
Metallic Rez
Synth Pianoid
Arp Angeles
Big & Raw
3
11
8
7
Ac. Baglama 1
Ac. Baglama 2
Ac. Baglama Grp.
8
9
9
3
Factory: Bass
4
12
2
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
12
13
17
18
19
20
24
21
22
23
12
13
8
32
32
33
33
33
33
33
33
33
33
34
34
35
35
33
36
Real Ac.Bass RX
Real Ac.Bass
8
Vintage P.Round
Vintage P. Flat
2
Caribbean
10
12
13
3
OB Lead
5 Strings BassRX
Dark E.Bass 1
Port Whine
2VCO Planet Lead
VCF Modulation
Dark E.Bass 2
Finger Jazz B.RX
Dark E.Bass DNC
Vintage P. Bass
Vintage P. Pick
Picked Jazz Bass
MM Fretless B.RX
Woofer Pusher 1
Finger Bass DNC
Dark Bs&Slp DNC
Factory: Ethnic
121
121
121
121
121
121
40
43
41
42
23
24
25
25
25
25
24
24
Mandolin DNC
Mandolin
Mandolin Orch.1
Mandolin Orch.2
Cavaquinho 1
Cavaquinho 2
9
16
7
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Factory data
Sounds (Bank order)
194
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
3
4
32
32
32
32
33
33
33
33
33
37
37
34
34
36
36
35
33
33
33
35
35
32
32
33
34
34
34
33
34
38
39
34
33
34
38
34
39
38
38
38
38
38
38
32
32
32
33
36
34
36
36
Acous. Bass Pro1
Acous. Bass Pro2
Jazz Bass
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
80
20
21
22
94
23
39
36
37
45
46
38
95
81
82
88
77
59
58
5
Room Kit Amb
Power Kit 1 Amb
Power Kit 2 Amb
Rock Kit Amb
Vintage Kit Amb
Gate Kit Amb
Cool Kit Amb
Jazz Kit 1 Amb
Jazz Kit 2 Amb
Brush Kit 1 Amb
Brush Kit 2 Amb
Lounge Kit Amb
Studio Kit RX
Real Kit 1 Amb
Real Kit 2 Amb
Pop Kit Amb
Groove Kit RX
Synth Kit 1
9
8
Acoustic Bass
Finger Bass 1
Finger Bass 2
Finger Bass 3
Finger Bass 4
Finger Slap
6
7
10
15
12
5
The Other Slap
Thumb Bass
1
7
Pick Bass 1
8
Pick Bass 2
1
Super Bass 1
Super Bass 2
Sweet Fretless
Finger E.Bass 1
Finger E.Bass 2
Finger E.Bass 3
Fretless Bass 1
Fretless Bass 2
Bass & Ride 1
Bass & Ride 2
Bright Finger B.
Picked E.Bass 1
Picked E.Bass 2
Picked E.Bass 3
Chorus Fing.Bass
Bass Mute
2
3
2
3
4
Synth Kit 2
1
Standard Kit RX1
Standard Kit RX2
Standard Kit RX3
Standard Kit RX4
Ambient Kit RX
Pop Std. Kit RX
Electro Kit RX1
Electro Kit RX2
Brush Kit RX1
Brush Kit RX2
Brush Kit RX3
HipHop Kit RX
Jazz Kit RX1
2
1
6
2
2
6
9
3
1
4
2
75
76
42
43
44
72
33
34
35
73
30
31
18
19
74
123
10
122
120
9
11
8
5
18
15
6
Synth Bass 1
Synth Bass 2
Bass&Gtr Double
FingerB.& Guitar
Bass & Guitar
30303 Bass
14
4
Jazz Kit RX2
Jazz Kit RX3
5
Techno Kit RX
House Kit RX1
House Kit RX2
Power Kit RX1
Power Kit RX2
Dance Kit RX
Analog Kit
3
Stein Bass
5
Jungle Rez
8
Syn Bass Reso
Digi Bass 1
9
11
13
15
10
10
11
7
Digi Bass 3
Jungle Bass
Hybrid Bass
Jungle Kit
Digi Bass 2
Electro Kit
Organ Pedal 1
Organ Pedal 2
Acous. Bass RX
Finger Bass RX
SlapFing Bass RX
Picked Bass RX
SlapPick Bass RX
FunkSlap Bass RX
Room Kit 1
HipHop Kit 1
Techno Kit 1
11
89
90
96
97
51
69
117
13
4
Pop Std. Kit 1
Pop Std. Kit 2
Elektro Kit 1
10
5
Elektro Kit 2
3
Arabian Kit 1
Standard PercKit
Arabian Kit 2
Factory: Drum & SFX
120 93
0
Standard Kit Amb
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Factory data
Sounds (Bank order)
195
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
118
119
64
Turkish Kit
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
2
7
18
17
18
16
17
16
16
17
16
17
18
16
16
16
16
16
16
16
16
16
17
Killer B
Oriental PercKit
Percussion Kit
Latin Perc.Kit 1
Latin Perc.Kit 2
Trinity Perc.Kit
i30 Perc. Kit
SFX Kit 1
BX3 Short Decay
Super BX Perc.
Gospel Organ
Old Wheels
6
65
9
68
3
66
7
Dark Organ 1
Dark Organ 2
Rotary Organ
VOX Legend
M1 Organ
67
5
60
8
57
SFX Kit 2
11
5
Legacy: Piano
7
Dirty JazzOrgan
Arabian Organ
Theatre Organ 3
Theatre Organ 4
Tibia
121
121
121
121
121
121
121
121
121
121
2
2
3
3
4
5
5
4
3
4
2
1
1
2
2
2
6
6
7
7
M1 Piano
12
24
25
26
27
28
29
31
32
6
Piano Pad 1
Piano Pad 2
90's Piano
2000's Piano
Chorus Piano
Harpsi 16' RX
Harpsi Korg
Clav Snap
Tibia 16+8+4
Tibia & Vox
Post Horn Trem.
Tibia & Kinura
Tibia Vox Glock
Techno Org.Bass
Sticky Clav
Legacy: E. Piano
Legacy: Guitar
121
121
121
121
121
121
121
121
121
121
121
4
6
4
5
5
5
5
4
4
4
5
5
5
Vintage EP
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
4
10
6
24
24
24
24
24
25
24
25
26
25
25
27
25
27
28
30
25
27
27
27
28
27
27
28
28
31
30
30
30
Nylon Bossa
Nylon Vel. Harm.
Spanish Guitar
Nylon Guitar
Brazilian Guitar
Steel Folk Gtr
Guitar Strings
Finger Key Off
Club Jazz Gtr 2
Pop Steel Slide
Finger Tips
Stereo Dig. EP
FM Stack EP
Hybrid EP
16
8
15
9
10
13
14
15
12
7
Phantom Tine
Soft Wurly
9
Hard Wurly
Velo Wurly
7
7
Sweeping EP
Classic Dig. EP
Syn Piano X
3
23
8
5
Legacy: Mallet & Bell
11
12
26
8
Country Nu
121
121
121
121
3
3
4
3
11
12
98
98
Vibraphone 2
Monkey Skuls
Digi Bell
Reso Guitar
Tel. Midddle
Clean Funk
Krystal Bell
6
Wet Dist. Guitar
Hackbrett
Legacy: Accordion
6
121
121
121
121
121
121
121
121
1
22
21
21
21
21
21
21
21
Sweet Harmonica
Akordeon
27
8
Tel. Bridge
2
Guitarish
14
20
22
15
5
Cassotto NorTune
Acc. Clarinet NT
Acc. Piccolo NT
Detune Accordion
Musette Clar.
17
5
Stra. Gtr Slide
Stra. Chime
25
10
7
Clean Guitar 2
L&R E.Guitar 2
Rhythm E.Guitar
Muted Guitar
E.Gtr Harmonics
Solo Dist.Guitar
Dist. Steel Gtr
Joystick Gtr Y-
10
Arabic Accordion
19
2
Legacy: Organ
7
121
121
121
121
4
8
18
18
18
18
Classic Click
Perc.Short Deca
Rock Organ 2
Dirty B
12
3
11
3
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Factory data
Sounds (Bank order)
196
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
121
121
121
121
121
121
121
2
1
3
3
4
2
4
67
65
66
65
65
66
66
Breathy Baritone
Alto Breath
Legacy: Strings & Vocal
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
21
3
48
49
48
48
89
48
48
48
45
48
49
50
51
52
52
52
85
50
52
50
85
54
54
53
Strings Ens. 1
Strings Ens. 2
i3 Strings
Tenor Breath
Breathy Alto Sax
Alto Sax Growl
Soft Tenor
5
3
Stereo Strings
Master Pad
2
Tenor Growl
6
N Strings
Legacy: Woodwind
7
Arco Strings
Legato Strings
Double Strings
Arabic Strings
Sweeper Strings
Analog Strings 2
Synth Strings 2
Take Voices 2
Aah Choir
4
121
121
121
121
121
121
121
7
9
7
8
1
1
2
71
73
73
73
69
74
74
Folk Clarinet
Flute
3
13
1
Wooden Flute
Bambu Flute
English Horn
Recorder 1
Recorder 2
2
1
5
7
Legacy: Synth Pad
10
2
Slow Choir
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
2
11
8
90
89
95
90
95
95
97
86
89
97
95
100
100
90
98
91
97
Sky Watcher
Vintage Pad
You Decide
Korgmatose
Reoccuring Astra
Astral Dream
Reso Down
Crimson 5ths
Freedom Pad
Noble Pad
Cyber Choir
Odissey
4
13
3
Strings Choir
Analog Velve
Ether Voices
Dream Voice
Classic Vox
13
6
1
1
5
2
4
1
2
Doolally
7
Legacy: Trumpet & Trbn.
5
121
121
121
121
121
121
121
121
121
121
3
8
56
56
57
57
57
56
56
58
58
58
Mono Trumpet
Warm Flugel
4
Mellow Pad
Lonely Spin
Synth Ghostly
Farluce
1
5
Pitch Trombone
Soft Trombone
Trombone
2
4
11
7
12
9
Bell Choir
BeBop Cornet
Flugel Horn
10
7
Dance ReMix
Elastick Pad
7
3
Dynabone
Legacy: Synth Lead
4
Ob.Tuba&E.Bass 1
Ob.Tuba&E.Bass 2
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
1
2
101
84
55
81
80
55
90
90
84
90
102
87
102
80
81
38
87
84
Motion Raver
Synchro City
Wild Arp
5
Legacy: Brass
6
121
121
121
121
121
121
121
121
121
121
121
121
121
8
61
61
61
61
61
61
61
61
61
61
63
63
55
Attack Brass
Big BandShake Y+
Trumpet Ens1 Y+
Dyna Brass 2
Double Brass
Power Brass
Brass Expr.
7
Seq Lead
33
35
22
24
21
15
17
18
19
5
8
Old & Analog
Flip Blip
7
1
Reso Sweep
Synth Sweeper
Sync Kron
Tecno Phonic
Band Passed
Cat Lead
3
3
10
3
Film Brass
Brass Slow
9
Fanfare
4
Pan Reso
Synth Brass 2
Brass Pad
11
11
14
7
Square Rez
Rezbo
3
8
Netherland Hit
Auto Pilot 1
Square Bass
Brian Sync
Legacy: Sax
121
5
5
66
Folk Sax
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Factory data
Sounds (Bank order)
197
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
121
121
6
7
84
84
Arp Twins
120
120
120
120
120
121
121
121
121
121
121
121
0
0
0
0
0
4
2
3
2
1
6
2
27
28
House Kit 2
House Kit 3
Brush Kit 1
Brush Kit 2
Orchestra Kit
Log Drum
LoFi Ethnic
125
41
Legacy: Ethnic
121
121
121
121
121
121
121
121
2
10
1
77
25
Shakuhachi
Mandolin Key Off
War Pipes
49
12
109
104
55
117
118
119
119
126
115
Reverse Tom
Reverse Snare
7
Sitar Sitar
5
Hit in India
Tambra
Reverse Cymbal
Dragon Gong
Stadium
6
104
104
112
3
Indian Stars
Bali Gamelan
2
Castanets Plus
Legacy: Bass
GM2/XG: Piano
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
1
6
32
36
37
37
37
37
32
33
35
35
37
34
35
33
35
39
39
38
39
39
39
39
38
39
39
38
38
39
38
39
Ac. Bass Buzz
Slap Bass 1
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
2
0
1
0
1
0
1
0
1
2
3
0
1
2
3
4
0
1
2
3
0
1
0
0
0
1
1
2
2
3
3
4
4
4
4
5
5
5
5
5
6
6
6
6
7
7
AcousticPiano GM
Ac. Piano Wide
Ac. Piano Dark
Bright Piano GM
Bright PianoWide
E.Grand Piano GM
E. Grand Wide
Honky-Tonk GM
Honky Wide
6
Slap Bass 2
7
Slap Bass 3
3
Dyna Slap Bass
Chorus Slap Bass
DarkWoody A.Bass
More mid! Bass
Woofer Pusher 2
Dark R&B Bass1
Dyna Bass
4
5
11
6
4
E. Piano 1 GM
Detuned EP 1
EP 1 Veloc. Mix
60's E. Piano
2
9
Ticktacing Bass
Fretless Bass 3
Stick Bass
7
5
E. Piano 2 GM
Detuned EP 2
EP 2 Veloc. Mix
EP Legend
5
Dark R&B Bass2
Auto Pilot 2
13
14
16
11
9
Bass4 Da Phunk
Dr. Octave
EP Phase
Monofilter Bass
Synth Bass 80ish
Reso Bass
Harpsichord GM
Harpsi OctaveMix
Harpsi Wide
12
10
17
6
Autofilter Bass
Drive Bass
Harpsi Key Off
Clav GM
Nasty Bass
Pulse Clav
4
Euro Bass
GM2/XG: Chromatic Percussion
6
30303 Square
Bass Square
7
121
121
121
121
121
121
121
121
121
121
121
121
0
0
0
0
1
0
1
0
0
1
2
0
8
Celesta GM
7
Phat Bass
9
Glockenspiel GM
Music Box GM
Vibraphone GM
Vibraphone Wide
Marimba GM
Marimba Wide
Xylophone GM
Tubular Bell GM
Church Bell
12
8
Blind As A Bat
Poinker Bass
10
11
11
12
12
13
14
14
14
15
Legacy: Drum & SFX
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
7
50
12
121
17
13
14
15
26
Standard Kit
Bdrum&Sdrum Kit
Room Kit 2
Power Kit 1
Power Kit 2
Carillon
HipHop Kit 2
Techno Kit 2
Techno Kit 3
House Kit 1
Dulcimer GM
GM2/XG: Organ
121
0
16
Drawbar Org GM
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Factory data
Sounds (Bank order)
198
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
1
2
3
0
1
2
0
0
1
2
0
1
0
1
0
0
16
16
16
17
17
17
18
19
19
19
20
20
21
21
22
23
Det.Drawbar Org
It. 60's Organ
121
121
121
121
121
121
3
4
0
1
2
3
38
38
39
39
39
39
Clavi Bass
Hammer
Drawbar Org. 2
Perc.Organ GM
Det. Perc. Organ
Perc. Organ 2
Synth Bass 2 GM
SynthBass Attack
SynthBass Rubber
Attack Pulse
Rock Organ GM
Church Organ GM
Church Oct. Mix
Detuned Church
Reed Organ GM
Puff Organ
GM2/XG: Strings
121
121
121
121
121
121
121
121
121
121
0
1
0
0
0
0
0
0
1
0
40
40
41
42
43
44
45
46
46
47
Violin GM
Slow Att. Violin
Viola GM
Cello GM
Contrabass GM
Tremolo Str. GM
Pizzicato Str.GM
Harp GM
Accordion GM
Accordion 2
Harmonica GM
Tango Accord.GM
Yang Chin
GM2/XG: Guitar
Timpani GM
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
2
3
0
1
2
3
0
1
0
1
2
0
1
2
3
0
1
0
1
2
0
1
24
24
24
24
25
25
25
25
26
26
27
27
27
28
28
28
28
29
29
30
30
30
31
31
Nylon Guitar GM
Ukulele
GM2/XG: Ensemble
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
2
0
0
1
0
0
1
0
1
0
1
0
1
2
3
48
48
48
49
50
50
51
52
52
53
53
54
54
55
55
55
55
Strings Ens.1 GM
Strings & Brass
60's Strings
Nylon Key Off
Nylon Guitar 2
Steel Guitar GM
12 Strings Gtr
Mandolin
Strings Ens.2 GM
Synth Strings1GM
Synth Strings 3
Synth Strings2GM
Choir Aahs GM
Choir Aahs 2
Steel Gtr & Body
Jazz Guitar GM
Pedal Steel Gtr
Clean Guitar GM
Det.Clean El.Gtr
Mid Tone Gtr
Voice Oohs GM
Humming
Synth Voice GM
Analog Voice
Orchestra Hit GM
Bass Hit Plus
Muted Guitar GM
Funky Cut El.Gtr
Mute Vel. El.Gtr
Jazz Man
6th Hit
Overdrive Gtr GM
Guitar Pinch
Euro Hit
GM2/XG: Brass
Distortion GtrGM
Feedback DistGtr
Dist. Rhythm Gtr
Gtr Harmonic GM
Guitar Feedback
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
0
1
2
0
0
1
0
1
0
1
0
1
2
3
56
56
57
57
57
58
59
59
60
60
61
61
62
62
62
62
Trumpet GM
Dark Trumpet
Trombone GM
Trombone 2
Bright Trombone
Tuba GM
GM2/XG: Bass
121
121
121
121
121
121
121
121
121
121
0
0
1
0
0
0
0
0
1
2
32
33
33
34
35
36
37
38
38
38
Acoustic Bass GM
Finger Bass GM
Finger Slap Bass
Picked E.Bass GM
Fretless Bass GM
Slap Bass 1 GM
Slap Bass 2 GM
Synth Bass 1 GM
Synth Bass Warm
Synth Bass Reso
Muted Trumpet GM
Muted Trumpet 2
French Horn GM
FrenchHorn Warm
Brass Section GM
Brass Section 2
Synth Brass 1 GM
Synth Brass 3
Analog Brass 1
Jump Brass
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Factory data
Sounds (Bank order)
199
CC00 CC32 PC
Sound Name
CC00 CC32 PC
Sound Name
121
121
121
0
1
2
63
63
63
Synth Brass 2 GM
Synth Brass 4
121
121
121
121
121
121
121
121
1
0
0
0
0
1
2
0
98
Synth Mallet
99
Atmosphere GM
Brightness GM
Goblins GM
Analog Brass 2
100
101
102
102
102
103
GM2/XG: Reed
Echo Drops GM
Echo Bell
121
121
121
121
121
121
121
121
0
0
0
0
0
0
0
0
64
65
66
67
68
69
70
71
Soprano Sax GM
Alto Sax GM
Echo Pan
Tenor Sax GM
Baritone Sax GM
Oboe GM
Star Theme GM
GM2/XG: Ethnic
English Horn GM
Bassoon GM
121
121
121
121
121
121
121
121
121
121
0
1
0
0
0
1
0
0
0
0
104
104
105
106
107
107
108
109
110
111
Sitar GM
Sitar 2
Clarinet GM
Banjo GM
Shamisen GM
Koto GM
GM2/XG: Pipe
121
121
121
121
121
121
121
121
0
0
0
0
0
0
0
0
72
73
74
75
76
77
78
79
Piccolo GM
Taisho Koto
Kalimba GM
Bag Pipes GM
Fiddle GM
Shanai GM
Flute GM
Recorder GM
Pan Flute GM
Blown Bottle GM
Shakuhachi GM
Whistle GM
GM2/XG: Percussive
Ocarina GM
121
121
121
121
121
121
121
121
121
121
121
121
121
0
0
0
0
1
0
1
0
1
0
1
2
0
112
113
114
115
115
116
116
117
117
118
118
118
119
Tinkle Bell GM
Agogo GM
GM2/XG: Synth Lead / Synth Pad
Steel Drums GM
Woodblock GM
Castanets
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
2
0
1
2
3
4
0
0
0
1
0
0
0
1
0
0
1
0
0
1
0
0
0
0
80
80
80
81
81
81
81
81
82
83
84
84
85
86
87
87
88
89
89
90
91
91
92
93
94
95
Lead Square GM
Lead Square 2
Lead Sine
Taiko Drum GM
Concert BassDrum
Melodic Tom GM
Melodic Tom 2
Synth Drum GM
Rhythm Box Tom
Electric Drum
Lead Saw GM
Lead Saw 2
Lead Saw & Pulse
Lead Double Saw
Lead Seq. Analog
Calliope GM
Chiff GM
ReverseCymbalGM
Charang GM
Wire Lead
GM2/XG: SFX
Voice Lead GM
Fifths Lead GM
Bass & Lead GM
Lead Soft Wrl
New Age Pad GM
Warm Pad GM
Sine Pad
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
2
0
1
0
1
2
3
4
5
0
1
2
3
0
1
2
120
120
120
121
121
122
122
122
122
122
122
123
123
123
123
124
124
124
Gtr FretNoise GM
Guitar Cut Noise
Ac. Bass String
Breath Noise GM
Flute Key Click
Seashore GM
Rain
Polysynth GM
Choir Pad GM
Itopia Pad
Thunder
Wind
Stream
Bowed Glass GM
Metallic Pad GM
Halo Pad GM
Sweep Pad GM
Bubble
Bird Tweet GM
Dog
Horse Gallop
Bird Tweet 2
Telephone GM
Telephone 2
Door Creaking
GM2/XG: Synth SFX
121
121
121
0
0
0
96
97
98
Ice Rain GM
Soundtrack GM
Crystal GM
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Factory data
Sounds (Bank order)
200
CC00 CC32 PC
Sound Name
CC00 CC32 PC
GM2/XG: Drum
Sound Name
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
3
4
5
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
0
1
2
3
124
124
124
125
125
125
125
125
125
125
125
125
125
126
126
126
126
126
126
127
127
127
127
Door
Scratch
120
120
120
120
120
120
120
120
120
127
127
127
127
127
127
127
127
127
127
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
Standard Kit GM
Room Kit GM
Power Kit GM
Electro Kit GM
Analog Kit GM
Jazz Kit GM
Wind Chime
Helicopter GM
Car Engine
Car Stop
8
16
24
25
32
40
48
56
0
Car Pass
Car Crash
Siren
Brush Kit GM
Orchestra Kit GM
SFX Kit GM
Train
Jetplane
Standard Kit1 XG
Standard Kit2 XG
Room Kit XG
Rock Kit XG
Starship
9
Burst Noise
Applause GM
Laughing
Screaming
Punch
8
16
24
25
32
48
40
17
Electro Kit XG
Analog Kit XG
Jazz Kit 1 XG
Jazz Kit 2 XG
Brush Kit XG
Heart Beat
Footsteps
Gun Shot GM
Machine Gun
Laser Gun
Explosion
Classic Kit XG
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Factory data
Sounds (Program Change order)
201
CC00 CC32 PC
Name
Sound Family
Sounds (Program Change order)
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
8
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
R&B E. Piano
Thin E. Piano
Dyno Tine EP 1
Club E. Piano
Classic Wurly 2
Soft Wurly
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Legacy: E. Piano
Legacy: E. Piano
Legacy: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
GM2/XG: Piano
GM2/XG: Piano
GM2/XG: Piano
GM2/XG: Piano
GM2/XG: Piano
Legacy: E. Piano
Legacy: E. Piano
Legacy: E. Piano
Legacy: E. Piano
Factory: E. Piano
Legacy: E. Piano
Factory: E. Piano
Legacy: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
9
The following table lists all Pa3X Factory Sounds in order of
Bank Select-Program Change number.
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
0
Legend: The table also includes MIDI data used to remotely select
the Sounds. CC00: Control Change 0, or Bank Select MSB. CC32:
Control Change 32, or Bank Select LSB. PC: Program Change.
Bank: Sound Select button.
