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E-Mu B-3, Operation Manual

The E-Mu B-3 Operation Manual is an essential resource for mastering this classic organ emulator. Easily downloadable and completely free, this comprehensive manual provides step-by-step instructions and expert tips to optimize your sound. Find and download the manual from our website, ensuring a seamless user experience for this remarkable product.

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B-3 Operation Manual   

127

Edit Menu

Preset Tempo Offset

Preset Tempo Offset

This function allows you to double or halve the Master Tempo as it applies 
to this preset. When playing or sequencing several presets in Multimode, 
the Master Tempo may be too fast or slow for one preset. Using this feature, 
you can adjust the tempo for the misbehaving preset. The Tempo Offset can 
use the 

current tempo

 or be set to 

half

 or 

twice

 the current tempo.

Audition Riff 
Selection

This function allows you to assign a Riff to a Preset to be played when the 
front panel Audition button is pressed. A Riff is a short pre-recorded 
musical phrase designed to demonstrate the presets. A Riff can also be a 
single note. The Riffs themselves cannot be modified.

Listening to the Riffs is a quick way to learn the sounds in B-3. Riffs allow 
the Sound Designers to demonstrate what they had in mind when they 
designed the preset. If a preset has hidden tricks or controllers, these will be 
shown off in the Riff.

Play Solo Layers

When constructing multilayer sounds it is often useful to turn off one or 
more of the layers so you can hear what you’re doing! This feature allows 
you to temporarily solo individual layers or listen to them in any combi-
nation. This screen differs from the other Edit screens in that it is NOT 
saved with the preset. The values reset each time you exit the Edit menu.

Solo is activated by setting any layer to On (On = the layer is being Soloed). 
Any layers set to 

On will play

 and any layers set to 

Off will be muted

. If all 

layers are set to Off, then Solo mode ends and all layers play normally. 
When you exit the Edit menu, all layers play normally.

TEMPO OFFSET

use current tempo x 2

AUDITION SELECTION

Plays:KEY-MiddleC

PLAY SOLO LAYERS

1: off       2: off       3: off       4: off

Summary of Contents for B-3

Page 1: ...64 Voice Tone Wheel Organ OPERATION M A N U A L ...

Page 2: ...4 0 131 665 0473 Important Notice In order to obtain warranty service on your B 3 unit the serial number sticker must be intact and you must have a sales receipt or other proof of purchase If there is no serial number sticker on the B 3 please contact E MU Systems at once This product is covered under one or more of the following U S patents 4 404 529 4 506 579 4 699 038 4 987 600 5 013 105 5 072 ...

Page 3: ...rsicht 6 Unterhaltsinstruktionen für anwender 7 Vorsicht 7 Warnings French 9 Instructions de Sécurité Importantes 9 Instructions de Mise à la Terre 9 Danger 9 Attention 9 Instructions de Maintenance 9 Interférences Radio et Télévision 11 Declaration of Conformity 12 Setup 13 Unpacking 13 Connection Instructions 14 Basic Setup 14 Studio Setup 15 Power Up 16 Instant Gratification 17 Playing Demo Seq...

Page 4: ...Selection 26 Preset Selection 26 Channel Volume 27 Channel Pan 28 Sound Navigator 29 Preset Category 29 Instrument Category 29 Multitimbral Operation 30 Multisetup 31 Multisetups 31 Restoring Multisetups 32 Multitimbral Sequencing 34 Master Menu 35 Defining Master Parameters 36 Transpose Tune 36 Bend Range 36 Velocity Curve 37 Mix Output 37 Master Effects 39 Effects Mode 39 Effects Multi Mode Cont...

Page 5: ...Data 50 User Key Tuning 51 Base Tempo 52 Screen Viewing Angle 52 Programming Basics 53 Modulation 54 Modulation Sources 55 Random Sources 56 Modulation PatchCords 56 Envelope Generators 57 Low Frequency Oscillators LFOs 59 Clock Modulation 60 Modulation Destinations 62 Modulation Processors 63 Preset Modulation Processors 65 Using the Modulation Processors 67 More Examples 69 Dynamic Filters 71 Wh...

Page 6: ...08 Low Frequency Oscillators LFOs 108 PatchCords 113 Pitch Bend Range 116 Mix Output 116 Common Preset Parameters 117 Preset Effects 117 FXA Algorithm 119 FXA Parameters 120 FXA Send Amounts 120 FXB Algorithm 120 FXB Parameters 121 FXB Send Amounts 121 Preset Patchcords 121 Initial Controller Amount 123 Keyboard Tuning 124 Preset Links 126 Preset Tempo Offset 127 Audition Riff Selection 127 Play S...

Page 7: ...3 Delay 154 Stereo Delay 154 Panning Delay 154 Dual Tap 154 Vibrato 154 Distortion 154 Save Copy Menu 155 Saving a Preset 155 Copying Information 156 Copy Preset 156 Copy Layer 156 Copy PatchCords 157 Copy Preset Bank 158 Create Random Preset 158 Copy User Bank to Flash 159 Rename Flash SIMM 160 Duplicate Flash 161 Appendix 163 Front Panel Knob Functions 163 Presets 164 B 3 Preset Nomenclature 164...

Page 8: ...171 PatchCord Amount Chart 173 MIDI 174 Received Channel Commands 176 SysEx Specification 176 Technical Specifications 177 Warranty 178 Warranty 178 Warranty Restrictions 178 How To Obtain Warranty Service 178 Personnel 179 Equipment 179 Recording 179 Index 181 ...

Page 9: ...harmonic texture B 3 has enough memory for 512 user presets and can hold literally thousands of factory presets ROM presets are automatically added when sound SIMMs are installed As an example a 32 MB SIMM may contain up to 1024 ROM presets B 3 s Sound Navigator is a major improvement to the main screen that makes it easy to find the exact sound you want It s powerful yet simple to use The real po...

Page 10: ...rb and delays while effects processor B contains primarily spectral algorithms such as chorus flange phase distortion and delay Effects can be linked to each preset or used globally to further enhance your sound Other features include multiple solo voice assignment and performance modes for expressive control 12 user definable alternate tunings an extremely easy to use interface and of course an e...

Page 11: ...c shock This product is equipped with a cord having an equipment grounding conductor and a grounding plug The plug must be plugged into an appropriate outlet properly installed and grounded in accordance with all local codes and ordinances Danger Improper connection of the equipment s grounding conductor can result in the risk of electric shock Check with a qualified electrician or service personn...

Page 12: ...ower supply of the type described in the operating instructions and marked on the product 7 Care should be taken so that objects do not fall and liquids are not spilled into the enclosure of B 3 through openings 8 This B 3 may be equipped with a polarized line plug one blade wider that the other This is a safety feature If you are unable to insert this plug into the outlet do not defeat the safety...

Page 13: ... This equipment has been tested and complies with the limits for a Class B computing device in accordance with the specifications in Subpart J of Part 15 of the FCC rules These rules are designed to provide reasonable protection against such interference in a residential installation However there is no guarantee that the interference will not occur in a particular installation especially if a rab...

Page 14: ...uziert das Risiko eines Schlages Dieses Gerät ist mit einem geerdeten Kabel und Stecker ausgerüstet Der Stecker muss in eine passende einwandfrei montierte und geerdete Steckdose in Übereinstimmung mit den örtlichen Vorschriften eingeführt werden Gefahr Unvorschriftsgemässer Anschluss des Gerätes kann zum Risiko eines elektrischen Schlages führen Im Zweifelsfalle über die ordnungsgemässe Erdung so...

Page 15: ... 3 nicht in der Nähe von Wasser in Betrieb nehmen z B in der Nähe von Badewannen Waschschüsseln auf nassen Gestellen oder am Swimmingpool 4 B 3 stets so aufstellen dass seine Belüftung nicht beeinträchtigt wird 5 B 3 nicht in der Nähe von Hitze aufstellen wie Heizkörper offenem Feuer Öfen oder von Backöfen 6 B 3 ausschliesslich mit einem Netzgerät gemäss Bedienungsanleitung und Gerätemarkierung ve...

Page 16: ...ierte Serviceleute gewartet werden falls A das Netzkabel beschädigt wurde oder B Gegenstände oder Flüssigkeit in das Gerät gelangten C das Gerät Regen ausgesetzt war oder D das Gerät nicht normal oder einwandfrei arbeitet oder E das Gerät stürzte oder sein Gehäuse beschädigt wurde 12 Servicearbeiten sollten nur qualifizierten Fachleuten anvertraut werden DIESE INSTRUKTIONEN AUFBEWAHREN ...

Page 17: ...un conducteur et d une fiche devant être branchée dans une prise appropriée et reliée à la terre en conformité avec les normes locales Danger Une connexion incorrecte peut résulter en des risques d électrocution Vérifiez avec un technicien qualifié si vous avez des doutes quant à la connexion Ne modifiez pas vous même le cordon d alimentation livré avec cet appareil s il ne rentre pas dans la pris...

Page 18: ...l qu indiqué sur l appareil 7 Une attention particulière doit être observée quant aux objets pouvant tomber et aux liquides pouvant être versés sur et à l intérieur de le B 3 8 Le B 3 peut être équipé d une fiche secteur polarisée avec une broche plus large que l autre C est une mesure de sécurité Si vous ne pouvez pas brancher cette fiche dans une prise ne neutralisez pas cette sécurité Contactez...

Page 19: ...esté et est conforme aux normes de Classe A en accord avec les spécifications du paragraphe J de la section 15 des lois FCC Ces lois sont désignées pour fournir une protection raisonnable contre de telles interférences dans une installation résidentielle Toutefois il n est pas garanti qu aucune interférence n apparaisse dans des installations particu lières et plus spécialement lorsqu une antenne ...

Page 20: ...72 23 EEC Trade Name Audio Sampler Emulator System Model Number Proteus 1000 CR Under 89 336 EEC as amended by 92 31 EEC and 72 23 EEC In accordance with EN 55103 1 1996 Emission Environments E1 E2 E3 In accordance with EN 55103 2 1996 Immunity Environments E1 E2 E3 Test information is contained in a report by Atlas Compliance and Engineering dated November 15 1999 Report No 9949EMU2KCR103 Under 7...

Page 21: ...3 from the packaging material Take care to save the packing materials in case you need to transport the unit Check to make sure all components are included and in good condition If there are missing or damaged components contact E MU Systems immediately for replacement or repair The B 3 box should include the following components B 3 rack unit Power cable Rack mounting ears This Operation Manual ...

Page 22: ...n order to reproduce B 3 s wide dynamic range and frequency response use a high quality amplification and speaker system such as a keyboard amplifier or home stereo system A stereo setup is highly desirable because of the added realism of stereophonic sound Headphones can be used if an amplifier and speaker system is not available Plug stereo headphones into the headphone jack located on the left ...

Page 23: ...cts Plug stereo headphones into the headphone jack located on the left side of the front panel The Right Main output jack serves as a mono output when the Left Main plug is not plugged in The Left Main output jack is a stereo jack carrying both channels S C O T T S V S C O T T S V A L L E Y C A U S A A L L E Y C A U S A B B IN IN THRU THRU A A MIDI Out MIDI In MIDI Controller MIDI Keyboard Sequenc...

Page 24: ...e front panel You can turn on the B 3 and its MIDI controller in any order When power is applied the liquid crystal display will light indicating that B 3 is operating You may have noticed that there is no 110 220 Volt power selector switch on B 3 B 3 automatically switches itself to the proper line voltage ...

Page 25: ... The screen shown below appears 4 Press the Enter button again to stop playing the sequence 5 When a demo sequence plays to the end the next demo will automati cally begin playing The screen will display the new demo name 6 With the sequence stopped press either the Master Edit or Multi button to Exit the demo sequence mode Auditioning Presets The front panel audition button allows you to hear any...

Page 26: ...thing you ll do with the B 3 is select and play the factory provided presets B 3 comes standard with 7 banks containing 128 presets each The first four banks are USER locations that can be overwritten and used to store your own presets The presets that come stored in the USER presets are duplicated in banks 0 2 of the B 3 ROM bank so feel free to overwrite them with your own presets You won t be l...

Page 27: ...me fields 2 Turn the Data Entry Control knob on the front panel to select a new preset number If you turn the knob slowly the presets advance one number for each click of the knob If you spin the knob quickly the numbers advance much faster more than one number per click 3 Play the keyboard or press the Audition button and listen to the sounds made by your B 3 4 TURN THE FOUR KNOBS on the front pa...

Page 28: ... and LSB controllers to implement a bank change B 3 remembers the MSB and the LSB that were last sent or last changed from the front panel For example if you have already set the Bank MSB to 06 you need only send the LSB to change banks within the B 3 sound set See the MIDI Bank Select chart below The selected bank remains selected until you change it either via MIDI or by changing the bank from t...

Page 29: ... Master menu Edit Button Use the Edit menu when you want to create or modify a preset An illumi nated LED to the right of the button indicates that you are in the Edit menu Control Button The Control button is used to change the function of the Controller knobs see the next section Each time you press the Control button the Control Mode toggles to select only one of the three Control Rows The curr...

Page 30: ...he button is held continuously The cursor can be moved bidirectionally using the Data Entry Control while either cursor select button is held down for example press and hold the right cursor button and turn the Data Entry Control Multisetup Button The Multisetup button allows you to select a Multi setup A Multi setup is a group of parameters that you might associate with a particular sequence or s...

Page 31: ...ed and the programming of the preset Front Panel Controller Modes The Real time Controller Knobs serve three purposes 1 Real time control of synthesizer parameters 2 Quick Editing the initial settings of the real time controllers 3 Deep Editing the parameters This section describes each of the three uses Real time Control The Real time controller knobs provide direct control of the B 3 s synthe si...

Page 32: ...ode is only active when on the Preset Select screen and when Quick Edit is enabled in the Master menu see Knob Preset Quick Edit on page 47 Initial controller values can be stored in every preset When you move a knob with Quick Edit enabled the Initial Controller Value is updated with the knob s new value The knob s LED lights indicating that the preset value has been changed The three Control Row...

Page 33: ... When you enter any of the Edit menus 1 The four Controller Knobs are used for editing 2 All the Controller LEDs are off 3 All the Control Row LEDS are off When you turn a knob the field value jumps to the current knob value You can still use the Data Entry Control for editing by moving the cursor to the desired field To move through menus horizontally use the Data Entry Control the page s title f...

Page 34: ... changes the display changes to show the preset volume pan and preset location associated with the displayed channel Preset Selection þ To Change the Preset 1 Press either cursor key until the cursor is underneath the preset number The cursor is a little flashing line underneath one of the parameters in the display As you rotate the Data Entry Control the preset number and name changes 2 The displ...

Page 35: ...e Channel Volume sets the volume of the selected MIDI channel in relation to the other channels This is the same parameter as MIDI volume control 7 and changes made over MIDI are shown in the display þ To Change the Channel Volume 1 Press either cursor key until the cursor is underneath the volume value 2 Rotate the Data Entry Control to select a volume level The Channel Volume range is 000 127 US...

Page 36: ...eset ADD algebraically with the Channel Pan setting Therefore if the pan setting in the preset were set to 63R moving the Channel Pan setting full left would return the sound to the center position þ To Change the Channel Pan 1 Press either cursor key until the cursor is underneath the pan field 2 Rotate the Data Entry Control to select a pan value 64L indicates a hard left pan 63R indicates a har...

Page 37: ... change to show the first preset in each category þ To Change the Preset Category 1 Press either cursor key repeatedly until the cursor is underneath the preset category field 2 Rotate the Data Entry Control to select one of the preset categories Preset Categories are displayed in alphabetical order þ To Select a Preset within a Category 1 After selecting a category move the cursor to the Preset N...

Page 38: ...able function in the Master menu 3 Select the desired preset for each of the MIDI channels you want the B 3 to receive using the MIDI Channel Preset selection screen see previous instructions O O O O Save the Multisetup using the instruction provided in Chapter 3 Multisetup 4 B 3 now responds multitimbrally on each of the MIDI channels you have specified The volume and pan position parameters can ...

Page 39: ...ept MIDI Program Change Preset map User Key Tuning Tables Multisetups can also be restored selected via MIDI Bank and Program change commands Select cc00 80 cc32 00 dec then send a Program Change command corresponding to the Multisetup you wish to select þ To Enable the Multisetup Menu Press the Multi button lighting the LED The Multisetup screen displays the menu page most recently selected since...

Page 40: ...etup you wish to select þ To Restore Select a Multisetup 1 Press the Multi menu button lighting the LED The Multi menu screen displays the menu page most recently selected since powering up B 3 The cursor appears below the first character of the screen heading on line one 2 Go to the Restore Multisetup screen shown above using the Data Entry Control This is the first screen in the menu 3 Press eit...

Page 41: ...o move the cursor to the bottom line of the screen 6 Scroll to the Save Multisetup screen shown below using the Data Entry Control 7 Press either cursor button to move the cursor to the bottom line of the screen 8 Now use the Data Entry Control to select the destination location The Enter LED will be flashing 9 Press the Enter button to save the Multisetup SETUP NAME 020 User Setup 23 SAVE MULTISE...

Page 42: ...the MIDI mode to multi mode using the MIDI mode function in the Master menu 2 Decide which MIDI channels you want B 3 to receive up to 16 channels can be used simultaneously You can turn any unused channels OFF using the MIDI Enable function in the Master menu 3 Select the desired preset for each of the MIDI channels you want the B 3 to receive using the MIDI Channel Preset selection screen You ca...

Page 43: ... Warning Master Menu changes are automatically saved when you exit the module If the power is turned off before you exit the module any changes you have made will be lost þ To select a new screen Press the Home Enter button or press the Cursor button repeatedly until the cursor is below the screen title heading Rotate the Data Entry Control to select another screen þ To modify a parameter Press ei...

Page 44: ...sts the fine tuning of all presets so that you can tune B 3 to other instruments The master tuning range is 1 semitone in 1 64th semitone increments 1 56 cents A master tune setting of 00 indicates that B 3 is perfectly tuned to concert pitch A 440 Hz Bend Range The Bend Range parameter sets the range of the pitch wheel This affects only presets that have their individual Pitch Bend range defined ...