Hard Wurly
Velo Wurly
Tremolo Wurly
Classic Wurly 1
Tine E.Piano RX
Tine E. Piano
Suit E.Piano 1
Suit E.Piano 2
Dyno Tine EP 2
Bell E. Piano 1
Bell E. Piano 2
EP+Damper 1 DNC
EP+Damper 2 DNC
Tine EP Phaser
Tine EP Dyno
Tine EP Amp/Phas
Dist. Tine EP
CC00 CC32 PC
Name
Sound Family
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
1
1
1
1
1
2
2
2
2
2
2
2
2
2
2
2
3
3
3
3
4
4
4
4
4
4
4
4
AcousticPiano GM
Ac. Piano Wide
Ac. Piano Dark
Grand Piano
GM2/XG: Piano
GM2/XG: Piano
GM2/XG: Piano
Factory: Piano
Factory: Piano
Factory: Piano
Factory: Piano
Factory: Piano
Factory: Piano
Factory: Piano
Factory: Piano
Factory: Piano
Factory: Piano
Factory: Piano
GM2/XG: Piano
GM2/XG: Piano
Legacy: Piano
Legacy: Piano
Factory: Piano
Factory: Piano
GM2/XG: Piano
GM2/XG: Piano
Legacy: Piano
Legacy: Piano
Legacy: Piano
Legacy: Piano
Factory: Piano
Factory: Piano
Factory: Piano
Factory: Piano
Factory: Piano
GM2/XG: Piano
GM2/XG: Piano
Factory: Piano
Factory: Piano
GM2/XG: Piano
GM2/XG: Piano
GM2/XG: Piano
GM2/XG: Piano
Legacy: E. Piano
Factory: E. Piano
Factory: E. Piano
Factory: E. Piano
2
3
4
Classic Piano
Jazz Piano
5
6
Piano & Vibes
Piano & Strings
Rock Piano
7
8
9
Grand&MovingPad
Grand Piano RX
Grand RX DEMO
Grand Piano Live
Concert Grand RX
Bright Piano GM
Bright PianoWide
Piano Pad 1
10
11
12
13
0
Wet Tine EP
Bell Tine EP
1
Suit Case88 EP1
Suit Case88 EP2
E.Piano RX Noise
Wurly Logic
2
3
Piano Pad 2
4
Piano & Pad
5
Bright Piano RX
E.Grand Piano GM
E. Grand Wide
M1 Piano
Reed EP Clean
Wurly Amp
0
1
Wurly Clean 1
Wurly AmpChorus
Wurly Clean 2
Wurly RX Noise
Natural EP
2
3
90's Piano
4
2000's Piano
5
Chorus Piano
Piano Layers
6
Natural Wurly
E. Piano 2 GM
Detuned EP 2
EP 2 Veloc. Mix
EP Legend
7
Grand & FM Stack
G.Piano Stack 1
G.Piano Stack 2
E. Grand Phaser
Honky-Tonk GM
Honky Wide
8
1
9
2
10
0
3
4
EP Phase
1
5
Syn Piano X
2
Honky-Tonk RX
Ragtime Piano
E. Piano 1 GM
Detuned EP 1
EP 1 Veloc. Mix
60's E. Piano
6
Stereo Dig. EP
Classic Dig. EP
Hybrid EP
3
7
0
8
1
9
Classic Tines
Phantom Tine
DW8000 EP
2
10
11
12
13
14
15
3
4
Vintage EP
Sweeping EP
White Pad EP
Digi E. Piano
FM Pad EP
5
Pro Dyno EP
6
Pro Stage EP
7
Studio EP
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Factory data
Sounds (Program Change order)
202
CC00 CC32 PC
Name
Sound Family
CC00 CC32 PC
Name
Sound Family
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
16
17
0
1
2
3
4
5
6
0
1
2
3
4
5
6
0
1
0
1
2
0
1
2
0
1
2
3
0
1
2
3
4
5
6
7
0
1
0
1
2
3
4
0
1
0
1
2
3
4
5
6
7
5
5
FM Stack EP
VPM E. Piano
Harpsichord GM
Harpsi OctaveMix
Harpsi Wide
Harpsi Key Off
Harpsi Korg
Harpsi 16' RX
Harpsichord RX
Clav GM
Legacy: E. Piano
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
8
9
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
16
17
17
17
17
17
17
17
17
17
17
17
17
17
18
18
18
18
18
18
18
18
18
18
18
Jazz Organ
Factory: Organ
Legacy: Organ
Factory: Organ
Legacy: Organ
Legacy: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Legacy: Organ
Legacy: Organ
Legacy: Organ
Legacy: Organ
Legacy: Organ
Legacy: Organ
Factory: Organ
Legacy: Organ
Legacy: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Factory: Organ
GM2/XG: Organ
GM2/XG: Organ
GM2/XG: Organ
Legacy: Organ
Factory: Organ
Legacy: Organ
Legacy: Organ
Legacy: Organ
Legacy: Organ
Factory: Organ
Factory: Organ
Factory: Organ
Factory: Organ
GM2/XG: Organ
Factory: Organ
Legacy: Organ
Legacy: Organ
Legacy: Organ
Factory: Organ
Legacy: Organ
Legacy: Organ
Legacy: Organ
Factory: Organ
Factory: Organ
Factory: E. Piano
Gospel Organ
BX3 Rock 1 V.
VOX Legend
6
GM2/XG: Piano
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
0
6
GM2/XG: Piano
6
GM2/XG: Piano
Arabian Organ
Gospel Organ V.
Drawbars Organ
Organ Low 2 V.
Organ Mid V.
Organ Hi V.
6
GM2/XG: Piano
6
Legacy: Piano
6
Legacy: Piano
6
Factory: Piano
7
GM2/XG: Piano
7
Pulse Clav
GM2/XG: Piano
Drawbars Fast V.
Drawbars Slow V.
BX3 Jazz V.
7
Clav Wah RX
Clav Snap
Factory: Piano
7
Legacy: Piano
7
Sticky Clav
Legacy: Piano
BX3 Gospel V.
Theatre Organ 1
Theatre Organ 2
Theatre Organ 3
Theatre Organ 4
Tibia
7
Clav RX
Factory: Piano
7
Synth Clav RX
Celesta GM
Celesta
Factory: Piano
8
GM2/XG: Chrom.Perc.
Factory: Mallet & Bell
GM2/XG: Chrom.Perc.
Factory: Mallet & Bell
Factory: Mallet & Bell
GM2/XG: Chrom.Perc.
Factory: Mallet & Bell
Factory: Mallet & Bell
GM2/XG: Chrom.Perc.
GM2/XG: Chrom.Perc.
Factory: Mallet & Bell
Legacy: Mallet & Bell
GM2/XG: Chrom.Perc.
GM2/XG: Chrom.Perc.
Factory: Mallet & Bell
Legacy: Mallet & Bell
Legacy: Drum & SFX
Factory: Mallet & Bell
Factory: Mallet & Bell
Factory: Mallet & Bell
GM2/XG: Chrom.Perc.
Factory: Mallet & Bell
GM2/XG: Chrom.Perc.
GM2/XG: Chrom.Perc.
GM2/XG: Chrom.Perc.
Factory: Mallet & Bell
Factory: Mallet & Bell
GM2/XG: Chrom.Perc.
Factory: Mallet & Bell
GM2/XG: Organ
8
9
Glockenspiel GM
Sistro
9
Tibia 16+8+4
Tibia & Vox
9
Glockenspiel
Music Box GM
Orgel
10
10
10
11
11
11
11
12
12
12
12
12
12
12
12
13
13
14
14
14
14
14
15
15
16
16
16
16
16
16
16
16
Post Horn Trem.
Big Theatre Org.
Tibia & Kinura
Tibia Vox Glock
Organ Low+1'V.
Organ HiMix1 V.
Organ HiMix2 V.
Organ 16+51/3 V.
Perc.Organ GM
Det. Perc. Organ
Perc. Organ 2
Old Wheels
Music Box
Vibraphone GM
Vibraphone Wide
Vibraphone 1
Vibraphone 2
Marimba GM
Marimba Wide
Marimba Key Off
Monkey Skuls
Log Drum
1
2
3
Mallet Clock
Balaphon
4
Organ LowPc V.
M1 Organ
5
Marimba
6
Techno Org.Bass
BX3 Short Decay
Rotary Organ
Perc. Organ 2V.
Perc. Organ 1
Perc. Organ 3V.
Classic Perc.Org
Rock Organ GM
BX3 Rock 2 V.
Killer B
Xylophone GM
Xylophone
7
8
Tubular Bell GM
Church Bell
Carillon
9
10
11
12
0
Bells
Tubular Bell
Dulcimer GM
Santur
1
2
Drawbar Org GM
Det.Drawbar Org
It. 60's Organ
Drawbar Org. 2
Organ Low 1 V.
Dark Organ 2
BX3 Full V.
3
Dirty B
GM2/XG: Organ
4
Classic Click
GM2/XG: Organ
5
BX3 Rock 3 V.
Super BX Perc.
Dirty JazzOrgan
Perc.Short Deca
BX3 Jazz Pc. V.
Jimmy Organ V.
GM2/XG: Organ
6
Factory: Organ
7
Legacy: Organ
8
Factory: Organ
9
Dark Organ 1
Legacy: Organ
10
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Factory data
Sounds (Program Change order)
203
CC00 CC32 PC
Name
Sound Family
CC00 CC32 PC
Name
Sound Family
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
11
12
13
0
18
18
18
19
19
19
19
19
19
19
19
19
19
19
20
20
20
20
20
20
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
21
22
22
22
Rock Organ 2
BX3 Rock 4 V.
Jimmy Organ DNC
Church Organ GM
Church Oct. Mix
Detuned Church
Pipe Mixture
Church Pipes
Full Pipes
Legacy: Organ
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
3
4
22
22
22
22
22
22
23
23
23
23
23
23
23
23
23
23
23
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
24
25
25
25
25
25
25
25
25
25
25
Harmonica AT 1
Harmonica AT 2
Harmonica DNC
Jazz Harm. DNC
Sweet Harm. DNC
Melodica DNC
Tango Accord.GM
Fisa Tango!
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
GM2/XG: Organ
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
GM2/XG: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
Legacy: Guitar
Factory: Organ
Factory: Organ
5
GM2/XG: Organ
GM2/XG: Organ
GM2/XG: Organ
Factory: Organ
6
1
7
2
8
3
0
4
Factory: Organ
1
5
Factory: Organ
2
Accordion 16,8'
Accordion16,8,4'
Acc.16,8' & Bass
Accordion Bass
Acc.Voice Change
Accordion 16,4'
Acc.16,8,4' Plus
Acc. & Acc. Bass
Tango Accordion
Nylon Guitar GM
Ukulele
6
Pipe Tutti 1
Factory: Organ
3
7
Positive Organ
Pipe Tutti 2
Factory: Organ
4
8
Factory: Organ
5
9
Pipe Tutti 3
Factory: Organ
6
10
0
Pipe Tutti 4
Factory: Organ
7
Reed Organ GM
Puff Organ
GM2/XG: Organ
GM2/XG: Organ
Factory: Organ
8
1
9
2
Small Pipe
10
0
3
Flauto Pipes
Factory: Organ
4
Pipe Flute 1
Factory: Organ
1
5
Pipe Flute 2
Factory: Organ
2
Nylon Key Off
Nylon Guitar 2
Nylon Bossa
0
Accordion GM
Accordion 2
GM2/XG: Organ
GM2/XG: Organ
Legacy: Accordion
Factory: Accordion
Factory: Accordion
Legacy: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Legacy: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Legacy: Accordion
Legacy: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Legacy: Accordion
Factory: Accordion
Legacy: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
Factory: Accordion
GM2/XG: Organ
Legacy: Accordion
Factory: Accordion
3
1
4
2
Akordeon
5
Ac.Guitar KeyOff
Spanish Guitar
Guitar Strings
Nylon Gtr Pro1
Brazilian Guitar
Nylon Vel. Harm.
Nylon Gtr Pro2
Nylon Gtr RX1
Nylon Gtr RX2
Nylon Slide Pro
Nylon Guitar
Factory: Guitar
Legacy: Guitar
3
Musette 1
6
4
Musette 2
7
Legacy: Guitar
5
Musette Clar.
Fisa 16,8'
8
Factory: Guitar
Legacy: Guitar
6
9
7
Fisa 16,4'
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
0
Legacy: Guitar
8
Fisa Master
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Legacy: Guitar
9
Cassotto
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
0
Arabic Accordion
Sweet Musette
Cassotto 16'
Cassotto Or.Tune
Cassotto NorTune
Detune Accordion
2 Voices Musette
3 Voices Musette
French Musette
Acc.Clarinet OT
Acc. Clarinet NT
Acc. Piccolo OT
Acc. Piccolo NT
Master Accordion
Accordion
RealNylon Gtr ST
Real Nylon Gtr
Nylon Guitar DNC
Natural NylonDNC
Concert Gtr DNC
Concert Gtr Pro
Concert 12Str RX
Cavaquinho 1
Cavaquinho 2
Ukulele
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Ethnic
Factory: Ethnic
Factory: Ethnic
GM2/XG: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
Factory: Guitar
Factory: Guitar
Legacy: Guitar
Steel Guitar GM
12 Strings Gtr
Mandolin
1
Steirisch.Akk.1
Steirisch.Akk.2
Steirisch.Akk.3
Steirisch.Akk.4
Classic Musette
Harmonica GM
Sweet Harmonica
Harmonica
2
3
Steel Gtr & Body
Steel Guitar 1
Steel 12 Strings
Hackbrett
4
5
6
7
Finger Key Off
Finger Tips
Legacy: Guitar
1
8
Legacy: Guitar
2
9
Steel Folk Gtr
Legacy: Guitar
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Factory data
Sounds (Program Change order)
204
CC00 CC32 PC
Name
Sound Family
CC00 CC32 PC
Name
Sound Family
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
0
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
25
26
26
26
26
26
26
26
26
27
27
27
27
27
27
27
27
27
27
27
Mandolin Key Off
Mandolin Trem.
Reso Guitar
Legacy: Ethnic
Factory: Ethnic
Legacy: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Legacy: Guitar
Factory: Guitar
Factory: Guitar
Factory: Ethnic
Factory: Ethnic
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Ethnic
Factory: Ethnic
Factory: Ethnic
Factory: Ethnic
GM2/XG: Guitar
GM2/XG: Guitar
Factory: Guitar
Legacy: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Legacy: Guitar
Factory: Guitar
Legacy: Guitar
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
0
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
27
28
28
28
28
28
28
28
28
28
28
28
28
28
28
28
28
28
28
28
28
28
28
29
29
29
29
Country Nu
Legacy: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Legacy: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Legacy: Guitar
Legacy: Guitar
Legacy: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
Factory: Guitar
Legacy: Guitar
Factory: Guitar
Legacy: Guitar
Legacy: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Legacy: Guitar
Factory: Guitar
Factory: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
Factory: Guitar
Factory: Guitar
Funky Wah RX
Clean Gtr Pro 1
Single Coil Pro
Clean Gtr Pro 2
Stra. Vel. Pro
Steel Slide Pro1
Steel Slide Pro2
Steel Guitar RX1
Steel Guitar RX2
12 Strings Pro
12 Strings RX
Stra. Gtr Slide
Chorus Gtr Pro
Vintage S. 1
Steel Guitar Pro
Steel Guitar 2
Pop Steel Gtr 1
Pop Steel Gtr 2
Pop Steel Slide
Pop SteelGtr RX1
Pop SteelGtr RX2
Mandolin Ens. 1
Mandolin Ens. 2
RealSteel Gtr ST
RealFolk Gtr ST1
RealFolk Gtr ST2
Real Steel Gtr
Real Folk Gtr
Clean Guitar 1
Solid Guitar
Clean Jazz 1
Clean Jazz 2
'54 E. Guitar
Clean Guitar 2
Tel. Midddle
Tel. Bridge
Real El. Gtr ST1
Real El. Gtr ST2
Real El. Guitar1
Real El. Guitar2
Stra. Gtr 1 DNC
Stra. Gtr 2 DNC
Chorus Gtr DNC
E.Gtr Ch/Dly DNC
Clean Funk RX1
E.Gtr Amp DNC
Muted Guitar GM
Funky Cut El.Gtr
Mute Vel. El.Gtr
Jazz Man
Real 12 Strings
RealFolk Gtr DNC
Steel Gtr RX
ClassicSteel DNC
Classic12Str Pro
Classic12Str DNC
Classic 12Str RX
Mandolin DNC
Mandolin Orch.1
Mandolin Orch.2
Mandolin
1
2
3
4
R&R Guitar
5
Stra. Chime
6
Clean Mute Gtr
Rhythm E.Guitar
Clean Funk
Jazz Guitar GM
Pedal Steel Gtr
Club Jazz Gtr 1
Club Jazz Gtr 2
Pedal Steel
7
1
8
2
9
Disto Mute
3
10
11
12
13
14
15
16
17
18
19
20
21
0
Clean Funk RX1
Clean Funk RX2
Funk Stein RX1
Funk Stein RX2
Clean Guitar RX1
Clean Guitar RX2
Clean Guitar RX3
Clean Guitar RX4
Clean Guitar RX5
Muted Guitar
Clean Guitar RX6
5th Mute Gtr
4
5
Soft Jazz Guitar
JazzGtr SlidePro
Jazz Gtr DNC
6
7
0
Clean Guitar GM
Det.Clean El.Gtr
Mid Tone Gtr
1
2
3
Chorus Guitar
Vintage S. 2
4
5
Processed E.Gtr
Single Coil
6
7
New Stra.Guitar
Guitarish
Overdrive Gtr GM
Guitar Pinch
8
1
9
L&R E.Guitar 1
L&R E.Guitar 2
2
Soft Overdrive
Crunch Gtr DNC
10
3
Download from Www.Somanuals.com. All Manuals Search And Download.
Factory data
Sounds (Program Change order)
205
CC00 CC32 PC
Name
Sound Family
CC00 CC32 PC
Name
Sound Family
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
4
0
29
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
31
31
31
32
32
32
32
32
32
32
32
32
32
32
32
32
32
33
33
33
33
33
33
33
33
33
33
33
33
33
33
33
33
33
33
33
Lead Guitar DNC
Distortion GtrGM
Feedback DistGtr
Dist. Rhythm Gtr
Joystick Gtr Y-
Power Chords
Mute Monster
Wet Dist. Guitar
Solo Dist.Guitar
Stereo Dist.Gtr
Dist. Guitar RX1
Dist. Guitar RX2
Dist. Clean Gtr
Dist. Steel Gtr
Dist. Gtr 1 DNC
Dist. Gtr 2 DNC
Power Chords RX
Gtr Harmonic GM
Guitar Feedback
E.Gtr Harmonics
Acoustic Bass GM
Ac. Bass Buzz
Factory: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
Legacy: Guitar
Factory: Guitar
Factory: Guitar
Legacy: Guitar
Legacy: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
Legacy: Guitar
Factory: Guitar
Factory: Guitar
Factory: Guitar
GM2/XG: Guitar
GM2/XG: Guitar
Legacy: Guitar
GM2/XG: Bass
Legacy: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Legacy: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
GM2/XG: Bass
GM2/XG: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Legacy: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Legacy: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
19
20
21
22
23
24
0
33
33
33
33
33
33
34
34
34
34
34
34
34
34
34
34
34
34
34
34
35
35
35
35
35
35
35
35
35
35
36
36
36
36
36
36
36
36
37
37
37
37
37
37
37
37
38
38
38
38
38
38
38
5 Strings BassRX
Dark E.Bass 1
Finger Jazz B.RX
Dark E.Bass DNC
Vintage P. Bass
Dark E.Bass 2
Picked E.Bass GM
Picked E.Bass 1
Picked E.Bass 2
Stein Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
GM2/XG: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Legacy: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
GM2/XG: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Legacy: Bass
Legacy: Bass
Legacy: Bass
Legacy: Bass
Factory: Bass
Factory: Bass
GM2/XG: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Factory: Bass
Legacy: Bass
Factory: Bass
GM2/XG: Bass
Factory: Bass
Legacy: Bass
Legacy: Bass
Legacy: Bass
Factory: Bass
Legacy: Bass
Legacy: Bass
GM2/XG: Bass
GM2/XG: Bass
GM2/XG: Bass
GM2/XG: Bass
GM2/XG: Bass
Factory: Bass
Legacy: Bass
1
2
3
4
5
6
1
7
2
8
3
9
4
Bass & Guitar
Bass Mute
10
11
12
13
14
15
0
5
6
Bass&Gtr Double
Pick Bass 1
7
8
Pick Bass 2
9
Ticktacing Bass
Picked Bass RX
Picked E.Bass 3
Vintage P. Pick
Picked Jazz Bass
Fretless Bass GM
Fretless Bass 1
Fretless Bass 2
Sweet Fretless
Dark R&B Bass1
Dark R&B Bass2
Woofer Pusher 2
Fretless Bass 3
MM Fretless B.RX
Woofer Pusher 1
Slap Bass 1 GM
Super Bass 1
10
11
12
13
0
1
2
0
1
1
2
Bass & Ride 2
2
3
Acous. Bass Pro1
Acous. Bass Pro2
DarkWoody A.Bass
Bass & Ride 1
3
4
4
5
5
6
6
7
Acous. Bass RX
Acoustic Bass
7
8
8
9
Jazz Bass
9
10
11
12
13
0
Organ Pedal 1
Organ Pedal 2
Real Ac.Bass RX
Real Ac.Bass
0
1
2
Super Bass 2
3
FunkSlap Bass RX
SlapFing Bass RX
SlapPick Bass RX
Slap Bass 1
Finger Bass GM
Finger Slap Bass
Finger E.Bass 1
Finger E.Bass 2
Finger E.Bass 3
Stick Bass
4
1
5
2
6
3
7
Dark Bs&Slp DNC
Slap Bass 2 GM
Thumb Bass
4
0
5
1
6
Finger Bass 1
2
Dyna Bass
7
Finger Bass 2
3
Dyna Slap Bass
Chorus Slap Bass
The Other Slap
Slap Bass 2
8
Chorus Fing.Bass
Bright Finger B.
Finger Bass 3
4
9
5
10
11
12
13
14
15
16
17
18
6
More Mid! Bass
Finger Slap
7
Slap Bass 3
0
Synth Bass 1 GM
Synth Bass Warm
Synth Bass Reso
Clavi Bass
Finger Bass RX
FingerB.& Guitar
Finger Bass 4
1
2
3
Finger Bass DNC
Vintage P.Round
Vintage P. Flat
4
Hammer
5
30303 Bass
6
30303 Square
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Factory data
Sounds (Program Change order)
206
CC00 CC32 PC
Name
Sound Family
CC00 CC32 PC
Name
Sound Family
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
7
8
38
38
38
38
38
38
38
38
38
38
38
38
39
39
39
39
39
39
39
39
39
39
39
39
39
39
39
39
40
40
40
40
40
40
40
40
40
41
41
41
42
42
43
43
44
44
45
45
45
45
46
46
46
Bass Square
Syn Bass Reso
Digi Bass 1
Legacy: Bass
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
0
47
48
48
48
48
48
48
48
48
48
48
48
48
48
48
48
48
48
48
48
48
48
48
48
48
49
49
49
49
49
49
49
49
49
49
49
49
50
50
50
50
50
50
50
51
51
52
52
52
52
52
52
52
Timpani GM
GM2/XG: Strings
Factory: Bass
Strings Ens.1 GM
Strings & Brass
60's Strings
GM2/XG: Ensemble
9
Factory: Bass
1
GM2/XG: Ensemble
10
11
12
13
14
15
16
17
18
0
Digi Bass 2
Factory: Bass
2
GM2/XG: Ensemble
Digi Bass 3
Factory: Bass
3
Stereo Strings
Legato Strings
i3 Strings
Legacy: Strings & Voc.
Legacy: Strings & Voc.
Legacy: Strings & Voc.
Legacy: Strings & Voc.
Legacy: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Legacy: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Legacy: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
GM2/XG: Ensemble
Blind As A Bat
Jungle Bass
Auto Pilot 1
Hybrid Bass
Dr. Octave
Legacy: Bass
4
Factory: Bass
5
Legacy: Synth Lead
Factory: Bass
6
N Strings
7
Arco Strings
Legacy: Bass
8
Octave Strings
Strings Quartet
Symphonic Bows
Ensemble & Solo
Chamber Strings
Arabic Strings
Orchestra Tutti1
Strings & Horns
Orch. & Oboe 1
Orch. & Oboe 2
Strings & Glock.
Orchestra Tutti2
Orchestra&Flute
Strings Ens. 1
Strings Ens. RX
Concert Str.RX
Strings Ens.2 GM
Sweeper Strings
Full Strings
Drive Bass
Legacy: Bass
9
Synth Bass 1
Synth Bass 2 GM
SynthBass Attack
SynthBass Rubber
Attack Pulse
Euro Bass
Factory: Bass
10
11
12
13
14
15
16
17
18
19
20
21
22
23
0
GM2/XG: Bass
1
GM2/XG: Bass
2
GM2/XG: Bass
3
GM2/XG: Bass
4
Legacy: Bass
5
Jungle Rez
Factory: Bass
6
Nasty Bass
Legacy: Bass
7
Phat Bass
Legacy: Bass
8
Poinker Bass
Synth Bass 80ish
Autofilter Bass
Monofilter Bass
Reso Bass
Legacy: Bass
9
Legacy: Bass
10
11
12
13
14
15
0
Legacy: Bass
Legacy: Bass
Legacy: Bass
Auto Pilot 2
Bass4 Da Phunk
Synth Bass 2
Violin GM
Legacy: Bass
Legacy: Bass
1
Legacy: Strings & Voc.
Factory: Strings & Voc.
Legacy: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
GM2/XG: Ensemble
Factory: Bass
2
GM2/XG: Strings
GM2/XG: Strings
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
GM2/XG: Strings
Factory: Strings & Voc.
Factory: Strings & Voc.
GM2/XG: Strings
Factory: Strings & Voc.
GM2/XG: Strings
Factory: Strings & Voc.
GM2/XG: Strings
Factory: Strings & Voc.