Page 45: ...Mix Output The Mix Output parameter allows you to override the routing assignments made in each preset and instead assign the outputs according to MIDI channel For each of the 16 MIDI channels you can select Send 1 4 or Preset When Preset is selected the output assignment defined in the Preset Edit menu is used MASTER VELOCITY CURVE 13 Linear 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity...

Page 46: ...r MIDI channel could be routed to Send 4 with an effect amount of only 5 This is almost like having two different effects channel 16 use preset MIX OUTPUT channel 15 Send 1 MIX OUTPUT S E N D 1 M A I N OUTPUT SECTION EFFECTS PROCESSORS MIDI Channel 1 MIDI Channel 2 MIDI Channel 3 MIDI Channel 4 MIDI Channel 5 MIDI Channel 6 MIDI Channel 16 MIDI CHANNEL Hall 1 Effect A Chorus Effect B B A Preset Pr...

Page 47: ... to bypass the effects are turned off on a global scale This includes Effects programmed in the preset Effects Multi Mode Control The routing scheme for the two stereo effects processors provides a lot of versatility When in multi mode you can use master settings which applies the Master menu effects settings to all 16 MIDI channels If you want more control you can use the channel setting which ap...

Page 48: ...itap Pan 11 3 Tap 12 3 Tap Pan 13 Soft Room 14 Warm Room 15 Perfect Room 16 Tiled Room 17 Hard Plate 18 Warm Hall 19 Spacious Hall 20 Bright Hall 21 Bright Hall Pan 22 Bright Plate 23 BBall Court 24 Gymnasium 25 Cavern 26 Concert 9 27 Concert 10 Pan 28 Reverse Gate 29 Gate 2 30 Gate Pan 31 Concert 11 32 Medium Concert 33 Large Concert 34 Large Concert Pan 35 Canyon 36 DelayVerb 1 37 DelayVerb 2 38...

Page 49: ... through the A effects See Effect Parameters on page 143 for more details FXA Send Amounts These parameters set the effects amounts for each of the four stereo effects busses See Master Effects on page 146 for detailed information Master FXB Algorithm This parameter selects the type of effect used for the B effect The following effect types are available FXA DECAY HFDAMP FxB FxA 040 096 001 FXA SE...

Page 50: ...tereo effects busses See the Effects chapter for detailed information 1 Chorus 1 2 Chorus 2 3 Chorus 3 4 Chorus 4 5 Chorus 5 6 Doubling 7 Slapback 8 Flange 1 9 Flange 2 10 Flange 3 11 Flange 4 12 Flange 5 13 Flange 6 14 Flange 7 15 Big Chorus 16 Symphonic 17 Ensemble 18 Delay 19 Delay Stereo 20 Delay Stereo 2 21 Panning Delay 22 Delay Chorus 23 Pan Delay Chorus 1 24 Pan Delay Chorus 2 25 Dual Tap ...

Page 51: ...ived on the currently selected MIDI channel on the preset selection screen and plays that channel s associated preset Multi Responds to data on any combination of MIDI channels and plays the specific preset associated with each of the MIDI channels You must select multi mode for multitimbral operation MIDI SysEx ID This page defines the MIDI system exclusive SysEx device ID number The SysEx ID let...

Page 52: ...remap incoming MIDI program changes to a different numbered preset This is a handy feature when your master keyboard cannot send a bank change or you want to reorder preset numbers Any preset can be mapped to any incoming MIDI program change number For example you could set up the Program Preset map to call up preset 12 whenever B 3 receives MIDI program change 26 The four fields shown below are e...

Page 53: ...umbers will be received from 1 to 31 and from 64 to 119 and which controller numbers will be transmitted over MIDI if the front panel controls are turned The PatchCord routing and amount in the Edit menu determine what effect the controller has on each preset Real time controllers are shown in the PatchCord menu as MIDI A through MIDI L Selected Program Mapped Program 0 1 2 3 4 5 6 7 8 9 10 20 30 ...

Page 54: ...Following are a few of the standardized MIDI Controller numbers as defined by the MIDI manufacturers association The controllers shown in Bold are automatically routed to the destination volume pan or have their own PatchCord source Others such as Portamento Time can be routed using a PatchCord to have the desired effect MIDI Footswitch Assign Like the MIDI Controllers you can assign three MIDI fo...

Page 55: ... up and down parameters B 3 redefines the center of the controller s range as zero MIDI Controller values are added to the Base Tempo with an offset range of 64 When the controller is set to off the tempo returns to its original setting This control has no effect when using an external clock Knob Preset Quick Edit Quick Edit changes the initial controller setting in the preset whenever you move a ...

Page 56: ... defined by the Real time Controller Assign parameter see page 45 This function also enables or disables trans mission of Riff note data over MIDI when the Audition button is pressed If Deep Edit is enabled Knobs MIDI Out does not work while in any of the editing menus Master Edit Save Copy Preset Edit All Layers Enable This function allows you to turn the Edit All Layers feature on or off Edit Al...

Page 57: ...nt panel controls þ To Calibrate the Front Panel Control Knobs 1 Press the Master menu button and advance to the Calibrate Knobs page 2 Press the Enter button to begin the calibration process The following screen appears 3 Turn all knobs to their minimum value which is pegged in the counter clockwise direction then press the Enter button The screen briefly flashes Reading Values then displays 4 Tu...

Page 58: ...een two B 3s be sure both units have the same SysEx ID number See MIDI SysEx ID on page 43 to learn how to change the SysEx ID Using the cursor key and the Data Entry Control select the type of MIDI data you want to transmit Following are descriptions of the types of MIDI data that can be transmitted Current Multisetup Transmits all parameters in the Master menu except Tuning Tables Program Preset...

Page 59: ...r to receive system exclusive data 2 Place the sequencer into record mode then Send MIDI Data þ To Receive MIDI SysEx Data from a Sequencer Simply play back the sequence into B 3 User Key Tuning User Key Tuning lets you create and modify 12 user definable tuning tables The initial frequency of every key can be individually tuned facilitating the creation of alternate or microtonal scales Using the...

Page 60: ...roller message has been received since the last Base Tempo change the Current Tempo will be equal to the Base Tempo Current Tempo is NOT displayed when the Base Tempo is set to MIDI Clock þ To Change the Master Tempo 1 Move the cursor to the lower line of the display 2 Adjust the Base Tempo using the Data Entry Control The Master Tempo values range from 1 through 300 beats per minute BPM or you ca...

Page 61: ...nthesizer in B 3 s clothing There are 512 user locations USER Banks 0 3 available to store your own creations or edited factory presets Best of all it s easy to edit or create new presets using the Edit menu Each preset can consist of up to four instrument layers Each of the four layers can be placed anywhere on the keyboard and can be crossfaded or switched according to key position velocity or b...

Page 62: ...rameters such as the volume has an initial setting which is changed by a modulation source Therefore in the case of volume we have an initial volume that we can change or modulate with a modulation source Two main kinds of modulation sources on B 3 are Envelope Generators and Low Frequency Oscillators In the example above an envelope generator could be routed to automatically turn the volume contr...

Page 63: ...quency if you want the filter to smoothly follow pitch in solo mode Routing Key Glide to Pan creates another interesting effect Key Glide A smoothly changing control source based on the Glide Rate and the interval between the last two notes played Pitch and Mod Wheels Synthesizer pitch bend and modulation wheels Keyboard Pressure mono aftertouch Key Pressure applied after the key is initially pres...

Page 64: ...ith the B 3 you define a modulation source and a modulation destination Then you connect the source to the desti nation using PatchCords B 3 s PatchCords are connected in the software B 3 has 24 general purpose PatchCords for each layer The controller Knobs assignments printed on the front panel are the system defaults You can change any of these assignments using the Real time Controller Assignme...

Page 65: ...must have different levels for the rate control to work All three envelope generators have the six stages described above The Volume Envelope generator controls the volume of the voice over time The Filter Envelope generator is a general purpose envelope most often used to control the filter frequency Unlike the Volume Envelope however the Filter Envelope can have a negative level value as well as...

Page 66: ...ld As soon as the key is released the envelope continues through its normal Release stages 1 2 Only the Filter and Auxiliary Envelopes have the repeating feature The diagram above show how the looping envelopes work When the key is pressed the envelope goes through its regular Attack 1 Attack 2 Decay 1 and Decay 2 stages In non looping mode the envelope would hold at the end of the Decay 2 stage u...

Page 67: ...e Auxiliary Envelope LFOs can be routed to control any real time function such as Pitch Filter Panning or Volume A common use for the LFO is to control the pitch of the sound LFO Pitch This effect is called vibrato and is an important performance effect Many presets use this routing with the modulation wheel controlling how much LFO modulation is applied Another common effect Tremolo is created by...

Page 68: ...o sonic rhythm patterns You can also use a MIDI Clock as the Master Clock to synchronize to an external MIDI device such as a drum machine or sequencer See Master Tempo in the Master menu Envelopes are triggered on the positive going edge of the clock LFOs are triggered on the negative going edge of the clock Clocks are routed exactly like the other modulations sources using the PatchCords The Pat...

Page 69: ...er possibilities are listed below Turn different voice layers on and off using different clock divisors Switch between Auxiliary and Filter Envelope retriggering using a slider or footswitch Retrigger LFOs or Envelopes using noise or other LFOs to create random or semi random effects Alter the LFO waveform by modulating the rate of a triggered LFO Route multiple clocks with different divisors to t...

Page 70: ...Modulation sources are simply added algebraically connecting two sources one with a value of 100 and the other with a value of 100 yields a net value of zero Note on modulation sources such as key velocity and gate output a single value at note on time Realtime modulation sources such as LFOs envelope generators and modulation wheels output continuously changing values The possible modulation rout...

Page 71: ...tputs a digital 1 when the input is greater than 0 Summing Amp Lets you add several modulation signals together before applying them to a destination This processor can save PatchCords when routing the output to multiple destinations Lag Processors Slows down rapid changes in the input signal The output lags behind the input at a pre programmed rate There are two lag processors Lag 0 and Lag 1 Lag...

Page 72: ... The value of the input PatchCord controls the number of steps The value of the output PatchCord controls the size of the steps 4x Gain This processor amplifies the modulation source by a factor of 4 Lag Inputs O O O O Summing Amps can be useful in complicated patches where you want to control a combination of modulation signals with a single patchcord The Lag processors can be used as 2 additiona...

Page 73: ...the layer level lag processors the preset lag takes effect as soon as the preset is selected In contrast the layer level lag processors begin acting only after a keyboard key has been depressed The Preset Lag also has a Lag Amount input which controls the lag time Positive lag amounts increase the lag time A MIDI controller front panel knob is commonly used to control lag amount In the B 3 the pre...

Page 74: ... original B 3 The patch is a little complicated and you may find it easier to simply copy and edit an existing preset Nevertheless here is the complete B 3 percussion patch 1 DC Sets initial ramp Fast Positive 100 2 Decay Knob Inverted value slows ramp as the knob value is increased O O O O The combination of the DC Perc Decay Time Cords has the effect of reversing the Percussion Decay Time knob T...

Page 75: ...fect fifth The Velocity source scales the played velocity around zero In other words low velocities below 64 will have negative values and high velocities 64 and above will be positive A velocity of 64 would be zero The Switch module only outputs a 1 if the input value is greater than zero This digital 1 value can be scaled through the attenuator on the PatchCord to raise or lower the pitch by any...

Page 76: ...alue based on the PatchCord Amount setting If applied to the switch along with the velocity it changes the velocity value required to trip the switch By setting the DC amount to a negative amount higher velocity values are required to trip the switch Setting the DC value to a positive value would bring the velocity switch point down The PatchCord screens for this patch are shown below Switch Veloc...

Page 77: ...rs or LFOs are routed to the input The quantizer turns a smoothly changing input signal into a series of steps By routing the output of the quantizer to Pitch and adjusting the PatchCord amounts you can control both the number of steps and the pitch interval of each step The input PatchCord amount controls how many steps will be generated With a sawtooth wave LFO feeding the input and the PatchCor...

Page 78: ...t for the DC offset which was added to bring the pitch down into tune Sometimes you have to fix a problem but using the mod processors there s usually a way around it to achieve the desired result You can start to see some of the possibilities and there are many Whenever you find yourself wishing for some esoteric type of control take a minute to think and see if there is a way to achieve the desi...

Page 79: ...ave can be analyzed as a mix of sine waves at specific frequencies and amplitudes Any waveform can be analyzed as a mixture of sine waves One way to represent complex waveforms is to use a chart with frequency on one axis and amplitude on the other Each vertical line of the chart represents one sine wave at a specific amplitude and frequency Instrument Amp L R Freq Vol Q Retrigger Pitch Glide Glid...

Page 80: ...mple a low pass filter lets the low frequencies pass and removes only the high frequencies as illustrated in the following diagram A filter that lets only the high frequencies pass is called a high pass filter as illustrated in the following diagram 20 40 60 80 100 40 80 160 360 720 1440 2880 Frequency Amplitude Output of Filter Low Pass Filter Cutoff Frequency 20 40 60 80 100 40 80 160 360 720 14...

Page 81: ...quencies around the cutoff frequency The following chart shows how different amounts of Q affect the low pass filter response In terms of sound frequencies around the cutoff tend to ring with high Q settings If a filter with high Q is slowly swept back and forth various overtones are picked out of the sound and amplified as the resonant peak sweeps over them Bells and gongs are real world examples...

Page 82: ...lter frequency parameter For these filters think of the order as the complexity of the filter _ _ _ _ Important 12th order filters use twice as many voices B 3 has the processing power to produce 64 filters of up to 6th order or 32 filters of 12th order complexity Therefore if you decided to use all 12th order filters B 3 would be limited to 32 voices Using a filter we have a way to control the ha...

Page 83: ...naltered This is different from a band pass filter which attenuates reduces frequencies outside the selected band The parametric filter is quite flexible Any range of frequencies can be either amplified or attenuated Several parametric sections are often cascaded in order to create complex filter response curves If four parametric filter sections were cascaded it would be possible to create the fo...

Page 84: ...s of different muscles controlling the shape of the vocal tract When speaking however we don t think of the muscles we just remember how it feels to form the vowels A vowel is really a configuration of many muscles but we consider it a single object In changing from one vowel to another we don t need to consider the frequencies of the resonant peaks You remember the shape of your mouth for each so...

Page 85: ...ime but the filter frequency can be modulated by any source The Q parameter can be modulated only at note on time There are 50 types of filters available See Filter Types on page 103 for a complete list of the filters Digitally Controlled Amplifier DCA Together with the Volume Envelope the DCA is used to shape the volume contour of a sound The DCA can be controlled by any modulation source Velocit...

Page 86: ...an also be programmed to control the B 3 The following MIDI controls are automatically routed in B 3 Pitch Wheel pwh Modulation Wheel 01 Old DX7 Aftertouch 03 Pedal 04 Volume 07 Pan 10 Any MIDI controller can be routed to any modulation destination First you have to know which controller numbers your keyboard transmits Most modern MIDI keyboards let you select a controller number for each control ...

Page 87: ...trol button adjacent to the row of knobs selects A D E H or I L functions for the knobs The front panel knob A L and incoming MIDI controller messages assigned to that letter both control the same parameter that you select in the PatchCord screen 0 1 2 3 31 MIDI Controller C Patchcord Destinations Control Knobs Master Menu Edit Menu A B C L 0 1 2 3 31 MIDI Controller A 0 1 2 3 31 MIDI Controller B...

Page 88: ...the 128 presets in the bank Of course no synthesizer has 16 384 banks yet but hey it s nice to know it s possible for that really BIG project Continuous Controller CC 0 is the MSB most significant byte and CC 32 is the LSB least significant byte Normally you send both the MSB and LSB controllers to implement a bank change When you press the Audition button the Bank Select MSB and LSB are displayed...

Page 89: ...aster menu and set the MIDI channel to Preset Next set the Mix Output routing in the preset to the desired output for each layer Yes you can send each layer to a different send if you want By sending different amounts of presets to the effects subtle or striking effects can be achieved using the two effect processors This feature allows you to get the most out of two effects since you can have eig...

Page 90: ...Master Mix Output is set to Preset Otherwise the Edit menu Mix Output settings are ignored PRESET Mix Output Mix Output Send 1 MASTER MENU PRESET EDIT MENU Ch 1 SEND 2 Ch 2 SEND 3 Ch 3 SEND 4 Ch 16 S E N D 1 M A I N OUTPUT SECTION EFFECTS PROCESSORS Hall 1 Effect A Chorus Effect B B A FX Sends Send 2 10 Send 3 0 Send 4 0 Send 1 15 FX Sends Send 1 0 Send 4 15 Send 3 20 Send 2 0 S E N D 3 S E N D 4 ...

Page 91: ...eld Rotate the Data Entry Control to select a layer 1 4 _ _ _ _ If there is no A option in the Layer field you must enable the Edit All Layers function in the Master Menu You can also select All Layers by choosing A in the layer field When All Layers is selected the existing parameter value for any field will be displayed if the values of all four layers are equal If the values of all four layers ...

Page 92: ...reating categories makes it easier to find specific sounds when you need them For more information on Sound Navigator see Sound Navigator in Chapter 2 Operations The keyboard can also be used to select character The charts below show the keyboard character assignments PRESET NAME 0023 org 8 0 8 0 8 8 0 6 3 0 2 3 5 7 8 A C D F H J K M O P R T V W Y b c e g h j l n o q s t v x z b l a n k 4 6 9 B E ...

Page 93: ... 4 or All can be selected by positioning the cursor on this field and using the Data Entry Control to change the layer In the screen shown below Layer 1 is selected When All Layers A is selected the existing parameter value for any field will be displayed if all layers are equal If the layer parameter values are NOT equal the value of Layer 1 will be displayed with flashing characters If you move ...

Page 94: ...ument for the selected layer s move the cursor to the bottom line of the display and change the instrument using the Data Entry Control Sound Navigator Sound Navigator also works to help select Instruments although the category names are predefined When the cursor is on the Instrument Category field turning the Data Entry Control selects different instrument categories The Name Field will change t...