GM2/XG: Strings
Factory: Strings & Voc.
Factory: Strings & Voc.
Legacy: Strings & Voc.
GM2/XG: Strings
GM2/XG: Strings
Factory: Strings & Voc.
3
Strings Ens. 2
Spiccato Strings
Movie Strings 1
Movie Strings 2
Movie Str.1 DNC
Movie Str.2 DNC
Real Strings 1
Real Strings 2
Concert Strings
Synth Strings1GM
Synth Strings 3
Analog Strings 2
Analog Velve
1
Slow Att. Violin
Violin Expr. 2
Slow Violin
4
2
5
3
6
4
Violin Expr. 3
Violin Expr. DNC
Conc.Violin DNC
Real Violin DNC
Violin Expr. 1
Viola GM
7
5
8
6
9
7
10
11
0
8
0
1
Viola Expr.
1
GM2/XG: Ensemble
2
Violin & Viola
Cello GM
2
Legacy: Strings & Voc.
Legacy: Strings & Voc.
Legacy: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
GM2/XG: Ensemble
0
3
1
Cello
4
Odissey
0
Contrabass GM
Class.Contrabass
Tremolo Str. GM
Tremolo Strings
Pizzicato Str.GM
Pizz. Ensemble
Pizz. Section
Double Strings
Harp GM
5
Analog Strings 1
Synth Strings 1
Synth Strings2GM
Synth Strings 2
Choir Aahs GM
Choir Aahs 2
1
6
0
0
1
1
Legacy: Strings & Voc.
GM2/XG: Ensemble
0
0
1
1
GM2/XG: Ensemble
2
2
Ooh Voices
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Legacy: Strings & Voc.
Factory: Strings & Voc.
3
3
Ooh Slow Voice
Take Voices 1
Take Voices 2
Ooh Choir
0
4
1
Yang Chin
5
2
Classic Harp
6
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Factory data
Sounds (Program Change order)
207
CC00 CC32 PC
Name
Sound Family
CC00 CC32 PC
Name
Sound Family
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
7
8
52
52
52
52
52
52
52
52
52
52
52
52
52
52
52
52
52
53
53
53
53
53
53
54
54
54
54
54
54
54
55
55
55
55
55
55
55
55
55
56
56
56
56
56
56
56
56
56
56
56
56
56
56
Aah Choir
Legacy: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Legacy: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Legacy: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
GM2/XG: Ensemble
GM2/XG: Ensemble
Legacy: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
Factory: Strings & Voc.
GM2/XG: Ensemble
GM2/XG: Ensemble
Factory: Strings & Voc.
Factory: Strings & Voc.
Legacy: Strings & Voc.
Legacy: Strings & Voc.
Factory: Strings & Voc.
GM2/XG: Ensemble
GM2/XG: Ensemble
GM2/XG: Ensemble
GM2/XG: Ensemble
Factory: Brass
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
14
15
16
17
18
19
20
21
22
23
24
25
26
0
56
56
56
56
56
56
56
56
56
56
56
56
56
57
57
57
57
57
57
57
57
57
57
57
57
57
57
57
57
57
57
58
58
58
58
58
58
58
59
59
59
59
59
59
60
60
60
60
60
60
60
60
60
Trumpet
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
GM2/XG: Brass
Wuuh Choir
Oh-Ah Voices
Slow Choir
Trumpet Expr.1
Trumpet Pro 3
Alp Trumpet
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
0
Grand Choir
Choir Light
Trumpet Shake Y+
Concert Trumpet
Concert Trp. Pro
Cornet Expr.
Strings Choir
Femal&Male Scat
Femal Scat
Cornet Pro 1
Male Scat
Cornet Pro 2
Scat V.& Bass1
Scat V.& Bass2
Scat Voices RX
Scat Voices DNC
Cycle Scat 1
Cycle Scat 2
Little Boy Voice
Voice Oohs GM
Humming
Jazz Trumpet DNC
Jazz Cornet DNC
Trumpet Expr.DNC
Trombone GM
Trombone 2
1
GM2/XG: Brass
2
Bright Trombone
Hard Trombone
Soft Trombone
Pitch Trombone
Trombone Expr. 1
Trombone Expr. 2
Trombone Vel. 1
Trombone Vel. 2
Trombone Vel. 3
Trombone Pro Vel
Trombone
GM2/XG: Brass
3
Factory: Trpt & Trbn.
Legacy: Trpt & Trbn.
Legacy: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Legacy: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
GM2/XG: Brass
4
1
5
2
Doolally
6
3
Airways
7
4
SopranoVox1 DNC
SopranoVox2 DNC
Synth Voice GM
Analog Voice
Vocalesque
8
5
9
0
10
11
12
13
14
15
16
17
0
1
2
3
Vocalscape
Trombone DNC
Jazz Trb. 2 DNC
Jazz Trb. 1 DNC
Soft Trb. DNC
4
Classic Vox
5
Dream Voice
Synth Voices
Orchestra Hit GM
Bass Hit Plus
6th Hit
6
0
Trb. Expr. DNC
Tuba GM
1
2
1
Oberkr. Tuba
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Legacy: Trpt & Trbn.
Legacy: Trpt & Trbn.
Legacy: Trpt & Trbn.
Factory: Trpt & Trbn.
GM2/XG: Brass
3
Euro Hit
2
Tuba Gold
4
Brass Impact
Hit in India
3
Dynabone
5
Legacy: Ethnic
4
Ob.Tuba&E.Bass 1
Ob.Tuba&E.Bass 2
Alp Tuba
6
Wild Arp
Legacy: Synth Lead
Legacy: Synth Lead
Legacy: Brass
5
7
Flip Blip
6
8
Netherland Hit
Trumpet GM
Dark Trumpet
Trumpet Overb.
Mono Trumpet
Trumpet Expr.2
Trumpet Pitch
Dual Trumpets
Flugel Horn
0
Muted Trumpet GM
Muted Trumpet 2
Wah Trumpet
Mute Ensemble 1
Mute Ensemble 2
Mute Trumpet
French Horn GM
FrenchHorn Warm
French Section
Classic Horns
0
GM2/XG: Brass
1
GM2/XG: Brass
1
GM2/XG: Brass
2
Factory: Trpt & Trbn.
Factory: Brass
2
Factory: Trpt & Trbn.
Legacy: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Legacy: Trpt & Trbn.
Legacy: Trpt & Trbn.
Legacy: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
Factory: Trpt & Trbn.
3
3
4
Factory: Brass
4
5
Factory: Trpt & Trbn.
GM2/XG: Brass
5
0
6
1
GM2/XG: Brass
7
2
Factory: Brass
8
Warm Flugel
BeBop Cornet
Trumpet Pro 1
Trumpet Pro 2
Sweet FlugelHorn
Flugel Horn Pro
3
Factory: Brass
9
4
Horns & Ensemble
Trpt. & Horns
Factory: Brass
10
11
12
13
5
Factory: Brass
6
Soft Horns 1
Factory: Brass
7
Soft Horns 2
Factory: Brass
8
Soft Horns 3
Factory: Brass
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Factory data
Sounds (Program Change order)
208
CC00 CC32 PC
Name
Sound Family
CC00 CC32 PC
Name
Sound Family
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
61
62
62
62
62
62
62
63
63
63
63
63
63
64
64
64
64
Brass Section GM
Brass Section 2
Tight Brass 3
Glenn & Friends
Big Band Brass 2
Sax & Brass
GM2/XG: Brass
GM2/XG: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Legacy: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Legacy: Brass
Factory: Brass
Legacy: Brass
Legacy: Brass
Legacy: Brass
Factory: Brass
Legacy: Brass
Legacy: Brass
Factory: Brass
Legacy: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Factory: Brass
Legacy: Brass
Factory: Brass
Legacy: Brass
Factory: Brass
GM2/XG: Brass
GM2/XG: Brass
GM2/XG: Brass
GM2/XG: Brass
Factory: Brass
Factory: Brass
GM2/XG: Brass
GM2/XG: Brass
GM2/XG: Brass
Legacy: Brass
Factory: Synth Pad
Legacy: Brass
GM2/XG: Reed
Factory: Sax
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
4
0
64
65
65
65
65
65
65
65
65
65
65
65
65
65
65
65
66
66
66
66
66
66
66
66
66
66
66
66
66
67
67
67
67
67
68
68
68
69
69
70
70
71
71
71
71
71
71
71
71
71
71
71
71
Sweet Soprano 2
Alto Sax GM
Factory: Sax
GM2/XG: Reed
Legacy: Sax
2
1
Alto Breath
3
2
Sax Ensemble
Breathy Alto Sax
Alto Sax Growl
Sweet Alto Sax 1
Sweet Alto Sax 2
Soft Alto Sax
Alto Sax Pro
Factory: Sax
4
3
Legacy: Sax
5
4
Legacy: Sax
6
Glenn & Boys
Trpts & Brass
Attack Brass
Trumpet Ens.
Trombone Ens.
Trombones
5
Factory: Sax
7
6
Factory: Sax
8
7
Factory: Sax
9
8
Factory: Sax
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
0
9
Alto Sax Expr.
Alto Sax RX
Factory: Sax
10
11
12
13
14
0
Factory: Sax
Tight Brass 4
Fat Brass
Cool Sax Ens.
Alto Sax DNC
Jazz Sax 1 DNC
Jazz Sax 2 DNC
Tenor Sax GM
Tenor Sax Noise1
Soft Tenor
Factory: Sax
Factory: Sax
Dyna Brass 1
Brass Expr.
Factory: Sax
Factory: Sax
Brass & Sax
GM2/XG: Reed
Factory: Sax
Film Brass
1
Brass Slow
2
Legacy: Sax
Fanfare
3
Tenor Breath
Tenor Growl
Legacy: Sax
Movie Brass
4
Legacy: Sax
Power Brass
5
Folk Sax
Legacy: Sax
Dyna Brass 2
Sforzato Brass
Double Brass
Brass Hit
6
Tenor Sax Noise2
Tenor Sax Expr.1
Tenor Sax Expr.2
Jazz Tenor 1
Factory: Sax
7
Factory: Sax
8
Factory: Sax
9
Factory: Sax
Brass Fall
10
11
12
0
Jazz Tenor 2
Factory: Sax
Tight Brass 1
Tight Brass Pro
Tight Brass 2
Brass of Power
Brass Section
Big Band Brass 1
Big BandShake Y+
Trpts &Trombs
Trumpet Ens1 Y+
Trumpet Ens2 Y+
Synth Brass 1 GM
Synth Brass 3
Analog Brass 1
Jump Brass
Reed of Power
Tenor Sax DNC
Baritone Sax GM
Baritone Growl
Breathy Baritone
Baritone Sax Pro
Baritone Sax
Oboe GM
Factory: Sax
Factory: Sax
GM2/XG: Reed
Factory: Sax
1
2
Legacy: Sax
3
Factory: Sax
4
Factory: Sax
0
GM2/XG: Reed
Factory: Woodwind
Factory: Woodwind
GM2/XG: Reed
Legacy: Woodwind
GM2/XG: Reed
Factory: Woodwind
GM2/XG: Reed
Factory: Woodwind
Factory: Ethnic
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Legacy: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Ethnic
1
Double Reed
Classic Oboe
English Horn GM
English Horn
Bassoon GM
Bassoon
2
0
1
1
2
0
3
1
4
Electrik Brass
Synth Brass 1
Synth Brass 2 GM
Synth Brass 4
Analog Brass 2
Brass Pad
0
Clarinet GM
5
1
Jazz Clarinet
Clarinet G
0
2
1
3
Section Winds 1
Section Winds 2
Clarinet Ens.
Woodwinds
2
4
3
5
4
Big Panner
6
5
Synth Brass 2
Soprano Sax GM
Sweet Soprano 3
Soprano Pro
Sweet Soprano 1
7
Folk Clarinet
Clarinet Pro 1
Clarinet Pro 2
Reeds & Saxes
Klarnet 1
0
8
1
9
2
Factory: Sax
10
11
3
Factory: Sax
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Factory data
Sounds (Program Change order)
209
CC00 CC32 PC
Name
Sound Family
CC00 CC32 PC
Name
Sound Family
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
12
13
14
15
16
17
18
0
71
71
71
71
71
71
71
72
72
72
72
73
73
73
73
73
73
73
73
73
73
73
73
73
73
74
74
74
75
75
75
75
76
76
77
77
77
77
78
78
78
78
78
78
79
79
80
80
80
80
80
80
80
Klarnet 2
Factory: Ethnic
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
7
8
80
80
80
80
80
80
80
81
81
81
81
81
81
81
81
81
81
81
81
81
82
83
84
84
84
84
84
84
84
84
85
85
85
86
86
87
87
87
87
87
87
87
87
87
87
87
87
87
88
88
88
89
Analog Lead
Old & Analog
Gliding Square
Sine Switch
Square Rez
Factory: Synth Lead
Legacy: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
Legacy: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
Factory: Synth Lead
Factory: Synth Lead
Legacy: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
Legacy: Synth Lead
Factory: Synth Lead
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
Legacy: Synth Lead
Legacy: Synth Lead
Factory: Synth Lead
Legacy: Synth Lead
Legacy: Synth Lead
Legacy: Synth Lead
GM2/XG: Syn.Ld/Pad
Legacy: Strings & Voc.
Legacy: Strings & Voc.
GM2/XG: Syn.Ld/Pad
Legacy: Synth Pad
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
Factory: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
Legacy: Synth Lead
Factory: Synth Lead
Legacy: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
GM2/XG: Syn.Ld/Pad
Factory: Synth Pad
Factory: Synth Lead
GM2/XG: Syn.Ld/Pad
Clarinet DNC
RealClarinet DNC
JazzClarinet DNC
SoloClarinet DNC
Clar & Sax Ens.1
Clar & Sax Ens.2
Piccolo GM
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
GM2/XG: Pipe
9
10
11
12
13
0
Port Whine
2VCO Planet Lead
Lead Saw GM
Lead Saw 2
1
Small Orchestra
Nay
Factory: Woodwind
Factory: Ethnic
1
2
2
Lead Saw & Pulse
Lead Double Saw
Lead Seq. Analog
Power Saw
3
Piccolo
Factory: Woodwind
GM2/XG: Pipe
3
0
Flute GM
4
1
Jazz Flute Expr.
Flute Switch
Flute Dyn. 5th
Flute Frullato
Orchestra Flute
Flute Muted
Wooden Flute
Bambu Flute
Flute
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Brass
5
2
6
Octo Lead
3
7
Seq Lead
4
8
Phat Saw Lead
Glide Lead
5
9
6
10
11
12
0
Fire Wave
7
Legacy: Woodwind
Legacy: Woodwind
Legacy: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
GM2/XG: Pipe
Rezbo
8
Synth Pianoid
Calliope GM
Chiff GM
9
10
11
12
13
0
Jazz Flute RX
Flute DNC
0
0
Charang GM
Wire Lead
Orch. Flute DNC
Jazz Flute DNC
Recorder GM
Recorder 1
1
2
Synchro City
Sync Kron
3
1
Legacy: Woodwind
Legacy: Woodwind
GM2/XG: Pipe
4
Metallic Rez
Brian Sync
2
Recorder 2
5
0
Pan Flute GM
Kawala
6
Arp Twins
1
Factory: Ethnic
7
LoFi Ethnic
2
Panflute 1 DNC
Panflute 2 DNC
Blown Bottle GM
Blown Bottle
Shakuhachi GM
Old Shakuhachi
Shakuhachi
Shakuhachi Vel.
Whistle GM
Factory: Woodwind
Factory: Woodwind
GM2/XG: Pipe
0
Voice Lead GM
Ether Voices
Cyber Choir
Fifths Lead GM
Crimson 5ths
Bass & Lead GM
Lead Soft Wrl
Electro Lead
Rich Lead
3
1
0
2
1
Factory: Woodwind
GM2/XG: Pipe
0
0
1
1
Factory: Ethnic
0
2
Legacy: Ethnic
1
3
Factory: Woodwind
GM2/XG: Pipe
2
0
3
1
Whistle
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
Factory: Woodwind
GM2/XG: Pipe
4
Thin Analog Lead
Express. Lead
HipHop Lead
Square Bass
Big & Raw
2
Whistle Breathe
Whistle RX1
Whistle RX2
Whistle DNC
Ocarina GM
Ocarina
5
3
6
4
7
5
8
0
9
Cat Lead
1
Factory: Woodwind
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
Factory: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
10
11
12
0
OB Lead
0
Lead Square GM
Lead Square 2
Lead Sine
A Leadload
1
Bass Phat Saw
New Age Pad GM
Virtual Traveler
Arp Angeles
Warm Pad GM
2
3
Old Portamento
Dance Lead
Wave Lead
1
4
2
5
0
6
Sine Wave
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Factory data
Sounds (Program Change order)
210
CC00 CC32 PC
Name
Sound Family
CC00 CC32 PC
Name
Sound Family
121
1
89
Sine Pad
GM2/XG: Synth Lead /
Pad
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
3
4
5
6
7
8
0
1
2
3
4
0
1
2
3
4
5
6
7
0
1
2
3
4
5
6
7
0
0
1
2
0
1
2
3
4
0
1
2
3
4
5
0
0
1
2
3
4
5
6
7
8
9
95
95
Dark Element
Mellow Pad
Cinema Pad
Reoccuring Astra
Vintage Sweep
You Decide
Ice Rain GM
Motion Ocean
Caribbean
Factory: Synth Lead
Legacy: Synth Pad
Factory: Synth Pad
Legacy: Synth Pad
Factory: Synth Pad
Legacy: Synth Pad
GM2/XG: Synth SFX
Factory: Synth Pad
Factory: Synth Lead
Factory: Synth Pad
Factory: Synth Pad
GM2/XG: Synth SFX
Factory: Synth Pad
Legacy: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
Legacy: Synth Pad
Factory: Synth Pad
Legacy: Synth Pad
GM2/XG: Synth SFX
GM2/XG: Synth SFX
Factory: Mallet & Bell
Legacy: Mallet & Bell
Legacy: Mallet & Bell
Factory: Synth Pad
Factory: Synth Pad
Legacy: Synth Pad
GM2/XG: Synth SFX
GM2/XG: Synth SFX
Legacy: Synth Pad
Legacy: Synth Pad
GM2/XG: Synth SFX
Legacy: Synth Lead
Factory: Synth Pad
Factory: Synth Lead
Factory: Synth Pad
GM2/XG: Synth SFX
GM2/XG: Synth SFX
GM2/XG: Synth SFX
Legacy: Synth Lead
Legacy: Synth Lead
Factory: Synth Pad
GM2/XG: Synth SFX
GM2/XG: Ethnic
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
2
3
89
89
89
89
89
89
89
89
89
89
89
89
89
89
90
90
90
90
90
90
90
90
90
90
90
90
90
90
91
91
91
91
91
91
91
91
91
91
91
91
91
91
92
93
93
93
93
94
95
95
95
Master Pad
Legacy: Strings & Voc.
Factory: Synth Lead
Factory: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
Legacy: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
Legacy: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
GM2/XG: Syn.Ld/Pad
Legacy: Synth Lead
Legacy: Synth Pad
Legacy: Synth Lead
Factory: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
Factory: Synth Lead
Factory: Synth Lead
Factory: Synth Lead
Legacy: Synth Lead
Legacy: Synth Pad
Factory: Synth Pad
Legacy: Synth Pad
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
Factory: Synth Pad
Factory: Strings & Voc.
Factory: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
Factory: Strings & Voc.
Factory: Synth Pad
Factory: Strings & Voc.
Legacy: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
Factory: Synth Pad
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
Factory: Synth Lead
Factory: Synth Pad
Factory: Synth Pad
GM2/XG: Syn.Ld/Pad
GM2/XG: Syn.Ld/Pad
Legacy: Synth Pad
Factory: Synth Pad
95
Power Synth
The Pad
95
4
95
5
Money Pad
95
6
Dark Pad
96
7
Freedom Pad
Analog Pad 1
Analog Pad 2
Analog Pad 3
Vintage Pad
OB Pad
96
8
96
9
96
Wave Cycle DNC
Wave-Sequence
Soundtrack GM
Air Clouds
10
11
12
13
14
15
0
96
97
97
Dark Anna
97
Reso Down
Tinklin Pad
Pods In Pad
Noble Pad
Symphonic Ens.
Warm Pad
97
97
Polysynth GM
Reso Sweep
Sky Watcher
Synth Sweeper
Super Sweep
Wave Sweep
Cross Sweep
Digital PolySix
Noisy Stabb
Mega Synth
Tecno Phonic
Farluce
97
1
97
Rave
2
97
Elastick Pad
Crystal GM
Synth Mallet
Vs Bell Boy
Krystal Bell
Digi Bell
3
98
4
98
5
98
6
98
7
98
8
98
Moving Bell
Bell Pad
9
98
10
11
12
13
0
98
Bell Choir
99
Atmosphere GM
Brightness GM
Lonely Spin
Synth Ghostly
Goblins GM
Motion Raver
Digi Ice Pad
VCF Modulation
Organ Stab DNC
Echo Drops GM
Echo Bell
Big Sweep Stab
Korgmatose
Choir Pad GM
Itopia Pad
100
100
100
101
101
101
101
101
102
102
102
102
102
102
103
104
104
104
104
104
104
104
104
104
104
1
2
Fresh Air 1
3
Heaven
4
Pop Synth Pad 1
Future Pad
5
6
Tsunami Wave
Fresh Breath
Ravelian Pad
Full Vox Pad
Dance ReMix
Fresh Air 2
7
8
Echo Pan
9
Band Passed
Pan Reso
10
11
12
13
0
Moon Cycles
Star Theme GM
Sitar GM
Pop Synth Pad 2
Choir-Sequence
Bowed Glass GM
Metallic Pad GM
Cosmic
Sitar 2
GM2/XG: Ethnic
0
Sitar Tambou
Indian Stars
Indian Frets
Bouzouki
Factory: Ethnic
1
Legacy: Ethnic
2
80's Pop Synth
Techno Stab DNC
Halo Pad GM
Sweep Pad GM
Astral Dream
Meditate
Factory: Ethnic
3
Factory: Ethnic
0
Tambra
Legacy: Ethnic
0
Sitar Sitar
Legacy: Ethnic
1
Sitar
Factory: Ethnic
2
Zither
Factory: Ethnic
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Factory data
Sounds (Program Change order)
211
CC00 CC32 PC
Name
Sound Family
CC00 CC32 PC
Name
Sound Family
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
0
1
2
3
4
5
0
0
1
2
3
4
5
6
7
8
9
0
1
2
0
1
2
3
0
1
0
1
2
3
0
1
2
3
0
0
1
0
1
2
0
1
0
1
2
0
1
2
3
0
1
2
0
105
105
105
105
105
105
106
107
107
107
107
107
107
107
107
107
107
108
108
108
109
109
109
109
110
110
111
111
111
111
112
112
112
112
113
114
114
115
115
115
116
116
117
117
117
118
118
118
118
119
119
119
120
Banjo GM
GM2/XG: Ethnic
Factory: Ethnic
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
1
2
3
0
1
0
1
2
3
4
5
0
1
2
3
0
1
2
3
4
5
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
6
0
1
2
3
4
127
120
120
120
121
121
122
122
122
122
122
122
123
123
123
123
124
124
124
124
124
124
125
125
125
125
125
125
125
125
125
125
126
126
126
126
126
126
126
127
127
127
127
127
16
Guitar Cut Noise
Ac. Bass String
Vox Wah Chick RX
Breath Noise GM
Flute Key Click
Seashore GM
Rain
GM2/XG: SFX
GM2/XG: SFX
Factory: Guitar
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
Banjo Key Off
Oud 2
Factory: Ethnic
Jaw Harp
Factory: Ethnic
Banjo RX
Factory: Ethnic
Oud 1
Factory: Ethnic
Shamisen GM
Koto GM
GM2/XG: Ethnic
GM2/XG: Ethnic
GM2/XG: Ethnic
Factory: Ethnic
Thunder
Taisho Koto
Kanoun 2
Wind
Stream
Kanoun Trem. 2
Kanoun Mix
Kanoun 1
Factory: Ethnic
Bubble
Factory: Ethnic
Bird Tweet GM
Dog
Factory: Ethnic
Kanoun Trem. 1
Ac. Baglama 1
Ac. Baglama 2
Ac. Baglama Grp.
Kalimba GM
Kalimba 2
Factory: Ethnic
Horse Gallop
Bird Tweet 2
Telephone GM
Telephone 2
Door Creaking
Door
Factory: Ethnic
Factory: Ethnic
Factory: Ethnic
GM2/XG: Ethnic
Factory: Mallet & Bell
Factory: Mallet & Bell
GM2/XG: Ethnic
Legacy: Ethnic
Kalimba 1
Scratch
Bag Pipes GM
War Pipes
Wind Chime
Helicopter GM
Car Engine
Car Stop
Uillean BagPipes
HighlandBagPipes
Fiddle GM
Factory: Ethnic
Factory: Ethnic
GM2/XG: Ethnic
Factory: Ethnic
Car Pass
Fiddle
Car Crash
Shanai GM
GM2/XG: Ethnic
Factory: Ethnic
Siren
Zurna 2
Train
Hichiriki
Factory: Ethnic
Jetplane
Zurna 1
Factory: Ethnic
Starship
Tinkle Bell GM
Gamelan
GM2/XG: Percussive
Factory: Ethnic
Burst Noise
Applause GM
Laughing
Bali Gamelan
Garbage Mall
Agogo GM
Legacy: Ethnic
Factory: Ethnic
Screaming
Punch
GM2/XG: Percussive
GM2/XG: Percussive
Factory: Mallet & Bell
GM2/XG: Percussive
GM2/XG: Percussive
Legacy: Drum & SFX
GM2/XG: Percussive
GM2/XG: Percussive
GM2/XG: Percussive
GM2/XG: Percussive
Legacy: Drum & SFX
GM2/XG: Percussive
GM2/XG: Percussive
GM2/XG: Percussive
Legacy: Drum & SFX
GM2/XG: Percussive
Legacy: Drum & SFX
Legacy: Drum & SFX
GM2/XG: SFX
Steel Drums GM
Warm Steel
Heart Beat
Footsteps
Stadium
Woodblock GM
Castanets
Legacy: Drum & SFX
GM2/XG: SFX
Gun Shot GM
Machine Gun
Laser Gun
Explosion
Deep Noise
Digit.DRAWBARS
Castanets Plus
Taiko Drum GM
Concert BassDrum
Melodic Tom GM
Melodic Tom 2
Reverse Tom
Synth Drum GM
Rhythm Box Tom
Electric Drum
Reverse Snare
ReverseCymbalGM
Dragon Gong
Reverse Cymbal
Gtr FretNoise GM
GM2/XG: SFX
GM2/XG: SFX
GM2/XG: SFX
Factory: Synth Pad
Factory: Organ
User Sound and Drum Kit Banks
121
121
121
121
120
64
65
66
67
64
0-127
…
…
…
…
…
User 01
0-127
0-127
0-127
0-127
User 02
User 03
User 04
User DK
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Factory data
Drum Kits
212
Drum Kits
The following table lists all Pa3X Factory Drum Kits in order of
Bank Select-Program Change number.
CC00 CC32
PC
Name
Bank
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
44
45
46
48
49
50
51
56
57
58
59
60
64
65
66
67
68
69
72
73
74
75
76
77
80
81
82
88
89
90
93
94
95
96
97
Brush Kit RX3
Brush Kit 1 Amb
Brush Kit 2 Amb
Orchestra Kit GM
Orchestra Kit
Bdrum&Sdrum Kit
Arabian Kit 1
SFX Kit GM
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
GM2/XG: Drum
Legend: The table also includes MIDI data used to remotely select
the Drum Kits. CC00: Control Change 0, or Bank Select MSB.
CC32: Control Change 32, or Bank Select LSB. PC: Program
Change.
Legacy: Drum & SFX
Legacy: Drum & SFX
Factory: Drum & SFX
GM2/XG: Drum
CC00 CC32
PC
Name
Bank
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
120
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
Standard Kit GM
Standard Kit RX2
Standard Kit RX3
Ambient Kit RX
Pop Std. Kit RX
Standard Kit RX1
Standard Kit RX4
Standard Kit
Room Kit GM
HipHop Kit 1
Jungle Kit
GM2/XG: Drum
1
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Legacy: Drum & SFX
GM2/XG: Drum
SFX Kit 2
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Legacy: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Legacy: Drum & SFX
2
Synth Kit 2
3
Synth Kit 1
4
SFX Kit 1
5
Percussion Kit
Latin Perc.Kit 1
Trinity Perc.Kit
i30 Perc. Kit
6
7
8
9
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Legacy: Drum & SFX
Legacy: Drum & SFX
Legacy: Drum & SFX
Legacy: Drum & SFX
GM2/XG: Drum
Latin Perc.Kit 2
Standard PercKit
HipHop Kit RX
Techno Kit RX
Dance Kit RX
Electro Kit RX1
Electro Kit RX2
Groove Kit RX
Room Kit Amb
Real Kit 1 Amb
Real Kit 2 Amb
Pop Kit Amb
Pop Std. Kit 1
Pop Std. Kit 2
Standard Kit Amb
Vintage Kit Amb
Studio Kit RX
Elektro Kit 1
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
30
31
32
33
34
35
36
37
38
39
40
41
42
43
Techno Kit 1
Room Kit 2
HipHop Kit 2
Techno Kit 2
Techno Kit 3
Power Kit GM
Power Kit 2
Legacy: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
GM2/XG: Drum
Power Kit RX1
Power Kit RX2
Power Kit 1 Amb
Power Kit 2 Amb
Rock Kit Amb
Gate Kit Amb
Electro Kit GM
Analog Kit GM
House Kit 1
GM2/XG: Drum
Legacy: Drum & SFX
Legacy: Drum & SFX
Legacy: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
GM2/XG: Drum
House Kit 2
Elektro Kit 2
House Kit 3
117 Arabian Kit 2
118 Turkish Kit
119 Oriental PercKit
120 Room Kit 1
121 Power Kit 1
122 Electro Kit
123 Analog Kit
125 Brush Kit 1
House Kit RX1
House Kit RX2
Jazz Kit GM
Jazz Kit RX1
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
GM2/XG: Drum
Jazz Kit RX2
Jazz Kit RX3
Jazz Kit 1 Amb
Jazz Kit 2 Amb
Lounge Kit Amb
Cool Kit Amb
Brush Kit GM
Brush Kit 2
127
127
127
127
127
127
0
0
0
0
0
0
0
9
Standard Kit1 XG
Standard Kit2 XG
Room Kit XG
GM2/XG: Drum
GM2/XG: Drum
GM2/XG: Drum
GM2/XG: Drum
GM2/XG: Drum
GM2/XG: Drum
8
Legacy: Drum & SFX
Factory: Drum & SFX
Factory: Drum & SFX
16
24
25
Rock Kit XG
Brush Kit RX1
Brush Kit RX2
Electro Kit XG
Analog Kit XG
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Factory data
213
Drum Kits
CC00 CC32
PC
Name
Bank
127
127
127
127
0
0
0
0
32
48
40
17
Jazz Kit 1 XG
Jazz Kit 2 XG
Brush Kit XG
Classic Kit XG
GM2/XG: Drum
GM2/XG: Drum
GM2/XG: Drum
GM2/XG: Drum
120
64
0-127
…
User DK
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Factory data
Multisamples
214
Multisamples
The following table lists all Pa3X Factory Multisamples.
* OrigTune: Original Tune, i.e., samples use the natural tuning of the original instrument, instead of the equal tuning. Beating may occur at
the extreme pitch, when the sound is used in conjunction with other sounds.