Page 95: ...e parameters The first Fade field determines how many semitones it takes the layer to Fade In from the low key The second Fade field determines how many semitones it takes the layer to Fade Out to the high key The screen shot above and the diagram below show Layer 1 being faded out over a one octave range _ _ _ _ For smoothest crossfades turn the Master Volume control on the front panel up to maxi...

Page 96: ...th Fade set to zero Set the Low and High Keys so they don t overlap other layers You can select key numbers by simply pressing the desired keyboard key when the cursor is positioned on the low or high key field n the display If two layers do overlap both will play as shown in the next example C0 C1 C2 C3 C4 C5 C6 Layer 1 Layer 2 Layer 3 Layer 4 Switch Switch Switch L1 KEY LO FADE HIGH FADE C0 000 ...

Page 97: ...called stacking layers All Layers assigned to a key sound when the key is played This is shown in the following diagram It s very easy to stack layers Simply duplicate the key ranges for any layers you want to stack C0 C1 C2 C3 C4 C5 C6 Layer 1 Layer 2 L1 KEY LO FADE HIGH FADE C0 000 C6 000 L2 KEY LO FADE HIGH FADE C0 000 C6 000 ...

Page 98: ...by defining the high and low velocity values Values range from 0 off to 127 hardest The Fade fields define the velocity crossfade range for the currently selected layer The first Fade field defines the Fade In range for the low velocity value The second defines the Fade Out range for the high velocity value With soft playing Layer 1 sounds As you play harder Layer 1 gradually fades out and Layer 2...

Page 99: ... key velocity while layer 2 fades in At a velocity of 64 the two sounds are equal volume You may want to adjust the fade in and fade out points to achieve a natural sounding crossfade These parameters vary depending on the sounds Increasing Velocity 0 127 Layer 2 Layer 1 Layer 2 Layer 1 L1 VEL LO FADE HIGH FADE 000 000 127 127 L2 VEL LO FADE HIGH FADE 000 127 127 000 ...

Page 100: ...ade value range is from 0 to 127 After the Ranges and Fades have been adjusted for each layer in the Real time Crossfade screen you must assign a real time controller to RTXfade Real time Crossfade on each Layer in the PatchCord screen Set the PatchCord Amounts to 100 þ To Set Up a Real time Crossfade Between Two Layers As the real time control knob pedal LFO etc is increased Layer 1 fades out as ...

Page 101: ...de and set the Cord Amount to 127 10 Play the keyboard while adjusting the real time controller Go back to the Real time Crossfade screens to fine tune the crossfade if necessary Decreasing the fade size will narrow the region where both layers are sounding þ To Randomly Cross Switch Between Four Layers In certain situations you may want to switch between several layers randomly Crossfade Random i...

Page 102: ... 4 Define the High and Low range of each Layer as shown above 5 Press Home Enter and use the Data Entry Control to advance to the PatchCord page Select Layer 1 6 Select XfdRnd as the modulation source and RTXfade as the desti nation Set the Cord Amount to 100 7 Repeat step 6 for the remaining three layers L1 RT LO FADE HIGH FADE 000 000 031 000 L2 RT LO FADE HIGH FADE 032 000 063 000 L3 RT LO FADE...

Page 103: ...t once Transposing the Instrument The Transpose parameter lets you transpose the key of the current layer s Instrument Transpose works by shifting the keyboard position in semitone intervals relative to middle C Use this parameter to transpose different layers apart by semitone intervals For example by transposing one layer by 7 semitones it will track other layers at a perfect fifth interval The ...

Page 104: ...lightly change the timbre of the instrument Amplifier This parameter sets the initial volume and pan position of the current layer These values can be changed using any Real time Controller set up in the PatchCords The value range for the volume is from 96 dB to 10 dB 0 dB is the default setting Routinely turning the volume up to 10 dB is not recommended because it doesn t allow other modulation s...

Page 105: ...each instrument If you select the Factory mode the Volume Envelope parameters are disabled and the factory defined settings are used instead _ _ _ _ If two adjacent segments have the same level in a time based envelope the segment will be skipped Adjacent segments must have different levels for the rate control to work Time based Defines the Volume Envelope rates from 0 to 127 approxi mately 1 ms ...

Page 106: ... is reached the Attack 2 phase begins When the Attack 2 Level is reached the Decay 1 phase begins When the key is released the envelope immediately jumps to the Release 1 stage then the Release 2 stage finally ending at the Release 2 level If you have selected the factory mode the Volume Envelope parameter screen looks like the following illustration _ _ _ _ If the Release 2 level is set at a valu...

Page 107: ...etting the Start Offset amount to 0 plays the sample from the beginning Higher values move the Sample Start Point further into the sample toward the end There is also a PatchCord source which can be used to change the Sound Start point at note on time Controlling the Sound Start using Key Velocity Amt brings in the attack of the wave only when you play hard This is especially effective with percus...

Page 108: ...igger Last note priority No key up action Retriggers envelopes and samples when a key is pressed Melody last Last note priority No key up action First solo note Envelopes start at Attack segment from zero Samples start at the beginning If previous note is releasing Envelopes start at Attack segment but from current level Samples start at the beginning When playing Legato Envelopes continue from cu...

Page 109: ...such as an open high hat to a mono channel so it is cancelled by a closed high hat on the same mono channel Layers rotate within their assigned bin of channels not interfering with other bins The modes are Poly All Notes are played polyphonically with dynamic channel assignment using all 64 channels Poly 16 A B Two bins of 16 channels each Notes are played polyphoni cally with dynamic channel assi...

Page 110: ...om 0 through 32 738 seconds zero means off The Glide Curve describes how the glide accelerates as it slides between notes Because of the ear s non linear response to pitch a linear glide sounds slow at the beginning and speeds up toward the end Exponential curves actually sound smoother and more linear Eight exponential curves are provided Choose one that suits your style Glide can be either polyp...

Page 111: ...lters Filter Types This screen allows you to choose the type of filter for the current layer Filter Name Order Type Description Smooth 02 LPF Typical OB type low pass filter with a shal low 12 dB octave slope Classic 04 LPF 4 pole low pass filter the standard filter on classic analog synths 24 dB octave rolloff Steeper 06 LPF 6 pole low pass filter which has a steeper slope than a 4 pole low pass ...

Page 112: ...Bass 12 EQ Bass boost to bass cut morph TB OrNot TB 12 EQ Great Bassline Processor BolandBass 12 EQ Constant bass boost with mid tone Q control BassTracer 12 EQ Low Q boosts bass Try sawtooth or square waveform with Q set to 115 RogueHertz 12 EQ Bass with mid range boost and smooth Q Sweep cutoff with Q at 127 RazorBlades 12 EQ Cuts a series of frequency bands Q selects different bands RadioCraze ...

Page 113: ...eamWeava 12 FLG Directional Flanger Poles shift down at low Q and up at high Q MeatyGizmo 12 REZ Filter inverts at mid Q DeadRinger 12 REZ Permanent Ringy Q response Many Q variations ZoomPeaks 12 REZ High resonance nasal filter AcidRavage 12 REZ Great analog Q response Wide tonal range Try with a sawtooth LFO BassOMatic 12 REZ Low boost for basslines Q goes to distortion at the maximum level Luci...

Page 114: ... filter The Filter Envelope Levels can be negative as well as positive There are three mode options Time based Defines the Filter Envelope rates from 0 to 127 approxi mately 1 ms to 160 seconds The Master clock has no affect on time based rates Tempo based The Filter Envelope times vary based on the master tempo setting and are displayed in values such as 1 2 3 etc Note values are displayed instea...

Page 115: ... Envelope See the Programming Basics section of this manual for detailed information about how the Envelopes work The Filter Envelope controls the filter frequency of the layer over time The Envelope has six stages to the contour Attack 1 Attack 2 Decay 1 Decay 2 Release 1 and Release 2 When a key is pressed the Envelope goes through the first four stages If the key continues to be held the envelo...

Page 116: ...formance tool Many presets use this routing with the modulation wheel controlling how much modulation is applied Create a tremolo effect by routing the LFO to control the volume LFO AmpVolume Add a bit of animation to the sound by routing the LFO to control the filter Set the PatchCord amount low for a subtle effect The LFOs have five parameters Shape Sync Rate Delay and Variation Shape LFO wavefo...

Page 117: ...oise LFO Tricks Tips The Random LFO wave is truly random and is different for each voice and layer The Pattern Pat waveforms will sound the same on different layers and voices Sine Noise is very useful for simulating trumpet and flute vibrato When routing Hemi quaver to Pitch 38 major scale 38 phrygian scale 76 whole tone scale 38 76 diminished two cords odd amount S H sound Note References to mus...

Page 118: ...rates If you modulate the rate of a tempo based LFO the rates will jump between the tempo based note values with each PatchCord increment of 1 As an example if the LFO rate was set to 8 1 and you patched the Mod Wheel to control rate with a PatchCord amount of 1 turning the Mod Wheel to maximum would change the LFO rate to 4 1d Refer to the chart below Tempo based Rates based on Master Tempo Displ...

Page 119: ...pitch is established The following illustration demonstrates how delay works All Delay values equal to or greater than zero specify absolute time rates from 0 to 127 Values less than zero specify Tempo based mode Refer to the previous table for times and tempo based rates quarter note 1 4 dotted 8th note 1 8d quarter note triplet 1 4t 8th note 1 8 dotted 16th note 1 16d 8th note triplet 1 8t 16th ...