0
1
2
3
4
5
6
7
8
9
Grand Piano L
38 E.Piano Dyno f
39 E.Piano Dyno ff
40 E.Piano Dyno Soft
41 E.Piano Dyno SoftLP
42 E.Piano Stage Hard
43 E.Piano Stage HardLP
44 E.Piano Vintage pp
45 E.Piano Vintage p
46 E.Piano Vintage mf
47 E.Piano Vintage f
48 E.Piano Vintage ff
49 E.Piano Vintage fff
50 E.Piano Vintage Koff
51 E.Piano Wurly Soft
52 E.Piano Wurly Hard
53 E.Piano Pad 1
76 4' 22/3' 2' LF R
77 4' 22/3' 2' LS L
78 4' 22/3' 2' LS R
79 11/3' 13/5' 1' LF L
80 11/3' 13/5' 1' LF R
81 11/3' 13/5' 1' LS L
82 11/3' 13/5' 1' LS R
83 16' 8' 51/3' Perc LF L
84 16' 8' 51/3' Perc LF R
85 16' 8' 51/3' Perc LS L
86 16' 8' 51/3' Perc LS R
87 Theater Organ 1
88 Theater Organ 2
89 50s E.Organ Bright
90 50s E.Organ Dark
91 E.Organ CX 3
92 E.Organ Perc. O1W
93 E.Organ Fast Click
94 E.Organ Perc. 1
95 E.Organ Perc. 2
96 E.Organ Perc. 3
97 E.Organ Perc. 4
98 Organ 1 M1
Grand Piano R
Grand Piano OT L
Grand Piano OT R
Piano Resonance L
Piano Resonance R
Piano Resonance OT L
Piano Resonance OT R
Piano FX Pedal On L
Piano FX Pedal On R
10 Piano FX Pedal Off L
11 Piano FX Pedal Off R
12 Piano FX Key Off L
13 Piano FX Key Off R
14 AcousticPiano L
15 AcousticPiano R
16 Piano M1
54 E.Piano Pad 1LP
55 E.Piano Pad 2
17 E.GrandPiano
18 E.Piano FM 1
56 Clavi 1
19 E.Piano FM 1LP
20 E.Piano FM 2
57 Clavi 2
58 Clavi 3
21 E.Piano PO mp
22 E.Piano PO mf
59 Clavi 4
60 Clavinet GM
23 E.Piano PO f
61 Harpsichord
99 Organ 2 M1
24 E.Piano PO f+
62 Harpsichord Key off
63 Gospel Organ Slow L
64 Gospel Organ Slow R
65 Gospel Organ Fast L
66 Gospel Organ Fast R
67 16' 8' LF L
100 Organ 1
25 E.Piano PO ff
101 Organ 2
26 E.Piano PO ff+
27 E.Piano PO fff
102 Organ 2LP
103 Organ3 Jazz
28 E.Piano PO Kof p
29 E.Piano PO Kof f
30 E.Piano Rx KON L
31 E.Piano Rx KON R
32 E.Piano Rx KOF L
33 E.Piano Rx KOF R
34 E.Piano Suit Bright mp
35 E.Piano Suit Bright mf
36 E.Piano Suit Bright f
37 E.Piano Dyno mf
104 BX3 & Perc. 3rd
105 E.Organ Vox
68 16' 8' LF R
106 E.Organ Soft
69 16' 8' LS L
107 E.Organ Full
70 16' 8' LS R
108 E.Organ Dist
71 16' 8' 51/3 LF L
72 16' 8' 51/3 LF R
73 16' 8' 51/3 LS L
74 16' 8' 51/3 LS R
75 4' 22/3' 2' LF L
109 Rotary Organ 1
110 Rotary Organ 1LP
111 Rotary Organ 2
112 Super BX3
113 Super BX3LP
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Factory data
215
Multisamples
114 Rotor Noise LF L
115 Rotor Noise LF R
116 Rotor Noise LS L
117 Rotor Noise LS R
118 H Organ Leakage
119 H Organ 2nd Harmonic
120 H Organ Click Kon
121 H Organ Click Koff
122 ON-Click (Organ)
123 OFF-Click (Organ)
124 Pipe Flute L
159 Flute Frull
204 Tenor Sax mf Vib
160 Flute Voice
205 Tenor Sax f Vib
206 Tenor Sax ff Vib
207 Tenor Sax Glissando
208 Tenor Sax Falls
209 Tenor Sax mf Straight
210 Tenor Sax Riff Up
211 Tenor Sax Riff Down
212 Tenor Sax Vibrato
213 Tenor Sax Expressive
214 Tenor Sax mp
161 Flute Jazz
162 Flute Vibrato
163 Flute Attack p
164 Flute Attack f
165 Piccolo
166 Pan Flute
167 Pan Flute Attack
168 Tin Whistle
169 Tin Whistle Voice
170 Tin Whistle Attack
171 Whistle Gliss
172 Whistle No Vibr
173 Whistle Sfz Vibr
174 Whistle Sfz No Vibr
175 Whistle Slow Atk Vibr
176 Whistle Breath
177 Shakuhachi
125 Pipe Flute R
126 Pipe Positive
127 Pipe Mixture
128 Pipe Full 1 L
129 Pipe Full 1 R
130 Pipe Full 2
215 Tenor Sax mf
216 Tenor Sax Straight
217 Tenor Sax M1
218 Tenor Sax GM
219 Alto Sax Vibrato1
220 Alto Sax Vibrato2
221 Alto Sax Vibrato2 Drive
222 Alto Sax p
131 E.Organ Church
132 Music Box
133 Music BoxLP
134 Kalimba
178 Shakuhachi Atk
179 Shakuhachi Mid
180 Shakuhachi High
181 Bottle
223 Alto Sax mf
224 Alto Sax GM
135 Kalimba GM
136 Marimba
225 Alto Sax Growl
226 Soprano Sax Vibrato
227 Soprano Sax Straight
228 Soprano Sax GM
229 Sax Family Vibrato
230 Sax key on
137 MarimbaLP
138 Xylophone
182 Bottlizer
183 Shanai GM
139 Balaphone
184 Recorder
140 Vibraphone1
141 Vibraphone1LP
142 Vibraphone2
143 Celesta
185 Ocarina
186 Clarinet 1 Vibrato p
187 Clarinet 1 Vibrato f
188 Clarinet 1 GlissUp
189 Clarinet 1 Fall
190 Clarinet 2
231 Sax key off
232 Sax breath
233 Musette 1
144 Celesta GM
234 Musette 2
145 CelestaLP
235 Musette 2LP
146 Glockenspiel
147 GlockenspielLP
148 Tubular Bell
149 Log Drum
191 Clarinet 3
236 Musette 3 L
192 DoubleReed M1
193 Oboe 1 Vibrato
194 Oboe 2 Straight
195 Oboe key noises
196 Oboe get a breath
197 English Horn
198 Bassoon
237 Musette 3 R
238 Accordion 16'
239 Accordion 16' OrigTune
240 Accordion 8'
150 Steel Drum Hard
151 Steel Drum GM
152 Steel Drum HardLP
153 Gamelan
241 Accordion 8' OrigTune
242 Accordion 4'
243 Accordion 4' OrigTune
244 Accordion preset 1
245 Accordion preset 2
246 Accordion Bassoon
247 Accordion Clarinet
248 Accordion Bandoneon
154 FM Bell
199 Baritone Sax mf
200 Baritone Sax f
201 Baritone Sax Growl
202 Baritone Sax GM
203 Tenor Sax p Vib
155 Flute
156 Flute Falls
157 Flute Gliss Up
158 Flute Gliss Down
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Factory data
Multisamples
216
249 Accordion Volkst.
250 Accordion Bass
251 Accordion Noise KeyOn
252 Accordion Noise KeyOff
253 Accordion Change Voice
254 Harmonica 1
294 2 Trombones mf R
295 2 Trombones f L
296 2 Trombones f R
297 Classic Trumpet p
298 Classic Trumpet mf
299 Pop Trumpet mf
300 Pop Trumpet f
339 Voice Male Dah
340 Voice Scat Buh
341 Voice Scat Duh
342 Voice Scat Bah
343 Voice Scat Dah
344 Voice Choir
255 Harmonica 1 Fall
256 Harmonica 2
345 Voice Hoo
301 Trumpet Expr.
346 Voice Pop Ooh
347 Voice Pop Ah
257 Harmonica 3 Wah
258 Melodica
302 Trumpet Slow mp
303 Trumpet Slow f
348 Voice Doo
259 Melodica Key On
260 Melodica Key Off
261 Highland Bag Pipes
262 Highland Drones
263 Uilleann Pipes
304 Trumpet GM
349 Voice DooLP
305 Trumpet Tonguing mp
306 Trumpet Tonguing f
307 Trumpet Medium
308 Trumpet Overblown
309 Trumpet Muted
350 Violin1 Classic
351 Violin1 Gliss Up
352 Violin1 Gliss Dw
353 Violin1 Strings free
354 Violin1 Trill Up
355 Violin2 Solo Vibrato
356 Violin2 Straight
357 Violin GM
264 Bag Pipes
265 Bag Pipes GM
310 Trumpet Muted GM
311 Trumpet Wah wah
312 Trumpet WDH Vib
313 Trumpet WDH Shakes
314 Trumpet WDH Shakes Atk
315 Trumpet WDH Shakes Rel
316 Trumpet Doit
266 French Horn T1
267 French Horn Ensemble
268 French Horns GM
269 Tenor Horn
358 Fiddle GM
359 Viola Expressive mf
360 Viola Expressive f
361 Viola GM
270 Flugel Horn Vibrato
271 Flugel Horn M1
272 Tuba f
317 Trumpet Fall
362 Cello & Contrabass
363 Cello GM
273 Tuba ff
318 2 Trumpets mp L
319 2 Trumpets mp R
320 2 Trumpets f L
274 Tuba GM
364 Violin & Cello
365 Strings Quartet Vibrato1
366 Strings Quartet Vibrato2
367 Pizzicato
275 Tuba Bariton Attack
276 Trombone 1 mf
277 Trombone 1 f
321 2 Trumpets f R
322 Brass Ensemble Stereo L
323 Brass Ensemble Stereo R
324 Brass Ensemble 1
325 Brass Ensemble 2
326 Brass Ensemble 2LP
327 Brass Ensemble GM
328 Soprano Voice
278 Trombone 1 ff
368 Strings Ensemble St L
369 Strings Ensemble St R
370 Strings Ensemble GM L
371 Strings Ensemble GM R
372 Strings Ensemble Mono
373 Strings Ensemble Tremolo
374 Pizzicato Ensemble
375 Harp Stereo L
279 Trombone 1 Gliss Up
280 Trombone 1 Fall
281 Trombone 1 Smear
282 Trombone 1 Smear Atk
283 Trombone 2 Vibrato
284 Trombone 3 mf
285 Trombone 3 f
329 Soprano Voice AD
330 Soprano Voice 5thDW
331 Soprano Voice 4thUP
332 Voice Female Wuh
333 Voice Female Woh
334 Voice Female Wah
335 Voice Female Dah
336 Voice Male Wuh
337 Voice Male Woh
338 Voice Male Wah
286 Trombone 4 Soft
287 Trombone 4 Bright
288 Trombone 5 Straight fff
289 Trombone 5 Slur Up
290 Trombone 5 Fall
291 Trombone GM
292 Trombone Muted
293 2 Trombones mf L
376 Harp Stereo R
377 Harp Atk L
378 Harp Atk R
379 Harp Mono
380 Ac.Gtr muted p L
381 Ac.Gtr muted p R
382 Ac.Gtr muted f L
383 Ac.Gtr muted f R
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Factory data
217
Multisamples
384 Ac.Gtr Dwn1 L
429 Nylon Gtr1 Slide p R
430 Nylon Gtr1 Slide f L
431 Nylon Gtr1 Slide f R
432 Nylon Gtr1 Harmonics L
433 Nylon Gtr1 Harmonics R
434 Nylon Gtr2 p
474 El. Guitar Tel Mid p
385 Ac.Gtr Dwn1 R
475 El. Guitar Tel Mid mf
476 El. Guitar Tel Mid f
477 El. Guitar Tel Bridge p
478 El. Guitar Tel Bridge mf
479 El. Guitar Tel Bridge f
480 El. Guitar Tel Mt 5th pp
481 El. Guitar Tel Mt 5th p
482 El. Guitar Tel Mt 5th mf
483 El. Guitar Tel Mt 5th f
484 El. Guitar Tel Mt 5th ff
485 El. Guitar Tel Mt 5th Ko
486 El. Guitar Clean Str p
487 El. Guitar Clean Str f
488 El. Guitar Clean Mute
489 El. Guitar Clean Dead
490 El. Guitar Clean Slap
491 El. Guitar Clean Slide
492 El. Guitar Clean GM
493 El. Guitar Fret Noise GM
494 El. Guitar Cut Noise GM
495 El. Guitar Le Neck
496 El. Guitar Le Bridge
497 El. Guitar Le Mute p
498 El. Guitar Le Mute mf
499 El. Guitar Le Ghost1
500 El. Guitar Le Ghost2
501 El. Guitar Harmonics
502 El. Guitar Gliss Down
503 El. Guitar Gliss Up
504 El. Guitar Noise
386 Ac.Gtr Dwn2 L
387 Ac.Gtr Dwn2 R
388 Ac.Gtr Dwn3 L
389 Ac.Gtr Dwn3 R
390 Ac.Gtr SlideHT Up p L
391 Ac.Gtr SlideHT Up p R
392 Ac.Gtr SlideHT Up f L
393 Ac.Gtr SlideHT Up f R
394 Ac.Gtr Harmonics L
395 Ac.Gtr Harmonics R
396 Ac.Gtr RX noises L
397 Ac.Gtr RX noises R
398 Ac.Gtr finger off L
399 Ac.Gtr finger off R
400 Steel Gtr 1 Pick p
401 Steel Gtr 1 Pick mf
402 Steel Gtr 1 Pick f
403 Steel Gtr 1 Mute
404 Steel Gtr 1 Slide
405 Steel Gtr 2 p
435 Nylon Gtr2 mf
436 Nylon Gtr2 f
437 Nylon Gtr2 Atk
438 Nylon Guitar GM
439 Stra Pos2 MtS1
440 Stra Pos2 MtS2
441 Stra Pos2 MtS3
442 Stra Pos2 MtS4
443 Stra Pos2 MtS5
444 Stra Pos2 MtS6
445 Stra Pos2 MtL1
446 Stra Pos2 MtL2
447 Stra Pos2 MtL3
448 Stra Pos2 MtL4
449 Stra Pos2 dw1
450 Stra Pos2 dw2
406 Steel Gtr 2 mf
451 Stra Pos2 dw3
407 Steel Gtr 2 f
452 Stra Pos2 dw4
408 Steel Gtr 2 Slap
453 Stra Pos2 dw5
409 Steel Gtr 2 Slide
410 Steel Gtr 12 Strings
411 Steel Gtr Harmonics 1
412 Steel Gtr Harmonics 2
413 Steel Gtr Noise
454 Stra Pos2 up1
455 Stra Pos2 up2
456 Stra Pos2 up3
457 Stra Pos2 up4
458 Stra Pos2 up5
414 Guitar Fret Noise Off
415 Guitar Noise Off
416 Guitar Body
459 Stra Pos2 SlideHT p
460 Stra Pos2 SlideHT f
461 Stra Pos2 Harm 12
462 Stra Pos2 Harm 7
463 Stra Pos2 Harm 5
464 Stra Pop2 Ghost UP
465 Stra Pop2 Ghost DW
466 Stra Pop2 Fret Nuances
467 Stra Pop2 Key Off
468 Stra RX1 (Old Compatib)
469 Stra RX2
505 El. Guitar Short Noise
506 El. Guitar Fret Noise
507 El. Guitar Les P.
417 Guitar Noise Attack Off
418 Nylon Gtr1 p L
508 Jazz Guitar1
419 Nylon Gtr1 p R
509 Jazz Guitar2
420 Nylon Gtr1 mf1 L
421 Nylon Gtr1 mf1 R
422 Nylon Gtr1 mf2 L
423 Nylon Gtr1 mf2 R
424 Nylon Gtr1 mf3 L
425 Nylon Gtr1 mf3 R
426 Nylon Gtr1 f L
510 Jazz Gib mellow p
511 Jazz Gib mellow mf
512 Jazz Gib mellow f
513 Pedal Steel Guitar
514 Resonator Guitar
470 El. Guitar Stra 54 p
471 El. Guitar Stra 54 mf
472 El. Guitar Stra 54 f
473 El. Guitar Stra 54 Slide
515 Vox Wah Guitar
516 Overdrive GM
427 Nylon Gtr1 f R
517 Dist. Guitar
428 Nylon Gtr1 Slide p L
518 Dist. Guitar GM
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Factory data
Multisamples
218
519 Dist. Guitar1 Harmo.
520 Gtr Harmonic GM
521 Dist. Guitar2 Harmo P1
522 Dist. Guitar2 Harmo P2
523 Dist. Guitar2 Mute1
524 Dist. Guitar2 Mute2
525 El. Guitar DistMuted p
526 El. Guitar DistMuted mp
527 El. Guitar PowerChord1
528 El. Guitar PowerChord2
529 El. Guitar PowerChord3
530 Ac.Bass Natural
564 E.Bass2 RH Stop
565 E.Bass2 Harmo.
566 E.Bass3 p
609 BouzoukiLP
610 Mandolin Dw mf L
611 Mandolin Dw mf R
612 Mandolin Dw f L
613 Mandolin Dw f R
614 Mandolin Up L
615 Mandolin Up R
616 Mandolin
567 E.Bass3 mf
568 E.Bass3 f Slap
569 E.Bass4 Pick
570 E.Bass4 Harmo.
571 E.Bass4 Slap
572 E.Bass4 SlapHar
573 E.Bass4 LH Mute
574 E.Bass4 RH Mute
575 E.Bass5 Finger
576 E.Bass6 Finger
577 E.Bass6 FingerLP
578 E.Bass7 Finger
579 E.Bass8 Pick
617 MandolinLP
618 Mandolin Tremolo
619 Mandolin Ensemble
620 Banjo
531 Ac.Bass Natural Key Off
532 Ac.Bass Natural Ghost
533 Acoustic Bass1
621 Banjo GM
622 BanjoLP
623 Ukulele
534 Acoustic Bass2 mf
535 Acoustic Bass2 f
624 Shamisen
580 E.Bass9 Pick Muted1
581 E.Bass9 Pick Muted2
582 E.Bass10 Pick
583 E.Bass10 PickLP
584 E.Bass11 Thumb
585 E.Bass12 SlapThumb
586 E.Bass12 SlapThumbLP
587 E.Bass Gliss
625 Shamisen GM
626 Koto
536 Acoustic Bass3 mp
537 Acoustic Bass3 mp VAR
538 Acoustic Bass3 mf
539 Acoustic Bass3 mf VAR
540 Acoustic Bass3 f
627 Koto GM
628 M.E. Oud
629 M.E. Oud Tek
630 M.E. Kanoun1
631 M.E. Kanoun2
632 M.E. Kanoun Tremolo
633 M.E. Baglama1
634 M.E. Baglama2
635 M.E. Zurna
541 Acoustic Bass3 f VAR
542 Acoustic Bass GM
543 Acoustic Bass RX Noises
544 Bass Prec FW Finger
545 Bass Prec RW Finger
546 Bass Prec RW FingerDeads
547 Bass Prec Pick Open mf
548 Bass Prec Pick Open f
549 Bass Prec Pick Dead
550 Bass Sray Finger
588 E.Bass Noise1
589 E.Bass Noise2
590 E.Bass Harmonics
591 E.Bass HarmonicsLP
592 E.Bass Fretless 1
593 E.Bass Fretless 2
594 Finger Bass GM
595 Picked Bass GM
596 Slap Bass1 GM
597 Slap Bass2 GM
598 Fretless Bass GM
599 Sitar1
636 M.E. Klarnet Tek
637 M.E. Klarnet
638 M.E. Nay
639 Mouth Harp1
640 Mouth Harp2
641 Mouth Harp3
642 Mouth Harp4
643 Mouth Harp5
644 Syn Flute Pad
645 Syn Bass Reso1
646 Syn Bass FM1
647 Syn Bass FM1LP
648 Syn Bass FM2
649 Syn Bass FM2LP
650 Syn Bass TB
651 R&B Saw Bass
652 R&B Square Bass
653 Chrom Res
551 Bass Sray Harmonics
552 Bass Sray Deads
553 Bass Sray HandNoise
554 Bass Almb Fingered mf
555 Bass Almb Fingered f
556 Bass Fjazz Fingered
557 Bass Fjazz pickmute mf
558 Bass Fjazz pickmute f
559 Bass Fjazz Ghost
600 Sitar2
601 Sitar GM
602 Sitar & Tambura
603 Zither
604 Santur
560 E.Bass1 Finger
605 SanturLP
561 E.Bass2 P.B.1
606 Tambura
562 E.Bass2 P.B.2
607 TamburaLP
563 E.Bass2 LH Stop
608 Bouzouki
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Factory data
219
Multisamples
654 Detuned Super
655 Detuned PWM
656 Synth Brass
657 PopSynth-2
658 An.Strings1
659 An.Strings2
660 Analog Vintage
661 White Pad
662 N1 Air Vox
663 SynthBell
664 Ether Bell
665 Ether BellLP
666 Lore
699 Ramp MG
700 Sine
744 Footstep2
745 Door Creak
746 Door Slam
747 Car Engine
748 Car EngineLP
749 Car Stop
701 DWGS Syn Sine1
702 DWGS Syn Sine2
703 DWGS Organ1
704 DWGS Organ2
705 DWGS Bell1
706 DWGS Bell2
707 DWGS Bell3
708 DWGS Bell4
709 DWGS Clav.
710 DWGS Digi1
711 DWGS Digi2
712 DWGS Wire1
713 DWGS Wire2
714 DWGS Sync1
715 DWGS Sync2
716 DWGS Sync3
717 Orchestra Hit 1
718 Orchestra Hit 2
719 Orchestra Hit GM L
720 Orchestra Hit GM R
721 Band Hit
750 Car Pass
751 Car Crash
752 Train
753 Helicopter
754 Gun Shot
755 Machine Gun
756 Laser Gun
757 Explosion
758 Wind
667 Lore NT
668 Space Lore
669 Wave Sweep1
670 Wave Sweep2
671 Wave Sweep3
672 Syn Ghostly
673 Ghost
759 Chinese Gong
760 Crash
761 Crash Reverse
762 Crash Reverse GM
763 Orchestra Crash
764 Ride Jazz
674 Syn Air Pad
675 Dream Str
676 Syn AirVortex
677 Syn Palawan
678 Syn Clicker
679 Cricket Spectrum
680 Noise1
765 Ride Edge1
766 Ride Edge2
767 HiHat Closed
768 88 HiHat Open
769 88 Cowbell
770 88 Tom
722 Impact Hit
723 Brass Fall
724 Vibe Chord
725 Zap1
681 Noise2
726 Zap2
771 88 Conga
682 Noise Pad
683 Swish Terra
684 Gamelan XEQ
685 Saw1
727 Stadium
772 88 Crash
728 Applause
773 Tom
729 Birds1
774 Tom Brush
775 Tom Process
776 Electric Tom
777 Melodic Tom GM
778 Flexatone
730 Birds2
686 Saw2
731 Crickets
687 Saw3
732 Church Bell
733 Thunder
688 Pulse 02%
689 Pulse 05%
690 Pulse 08%
691 Pulse 16%
692 Pulse 33%
693 Pulse 40%
694 Square
734 Stream
779 Tambourine
780 Agogo Bell
781 Meditation Tree
782 Marc Tree
783 Marc TreeLP
784 Rain Stick
785 Cowbell
735 Bubble
736 Dog
737 Gallop
738 Laughing
739 Telephone Ring
740 Scream
695 Square MG
696 Square JP
697 Triangle MG
698 Ramp
741 Punch
786 Castanet
742 Heart Beat
743 Footstep1
787 Temple Blocks
788 Orchestra BD
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Factory data
Multisamples
220
789 Timpani
803 Tabla & Baya
817 Stereo Snare1 L
818 Stereo Snare1 R
819 Stereo Snare2 L
820 Stereo Snare2 R
821 FX SD Large Hall1 L
822 FX SD Large Hall1 R
823 FX SD Large Hall2 L
824 FX SD Large Hall2 R
825 FX Rim Large Hall1 L
826 FX Rim Large Hall1 R
827 FX Rim Large Hall2 L
828 FX Rim Large Hall2 R
829 Click
790 Taiko
804 WoodBlock & Castanet
805 Mix Latin Percussion
806 Kangaroo
791 Djembe Open
792 Djembe Mute
793 Conga
807 DJ Eddie Set
794 Quinto & Bongo
795 Okonkolo
808 Claps Natural Set1 L
809 Claps Natural Set1 R
810 Claps Natural Set2 L
811 Claps Natural Set2 R
812 Claps Natural Set3 L
813 Claps Natural Set3 R
814 Snare Ghost
796 Timbales
797 Cowbell & Clave
798 Cabasa
799 Shaker
800 Cabasa & Shaker
801 Dumbek - Djambe - Udu
802 Caxixi
815 Stereo Snares1&2 L
816 Stereo Snares1&2 R
830 Empty
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Factory data
Drum Samples
221
Drum Samples
The following table lists all Pa3X Factory
Drum Samples.
#
Name
Family
#
Name
Family
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
BD Dry1
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
97
BD Electribe01
BD Electribe02
BD Electribe03
BD Electribe04
BD Electribe05
BD Electribe06
BD Electribe07
BD Electribe08
BD Electribe09
BD Electribe10
BD Electribe11
BD Electribe12
BD Electribe13
BD Electribe14
BD Electribe15
BD Electribe16
BD Electribe17
Syn. BD1
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
BD Dry2
98
#
Name
Family
BD Dry3
99
0
BD 22 Inch Std1
BD 22 Inch Std2
BD 22 Inch Std3
BD 22 Inch Std4
BD 22 Inch Std5
BD 22 Inch Std6
BD 24x14 p
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
BD Normal
BD SoftRoom
BD Jazz open p
BD Jazz open f
BD Jazz wire open p
BD Jazz wire open f
BD Jazz
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
1
2
3
4
5
6
7
BD 24x14 mf
BD Jazz GM
BD Pillow
8
BD 24x14 f
9
BD 24x14 f GM
BD 24 inch Open p
BD 24 inch Open mf
BD 24 inch Open f
BD 26 inch Open p
BD 26 inch Open mf
BD 26 inch Open f
BD 26 inch Open ff
BD 26 inch Open ff GM
BD 26 inch Std p
BD 26 inch Std mf
BD 26 inch Std f
BD 26 inch Std ff
BD Natural1 p
BD Natural1 mf
BD Natural1 f
BD Woofer
BD MondoKill
BD Terminator
BD Tubby
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
BD Gated
BD Tight
BD Squash
BD Soul1
Syn. BD2
Syn. BD3
BD Soul2
Syn. BD4
BD Soul3 dist
BD Soul4 noise
BD Soul5 Long
BD Soul6
Syn. BD Buzz
BD Orchestra Open p
BD Orchestra Open f
BD Orchestra muted
BD Orchestra
BD Orchestra GM
Timpani
BD Dance1
BD Dance2
BD Dance3
BD House1
BD House2
BD House3
BD House4
BD House5
BD Liquid
BD Natural2 p
BD Natural2 mf
BD Natural2 f
SD Crv p
SD Crv mf
SD Crv f
BD Natural2 ff
BD Pop1
SD Crv+Rim p
SD Crv+Rim mf
SD Crv+Rim f
SD CrvOpen pp
SD CrvOpen p
SD CrvOpen mf
SD CrvOpen f
SD CrvOpRim pp
SD CrvOpRim p
SD CrvOpRim mf
SD CrvOpRim f
SD Crv Roll p
BD Pop2
BD Pop3 p
BD Techno1
BD Techno2
BD Hip1
BD Pop3 f
BD Pop4 p
BD Pop4 f
BD Hip2
BD Pop5
BD Hip3
BD Acoustic1 p
BD Acoustic1 mf
BD Acoustic1 f
BD Acoustic2 mf
BD Acoustic2 mf GM
BD Acoustic2 f
BD Acoustic2 f GM
BD open p
BD Hip4
BD Kick1
BD Kick2
Electro Kick
BD Ambient
BD Ambient Crackle
BD Ambient Rocker
BD Pop
SD Crv Roll mf
SD Crv Roll f
SD Crv Stage p
SD Crv Stage mf
SD Crv Stage f
SD Crv+Rim Stage p
SD Crv+Rim Stage mf
BD open mf
BD Deep
BD open f
BD Deep GM
BD Klanger
BD Peak
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Factory data
Drum Samples
222
#
Name
Family
#
Name
Family
#
Name
Family
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
SD Crv+Rim Stage f
SD Crv Open Stage pp
SD Crv Open Stage p
SD Crv Open Stage mf
SD Crv Open Stage f
SD Crv OpRim Stage pp
SD Crv OpRim Stage p
SD Crv OpRim Stage mf
SD Crv OpRim Stage f
SD Crv Gate1 p
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
SD LdwBB1A Cl4
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
SD LdwVint Room p
SD LdwVint Room mf
SD LdwVint Room f
SD LdwVint Room ff
SD LdwVint room S+R p
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
SD LdwBB1A OpRim1
SD LdwBB1A OpRim2
SD LdwBB1A OpRim3
SD LdwBB1A OpRim4
SD LdwBB1A Roll1
SD LdwBB1A Roll2
SD LdwBB1A Roll3
SD LdwBB1B Op1
SD LdwVint room S+R mf Snare Drum
SD LdwVint room S+R f
SD Ldw Roll room p
SD Ldw Roll room mf
SD Ldw Roll room f
SD Spr Std p
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
SD LdwBB1B Op2
SD Crv Gate1 mf
SD LdwBB1B Op3
SD Crv Gate1 f
SD LdwBB1B Op4
SD Spr Std mf
SD Spr Std f
SD Crv+Rim Gate1 p
SD Crv+Rim Gate1 mf
SD Crv+Rim Gate1 f
SD Crv OpRim Gate1 pp
SD Crv OpRim Gate1 p
SD Crv OpRim Gate1 mf
SD Crv OpRim Gate1 f
SD Crv Roll Gate1 p
SD Crv Roll Gate1 mf
SD Crv Roll Gate1 f
SD Crv Gate2 p
SD LdwBB1B OpRim1
SD LdwBB1B OpRim2
SD LdwBB1B OpRim3
SD LdwBB1B OpRim4
SD LdwBB2 OpRim1
SD LdwBB2 OpRim2
SD LdwBB2 Std1
SD Spr StdRim p
SD Spr StdRim mf
SD Spr StdRim f
SD Spr Open p
SD Spr Open mf
SD Spr Open f
SD Spr Open ff
SD Spr OpRim p
SD Spr OpRim mf
SD Spr OpRim f
SD Spr OpRim ff
SD Spr Roll p
SD LdwBB2 Std2
SD LdwBB2 Std3
SD LdwBB2 Roll1
SD LdwBB2 Roll2
SD Crv Gate2 mf
SD LdwBB2 Roll3
SD Crv Gate2 f
SD LdwBB2 Roll4
SD Crv+Rim Gate2 p
SD Crv+Rim Gate2 mf
SD Crv+Rim Gate2 f
SD Crv Roll Gate2 p
SD Crv Roll Gate2 mf
SD Crv Roll Gate2 f
SD Crv+Rim Plate p
SD Crv+Rim Plate mf
SD Crv+Rim Plate f
SD Crv Open Plate pp
SD Crv Open Plate p
SD Crv Open Plate mf
SD Crv Open Plate f
SD Crv OpRim Plate pp
SD Crv OpRim Plate p
SD Crv OpRim Plate mf
SD Crv OpRim Plate f
SD Crv Open Room pp
SD Crv Open Room p
SD Crv Open Room mf
SD Crv Open Room f
SD Crv OpRim Room pp
SD Crv OpRim Room p
SD Crv OpRim Room mf
SD Crv OpRim Room f
SD LdwBB1A Cl1
SD LdwSup Std p
SD Spr Roll mf
SD P.E. Std p
SD LdwSup Std mf
SD LdwSup Std f
SD P.E. Std mf
SD LdwSup Std+Rim p
SD LdwSup Std+Rim mf
SD LdwSup Std+Rim f
SD LdwSup Std Gate p
SD LdwSup Std Gate mf
SD LdwSup Std Gate f
SD LdwSup S+R Gate p
SD P.E. Std f
SD P.E. Std+Rim p
SD P.E. Std+Rim mf
SD P.E. Std+Rim f
SD P.E. Open p
SD P.E. Open mf
SD P.E. Open f
SD P.E. OpRim mf
SD P.E. OpRim f
SD P.E. Roll mf
SD P.E. Roll f
SD LdwSup S+R Gate mf Snare Drum
SD LdwSup S+R Gate f
SD LdwSup Std Room p
Snare Drum
Snare Drum
SD LdwSup Std Room mf Snare Drum
SD LdwSup Std Room f
SD LdwSup S+R Room p
Snare Drum
Snare Drum
SD Natural p
SD Natural mf
SD Natural f
SDLdwSupS+RRoommf Snare Drum
SD LdwSup S+R Room f
SD LdwVintage Std p
SD LdwVintage Std mf
SD LdwVintage Std f
SD LdwVintage Std ff
SD LdwVintage S+Rim p
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
SD Natural Rim p
SD Natural Rim mf
SD Natural Rim f
SD Dry center1
SD Dry center2
SD Dry center3
SD Dry Rim1
SD LdwVintage S+Rim mf Snare Drum
SD LdwVintage S+Rim f
SD Ldw Roll p
Snare Drum
Snare Drum
Snare Drum
Snare Drum
SD Dry Rim2
SD Dry Rim3
SD LdwBB1A Cl2
SD Ldw Roll mf
SD Ldw Roll f
SD Dry Roll
SD LdwBB1A Cl3
SD Pop1 p
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Factory data
Drum Samples
223
#
Name
Family
#
Name
Family
#
Name
Family
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
SD Pop1 p GM
SD Pop1 mf
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
SD Brass1 mf
SD Brass1 f
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
SD Dance01
SD Dance02
SD Dance03
SD Dance04
SD Dance05
SD Dance06
SD Dance07
SD Dance08
SD Dance09
SD Dance10
SD Dance11
SD Dance12
SD Dance13
SD Dance14
SD Dance15
SD Dance16
SD Dance17
SD Dance18
SD Dance19
SD Dance20
SD Dance21
SD Dance22
SD Dance23
SD Dance23 GM
SD Dance24
SD House1
SD House2
SD House3
SD House4
SD BeatBox
SD Small
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
SD Pop1 mf GM
SD Pop1 f
SD Brass2 p
SD Brass2 mf
SD Brass2 f
SD Pop1 f GM
SD Pop1 +Rim mf
SD Pop1 +Rim mf GM
SD Pop1 +Rim f
SD Pop1 +Rim f GM
SD Pop2 p
SD Roll
SD Ghost Roll
SD Ghost p
SD Ghost f
SD Snr Ghost1 a
SD Snr Ghost1 b
SD Snr Ghost2 a
SD Snr Ghost2 b
SD Snr Ghost2 c
SD Snr Signature p
SD Snr Signature mf
SD Snr Signature f
SD Pop2 mf
SD Pop2 f
SD Pop2 ff
SD Flam
SD Black
SD S Gate1
SD S Gate1 GM
SD S Gate2
SD Snr Signature Rim mf Snare Drum
SD S Gate3
SD Snr Signature Rim f
SD Snr Signature Rim1
SD Snr Signature Rim2
SD J center p
SD J center f
SD J edge1
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
SD Wood1 p
SD Wood1 mf
SD Wood1 f
SD Wood2 pp
SD Wood2 p
SD Wood2 mf
SD Wood2 f
SD J edge2
SD J edge3
SD Piccolo1 pp
SD Piccolo1 p
SD Piccolo1 mf
SD Piccolo1 f
SD Piccolo2 pp
SD Piccolo2 p
SD Piccolo2 mf
SD Piccolo2 f
SD Solid1 p
SD J edge4
SD J std p
SD J std mf
SD J std f
SD J std+rim p
SD J std+rim mf
SD J std+rim f
SD Dry1
SD Rap
SD Noise
SD Reverse
SD Hip1
SD Dry2
SD Solid1 mf
SD Solid1 f
SD Dry3
SD Hip2
SD Full Room
SD Off Center
SD Jazz Ring
SD Amb.Piccolo
SD Paper
SD Hip3
SD Solid2 p
SD Hip4
SD Solid2 mf
SD Solid2 f
SD Hip5
SD Hip6
SD Maple1 pp
SD Maple1 p
SD Maple1 mp
SD Maple1 mf
SD Maple1 f
SD Maple1 ff
SD Maple2 pp
SD Maple2 p
SD Maple2 mp
SD Maple2 mf
SD Maple2 f
SD Maple2 ff
SD Brass1 p
SD Ringy
SD Big Rock
SD Tiny
SD Yowie
SD Vintage1
SD Vintage2
SD Vintage3
SD Vintage4
SD Vintage5
SD Vintage6
SD AmbiHop
SD Brasser
SD Chili
SD Trinity1
SD Trinity2
SD Stereo Gate
SD Stereo Gate GM
SD Processed
SD Processed GM
SD Cracker Room
SD El. Funk1
SD El. Funk2
SD El. Funk3
SD Whopper
SD Syn.1
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Factory data
Drum Samples
224
#
Name
Family
#
Name
Family
#
Name
Family
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
SD Syn.2
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
Rim2 m Gate 1
Rim3 m Gate 1
Rim4 m Gate 1
Rim1 st Gate 1
Rim2 st Gate 1
Rim3 st Gate 1
Rim4 st Gate 1
Rim1 m Gate 2
Rim2 m Gate 2
Rim3 m Gate 2
Rim4 m Gate 2
Rim1 st Gate 2
Rim2 st Gate 2
Rim3 st Gate 2
Rim4 st Gate 2
Rim1 m Hall
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Tom
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
Tom D Low mf
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
SD Syn.3
Tom D Low f
SD Syn.4
Tom D Floor p
SD Electro
Tom D Floor mf
Tom D Floor f
SD Orchestra
SD Orch. Roll
Tom P Hi
SD JBrush Loop1
SD JBrush loop2
SD JBrush mid
SD JBrush open p
SD JBrush open mf
SD JBrush open f
SD JBrush short
SD JBrush shot p
SD BrushHit1
Tom P Mid
Tom P Low
Tom P Floor
Tom R Vintage Hi
Tom R Vintage Mid
Tom R Vintage Floor
Tom Vintage Room Hi
Tom Vintage Room Mid
Tom Vintage Room Low
Tom Jazz Hi center
Tom Jazz Hi center GM
Tom Jazz Hi edge
Tom Jazz Hi Rim
Tom Jazz Low center
SD BrushHit2
SD JazzBrush1
SD JazzBrush2
SD Brush1 (swirl1)
SD Brush1 (swirl2)
SD Brush1 (swirl3)
SD Brush1 (swirl4)
SD Brush1
Rim2 m Hall
Rim3 m Hall
Rim4 m Hall
Rim1 st Hall
Rim2 st Hall
Tom Jazz Low center GM Tom
Rim3 st Hall
Tom Jazz Low edge
Tom Jazz Low Rim
Tom1 Open Hi p
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Rim4 st Hall
SD Brush2 (ghost1)
SD Brush2 (ghost2)
SD Brush2 (ghost3)
SD Brush2
Rim1 Amb
Rim2 Amb
Tom1 Open Hi p flam
Tom1 Open Hi f
Rim3 Amb
Rim4 Amb
Tom1 Open Hi f flam
Tom1 Open Mid p
Tom1 Open Mid p flam
Tom1 Open Mid f
SD Brush2 (fill) 4 shots
SD Brush2 (fill) 3 shots
SD Brush2 (fill) 2 shots
SD Brush3 Hit
Rim Signature Hi
Rim Signature Mid
Rim Signature Low
Rim Shot p
Tom1 Open Mid f flam
Tom1 Open Low p
Tom1 Open Low p flam
Tom1 Open Low f
SD Brush3 Tap1
SD Brush3 Tap2
SD Brush3 Swirl
SD FX Large Hall1
SD FX Large Hall2
Rim1 m Studio
Rim2 m Studio
Rim3 m Studio
Rim4 m Studio
Rim1 st Studio
Rim2 st Studio
Rim3 st Studio
Rim4 st Studio
Rim1 m rev 80's
Rim2 m rev 80's
Rim3 m rev 80's
Rim4 m rev 80's
Rim1 st rev 80's
Rim2 st rev 80's
Rim3 st rev 80's
Rim4 st rev 80's
Rim1 m Gate 1
Rim Shot f
Rim House1
Rim House2
Rim Synth
Tom1 Open Low f flam
Tom1 Open Floor p
Rim Synth Click
Rim Synth Tamb
Rim FX Large Hall1
Rim FX Large Hall2
Sidestick mf
Tom1 Open Floor p flam Tom
Tom1 Open Floor f
Tom1 Open Floor f flam
Tom2 Hi p
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Tom
Sidestick f
Tom2 Hi f
Sidestick Dance
SideStick Dry
SideStick Amb
DrumStick Hit
DrumStick Hit GM
Tom D Hi p
Tom2 Mid p
Tom2 Mid f
Tom2 Low p
Tom2 Low f
Tom2 Floor p
Tom2 Floor f
Tom3 Hi
Tom D Hi mf
Tom D Hi f
Tom
Tom
Tom3 Floor
Tom4 Hi
Tom D Mid p
Tom D Mid mf
Tom D Mid f
Tom
Tom
Tom4 Low
Tom
Tom4 Floor
Tom5 Hi
Tom D Low p
Tom
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Factory data
Drum Samples
225
#
Name
Family
#
Name
Family
#
Name
Family
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
Tom5 Low
Tom
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
HiHat Jazz op1 a
HiHat Jazz op1 b
HiHat Jazz op1 c
HiHat Jazz op2 a
HiHat Jazz op2 b
HiHat Jazz op3
HiHat Jazz op4
HiHat Jazz ped cl
HiHat Jazz ped op
HH1 Closed pp
HH1 Closed p
HH1 Closed mf
HH1 Closed f
HH1 Foot mp
HH1 Foot mf
HH1 Open mp
HH1 Open mf
HH2 Closed pp
HH2 Closed p
HH2 Closed mp
HH2 Closed mf
HH2 Closed f
HH2 Closed ff
HH2 Foot p
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
HH Brush cl 3
HH Brush op 1
HH Brush op 2
HH Brush op 3
HH Brush op 4
Ride Z 20 edge1
Ride Z 20 edge2
Ride Z 20 edge3
Ride Z 20 edge4
Ride Z 20 edge5
Ride Z 20 edge6
Ride Z 20 cup1
Ride Z 20 cup2
Ride Z 20 cup3
Ride Z Brush Edge 1
Ride Z Brush Edge 2
Ride Z Brush Cup
Crash Z 20
HiHat
Tom6 Vintage Hi p
Tom6 Vintage Hi mf
Tom6 Vintage Hi f
Tom6 Vintage Mid p
Tom6 Vintage Mid mf
Tom6 Vintage Mid f
Tom6 Vintage Low p
Tom6 Vintage Low mf
Tom6 Vintage Low f
Tom Processed
Tom
HiHat
Tom
HiHat
Tom
HiHat
Tom
HiHat
Tom
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Tom
Tom
Tom
Tom
Tom
Tom Jazz Hi
Tom
Tom Jazz Floor
Tom
Tom Brush1 (sd open)
Tom Brush1 (sd close)
Tom Brush2 (sd open)
Tom Brush2 (sd close)
Tom Brush3 Hi mf
Tom Brush3 Hi f
Tom
Tom
Tom
Tom
Tom
Tom
Ride 20' mp1
Ride 20' mp2
Ride 20' mf1
Tom Brush3 Hi f GM
Tom Brush3 Mid mf
Tom Brush3 Mid f
Tom Brush3 Mid f GM
Tom Brush3 Low mf
Tom Brush3 Low f
Tom Brush3 Low f GM
Tom Brush4
Tom
Tom
Tom
Ride 20' mf2
Tom
Ride Edge1
Tom
Ride Edge2
Tom
HH2 Foot f
Ride Cup
Tom
HH2 Open p
Ride Jazz
Tom
HH2 Open f
Ride Brush1
Tom Brush5 Amb Hi
Tom Brush5 Amb Low
E.Tom FM
Tom
HH3 Closed1
HH3 Closed2
HH3 Foot
Ride Brush2
Tom
Ride Brush3
Tom
Ride Rivet
E.Tom Real
Tom
HH3 Open1
Ride Rivet Amb
Crash 15'edge1
Crash 15'edge2
Crash 17'edge1
Crash 17'edge2
Crash 19'open1
Crash 19'open2
Crash 1
HiHat Soul cl p
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HH3 Open2
HiHat Soul cl mf
HH3 Sizzle
HiHat Soul cl f
HH4 Closed1
HH4 Closed2
HH4 Foot
HiHat Soul op p
HiHat Soul op mf
HiHat Soul op f
HH4 Foot Open
HH4 Open
HiHat Vintage cl p
HiHat Vintage cl mf
HiHat Vintage cl f
HiHat Vintage op
HiHat Jazz tip cl a
HiHat Jazz tip cl b
HiHat Jazz tip cl c
HiHat Jazz tip op1 a
HiHat Jazz tip op1 b
HiHat Jazz tip op1 c
HiHat Jazz tip op2 a
HiHat Jazz tip op2 b
HiHat Jazz tip op3
HiHat Jazz cl a
HH Old Close1
HH Old Open1
HH Old TiteClose
HH Old Close2
HH Old Open2
HH House Open1
HH House Open2
HH Hip
Crash 2
Crash Reverse
Crash Dance 99
Crash DDD-1
Splash 8'edge1
Splash 8'edge2
Splash
China
HH Alpo Close
HH Dance1
Orchestra Cymbal
Finger Snaps
Claps Natural 1a
Claps Natural 1b
Claps Natural 1c
Claps Natural 1d
Claps Natural 2a
HH Dance2
HH Syn. Closed
HH Syn. Open
HH Brush cl 1
HH Brush cl 2
HiHat Jazz cl b
HiHat Jazz cl c
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Factory data
Drum Samples
226
#
Name
Family
#
Name
Family
#
Name
Family
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
Claps Natural 2b
Claps Natural 2c
Claps Natural 2d
Claps Natural 2e
Claps Natural 3a
Claps Natural 3b
Claps Natural 3c
Claps Natural 3d
Claps Natural 3e
Claps Natural 3f
Claps Natural 3g
Claps Natural 3h
Claps1
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
SFX
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
DJ Vinyl Sliced 13
DJ Vinyl Sliced 14
DJ Vinyl Sliced 15
DJ Vinyl Sliced 16
DJ Vinyl Sliced 17
DJ Vinyl Sliced 18
DJ Vinyl Sliced 19
DJ Vinyl Sliced 20
DJ Vinyl Sliced 21
DJ Vinyl Sliced 22
DJ Vinyl Sliced 23
DJ Vinyl Sliced 24
DJ Scratch 01
SFX
889
890
891
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
Conga1 Hi Open mf
Conga1 Hi Open Slap
Conga1 Hi Muffled
Conga1 Hi Closed
Conga1 Hi Closed Slap
Conga1 Hi Heel
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
SFX
SFX
SFX
SFX
SFX
SFX
Conga1 Hi Toe
SFX
Conga2 Lo Open
Conga2 Lo Mt Slap
Conga2 Lo Slap
SFX
SFX
SFX
Conga2 Hi Open
Conga2 Hi Mute
Conga2 Hi Mt Slap
Conga2 Hi Slap1
Conga2 Hi Slap2
Conga2 Heel
SFX
SFX
Claps2
DJ Scratch 02
SFX
Claps3
DJ Scratch 03
SFX
Claps4
DJ Scratch 04
SFX
Dance Claps1
Dance Claps2
Dance Claps3
Dance Claps4
Dance Claps5
Dance Claps6
DanceConga1Lo-Open
Dance Conga1 Hi-Open
Dance Tambourine
Electric Bongo
Syn. Bongo1
DJ Scratch 05
SFX
Conga2 Toe
DJ Scratch 06
SFX
Quinto1 Open
DJ Hit Rub
SFX
Quinto1 Closed
DJ Vocal Rub1
SFX
Quinto1 Closed Slap
Quinto1 Toe
DJ Vocal Rub2
SFX
DJ BD Rub
SFX
Quinto2 Basstone
Quinto2 Open mp
Quinto2 Open Flam
Quinto2 Open Slap
Quinto2 Muffled
Quinto2 C.Slap Flam p
Quinto2 C.Slap Flam f
Quinto2 Heel
DJ SD Rub
SFX
Guiro Long
Low Perc.
Low Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Guiro Short
Vibraslap
Samba Whistle
Samba Whistle Lp
Cuica Hi
Syn. Bongo2
Syn. Castanet
Syn. Shaker
Cuica Lo
Bongo1 Lo Muffled mp
Bongo1 Lo Muffled f
Bongo1 Lo Closed
Bongo1 Lo Flam
Syn. Noise
Surdo Open GM
Surdo Mute GM
Tumba Open1 mf
Tumba Open1 f
Tumba Open2 mf
Tumba Open2 f
Tumba Open Flam
Tumba Glissando
Tumba Basstone
Tumba O.Slap Flam mf
Tumba O.Slap Flam f
Tumba Muffled
Conga1 Lo Basstone
Conga1 Lo Open mf
Conga1 Lo Open Slap
Conga1 Lo Glissando
Conga1 Lo Muffled
Conga1 Lo Closed
Conga1 Lo Closed Slap
Conga1 Lo Heel
Conga1 Lo Toe
Conga1 Hi Basstone mf
Conga1 Hi Basstone f
Syn. FX1
SFX
Syn. FX2
SFX
Syn. FX3
SFX
Bongo1 Lo MuffledFlam Low Perc.
Bongo1 Lo Stick Low Perc.
Bongo1 Lo StickEdge mf Low Perc.
Syn. FX4
SFX
Syn. FX5
SFX
Syn. Perc. Ahh
Boom
SFX
Bongo1 Lo StickEdge f
Bongo1 Lo StickBounce
Bongo1 Lo Fingernail
Bongo1 Lo Cuptone
Bongo1 Lo Slap
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
SFX
Zap1
SFX
Zap2
SFX
Vinyl Hit
SFX
DJ Vinyl Sliced 01
DJ Vinyl Sliced 02
DJ Vinyl Sliced 03
DJ Vinyl Sliced 04
DJ Vinyl Sliced 05
DJ Vinyl Sliced 06
DJ Vinyl Sliced 07
DJ Vinyl Sliced 08
DJ Vinyl Sliced 09
DJ Vinyl Sliced 10
DJ Vinyl Sliced 11
DJ Vinyl Sliced 12
SFX
Bongo1 Hi Open mf
Bongo1 Hi Open f
Bongo1 Hi Pops
SFX
SFX
SFX
Bongo1 Hi Hightone
Bongo1 Hi OpenFlam
Bongo1 Hi Fingernail
Bongo1 Hi Stick
SFX
SFX
SFX
SFX
Bongo1 Hi StickEdge mf Low Perc.
SFX
Bongo1 Hi StickEdge f
Bongo1 Hi StickBounce
Bongo1 Hi Cuptone
Bongo1 Hi Slap
Low Perc.
Low Perc.
Low Perc.
Low Perc.
SFX
SFX
SFX
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Factory data
Drum Samples
227
#
Name
Family
#
Name
Family
#
Name
Family
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
Bongo2 Lo Open a
Bongo2 Lo Open b
Bongo2 Lo Mute
Bongo2 Hi Open a
Bongo2 Hi Open b
Bongo2 Hi Muffled
Bongo2 Hi Slap
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
995
996
997
998
999
Tabla2 Na b
Tabla2 Na c
Tabla2 Tun a
Tabla2 Tun b
Tabla2 Tele a
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
1048 Cowbell7-Open
1049 Cowbell7-Mute
1050 Agogo Bell
Hi Perc.
Hi Perc.
Hi Perc.
1051 Chacha Bell
Hi Perc.
1052 Mambo Bell
Hi Perc.
1000 Tabla2 Tele b
1001 Tabla2 Tele c
1002 Tabla2 Ti a
1053 Recoreco short1
1054 Recoreco short2
1055 Recoreco short3
1056 Recoreco long
1057 Triangle1 Open
1058 Triangle1 Mute
1059 Triangle2 Open Lp
1060 Triangle2 Closed c
1061 Sleigh Bell
Hi Perc.
Hi Perc.
Bongo2 Lo Heel
Bongo2 Lo Muffled
Bongo3 Lo Open
Bongo3 Lo Slap
Bongo3 Lo Stick
Bongo3 Hi Open
Bongo3 Hi Slap
Hi Perc.
1003 Tabla2 Ti b
Hi Perc.
1004 Tabla2 Ti c
Hi Perc.
1005 Tabla2 Tera
1006 Tsuzumi
Hi Perc.
Hi Perc.
1007 Taiko Open
1008 Taiko Rim
Hi Perc.
Hi Perc.
Bongo3 Hi Stick1
Bongo3 Hi Stick2
1009 Timbales1 Lo Open mp
1010 Timbales1 Lo Open mf
1062 Rap Sleigh Bell
1063 Jingle Bell
Hi Perc.
Hi Perc.
OkonkoloBocaOpenmp Low Perc.
OkonkoloBocaOpenmf Low Perc.
1011 Timbales1LoOpenmfGM Low Perc.
1064 Bells Open
Hi Perc.
1012 Timbales1 Lo Edge mf
1013 Timbales1 Lo Edge f
1014 Timbales1 Lo RimShot
1015 Timbales1 Lo Abanico
1016 Timbales1 Lo Roll
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
1065 Finger Cymbal
1066 Marc Tree
Hi Perc.
Okonkolo Boca Open f
Okonkolo Boca Open ff
Low Perc.
Low Perc.
Hi Perc.
1067 Marc Tree GM
1068 Marc TreeLP
1069 Rainstick
Hi Perc.
Okonkolo Chacha Open mp Low Perc.
Okonkolo Chacha Open mf Low Perc.
Okonkolo Chacha Open f Low Perc.
Okonkolo Chacha Open ff Low Perc.
Okonkolo Chacha Slap mp Low Perc.
Okonkolo Chacha Slap mf Low Perc.
Okonkolo Chacha Slap f Low Perc.
Hi Perc.
SFX
1017 Timbales1 Lo Mute mf
1018 Timbales1 Lo Mute f
1019 Timbales1 Lo Paila mf
1020 Timbales1 Lo Paila f
1021 Timbales1 Hi Open
1022 Timbales1 Hi Edge
1023 Timbales1 Hi Edge GM
1070 Flexatone
Hi Perc.
1071 Chinese Gong
1072 Claves1 Lo a
1073 Claves1 Lo b
1074 Claves1 Hi a
Cymbal
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
Hi Perc.
Low Perc.
Low Perc.
Low Perc.
Baya Open
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
1075 Claves1 Hi b
1076 Claves2
Baya Ghe
Baya GheUp a
Baya GheUp b
Baya KaPalm
Baya KaToe a
Baya KaToe b
Baya Nail a
1024 Timbales1 Hi RimShot mf Low Perc.
1025 Timbales1 Hi RimShot f Low Perc.
1026 Timbales1 Hi RimShot ff Low Perc.
1077 Wood Block 1 a
1078 Wood Block 1 b
1079 Wood Block 2 a
1080 Wood Block 2 b
1081 Wood Block 3 a
1082 Wood Block 3 b
1083 Wood Block 4 a
1084 Wood Block 4 b
1085 Wood Block 5 a
1086 Wood Block 5 b
1087 Wood Block 6 a
1088 Wood Block 6 b
1089 Wood Block 7
1090 Wood Block 8
1091 Castanet 1 a
1092 Castanet 1 b
1093 Castanet 1 c
1094 Castanet 2
1027 Timbales1 Hi Abanico1
1028 Timbales1 Hi Abanico2
1029 Timbales1 Hi Mute
1030 Timbales1 Hi Paila mf
1031 Timbales1 Hi Paila f
1032 Timbales2 Lo Open
1033 Timbales2 Lo Mute
1034 Timbales2 Lo Rim
1035 Timbales2 Hi Edge
1036 Timbales2 Hi Rim1
1037 Timbales2 Hi Rim2
1038 Timbales2 Paila
1039 Cowbell1
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
Baya Nail b
Baya Nail c
Hi Perc.
Baya Ge
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
Baya Up
Baya UpDown a
Baya UpDown b
Baya Mute1
Baya Mute2
Baya Mute3
Tabla1 Na
Hi Perc.
Tabla1 Open
Tabla1 Tin
1040 Cowbell2
Hi Perc.
1041 Cowbell3
Hi Perc.
Tabla1 Mute1
Tabla1 Mute2
Tabla1 Mute3
Tabla2 Tin a
Tabla2 Tin b
Tabla2 Na a
1042 Cowbell4 Open
1043 Cowbell4 Mute
1044 Cowbell5 Open a
1045 Cowbell5 Open b
1046 Cowbell5 Mute
1047 Cowbell6
Hi Perc.
1095 Castanet Single
1096 Castanet Single GM
1097 Castanet Double
1098 Cabasa 1 L a Down
1099 Cabasa 1 L a Up
1100 Cabasa 1 L b Down
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
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Factory data
Drum Samples
228
#
Name
Family
#
Name
Family
#
Name
Family
1101 Cabasa 1 L b Up
1102 Cabasa 1 S a Down
1103 Cabasa 1 S a Up
1104 Cabasa 1 S b Down
1105 Cabasa 1 S b up
1106 Cabasa 2 L Stack b
1107 Cabasa 2 L Stack a
1108 Cabasa 2 L Roll
1109 Cabasa 2 S Stack a
1110 Cabasa 2 S Stack b
1111 Cabasa 2 S Roll
1112 Cabasa 3 WS
1113 Cabasa 3 Up
1114 Cabasa 3 Down
1115 Cabasa 3 Tap
1116 Caxixi1 a
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Hi Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
1154 Djembe L Open
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
1207 M.E.1 Douf Tek Ak2
1208 M.E.1 Pand Open
1209 M.E.1 Pand Pattern1
1210 M.E.1 Pand Pattern2
1211 M.E.1 Pand Pattern3
1212 M.E.1 Pand Pattern4
1213 M.E.1 Rek Dom Ak
1214 M.E.1 Rek Jingle
1215 M.E.1 Rik1
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
1155 Djembe L Open Slap
1156 Djembe L Closed Slap
1157 Djembe S Basstone a
1158 Djembe S Basstone b
1159 Djembe S Basstone c
1160 Djembe Open
1161 Djembe Mute
Hi Perc.
1162 Djembe Slap
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
1163 Djembe S Open
1216 M.E.1 Rik2
1164 Djembe S Open Slap a
1165 Djembe S Open Slap b
1166 Djembe S Closed Slap a
1217 M.E.1 Rik3
1218 M.E.1 Sagat Half Open
1219 M.E.1 Sagat Close
1220 M.E.1 Surdo L Open
1221 M.E.1 Surdo L Mute
1222 M.E.1 Tabla Medium
1223 M.E.1 Tabla Dom
1224 M.E.1 Tabla Flam
1225 M.E.1 Tabla Rim
1226 M.E.1 Tabla Tak
Hi Perc.
1167 Djembe S Closed Slap b Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
1168 Djembe S Closed Slap c
1169 Djembe Bass
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
1117 Caxixi1 b
1170 Udu Open a
1118 Caxixi1 c
1171 Udu Open b
1119 Caxixi2 a
1172 Udu Open c
1120 Caxixi2 b
1173 Udu Open d
1121 Caxixi2 c
1174 Udu Slide a
1227 M.E.1 Timbales
1122 Caxixi3 Hard
1123 Caxixi3 Soft
1124 Shaker1 Push a
1125 Shaker1 Push b
1126 Shaker1 Pull a
1127 Shaker1 Pull b
1128 Shaker1 Accent a
1129 Shaker1 Accent b
1130 Shaker1 Slow a
1131 Shaker1 Slow b
1132 Shaker1 Slow c
1133 Shaker1 Roll a
1134 Shaker1 Roll b
1135 Shaker1 Roll c
1136 Shaker2
1175 Udu Slide b
Hi Perc.
1228 M.E.1 Udu f Open
1229 M.E.1 Alkis
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
1176 Udu Half Open a
1177 Udu Half Open b
1178 Udu Half Open c
1179 Udu Bell a
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
SFX
1230 M.E.1 Bandir Open
1231 M.E.1 Bandir Closed
1232 M.E.1 Bongo Roll
1233 M.E.1 Darbuka1 Tek1
1234 M.E.1 Darbuka1 Tek2
1235 M.E.1 Darbuka1 Open
1236 M.E.1 Darbuka1 Closed
1237 M.E.1 Darbuka2
1238 M.E.1 Darbuka3
1239 M.E.1 Darbuka4
1240 M.E.1 Darbuka5 D1
1241 M.E.1 Darbuka5 D2
1242 M.E.1 Darbuka5 D3
1243 M.E.1 Darbuka6 Mute
1244 M.E.1 Darbuka6 Open
1245 M.E.1 Darbuka6 Rim
1180 Udu Bell b
1181 WD Brazillia1
1182 WD Brazillia2
1183 WD Ethno SD1
1184 WD Ethno SD2
1185 WD Ethno SD3
1186 WD Ethno SD4
1187 WD Ethno SD5
1188 WD Ethno SD6
1189 WD Kangaroo1
1190 WD Kangaroo2
1191 WD Kangaroo3
1192 WD Kangaroo4
1193 WD Kangaroo5
1194 WD Kangaroo6
1195 WD Kangaroo7
1196 WD Kangaroo8
1197 Tambourine Push
1198 Tambourine Pull
1199 Tambourine Acc1 A
1200 Tambourine Acc1 B
1201 Tambourine Acc2
1202 Tambourine Mute1
1203 Tambourine Mute2
1204 Tambourine Open
1205 M.E.1 Douf Rim Ak
1206 M.E.1 Douf Tek Ak1
1137 Shaker3
1138 Maracas Push
1139 Maracas Pull
1140 Dumbek a
SFX
SFX
SFX
1246 M.E.1Darbuka6DomAk Low Perc.
1141 Dumbek b
SFX
1247 M.E.1 Davul
Hi Perc.
1142 Dumbek c
SFX
1248 M.E.1 Hollo1
1249 M.E.1 Hollo2
1250 M.E.1 Kup1
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
1143 Dumbek d
SFX
1144 Dumbek e
Hi Perc.
1145 Dumbek f
Hi Perc.
1251 M.E.1 Kup2
1146 Dumbek g
Hi Perc.
1252 M.E.1 Ramazan Davul1
1253 M.E.1 Ramazan Davul2
1254 M.E.1 Ramazan Davul3
1255 M.E.1 Tef1
1147 Dumbek h
Hi Perc.
1148 Dumbek i
Hi Perc.
1149 Dumbek j
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
1150 Dumbek k
1256 M.E.1 Tef2
Hi Perc.
1151 Djembe L Basstone a
1152 Djembe L Basstone b
1153 Djembe L Basstone c
1257 M.E.1 Tef3
Hi Perc.
1258 M.E.2 BD Kick
1259 M.E.2 SD
Bass Drum
Snare Drum
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Factory data
Drum Samples
229
#
Name
Family
#
Name
Family
#
Name
Family
1260 M.E.2 Asagum
1261 M.E.2 Asmatek
1262 M.E.2 Bendirgum
1263 M.E.2 Bendirtek1
1264 M.E.2 Bendirtek2
1265 M.E.2 Dm1
1266 M.E.2 Findik
1267 M.E.2 Gum
1268 M.E.2 Hollotokat
1269 M.E.2 Islik1
1270 M.E.2 Islik2
1271 M.E.2 Kapalit
1272 M.E.2 Kasik1
1273 M.E.2 Kasik2
1274 M.E.2 Kasik3
1275 M.E.2 Kasik4
1276 M.E.2 Kemik
1277 M.E.2 Kenar1
1278 M.E.2 Kenartek
1279 M.E.2 Ramazangum
1280 M.E.2 Ramazantek
1281 M.E.2 Renk
1282 M.E.2 Renkbir
1283 M.E.2 Renkiki
1284 M.E.2 Tefacik
1285 M.E.2 Tefgum
1286 M.E.2 Teftek1
1287 M.E.2 Teftokat
1288 M.E.2 Teftrill
1289 M.E.2 Tefzil
1290 M.E.2 Tek1
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
SFX
1313 Stadium
1314 Applause
1315 Scream
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
Hi Perc.
Hi Perc.
Hi Perc.
SFX
SFX
SFX
SFX
SFX
SFX
SFX
SFX
1366 Gtr Scratch1
1367 Gtr Scratch2
1368 Ac.Bs-String Slap
1369 Amp Noise
1370 Space Lore
1371 Swish Terra
1372 Hand Drill
1373 Mouth Harp
1374 Grv BD1
SFX
SFX
SFX
1316 Laughing
1317 Footsteps1
1318 Footsteps2
1319 Bird1
SFX
SFX
SFX
SFX
1320 Bird2
SFX
1321 Dog
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Bass Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
HiHat
1322 Gallop
1375 Grv BD2
SFX
1323 Crickets
1376 Grv BD3
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
Hi Perc.
Hi Perc.
SFX
1324 Cat
1377 Grv BD4
1325 Growl
1378 Grv BD5
1326 Heart Beat
1327 Heart Beat GM
1328 Punch
1379 Grv BD6
1380 Grv BD7
1381 Grv BD8
1329 Tribe
1382 Grv BD9
1330 Door Creak
1331 Door Slam
1332 Car Engine
1333 Car Stop
1334 Car Pass
1383 Grv BD10
1384 Grv BD11
1385 Grv BD12
1386 Grv BD13
1387 Grv BD14
1388 Grv BD15
1389 Grv BD16
1390 Grv BD17
1391 Grv SD1
1335 Car Crash
1336 Train
1337 Helicopter
1338 Gun Shot1
1339 Gun Shot2
1340 Machine Gun
1341 Laser Gun
1342 Explosion
1343 Thunder
1344 Wind
1392 Grv SD2
1393 Grv SD3
1394 Grv SD4
1395 Grv SD5
1396 Grv SD6
1291 M.E.2 Tek2
1397 Grv SD7
1292 M.E.2 Tekbir
1293 M.E.2 Tokat
1294 M.E.2 Toprgum
1295 M.E.2 Toprtek1
1296 M.E.2 Toprtek2
1297 M.E.2 Toprtokat
1298 M.E.2 TRILL1
1299 M.E.2 Zil1
1345 Stream
1398 Grv SD8
1346 Bubble
1399 Grv SD9
1347 Bubble GM
1348 Church Bell
1349 Telephone Ring
1350 Xylophone Spectr
1351 Cricket Spectrum
1352 Air Vortex
1353 Noise White
1354 Noise FM Mod
1355 Tubular
1400 Grv SD10
1401 Grv SD11
1402 Grv SD12
1403 Grv SD13
1404 Grv SD14
1405 Grv SD15
1406 Grv Rim1
1407 Grv Rim2
1408 Grv Rim3
1409 Grv Rim4
1410 Grv Rim5
1411 Grv Rim6
1412 Grv HH Closed1
1413 Grv HH Closed2
1414 Grv HH Closed3
1415 Grv HH Closed4
1416 Grv HH Closed5
1417 Grv HH Closed6
1418 Grv HH Closed7
1300 M.E.2 Zil2
1301 M.E.2 Zil3
1302 M.E.2 Zilgit
1303 Orchestra Hit
1304 Band Hit
SFX
1356 Gamelan
1357 Tambura
1358 Gtr Cut Noise1
1359 Gtr Cut Noise2
1360 Power Chord
1361 Fret Noise
1362 Dist. Slide1
1363 Dist. Slide2
1364 E.Gtr Pick1
1365 E.Gtr Pick2
SFX
1305 Impact Hit
SFX
1306 Metal Hit
SFX
1307 Yeah!
SFX
HiHat
1308 Yeah! Solo
SFX
HiHat
1309 Uhh
SFX
HiHat
1310 Hit It
SFX
HiHat
1311 Uhhhh Solo
1312 Comp Voice Noise
SFX
HiHat
SFX
HiHat
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Factory data
Drum Samples
230
#
Name
Family
#
Name
Family
#
Name
Family
1419 Grv HH Closed8
1420 Grv HH Closed9
1421 Grv HH Closed10
1422 Grv HH Closed11
1423 Grv HH Closed12
1424 Grv HH Open1
1425 Grv HH Open2
1426 Grv Hi Tom1
1427 Grv Hi Tom2
1428 Grv Low Tom1
1429 Grv Low Tom2
1430 Grv Ride
1431 Grv Crash1
1432 Grv Crash2
1433 Grv Claps1
1434 Grv Claps2
1435 Grv Claps3
1436 Grv Fx1
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
HiHat
Tom
Tom
Tom
Tom
Cymbal
Cymbal
Cymbal
Low Perc.