Page 120: ...er This creates a chorus or ensemble effect since each note played has a slightly different modulation rate The higher the value entered the greater the note to note variation in the LFO The Variation value range is from 0 through 100 _ _ _ _ Variation is disabled when a Tempo Based LFO is selected LFO variation changes the rate of each note to create an ensemble effect ...

Page 121: ...her connections must be made using the PatchCords Each patch has an amount field which determines how much modulation is applied to the destination The modulation amount can be positive or negative Negative values invert the input The amount value range is from 100 to 100 Modulation Source LFO 1 Destination Amount Amp Volume Modulation Source LFO 1 LFO 2 Amp Env Filt Env Aux Env Wheel Pressure etc...

Page 122: ...increase from 100 with key velocities of 64 and above Therefore with medium velocity the Filter frequency is approximately where you set it at 100 An LFO works the same way on the positive half of the cycle it increases the initial amount and on the negative half of the cycle it decreases the initial amount With a modulation source a value of 64 equals 0 Modulation Uses only the negative half of t...

Page 123: ...ller 10 VEnvAtk Volume Envelope Attack KeyGlide VEnvDcy Volume Envelope Decay VolEnv Volume Envelope VEnvRls Volume Envelope Release FilEnv Filter Envelope FEnvRts Filter Envelope Rates all AuxEnv Auxiliary Envelope FEnvAtk Filter Envelope Attack LFO 1 2 FEnvDcy Filter Envelope Decay White White Noise FEnvRls Filter Envelope Release Pink Pink Noise FEnvTrig Filter Envelope Trigger XfdRand Crossfad...

Page 124: ...ut setting in the Master menu MUST be set to Preset on the selected MIDI channel If you want to define output routing by MIDI channel set it up using the Mix Output page in the Master menu See Mix Output on page 37 for more information The Sends function as effect processor inputs effect sends The Output Routing field shows the true routing of the Sends to the Main output The Output Routing never ...

Page 125: ... two processors can be programmed as part of the preset The diagram below shows how the effects are integrated into the signal path using a parallel effects send return model similar to a mixing console Refer to the Effects chapter for additional information and instructions for setting up both the Preset Effects and the Master Effects Effect A Sum Sum Main Outs Effect B FX Send Amount FX Send Amo...

Page 126: ...nnel or by Preset whichever you prefer S U B 1 M A I N OUTPUT SECTION EFFECTS PROCESSORS FX Sends Hall 1 Effect A FX Sends Chorus Effect B B A Jack Detect Jack Detect S U B 2 PRESET Mix Output Mix Output Send 1 Send 1 15 Send 2 10 Send 3 0 Send 4 0 Send 1 0 Send 2 0 Send 3 20 Send 4 15 S E N D 1 S E N D 2 S E N D 3 S E N D 4 MASTER MENU PRESET EDIT MENU Ch 1A SEND 2 Ch 2A SEND 3 Ch 3A SEND 4 Ch 16...

Page 127: ... Plate 7 Delay 8 Panning Delay 9 Multitap 1 10 Multitap Pan 11 3 Tap 12 3 Tap Pan 13 Soft Room 14 Warm Room 15 Perfect Room 16 Tiled Room 17 Hard Plate 18 Warm Hall 19 Spacious Hall 20 Bright Hall 21 Bright Hall Pan 22 Bright Plate 23 BBall Court 24 Gymnasium 25 Cavern 26 Concert 9 27 Concert 10 Pan 28 Reverse Gate 29 Gate 2 30 Gate Pan 31 Concert 11 32 Medium Concert 33 Large Concert 34 Large Con...

Page 128: ...t the effects amounts for each of the four stereo effects busses FXB Algorithm This screen selects the effect type for Effect Processor A Move the cursor to the lower line of the display and select the effect you want B Effect Types FXA DECAY HFDAMP FxB FxA 048 064 000 FXA SEND AMOUNTS 1 100 2 50 3 10 4 0 FXB ALGORITHM Panning Delay 1 Chorus 1 2 Chorus 2 3 Chorus 3 4 Chorus 4 5 Chorus 5 6 Doubling...

Page 129: ...is tool and this feature lets you control and use them in exciting new ways There are 12 Preset PatchCords per preset with a source a destination and an amount control The amount can be set from 100 to 100 The Preset PatchCord controls are added to the FX Send Amounts set in the Master or Edit menus In other words multiple sources connected to destinations are summed O O O O The Preset Cords allow...

Page 130: ...otswitch 1 Effect B Send 3 Flip Flop Footswitch 1 Effect B Send 4 Footswitch 2 Preset Lag In Flip Flop Footswitch 2 Preset Lag Amount Footswitch 3 Preset Lag Rate Flip Flop Footswitch 3 Preset Ramp Rate DC Modulation Sources Modulation Destinations ...

Page 131: ...they can be turned Off If set to Off the current controller value is used when the preset is first selected Setting the Initial Amount to off uses the values from the previously selected preset 0 1 2 3 31 MIDI Controller C Patchcord Destinations Control Knobs Master Menu Edit Menu A B C L 0 1 2 3 31 MIDI Controller A 0 1 2 3 31 MIDI Controller B 0 1 2 3 31 MIDI Controller L MIDI Amount Key Sustain...

Page 132: ...temperament 19 notes per octave Difficult to play but works well with a sequencer Gamelan 5 tone Slendro and 7 tone Pelog Javanese Pelog are white keys Slendro are black keys Exotic tunings of Gamelan flavor Just C2 Allows you to play the following chords in the key of C C E F G A B C m D m Em F m G m Am Bm Just C minor Allows you to play the following chords in the key of C C E F G A B Em Am Bm C...

Page 133: ...laining the mysteries of just intonation is beyond the scope of this manual but the subject is covered exhaustively in Hermann Helmholtz s On the Sensations of Tone available at most libraries and bookstores The new tables are called Just C2 Just C3 and Just C Minor Try playing in the key of C Cm using each table You ll quickly discover both the wonders and the frustrations of just intonation In J...

Page 134: ... presets with up to 12 layers We re talking LARGE sounds here Of course Links can also be used when you just want to stack up two sounds As an example let s stack two presets to create a big sound Start with a preset you like then go into the Links screen and start scrolling through the preset list while you play to hear both presets together When you find a winner simply Save the preset and you r...

Page 135: ...earn the sounds in B 3 Riffs allow the Sound Designers to demonstrate what they had in mind when they designed the preset If a preset has hidden tricks or controllers these will be shown off in the Riff Play Solo Layers When constructing multilayer sounds it is often useful to turn off one or more of the layers so you can hear what you re doing This feature allows you to temporarily solo individua...

Page 136: ...128 E MU Systems Edit Menu Play Solo Layers ...

Page 137: ...ot permanent until you Save them see Saving a Preset on page 155 Let s experiment and modify a few parameters of an existing preset We ll start with functions that have an obvious effect on the sound Instrument Select Tuning and Chorus Changing the Instrument Changing the instrument is the easiest and most dramatic way to modify an existing preset þ To Change the Instrument for the Current Layer 1...

Page 138: ...s whole semitone intervals The Fine tuning value shifts the pitch in 1 64 semitones or 1 56 cents þ To Tune the Instrument of the Current Layer 1 Scroll through the Edit menu until you come to the Tuning page 2 Move the cursor to the Coarse field using the cursor button 3 Set the value to 12 to shift the pitch up a whole octave To shift the pitch in smaller units than a semitone use the Fine field...

Page 139: ... chorusing for each of the instruments just play around with the Chorus and Width parameter until you like what you hear Volume Envelope Every sound you hear whether it s a piano note a drum or a bell has a characteristic volume curve or envelope This Volume Envelope shapes the volume of the sound which grows louder or softer in various ways during the course of the sound The volume envelope of a ...

Page 140: ...aration for this experiment choose almost any of the standard organ presets which continues to sustain when the key is held down Go to the Instrument page and set it to None on all layers except Layer 1 Now you re ready to play with the Volume Envelope þ To Setup the Volume Envelope 1 Go to the Volume Envelope mode screen and set the Volume Envelope mode to time based 2 Now move on to the next scr...

Page 141: ...erything Then save it in a User location 1 Go to the Instrument screen and select Instrument 009 1st4Slow VibM This is a really rich sound Since filters work by removing or accentuating certain frequencies we want to make sure that we have a lot of frequencies to start with 1 Advance to the Filter Type screen using the Data Entry Control Select the VCF Classic filter 2 Go to the Filter Frequency a...

Page 142: ...nvelope is a device that can automatically change the filter frequency during the course of the note Before we define the Filter Envelope we need to patch the Filter Envelope to the Filter Frequency þ To Setup the Filter Envelope 1 Go to the PatchCord screen 2 Move the cursor below the first field in the bottom line of the display This is the Source field Use the Data Entry Control to change the S...

Page 143: ... to the Filter Cutoff as shown in the following diagram 5 Now return to the Filter Envelope Mode screen Set the Mode to time based 6 Advance to the Filter Envelope parameter page 7 Move the cursor underneath the time field and change the value to about 50 Now when you press a key the filter slowly sweeps up L1 PATCHCORD 01 FiltEnv FiltFreq 100 R L Pan Instrument Tone Filter DCA Filter Env Fc Q L1 ...

Page 144: ...and move the cursor down the lower line of the display Change the filter type while playing the keyboard There are 50 different filter types These filters are extremely powerful and have been carefully crafted to offer maximum flexibility and musical control You may want to change the Envelope PatchCord Amount Q and or the Filter Frequency to get the right sound for each filter and instrument Thes...

Page 145: ...to the envelope parameter page and adjust the Attack 1 2 and Decay 1 2 parameters The repeating envelope cycles through these four stages as long as the key is held Practice Modulating Try modulating the pitch with the Filter Envelope generator Use Velocity to modulate the Filter Envelope PatchCord or the Filter Frequency This brightens the sound as you play harder Program the LFO to modulate Filt...

Page 146: ...ny instrument takes a little patience and practice Referring to the diagram below which shows the B 3 signal flow notice that the DCA comes after the Filter The DCA controls the final volume of the sound so if the filter s release is longer than the release for the DCA you won t hear it because the DCA has already shut off the sound You re getting the general idea by now Remember not to select a n...

Page 147: ...eset you want to link with the preset you selected in step 1 Play the keyboard as you scroll through the various presets to hear the results 4 If you want the link to be a permanent part of the preset be sure to save the preset Otherwise simply change the preset to erase your work þ To Create a Split Keyboard Using Links 1 Follow steps 1 through 4 above 2 Press Enter and use the Data Entry Control...

Page 148: ...140 E MU Systems Programming Tutorial Linking Presets ...

Page 149: ...h channel Sends to the effect bus This allows each channel to be placed in a slightly different sonic space which creates an airy open sound B 3 uses this basic concept but works in a slightly different manner There are four effects busses Send1 Send4 Each preset or each MIDI channel you determine which can be directed to one of the four busses Each effect processor has four Send Amounts which all...

Page 150: ...ing which in this case is Send 1 Individual layers or entire MIDI channels can be routed to any of the four busses The four Effect Sends allow you to get the most out of the two effect processors For example with Effect B set to an echo algorithm you could route one MIDI channel to Send 3 and set the effect amount to 80 Another MIDI channel could be routed to Send 4 with an effect amount of only 5...

Page 151: ...om 1 3 Hall 1 2 Plate Delay Panning Delay Multitap 1 Multitap Pan 3 Tap 3 Tap Pan Soft Room Warm Room Perfect Room Tiled Room Hard Plate Warm Hall Spacious Hall Bright Hall Bright Hall Pan Bright Plate BBall Court Gymnasium Cavern Concert 9 Concert 10 Pan Reverse Gate Gate 2 Gate Pan Concert 11 Medium Concert Large Concert Large Concert Pan Canyon DelayVerb 1 3 DelayVerb 4 5 Pan DelayVerb 6 9 B Ef...

Page 152: ...e have more high frequency damping The value range for High Frequency Damping is from 0 through 127 Feedback The Feedback parameter is used when setting B type effects The Chorus and Flange effects have a controllable feedback loop after the delay element Feeding back a small amount of the signal intensifies the effect by creating multiple cancellations or images Higher feedback values increase th...

Page 153: ... menu will be used instead of the Preset Effect settings 4 Use the Data Entry Control to select the FXA parameter screen The FxB FxA parameter lets you route the B effect through the A effect See Effect B Into Effect A on page 150 5 Set the other effect parameters to your preference Refer to the infor mation in the last section for detailed descriptions of these parameters 6 Use the Data Entry Con...

Page 154: ... When playing single presets the effects are normally programmed as part of the preset In Multimode the Master effects are used since there are only two effect processors to serve 16 MIDI channels þ To Program the Master Effects 1 Press the Master menu button The LED illuminates and the Master screen appears 2 Use the Data Entry Control to select the FXA Algorithm screen 3 Select an Effect 4 Use t...

Page 155: ...the infor mation in the last section for detailed descriptions of these parameters 10 Press the Edit menu button The LED illuminates and the Edit menu displays the last screen used 11 Use the Data Entry Control to access the FXA Algorithm page and select Master Effect A _ _ _ _ The MIDI mode Master Menu must be set to Omni or Poly mode in order to select the effects in the preset 12 Repeat step 11...

Page 156: ...s Control The effects processor controls are very flexible The effects can be controlled in three different ways to suit your personal preference and to adapt to different situations When in Omni or Poly mode effects are normally programmed as part of the preset In Multi mode the two effects processors can be controlled using the Master settings or by using the effects settings of a preset on a sp...

Page 157: ...nates and the Master menu screen appears 2 Use the Data Entry Control to select the MIDI mode page Choose multi for the mode Preset FX Master FX Effects are part of the Preset 1 Omni or Poly Mode Master FX Preset Ch 16 Master Effects Preset FX Ch 1 2 Multi mode Preset FX Preset FX FX Master Ch 16 Ch 1 Selected FX Control Channel One Channel s Preset determines the Effect Settings 3 Multi mode FX M...

Page 158: ...the Data Entry Control to select the MIDI mode page Choose multi for the mode 3 Move the cursor to the Multi mode Effects Control field using the Data Entry Control 4 Set the Effect Control to preset on Channel where is replaced by the actual channel number from 1 through 16 using the Data Entry Control 5 Press Enter to save the settings and return to the main screen Effect B Into Effect A The out...

Page 159: ... send amount to any amount other than zero 6 Press the cursor button again to return the cursor to the FXA title Use the Data Entry Control to advance to the FXB Algorithm page 7 Select an effect 8 Advance to the FXB submix routing page and set the Main FXB send percentage to zero 9 Play the keyboard and you should hear the B Effect running through Effect A This patch is shown below FXA DECAY HFDA...

Page 160: ...ng to the time set by the Decay Time parameter High frequency energy tends to fade away first as a sound is dissipated in a room The High Frequency Damping parameter allows you adjust the amount of high frequency damping and thus change the characteristics of the room Rooms with smooth hard surfaces are more reflective and have less high frequency damping Rooms filled with sound absorbing material...

Page 161: ...istic effect with faster LFO rates generally requiring less LFO amount and vice versa Doubling When a copy of a sound delayed by about 26 milliseconds is added back to the original two audio images are perceived by your brain When the delayed image is slightly varied or modulated the illusion of two voices is created Slapback Slapback is a single short echo in the range of 50 60 milliseconds A sou...

Page 162: ... output signals are a few milliseconds apart to create a stereo image The delay times are variable from 0 635 mS Panning Delay A panning delay is similar to the normal delay lines except that the echoes bounce back and forth between the two stereo speakers Dual Tap These are delay lines where the signal is tapped off at two unevenly spaced locations When feedback is used multiple complex echoes ar...

Page 163: ...anging the Controller Knobs in Quick Edit mode you must save the preset in order for the change to become permanent When you save a preset it erases any existing preset information in that location Make sure that the destination location does not contain preset information you want to keep Each time you change a preset parameter the Save Copy button LED illuminates reminding you to save your work ...

Page 164: ...opied to the destination location þ To Copy a Preset All the Sound Navigator features work when using the Copy functions 1 Select the Preset you want to copy information into 2 Press the Save Copy menu button 3 Select Copy Preset from using the Data Entry Control 4 Select the preset you want to copy using the Data Entry Control The ROM Bank Preset Number Bank Number Category and Preset Name fields...

Page 165: ...hcord settings from one layer of the preset location into the current layer of the current preset location The preset information in the source location the preset location from which you want to copy is not deleted from the original location just copied to the destination location þ To Copy a PatchCord 1 Select the Preset and Layer you want to copy information into 2 Press the Save Copy menu butt...

Page 166: ...y into 6 Press the Enter Home button to overwrite the bank Create Random Preset This is a great feature which creates a new preset using portions of the ROM presets as source material By merging random presets really great sounding presets can be generated with ease Use this feature to generate wild new sounds get new programming ideas or just for fun þ To Create a Random Preset Examine interestin...

Page 167: ...e located behind the controller knobs on the circuit board þ To Copy a User Bank to Flash 1 Make sure a Flash SIMM is inserted into the extra B 3 SIMM socket _ _ _ _ If there is no Flash SIMM in the unit the error message Requires Flash SIMM will be displayed 2 Press the Save Copy menu button 3 Rotate the Data Entry Control to select the Copy User Bank function shown above 4 Move the cursor to the...

Page 168: ...d 2 Press the Save Copy menu button 3 Rotate the Data Entry Control to select the Rename Flash SIMM function shown above 4 Move the cursor to the New Name field and rename the SIMM using the Data Entry Control to select the letter and the cursor keys to select the position 5 Set the ROM ID number for the SIMM It doesn t matter which number you choose as long as the same number isn t used in anothe...

Page 169: ...The destination Flash SIMM must be placed in SIMM socket 1 1 Make sure the two Flash SIMM are located in the required B 3 SIMM sockets _ _ _ _ If there are no Flash SIMMs in the unit or if the SIMMs are in the wrong slots an error message will be displayed 2 Press the Save Copy menu button 3 Rotate the Data Entry Control to select the Duplicate Flash SIMM screen shown above 4 Move the cursor to th...

Page 170: ...162 E MU Systems Save Copy Menu Copying Information ...