Low Perc.
Low Perc.
SFX
1472 Grv Slice2
1473 Grv Slice3
1474 Grv Slice4
1475 Grv Slice5
1476 Grv Slice6
1477 Grv Slice7
1478 Grv Slice8
1479 Grv Slice9
1480 Grv Slice10
1481 Grv Slice11
1482 Grv Slice12
1483 Grv Slice13
1484 Grv Slice14
1485 Grv Slice15
1486 Grv Slice16
1487 Grv Slice17
1488 Grv Slice18
1489 Grv Slice19
1490 78 BD
SFX
1525 88 BD1
Bass Drum
Bass Drum
Bass Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
HiHat
SFX
1526 88 BD2
SFX
1527 88 BD Long
1528 88 SD1
SFX
SFX
1529 88 SD2
SFX
1530 88 SD2 GM
1531 88 SD3
SFX
SFX
1532 88 SD3 GM
1533 88 RIM Shot1
1534 88 Rim Shot2
1535 88 Rim Shot2 GM
1536 88 HH Close1
1537 88 HH Close1 acc
1538 88 HH Close1 acc GM
1539 88 HH Close2
1540 88 HH Close2 GM
1541 88 HH Open1
1542 88 HH Open1 GM
1543 88 HH Open2
1544 88 Tom1
SFX
SFX
SFX
SFX
SFX
HiHat
SFX
HiHat
SFX
HiHat
SFX
HiHat
SFX
HiHat
SFX
HiHat
1437 Grv Fx2
SFX
Bass Drum
Snare Drum
Snare Drum
HiHat
HiHat
1438 Grv Fx3
SFX
1491 78 SD1
Tom
1439 Grv Fx4
SFX
1492 78 SD2
1545 88 Tom2
Tom
1440 Grv Fx5
SFX
1493 78 HH Cl1
1494 78 HH Cl2
1495 78 HH Open
1496 78 Tom
1546 88 Cymbal
1547 88 Cymbal Acc1
1548 88 Cymbal Acc2
1549 88 Crash
Cymbal
1441 Grv Fx6
SFX
HiHat
Cymbal
1442 Grv Fx7
SFX
HiHat
Cymbal
1443 Grv Fx8
SFX
Tom
Cymbal
1444 Grv Fx9
SFX
1497 78 Cymbal
1498 78 Bongos
1499 78 Congas
1500 78 Claves
1501 55 BD
Cymbal
Low Perc.
Low Perc.
Low Perc.
Bass Drum
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
Hi Perc.
Cymbal
HiHat
1550 88 Crash GM
1551 88 Bongos
1552 88 Congas1
1553 88 Congas2
1554 88 Claps1
1555 88 Claps2
1556 88 Claves
Cymbal
1445 Grv Fx10
1446 Grv Fx11
1447 Grv Fx12
1448 Grv Fx13
1449 Grv Fx14
1450 Grv Fx15
1451 Grv Fx16
1452 Grv Fx17
1453 Grv Fx18
1454 Grv Fx19
1455 Grv Fx20
1456 Grv Fx21
1457 Grv Fx22
1458 Grv Fx23
1459 Grv Fx24
1460 Grv Fx25
1461 Grv Fx26
1462 Grv Fx27
1463 Grv Fx28
1464 Grv Fx29
1465 Grv Fx30
1466 Grv Fx31
1467 Grv Fx32
1468 Grv Fx33
1469 Grv Fx34
1470 Grv Fx35
1471 Grv Slice1
SFX
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
SFX
SFX
SFX
SFX
1502 55 Claps
SFX
1503 55 CongaHi
1504 55 CongaLow
1505 55 Cowbell Hi
1506 55 Cowbell Low
1507 55 Crash
1508 55 HH Close
1509 55 HH Open
1510 55 Ride
SFX
1557 88 Cowbell
1558 88 Maracas
1559 99 BD1
SFX
Hi Perc.
SFX
Bass Drum
Bass Drum
Bass Drum
Snare Drum
Snare Drum
Snare Drum
Snare Drum
HiHat
SFX
1560 99 BD2
SFX
1561 99 BD3
SFX
HiHat
1562 99 SD1
SFX
Cymbal
Snare Drum
Snare Drum
Low Perc.
Tom
1563 99 SD2
SFX
1511 55 Rim
1564 99 SD3
SFX
1512 55 SD
1565 99 RIM Shot
1566 99 HH Close1
1567 99 HH Close2
1568 99 HH Close3
1569 99 HH Open1
1570 99 HH Open2
1571 99 HH Open3
1572 99 Tom Hi
1573 99 Tom Mid
1574 99 Tom Low
1575 99 Claps
SFX
1513 55 Timbales Hi
1514 55 Tom Hi
1515 55 Tom Mid
1516 55 Tom Low
1517 66 BD
SFX
HiHat
SFX
Tom
HiHat
SFX
Tom
HiHat
SFX
Bass Drum
Snare Drum
HiHat
HiHat
SFX
1518 66 SD
HiHat
SFX
1519 66 HH Close
1520 66 HH Open
1521 66 Tom
Tom
SFX
HiHat
Tom
SFX
Tom
Tom
SFX
1522 66 Congas
1523 66 Cymbal
1524 66 Cowbell
Low Perc.
Cymbal
Hi Perc.
Low Perc.
Low Perc.
Low Perc.
SFX
1576 99 Guiro1
1577 99 Guiro2
SFX
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Factory data
Drum Samples
231
#
Name
Family
#
Name
Family
#
Name
Family
1578 99 Ride
Cymbal
Cymbal
Cymbal
Cymbal
Cymbal
Hi Perc.
Low Perc.
Low Perc.
Hi Perc.
1587 99 Agogo Low
1588 99 Conga Hi
1589 99 Conga Mid
1590 99 Conga Low
1591 99 WoodBlock
1592 99 Timbale Hi
1593 99 Timbale Mid
1594 99 Metal
Hi Perc.
1596 Click GM
1597 Seq Click
1598 Empty
SFX
1579 99 Ride Dance
1580 99 Crash1
1581 99 Crash2
1582 99 Crash3
1583 99 Cabasa
1584 99 Bongo Hi
1585 99 Bongo Low
1586 99 Agogo Hi
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Low Perc.
Hi Perc.
SFX
Bass Drum
1595 Click
SFX
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Factory data
Pads
232
Pads
You can assign the following Hits or Sequences to the four Pads. Older sounds might be still assigned to the Pads when loading musical
resources generated with an older operating system (see the following section).
#
HIT - Drum
#
HIT - Percussion
#
HIT - World 1
#
Hit - World 2
#
HIT - Orchestral
1
2
3
4
5
6
7
8
9
88 Cowbell
88 Crash
China
1
2
3
4
5
6
7
8
9
Agogo 1
1
2
3
4
5
6
7
8
9
Baja 1
1
2
3
4
5
6
7
8
9
Kup 1
1
2
3
4
5
6
7
8
9
Brass Fall
Agogo 2
Baja 2
Kup 2
Orch.Cymbal 1
Orch.Cymbal 2
Orch. Hit
Castanet 1
Castanet 2
Conga Hi
Conga Low
Conga Mute
Conga Slap
Cowbell
China Gong
Darbuka 1
Darbuka 2
Darbuka 3
Darbuka 4
Darbuka 5
Darbuka 6
Kup 3
Crash 1
Kup 4
Crash 2
Ramazan 1
Ramazan 2
Ramazan 3
Rek Dom Ak
Rik 1
Orch. Snare
Orch. Sn. Roll
Timpani 1
Rev. Cymbal
Ride 1
Ride 2
Timpani 2
Ride Bell
Timpani 3
10 Splash
10 Cuica 1
10 Darbuka 7
10 Rik 2
10 Timpani 4
11 Sticks
11 Cuica 2
11 Darbuka 8
11 Rik 3
11 Orchestra Tutti
12 Rim-Shot
12 Jingle Bell
13 Long Guiro
14 Short Guiro
15 Open Bells
16 Rain Stick
12 Davul
12 Sagat 1
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
13 Hi Tom Flam
14 Mid Tom Flam
15 Low Tom Flam
16 Tom Flam End
17 Drum Single A
18 Drum Single B
19 Drum Single C
20 Drum Single D
21 Drum Sing.HouseA
22 Drum Sing.HouseB
23 Drum Sing.HouseC
24 Drum Sing.HouseD
25 Drum Kit A
26 Drum Kit B
27 Drum Kit C
28 Drum Kit D
29 Drum Kit E
30 Drum Kit F
31
13 Douf Rim Ak
13 Sagat 2
14 Dragon Gong
14 Tef 1
15 Hollo 1
15 Tef 2
16 Hollo 2
16 Tef 3
17 Tamb. Acc. 1
18 Tamb. Acc. 2
19 Tamb. Open
20 Tamb. Push
21 Timbale Hi
22 Timbale Low
23 Timbale Rim 1
24 Timbale Rim 2
25 Triangle 1
26 Triangle 2
27 Vibra Slap
28 Whistle 1
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
17 Tef 4
18 Tef 5
19 Tef 6
20
21
22
23
24
25
26
27
28
29
30
31
32
29 Whistle 2
30 Windchimes 1
31 Windchimes 2
32 Windchimes 3
32
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Factory data
233
Pads
#
HIT - Synth&Pad
HIT - Voice
#
HIT - Blocks
#
HIT - Misc&SFX 1
#
HIT - Misc&SFX 2
1
2
3
4
5
6
7
8
9
Cosmic
1
Aah !
1
2
3
4
5
6
7
8
9
Blk Funk 1 A
Blk Funk 1 B
Blk Funk 1 C
Blk Funk 1 D
Blk Funk 2 A
Blk Funk 2 B
Blk Funk 2 C
Blk Funk 2 D
Blk Organ A
1
2
3
4
5
6
7
8
9
Applause
Bird 1
1
2
3
4
5
6
7
8
9
Bubble
VCF Modulation
Planet Lead
Brightness
Crystal
2
Hit it !
Car Crash
Car Engine
Car Pass
3
Laughing
Scream
Uuh !
Bird 2
4
Cat
5
Church Bell
Crickets
Dist. Slide 1
Dist. Slide 2
Dog
Car Stop
Explosion
Gun Shot
Helicopter
Jet Plane
New Age Pad
Fifths Lead
Calliope
6
Yeah ! 1
Yeah ! 2
7
8
Caribbean
9
10 Rezbo
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
10 Blk Organ B
10 Door Creak
11 Door Slam
12 Foosteps 1
13 Foosteps 2
14 Heart Beat
15 Horse Gallop
16 Lion
17 Scratch 1
18 Scratch 2
19 Scratch 3
20 Scratch 4
21 Scratch 5
22 Scratch 6
23 Stadium
24
10 Laser Gun
11 Digital Polisix
11 Blk Organ C
11 Machine Gun
12 Motion Raver
12 Blk Organ D
12 Phone Ring
13 Moving Bell
13 Blk Choir A
13 Punch
14 Elastick Pad
14 Blk Choir B
14 River
15 Rave
15 Blk Choir C
15 Seashore
16 Dance Remix
16 Blk Choir D
16 Siren
17 Vintage Sweep
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
17 Starship
18 You Decide
18 Thunder
19
20
21
22
23
24
25
26
27
28
29
30
31
32
19 Train
20 Wind
21
22
23
24
25
26
27
28
29
30
31
32
25
26
27
28
29
30
31
32
#
SEQ - Drum
#
SEQ - Percussion
#
SEQ - Groove
#
SEQ - Bass
#
SEQ - Piano
1
2
3
4
5
6
7
8
9
Drum DrumBasSolo
Drum Snare Solo
Drum 8 Bt Easy
Drum 8 Bt Medium
Drum Rock 1
1
2
3
4
5
6
7
8
9
Perc FingerSnap
Perc Triang.+HH
Perc Latin 1
Perc Latin 2
Perc Latin 3
Perc Mix
1
2
3
4
5
6
7
8
9
Grv Drum 1
Grv Drum 2
Grv Brush
1
2
3
4
5
6
7
8
9
Bass Pick Easy
Bass Pick Med.
Bass Pick Busy
Bass Finger Easy
Bass Finger Med.
Bass Finger Walk
Bass Latin
1
2
3
4
5
6
7
8
9
Piano Accomp 1
Piano Accomp 2
Piano Accomp 3
Piano Accomp 4
Piano Accomp 5
Piano Accomp 6
Piano Accomp 7
Piano Accomp 8
Piano Accomp 9
Grv Jazzy
Grv Latin
Drum Rock 2
Grv HipHop 1
Grv HipHop 2
Grv HipHop 3
Grv HipHop 4
Drum Brush 1 3/4
Drum Brush 2 3/4
Drum Disco 1
Perc Soft
Perc Conga
Bass Slap
Perc Conga+Ride
Bass Digital
10 Drum Disco 2
11 Drum Disco 3
12 Drum Disco 4
13 Drum Funk 1
14 Drum Funk 2
15 Drum Brush Shuff
16 Drum Latin
17 Drum Progressiv1
18 Drum Progressiv2
19 Drum Fill 1
20 Drum Fill 2
21 Drum Break
22 Drum End
23
10 Perc Conga+Mix
11 Perc Conga+Bongo
12 Perc Conga+Tamb.
13 Perc Shaker
10 Grv HipHop 5
11 Grv HipHop 6
12 Grv Funk 1
13 Grv Funk 2
14 Grv Funk 3
15 Grv House 1
16 Grv House 2
17 Grv Analog
18 Grv Garage 1
19 Grv Garage 2
20 Grv Dance 1
21 Grv Dance 2
22 Grv Techno 1
23 Grv Techno 2
24
10 Bass Synth
10 Piano Arpeg. 1
11 Piano Arpeg. 2
12 Piano Arp 1 3/4
13 Piano Arp 2 3/4
14 Piano Arp Down
15 Piano Arp Up
11 Bass DigiFilter1
12 Bass DigiFilter2
13 Bass DigiFilter3
14 Perc Shak+Tamb 1
15 Perc Shak+Tamb 2
16 Perc Shak+Cong 1
17 Perc Shak+Cong 2
18 Perc Tambourine1
19 Perc Tambourine2
20 Perc Tamb+Conga1
21 Perc Tamb+Conga2
22 Perc Guiro+Bongo
23 Perc Cowbel+Tamb
24 Perc 3/4
14
15
16
17
18
19
20
21
22
23
24
25
26
16 Piano Rhythm 1/8
17 Piano Rhythm1/8T
18 Piano Latin Rock
19 Piano Salsa 1
20 Piano Salsa 2
21 Pno GlissDwnWhit
22 Pno GlissUpWhite
23 Pno GlissDwnBlak
24 Pno GlissUpBlack
25 Honky End
24
25
25 Perc 6/8
25
26
26
26
26
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Factory data
Pads
234
27
28
29
30
31
32
27
28
29
30
31
32
27
28
29
30
31
32
27
28
29
30
31
32
27
28
29
30
31
32
#
SEQ - Guitar
#
SEQ - Orchestral
#
SEQ - Solo
#
SEQ - Synth&Pad
#
SEQ - Misc&SFX
1
2
3
4
5
6
7
8
9
Gtr Steel Strum1
Gtr Steel Strum2
Gtr Steel Strum3
Gtr Steel Strum4
Gtr Steel Strum5
Gtr Steel Strum6
GtSteelStrum 3/4
Gtr Steel Arp 1
1
2
3
4
5
6
7
8
9
Timpani Roll 1
Timpani Roll 2
Orch. Tutti 1
Orch. Tutti 2
Orch. Tutti 3
Orch. Tutti 4
Orch. Harp 1
Orch. Harp 2
Orch. Harp 3
1
2
3
4
5
6
7
8
9
Solo Marimba
Solo Kalimba 1
Solo Kalimba 2
Solo Steel Drums
Solo Vibes
1
2
3
4
5
6
7
8
9
Synth Seq 1
Synth Seq 2
Synth Seq 3
Synth Seq 4
Synth Seq 5
Synth Seq 6
Synth Seq 7
Synth Seq 8
Synth Seq 9
1
2
3
4
5
6
7
8
9
Military 1
Military 2
Military 3
Military 4
Horror 1
Horror 2
Horror 3
Horror 4
Lullaby 1
Solo Gtr Dist.
Solo Slide Steel
Solo Banjo
Gtr Steel Arp 2
Solo Violin
10 Gtr Steel Arp 3
11 GtrSteel Arp 6/8
12 Gtr Steel Mute 1
13 Gtr Steel Mute 2
14 Guitar Country
15 Gtr Nylon Strum1
16 Gtr Nylon Strum2
17 Gtr Nylon Strum3
18 Gtr Nylon Strum4
19 Gtr Nylon Strum5
20 Gtr Nylon Strum6
21 Gtr Nylon Arp 1
22 Gtr Nylon Arp 2
23 Gtr Nylon Arp 3
24 GtrNylon Arp 3/4
25
10 Orch. Harp 4
10 Solo Harpsi 3/4
11 Solo Harpsi 4/4
12 Solo Gtr Funk
13 Solo Piano 1
14 Solo Piano 2
15 Solo Piano 3
16 Solo Piano 4
17 Solo Synth 1
18 Solo Synth 2
19 Solo Synth 3
20 Solo Synth 4
21 Solo Synth 5
22 Solo Synth 6
23 Solo Guitar 1
24 Solo Guitar 2
25 Solo Guitar 3
26
10 Synth Seq 10
10 Lullaby 2
11 Orch. Harp 5
11 Synth Seq 11
11 Nature - River
12 French Horns 1
12 Synth Portam. 1
12 Nature - Storm
13 French Horns 2
13 Synth Portam. 2
13 Metronome 3/4
14 Strings 1
14 Synth Portam. 3
14 PreCount 3/4
15 Strings 2
15 Synth Portam. 4
15 Metronome 4/4
16 Strings 3
16 Synth Filter 1
16 PreCount 4/4
17 Strings 4
17 Synth Filter 2
17 PreCount 4/4 Dbl
18 Strings 5
18 Synth Pad Panned
18 Toccata
19 Strings 6
19 Synth Master Pad
19 5th Intro
20 Strings 7
20 Synth Dark Pad
20 Primavera
21
22
23
24
25
26
27
28
29
30
31
32
21
22
23
24
25
26
27
28
29
30
31
32
21 Circus 1
22 Circus 2
23
24
25
26
27
28
29
30
31
32
26
27
27
28
28
29
29
30
30
31
31
32
32
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Factory data
235
Effects
Effects
The following table lists all Pa3X Factory Effects. Detailed infor-
chapter (see page 106).
#
FX Name
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
Stereo Vibrato
St. Auto Fade Mod.
2Voice Resonator
Doppler
#
FX Name
0
No Effect
Scratch
1
Stereo Compressor
Dyn. Compressor
Stereo Limiter
Grain Shifter
2
Stereo Tremolo
Classic Tremolo
St. Env. Tremolo
Stereo Auto Pan
St. Phaser + Trml
St. Ring Modulator
Detune
3
4
Multiband Limiter
St.MasteringLimtr
Stereo Gate
5
6
7
St.Parametric4EQ
St. Graphic 7EQ
St.Exciter/Enhncr
Stereo Isolator
8
9
Pitch Shifter
10
11
12
13
14
15
16
17
8
Pitch Shifter BPM
Pitch Shift Mod.
Organ Vib/Chorus
Rotary Speaker
L/C/R Delay
St. Wah/Auto Wah
St. Vintage Wah
VOX Wah
St. Random Filter
St. MultiModeFilter
St. Sub Oscillator
Talking Modulator
Stereo Decimator
St. Analog Record
OD/Hi.Gain Wah
St. Guitar Cabinet
Gtr. Cabinet + NR
St. Bass Cabinet
Bass Amp Model
Bass Amp+Cabinet
Tube PreAmp Model
St. Tube PreAmp
MicModel+PreAmp
Stereo Chorus
Stereo/CrossDelay
St. Multitap Delay
St. Mod Delay
St. Dynamic Delay
St. AutoPanningDly
Tape Echo
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
Classic Tape Echo
Auto Reverse
Sequence BPM Dly
L/C/R BPM Delay
Stereo BPM Delay
St.BPM Mtap Delay
St.BPM Mod. Delay
St.BPMAutoPanDly
Tape Echo BPM
Reverb Hall
Classic Chorus
Black Chorus/Flanger
St.HarmonicChorus
St. Biphase Mod.
Multitap Cho/Delay
Ensemble
Reverb SmoothHall
Reverb Wet Plate
Reverb Dry Plate
Reverb Room
ReverbBrightRoom
Reverb Spring
Early Reflections
P4EQ - Exciter
Polysix Ensemble
Stereo Flanger
Classic Flanger
St. Random Flanger
St. Env. Flanger
Stereo Phaser
P4EQ - Wah
P4EQ - Cho/Flng
P4EQ - Phaser
Orange Phaser
P4EQ - Mt. Delay
Comp - Wah
Small Phaser
St. Random Phaser
St. Env. Phaser
Comp - Amp Sim
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Factory data
Effects
236
#
FX Name
#
FX Name
95
Comp - OD/HiGain
Comp - P4EQ
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
St.Mltband Limiter
PianoBody/Damper
OD/HyperGain Wah
GuitarAmp + P4EQ
Amp Clean Combo
Amp California
96
97
Comp - Cho/Flng
Comp - Phaser
98
99
Comp - Mt. Delay
Limiter - P4EQ
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
Limiter-Cho/Flng
Limiter - Phaser
Limiter - Mt.Delay
Exciter - Comp
Amp Tweed
Amp Modded OD
BassTubeAmp+Cab.
St. Mic + PreAmp
Multitap Cho/Delay
St. Pitch Shifter
Exciter - Limiter
Exciter-Cho/Flng
Exciter - Phaser
Exciter - Mt.Delay
OD/HG - Amp Sim
OD/HG - Cho/Flng
OD/HG - Phaser
OD/HG - Mt.Delay
Wah - Amp Sim
Decimator - Amp
Decimator - Comp
AmpSim - Tremolo
Cho/Flng - Mt.Dly
Phaser - Cho/Flng
Reverb - Gate
St. PitchShift BPM
Rotary SpeakerOD
L/C/R Long Delay
St/Cross Long Dly
Hold Delay
LCR BPM Long Dly
St. BPM Long Dly
Early Reflections
Vocoder
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Factory data
237
MIDI Setup
MIDI Setup
Default
Master Kbd
Player1
Player 2
Accordion 1
Accordion 2
Accordion 3
Ext. Seq
P1_Tr 1
1
P1_Tr 1
Global
P1_Tr 1
P1_Tr 2
P1_Tr 3
P1_Tr 4
P1_Tr 5
P1_Tr 6
P1_Tr 7
P1_Tr 8
P1_Tr 9
P1_Tr 10
P1_Tr 11
P1_Tr 12
P1_Tr 13
P1_Tr 14
P1_Tr 15
P1_Tr 16
P1_Tr 1
P1_Tr 2
P1_Tr 3
P1_Tr 4
P1_Tr 5
P1_Tr 6
P1_Tr 7
P1_Tr 8
P1_Tr 9
P1_Tr 10
P1_Tr 11
P1_Tr 12
P1_Tr 13
P1_Tr 14
P1_Tr 15
P1_Tr 16
Off
P2_Tr 1
P2_Tr 2
P2_Tr 3
P2_Tr 4
P2_Tr 5
P2_Tr 6
P2_Tr 7
P2_Tr 8
P2_Tr 9
P2_Tr 10
P2_Tr 11
P2_Tr 12
P2_Tr 13
P2_Tr 14
P2_Tr 15
P2_Tr 16
P2_Tr 1
P2_Tr 2
P2_Tr 3
P2_Tr 4
P2_Tr 5
P2_Tr 6
P2_Tr 7
P2_Tr 8
P2_Tr 9
P2_Tr 10
P2_Tr 11
P2_Tr 12
P2_Tr 13
P2_Tr 14
P2_Tr 15
P2_Tr 16
Off
Global
Lower
Bass
-
Upp1
Lower
-
Upp1
Lower
Bass
2
3
P1_Tr 2
Control
P1_Tr 2
P1_Tr 3
-
P1_Tr 3
4
P1_Tr 4
-
Upp2
Upp3
-
Upp2
Upp3
-
P1_Tr 4
5
P1_Tr 5
-
-
P1_Tr 5
6
P1_Tr 6
-
-
P1_Tr 6
7
P1_Tr 7
-
-
-
-
P1_Tr 7
8
P1_Tr 8
-
-
-
-
P1_Tr 8
MIDI IN
Channel
9
P1_Tr 9
-
-
Bass
-
P1_Tr 9
10
11
12
13
14
15
16
1
P1_Tr 10
-
Drum
Perc
Acc1
Acc2
Acc3
Acc4
Acc5
Upp1
Upp2
Upp3
Lower
-
Drum
Perc
Drum
Perc
P1_Tr 10
P1_Tr 11
-
P1_Tr 11
P1_Tr 12
-
Acc1
Acc1
P1_Tr 12
P1_Tr 13
-
Acc2
Acc2
P1_Tr 13
P1_Tr 14
-
Acc3
Acc3
P1_Tr 14
P1_Tr 15
-
Acc4
Acc4
P1_Tr 15
P1_Tr 16
-
Acc5
Acc5
P1_Tr 16
1 Upp1
Upp1
P1_Tr 1
P1_Tr 2
P1_Tr 3
P1_Tr 4
P1_Tr 5
P1_Tr 6
P1_Tr 7
P1_Tr 8
P1_Tr 9
P1_Tr 10
P1_Tr 11
P1_Tr 12
P1_Tr 13
P1_Tr 14
P1_Tr 15
P1_Tr 16
2
P2_Tr 1
P2_Tr 2
P2_Tr 3
P2_Tr 4
P2_Tr 5
P2_Tr 6
P2_Tr 7
P2_Tr 8
P2_Tr 9
P2_Tr 10
P2_Tr 11
P2_Tr 12
P2_Tr 13
P2_Tr 14
P2_Tr 15
P2_Tr 16
2
Upp. 1
2
Upp2
Upp2
-
-
3
Upp3
Upp3
4
Lower
Lower
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
6
-
-
-
7
-
-
-
8
-
-
-
MIDI OUT
Channel
9
-
Bass
Drum
Perc
Acc1
Acc2
Acc3
Acc4
Acc5
2
-
10
11
12
13
14
15
16
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Off
Off
Chord 1 Chann.
Chord 2 Chann.
Harm. Chann.
Off
5
Off
5
Off
Off
3
2
3
2
Off
Off
Off
1
5
5
2
-1
0
0
0
G9
0
G9
-1
-1
Harm. Octave
G9
C -1
Normal
On
On
0
G9
C -1
Normal
On
On
0
G9
C -1
110
On
–
G9
C -1
110
On
–
G9
C -1
Normal
On
–
G9
Harm. Range HI
Harm. Range LO
MIDI IN Velocity
MIDI IN Oct. Trp.
C -1
Normal
On
–
C -1
Normal
On
–
C -1
Normal
On
On
0
MIDI IN Mute/Un.
Upper Oct. Trp.
Lower Oct. Trp.
0
0
0
0
0
0
0
0
0
0
0
0
0
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Assignable parameters
List of Assignable Footswitch / Pedal functions
238
Assignable parameters
Function
Meaning
List of Assignable Footswitch / Pedal
functions
STS Mode
STS1
Same functions of the control panel buttons
with the same name
STS2
STS3
The following functions can be assigned to a footswitch or a con-
tinuous pedal.
STS4
STS Up
Selects the next STS
Function
Meaning
STS Down
Selects the previous STS
Selects the next Performance
Selects the previous Performance
Style number
Perform. Up
Off
No function assigned
Perform. Down
Style Change
Sound Up
Style Start/Stop
Play Stop Player 1
Play Stop Player 2
Go to Beginning-Ply 1
Go to Beginning-Ply 2
Chord Seq. Record
Chord Seq. Play
Synchro Start
Synchro Stop
Tap Tempo/Reset
Tempo Lock
Ritardando
Accelerando
Tempo Up
Selects the next Sound
Selects the previous Sound
Sound Down
Transpose Down
Transpose Up
Upper Octave Up
Upper Octave Down
Punch In/Out
Style-Upper1 Mute
Style-Upper2 Mute
Style-Upper3 Mute
Style-Lower Mute
Style-Drum Mute
Style-Percussion Mute
Style-Bass Mute
Style-Acc1 Mute
Style-Acc2 Mute
Style-Acc3 Mute
Style-Acc4 Mute
Style-Acc5 Mute
Style-Acc1-5 Mute
Song-Melody
Same functions of the control panel buttons
with the same name
Same functions of the control panel buttons
with the same name
Turns Punch Recording on/off
Progressively decreases the Tempo value
Progressively increases the Tempo value
Increases the Tempo value
Tempo Down
Intro 1
Decreases the Tempo value
Intro 2
Intro 3 / Count In
Ending 1
Ending 2
Ending 3
Fill 1
Same functions of the control panel buttons
with the same name
Mute of the Standard MIDI File’s track
selected as the Melody track (Song Play >
Preferences).
Fill 2
Fill 3
Fill 4
Vocal Remover On/Off
Song-Drum&Bass Mode
Voice removal from the MP3 file (the type of
voice to be removed can be chosen in Song
Play > Preferences).
Break
Variation 1
Variation 2
Variation 3
Variation 4
Variation Up
Variation Down
Fade In/Out
Memory
Mute of all tracks, apart for track 2 (usually
Bass) and 10 (usually Drum). It doesn’t work on
MP3 files.
Solo Selected Track
Damper Pedal
Selects the next Variation
Selects the previous Variation
Soft Pedal
Sostenuto Pedal
Bass&Lower Backing
When the Style is not playing and you are in
Split mode, you can play the Lower track with
your left hand, while the Bass still plays the
chord root. See “Bass & Lower Backing” on
page 137 of the User’s Manual.
Same functions of the control panel buttons
with the same name
Bass Inversion
Manual Bass
Style Up
Selects the next Style
Ensemble On/Off
QuarterTone
Style Down
Selects the previous Style
Turns Quarter Tone on/off
Global-Scale
When the switch or footswitch is pressed, the
Global > General Controls > Scale is recalled
in the display.
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Assignable parameters
List of Assignable Footswitch / Pedal functions
239
Function
Meaning
Function
Meaning
SubScale Preset 1 (SC1)…4
(SC4)
Same functions of the SC Preset buttons in
the display.
Joystick -X
Joystick left
Joystick +Y
Joystick forward
Chord Latch
Holds the recognized chord until the pedal is
released
Joystick -Y
Joystick backward
Upper VDF Cutoff
Filter cutoff (for Sounds assigned to the
Upper tracks)
Chord Latch + Damper
Holds the recognized chord until the pedal is
released, and sustains the tracks where the
Damper has been turned on
Upper VDF Resonance
Filter resonance (for Sounds assigned to the
Upper tracks)
Glide
When the pedal is pressed, affected notes on
Upper tracks are bent down, according to set-
tings for the Pitch Bend on the same tracks.
When the pedal is released, notes return to
the normal pitch, at the speed defined by the
“Time” parameter (see “Glide” on page 201 of
the User’s Manual).
Mic In Level
Mic Lead Voice Level
Mic Harmony/Double Level
Mic Harmony Level
Mic Double Level
Mic Filter Level
Continuous controls assigned to the Voice
Processor.
Audio In Mute
Microphone Talk
Turns all Voice Processor effects down, to let
you address the audience. See “Voice Proces-
Mic uMod
Mic Delay/Reverb Level
Mic Delay Level
Mic Reverb Level
Mic EQ Gain Low
Mic EQ Gain Mid
Mic EQ Gain High
FX CC12 Ctl
Mic Lead On/Off
Mic Harmony On/Off
Mic Double On/Off
Mic Filter On/Off
Mic HardTune On/Off
Mic uMod On/Off
Mic Delay On/Off
Mic Reverb On/Off
FX CC12 Switch
On/off switch controls assigned to the Voice
Processor. Press to activate, press a second
time to deactivate.
Standard FX controllers
FX CC13 Ctl
Standard FX controllers
FX CC13 Switch
Rotary Spkr On/Off
Rotary Spkr Fast/Slow
Drawbar Perc On/Off
Text Page Down
These options let you move to the previous or
next page, when reading a text file loaded
with a Song or Song Book entry (see “Text
files loaded with Standard MIDI Files and MP3
files” on page 170 of the User’s Manual).
Text Page Up
SongBook Next
Moves to the next SongBook entry in the
selected Custom List.
Pad 1
Pad 2
Same functions of the control panel buttons
with the same name
Pad 3
Pad 4
Pad Stop
Sound Controller 1
Sound Controller 2
To be used as triggers for two DNC parameter
(transmit CC#80 or CC#81). When these func-
tions are assigned to the selected physical
controller, this latter becomes the corre-
sponding Sound Controller (Sound Controller
1 or Sound Controller 2). You can then use
this Sound Controller to control any of the
DNC parameters.
Master Volume
Accompaniment Volume
Keyboard Expression
Pad Volume
With this function assigned, you can control
the proportional volume of all four Pads at
the same time. Please note that the status of
the Pad’s volume, after having been modified
with a pedal or slider, is made current, and
will be saved in a Performance or STS by
using the relevant Write procedure.
Joystick +X
Joystick right
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Assignable parameters
List of Assignable Slider functions
240
List of Assignable Slider functions
List of Assignable Switch functions
The following functions can be assigned to the Assignable Slid-
ers.
The following functions can be assigned to the Assignable
Switches.
Function
Meaning
Function
Meaning
Off
No function assigned
Off
No function assigned
Master Volume
Keyboard Expression
Pad Volume
Ritardando
Progressively decreases the Tempo value
Progressively increases the Tempo value
Selects the next Style
Accelerando
Style Up
Joystick +X
Style Down
Selects the previous Style
Joystick -X
Perform. Up
Selects the next Performance
Selects the previous Performance
Selects the next Sound
Joystick +Y
Perform. Down
Sound Up
Joystick -Y
Upper VDF Cutoff
Upper VDF Resonance
Mic Lead Voice Level
Mic Harmony Level
Mic Double Level
Mic Filter Level
Mic uMod Level
Mic Delay Level
Mic Reverb Level
Mic EQ Gain Low
Mic EQ Gain Mid
Mic EQ Gain High
FX CC12 Ctl
Sound Down
Style-Drum Mute
Style-Percussion Mute
Style-Bass Mute
Style-Acc1 Mute
Style-Acc2 Mute
Style-Acc3 Mute
Style-Acc4 Mute
Style-Acc5 Mute
Style-Acc1-5 Mute
Song-Melody Mute
Selects the previous Sound
Continuous controls assigned to the Voice
Processor
Mute of Song track 4 (usually, the Melody
track) in a Standard MIDI File
Vocal Remover On/Off
Song-Drum&Bass Mode
Removal of the Lead Vocals from a Song in
MP3 format
FX CC13 Ctl
Mute of all tracks, apart for track 2 (usually
Bass) and 10 (usually Drum)
Solo Selected Track
Bass&Lower Backing
When the Style is not playing and you are in
Split mode, you can play the Lower track with
your left hand, while the Bass still plays the
chord root. See “Bass & Lower Backing” on
page 137 of the User’s Manual.
QuarterTone
Global-Scale
Turns Quarter Tone on/off
When the switch or footswitch is pressed, the
Global > General Controls > Scale is recalled in
the display.
SubScale Preset 1 (SC1)…4 Same functions of the SC Preset buttons in the
(SC4)
display.
Microphone Talk
Turns all Voice Processor effects down, to let
you address the audience. See “Voice Proces-
Mic Lead On/Off
On/Off switch controls assigned to the Voice
Processor. Press to activate, press a second
time to deactivate.
Mic Filter On/Off
Mic HardTune On/Off
Mic uMod On/Off
Mic Delay On/Off
FX CC12 Switch
Standard FX controllers
FX CC13 Switch
Rotary Spkr On/Off
Rotary Spkr Fast/Slow
Drawbar Perc On/Off
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Assignable parameters
241
List of EC5 functions
Function
Meaning
List of EC5 functions
Text Page Down
Text Page Up
These options let you move to the previous or
next page, when reading a text file loaded
with a Song or Song Book entry (see “Text files
loaded with Standard MIDI Files and MP3 files”
on page 170 of the User’s Manual).
The following functions can be assigned to a Korg EC5’s switch
pedal.
SongBook Next
Moves to the next SongBook entry in the
selected Custom List.
Function
Meaning
Sound Controller 1
Sound Controller 2
To be used as triggers for two DNC parameter
(transmit CC#80 or CC#81). When these func-
tions are assigned to the selected physical
controller, this latter becomes the correspond-
ing Sound Controller (Sound Controller 1 or
Sound Controller 2). You can then use this
Sound Controller to control any of the DNC
parameters.
Off
No function assigned
Style Start/Stop
Play Stop Player 1
Play Stop Player 2
Go to Beginning-Ply 1
Go to Beginning-Ply 2
Chord Seq. Record
Chord Seq. Play
Synchro Start
Synchro Stop
Tap Tempo/Reset
Tempo Lock
Ritardando
Accelerando
Tempo Up
Tempo Down
Intro 1
Same functions of the control panel buttons
with the same name
Progressively decreases the Tempo value
Progressively increases the Tempo value
Increases the Tempo value
Decreases the Tempo value
Intro 2
Intro 3 / Count In
Ending 1
Ending 2
Ending 3
Fill 1
Same functions of the control panel buttons
with the same name
Fill 2
Fill 3
Fill 4
Break
Variation 1
Variation 2
Variation 3
Variation 4
Variation Up
Variation Down
Fade In/Out
Memory
Selects the next Variation
Selects the previous Variation
Same functions of the control panel buttons
with the same name
Bass Inversion
Manual Bass
Style Up
Selects the next Style
Style Down
STS Mode
STS1
Selects the previous Style
Same functions of the control panel buttons
with the same name
STS2
STS3
STS4
STS Up
Selects the next STS
STS Down
Perform. Up
Selects the previous STS
Selects the next Performance
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Assignable parameters
List of EC5 functions
242
Function
Meaning
Function
Meaning
Perform. Down
Style Change
Selects the previous Performance
Style number
Microphone Talk
Turns all Voice Processor effects down, to let
you address the audience. See “Voice Proces-
Sound Up
Selects the next Sound
Selects the previous Sound
Mic Lead On/Off
Mic Harmony On/Off
Mic Double On/Off
Mic Filter On/Off
Mic HardTune On/Off
Mic uMod On/Off
Mic Delay On/Off
Mic Reverb On/Off
FX CC12 Switch
On/off switch controls assigned to the Voice
Processor. Press to activate, press a second
time to deactivate.
Sound Down
Transpose Down
Transpose Up
Same functions of the control panel buttons
with the same name
Upper Octave Up
Upper Octave Down
Punch In/Out
Turns Punch Recording on/off
Style-Upper1 Mute
Style-Upper2 Mute
Style-Upper3 Mute
Style-Lower Mute
Style-Drum Mute
Style-Percussion Mute
Style-Bass Mute
Style-Acc1 Mute
Style-Acc2 Mute
Style-Acc3 Mute
Style-Acc4 Mute
Style-Acc5 Mute
Style-Acc1-5 Mute
Song-Melody
Standard FX controllers
FX CC13 Switch
Rotary Spkr On/Off
Rotary Spkr Fast/Slow
Drawbar Perc On/Off
Text Page Down
These options let you move to the previous or
next page, when reading a text file loaded
with a Song or Song Book entry (see “Text files
loaded with Standard MIDI Files and MP3 files”
on page 170 of the User’s Manual).
Text Page Up
SongBook Next
Moves to the next SongBook entry in the
selected Custom List.
Pad 1
Pad 2
Mute of the Standard MIDI File’s track selected
as the Melody track (Song Play > Preferences).
Same functions of the control panel buttons
with the same name
Pad 3
Vocal Remover On/Off
Song-Drum&Bass Mode
Voice removal from the MP3 file (the type of
voice to be removed can be chosen in Song
Play > Preferences).
Pad 4
Pad Stop
Sound Controller 1
Sound Controller 2
To be used as triggers for two DNC parameter
(transmit CC#80 or CC#81). When these func-
tions are assigned to the selected physical
controller, this latter becomes the correspond-
ing Sound Controller (Sound Controller 1 or
Sound Controller 2). You can then use this
Sound Controller to control any of the DNC
parameters.
Mute of all tracks, apart for track 2 (usually
Bass) and 10 (usually Drum). It doesn’t work on
MP3 files.
Solo Selected Track
Damper Pedal
Soft Pedal
Sostenuto Pedal
Bass&Lower Backing
When the Style is not playing and you are in
Split mode, you can play the Lower track with
your left hand, while the Bass still plays the
chord root. See “Bass & Lower Backing” on
page 137 of the User’s Manual.
Ensemble On/Off
QuarterTone
Turns Quarter Tone on/off
Global-Scale
When the switch or footswitch is pressed, the
Global > General Controls > Scale is recalled in
the display.
SubScale Preset 1 (SC1)…4 Same functions of the SC Preset buttons in the
(SC4)
display.
Chord Latch
Holds the recognized chord until the pedal is
released
Chord Latch + Damper
Glide
Holds the recognized chord until the pedal is
released, and sustains the tracks where the
Damper has been turned on
When the pedal is pressed, affected notes on
Upper tracks are bent down, according to set-
tings for the Pitch Bend on the same tracks.
When the pedal is released, notes return to
the normal pitch, at the speed defined by the
“Time” parameter (see “Glide” on page 201 of
the User’s Manual).
Audio In Mute
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Assignable parameters
243
Scales
Scales
The following is a list of scales (or tunings) you can select in var-
ious operating modes.
Equal
Equal tuning, the standard scale for modern
Western music. It is made of 12 identical semi-
tones.
Pure Major Major chords in the selected key are perfectly
tuned.
Pure Minor Minor chords in the selected key are perfected
tuned.
Arabic
An arabic scale, using quarters of tone. Set the
Key parameter as follow:
C - for the “rast C/bayati D” scale
D - for the “rast D/bayati E” scale
F - for the “rast F/bayati G” scale
G - for the “rast G/bayati A” scale
A# - for the “rast Bb/bayati C” scale
Pythagorean Pythagorean scale, based on the music theories of
the great Greek philosopher and matematician. It
is most suitable for melodies.
Werckmeister
Late Baroque/Classic Age scale. Very suitable for
XVIII Century music.
Kirnberger
Slendro
Harpsichord scale, very common during the
XVIII Century.
Scale of the Indonesian Gamelan. The octave is
divided in 5 notes (C, D, F, G, A). The remaining
notes are tuned as in the Equal tuning.
Pelog
Stretch
User
Scale of the Indonesian Gamelan. The octave is
divided in 7 notes (all white keys, when Key is =
C). The black keys are tuned as in the Equal tun-
ing.
Simulates the “stretched” tuning of an acoustic
piano. Basically an equal tuning, the lowest notes
are slightly lower, while the highest notes are
slightly higher than the standard.
User scale, i.e. scale programmed by the user for
the Style Play, Backing Sequence and Song Play
modes. The user scale can be saved to a Perfor-
mance, Style Settings, STS or Song. You can’t
select a User scale in Global mode.
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MIDI Data
MIDI Controllers
244
MIDI Data
CC#
CC Name
Pa3X Function
MIDI Controllers
91
92
93
94
95
96
97
98
Fx A/C
A/C (reverb) send level
Fx 2 ctl
Fx B/D
The following is a table including all Control Change messages,
and their effect on various Pa3X functions. Note that not all con-
trollers are available in all operative modes.
B/D (modul.) send level
Fx 4 ctl
Fx 5 ctl
Data Inc
Data Dec
NRPN Lsb
CC#
CC Name
Pa3X Function
0
1
Bank Select
Mod1 (Y+)
Mod2 (Y-)
Undef. ctl
Foot ctl
Program selection
Joystick forward
Joystick backward
(*)
See table below
(*)
99
NRPN Msb*
See table below
2
100
101
RPN Lsb
RPN Msb
Undefined ctl
AllSOff
See MIDI Implementation Chart
See MIDI Implementation Chart
3
4
102-119
120
5
Port.time
Data ent.
Volume
6
121
Res Ctl
Reset All Controllers
7
Track volume
122
LocalCt
8
Balance
123
NoteOff
OmniOff
Omni On
Mono On
Poly On
9
Undef. ctl
Pan Pot
124
10
11
12
13
14-15
16
17
18
19
20-31
Track panning
Expression
CC#12
125
Expression
Fx Ctl 1
126
127
Fx Ctl 2
CC#13
Undef. ctlþ
Gen.pc.1
Gen.pc.2
Slider
(*) The following NRPN messages are recognized by Pa3X in
Song Play and Sequencer mode only:
Ribbon Controller
CC#99
(MSB)
CC#98
(LSB)
CC#06
NRPN
(Data Entry)
Gen.pc.4
Undef. ctlþþ
(a)
Vibrato Rate
1
1
8
9
0…127
Control Change #32-63 are the LSB (Least Significant Bytet) of Control
Change #0-31, i.e. the MSB (Most Significant Byte), and are changed accord-
ing to their MSB counterparts.
(a)
Vibrato Depth
0…127
(a)
Vibrato Decay
1
10
32
33
99
100
102
0…127
(a)
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85-90
Damper
Portamento
Sostenuto
Soft
Damper pedal
Filter Cutoff
1
0…127
(a)
Resonance
1
0…127
Sostenuto pedal
Soft pedal
(a)
EG Attack Time
EG Decay Time
1
0…127
(a)
1
0…127
Legato
(a)
EG Release Time
Drum Filter Cutoff
Drum Filter Resonance
Drum EG Attack Time
Drum EG Decay Time
Drum Coarse Tune
Drum Fine Tune
Drum Volume
1
0…127
Hold 2
(b)
(a)
20
21
22
23
24
25
26
28
29
30
dd
0…127
Sustain level
F.Res.Hp
Release
(b)
(a)
Filter resonance
Release time
dd
0…127
(b)
(a)
dd
0…127
Attack
Attack time
(b)
(a)
dd
0…127
F.CutOff
Decay T.
Lfo1 Sp.
Lfo1 Dpt
Lfo1 Dly
FilterEgþ
Gen.pc.5
Gen.pc.6
Gen.pc.7
Gen.pc.8
Port.ctl
Filter cutoff (Brilliance)
Decay time
(b)
(a)
dd
0…127
(b)
(a)
dd
0…127
Vibrato speed
Vibrato depth
Vibrato initial delay
(b)
0…127
dd
(b)
(a)
Drum Panpot
dd
0…127
(b)
(a)
Drum Rev Send (FX 1)
Drum Mod Send (FX 2)
dd
0…127
Sound Controller 1
Sound Controller 2
(b)
(a)
dd
0…127
(a). 64 = No change to the original parameter’s value
(b). dd = Drum Instrument No. 0…127 (C0…C8)
Note: These controls are reset when stopping the Song, or choosing
Undef. ctl
a new Song.
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Recognized chords
245
Recognized chords
The following pages show the most important chords recognized by the Pa3X, when the selected Chord Recognition mode is Fingered
2 (see “Chord Recognition Mode” on page 135 of the User’s Manual). Recognized chords may vary with a different Chord Recognition
mode. Note: Fingered 2 is selected while in Split keyboard mode; in Full Upper keyboard mode, Fingered 3 or Expert are selected instead.
Major 6th
Major
3-note
2-note
4-note
2-note
T
T
T
T
T
T
T
T
T
T
T
Major 7th
4-note
3-note
2-note
T
T
T
T
Sus 4
Sus 2
3-note
2-note
3-note
T
T
Dominant 7th
4-note
3-note
2-note
T
T
T
T
T
T
T
T
T
T
T
T
Dominant 7th Sus 4
Flat 5th
4-note
3-note
3-note
T
T
T
T
Dominant 7th 5
Major 7th 5
Major 7th Sus 4
4-note
4-note
4-note
T
T
T
T
T
T
T
= constituent notes of the chord
T
= can be used as tension
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Recognized chords
246
Minor
Minor 6th
3-note
2-note
4-note
T
T
T
T
T
Minor 7th
Minor-Major 7th
3-note
4-note
3-note
4-note
T
T
T
T
T
T
Diminished
Diminished 7th
Diminished Major 7th
3-note
4-note
4-note
T
T
T
T
Minor 7th 5
4-note
T
T
T
Augmented
Augmented 7th
Augmented Major 7th
3-note
4-note
4-note
T
T
T
T
T
T
T
T
T
T
No 3rd
No 3rd, no 5th
2-note
1-note
= constituent notes of the chord
T
= can be used as tension
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Address
KORG ITALY SpA
Via Cagiata, 85
I-60027 Osimo (An)
Italy
Web
www.korgpa.com
www.korg.co.jp
www.korg.com
www.korg.co.uk
© KORG Italy 2011. All rights reserved
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