Page 171: ...ettings Filter Cutoff Filter Frequency Filter Res Filter Resonance Attack Volume or Filter Envelope Attack Release Volume or Filter Envelope Release Layer 1 Controls the Volume of Layer 1 Layer 2 Controls the Volume of Layer 2 Percussion Amount Controls the Percussion Volume Layer _ _ _ _ Dynamic 1 2 may not appear to have any effect if the Layer 1 2 controls are turned down Percussion Decay Contr...

Page 172: ...re of harmonics and overtones in the sound The numbers may seem confusing at first but once you learn to see them as drawbar positions it makes perfect sense Here are a few examples 8 SUB HARMONIC SUB 3rd HARMONIC FUNDAMENTAL 2nd HARMONIC 3rd HARMONIC 4th HARMONIC 5th HARMONIC 6th HARMONIC 8th HARMONIC Off Full Volume 16 5 1 3 1 1 3 2 2 3 1 3 5 4 2 1 16 8 4 2 1 8 7 6 5 4 3 2 1 6 5 4 3 2 1 2 2 3 1 ...

Page 173: ...886311580 60 org 886311588 v 61 org 800000008 62 org 800000006 v 63 org 888000000 fx 64 org 086311588 v 65 org 850700007 66 org 850700070 67 org 850008700 68 org 850000067 69 org 808700070 70 org 808000078 71 org 808006700 72 org 808067000 73 org 808880000 74 org 808800800 75 org 808088000 76 org 808850000 77 org 808000000 78 org 8888 AllOut 79 org 888 AllOut 80 org 888 AllOut 1 81 org 888 AllOut ...

Page 174: ...88803455 58 dir 038800230 3 59 dir 008600030 3 60 dir 808504002 2 61 dir 800704002 2 62 dir 848040000 2 63 dir 888800560 3 64 dir 888880060 3 65 dir 868800000 ds 66 dir 868800000 df 67 dir 868008000 ds 68 dir 860808800 df 69 dir 886422588 fx 70 dir 888888888 fx 71 dir 808808008 fx 72 dir 888000000 3d 73 dir 888800000 3d 74 dir 008600030 fx 75 dir 860040300 fx 76 dir 858000000 fx 77 dir 888000000 m...

Page 175: ...s 1 56 var Motions 2 57 var Motions 3 58 var Harmoniums 59 var Harms All 60 var Harm Seq 1 61 var Harm Seq 2 62 var To Harms 63 var 888 Gruzz 64 var Pulse Fix 65 var Blah Blah 66 var Mysteria 67 var Outer Solo 68 var 8888SlackPhz 69 var 1st3 Perc9th 70 var 1st4 Perc9th 71 var 8888 Gruzz 72 var All 9 Gruzz 73 var Lo Fi 74 var Mr Perk 75 var Submerged 76 var Coming Back 77 var B Careful 78 var X 1 T...

Page 176: ... Funk 2 20 B 3 Funk 3 21 B 3 Funk 4 22 B 3 Funk 5 23 B 3 Funk 6 24 B 3 Fusion 1 25 B 3 Fusion 2 26 B 3 Fusion 3 27 B 3 Fusion 4 28 B 3 Fusion 5 29 B 3 Fusion 6 30 B 3 Fusion 7 31 B 3 Gospel 1 32 B 3 Gospel 2 33 B 3 Gospel 3 34 B 3 Jam 1 35 B 3 Jam 2 36 B 3 Jam 3 37 B 3 Jam 4 38 B 3 Jazz 1 39 B 3 Jazz 2 40 B 3 Jazz 3 41 B 3 Jazz 4 42 B 3 Jazz 5 43 B 3 Jazz 6 44 B 3 Jazz 7 45 B 3 Jazz 8 46 B 3 Latin...

Page 177: ... Fast S Fb 53 org 2 Fast M Fb 54 org 1 3 5 FstSFb 55 org 1 3 5 FstMFb 56 org 1 1 3 FstSFb 57 org 1 1 3 FstMFb 58 org 1 Fast S Fb 59 org 1 Fast M Fb 60 org Perc2ndSlwFb 61 org Perc3rdSlwFb 62 org 16 SlowS Fb2 63 org 16 SlowM Fb2 64 org 16 Slow S 65 org 16 Slow M 66 org 5 1 3 Slow S 67 org 5 1 3 Slow M 68 org 8 Slow S 69 org 8 Slow M 70 org 4 Slow S 71 org 4 Slow M 72 org 2 2 3 Slow S 73 org 2 2 3 S...

Page 178: ...information about the Instruments 126 org Perc3rdDir 127 org EFX Master 128 org Rotor Pan 129 org Generator 130 org Volution 131 org Harms Vox 132 org DenseTexture 133 org Drawbar 134 org Start Switch 135 org Stab 136 org Percy 1 137 org Percy 2 138 org Percy 3 139 org Percy 4 140 org No Tone M Mono FB Foldback upper octaves repeat S Stereo ...

Page 179: ... Curve 2 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity Expands dynamics in low range emphasizing medium velocity values and compressing high velocity values 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity Curve 3 Expands velocity range Soft Loud 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity Curve 4 Expands velo...

Page 180: ...0 0 20 40 60 80 100 Played Velocity 120 y Curve 8 Similar to Curve 6 with more emphasis on the middle range 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity Curve 9 Extreme dynamic range compression 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 y Curve 10 Extreme dynamic range compression Outputs low values 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Vel...

Page 181: ... Result Velocity Curve 12 Less severe version of Curve 11 0 20 40 60 80 100 120 0 20 40 60 80 100 Played Velocity 120 Result Velocity Curve 13 Extreme expansion of velocity range Semitone PatchCord Amount Semitone PatchCord Amount 1 3 21 66 2 6 22 69 3 approx 9 23 approx 72 5 4 approx 12 24 approx 76 5 16 25 79 6 19 26 82 7 22 27 88 8 25 28 91 9 28 29 approx 95 10 approx 31 30 98 11 35 31 12 38 32...

Page 182: ...Yes Active Sensing No No System Reset No No Tune Request No No System Exclusive Sample Dump Standard File Dump MIDI Tuning Master Volume Master Balance Notation Information Turn GM1 System On Turn GM2 System On Turn GM1 System Off Other See Remarks Yes No No Yes No No No No No No No Yes No No Yes No No No No No No No NRPNs No No RPN 00 Pitch Bend Sensi RPN 01 Chan Fine Tune RPN 02 Chan Coar Tune R...

Page 183: ... edited using the Front Panel Remote Preset selection is independent of the edit buffer Changing the current preset erases the edit buffer MIDI Time Code No No MIDI Machine Control No No MIDI Show Control No No Extension Capability General MIDI Compat Is GM default mode No No No No DLS compatible Import DLS Files Export DLS Files No No No No No No Import stand MIDI files Export stand MIDI files No...

Page 184: ...omplete SysEx specification for B 3 is available on the official E mu Systems Inc web site www emu com Command Message Comments Note Off 8n kk vv Note On 9n kk vv velocity 0 note off Key Aftertouch An kk vv kk 0 127 vv 0 127 Program Change Cn vv 0 127 Channel Aftertouch Dn vv 0 127 Pitch Bend En ll mm l lsb m msb Real time Controller Bn cc vv cc 00 31 64 95 Footswitch Bn cc vv cc 64 79 vv 64 on Vo...

Page 185: ...g outputs Max Output Level 4 dB Output Impedance 1000 Ohms Sound Memory 32 MB expandable to 64 MB Data Encoding 16 bit linear data 20 bit Effects Engine 24 bit internal processing Sample Playback Rate 44 1 kHz Signal to Noise 92 dB Dynamic Range 90 dB Frequency Response 20 Hz 20 kHz 2 1 dB THD Noise 0 02 1kHz sine wave A weighting IMD 0 05 Stereo Phase Phase Coherent 1º at 1 kHz Power Consumption ...

Page 186: ... disclaims any implied warranty of merchantability satisfactory quality and fitness for a particular purpose EMU s liability under warranty is limited to repair or replacement of the unit or refund at EMU s option In no event will EMU be liable for loss of revenue or savings loss of time interruption of use or any other consequential indirect incidental special or exemplary damages The foregoing w...

Page 187: ... 99 Personnel Equipment Hammond B 3 Hammiond A 100 Customized 122 Leslie Tube 145 Leslie Transistor John s Rack O Gear Recording Eight Tracks 24 bit Digital Track 1 122 Leslie Upper Left Track 2 122 Leslie Upper Right Track 3 122 Leslie Lower Center Track 4 145 Leslie Upper Left Track 5 145 Leslie Upper Right Track 6 145 Leslie Lower Center Track 7 Direct Line Out Track 8 Direct Line from John s R...

Page 188: ...180 E MU Systems Appendix Warranty ...

Page 189: ...er 19 bank number 19 26 Bank Organization 19 Bank Select Display 22 banks selecting 27 base tempo 52 basic setup 14 basics programming 53 bend range 36 breath controller 46 button control 21 cursor 22 edit menu 21 home enter 23 35 master menu 21 save copy 22 bypass effects 148 bypassed effects mode 148 C calibration 49 center frequency 75 change MIDI preset 45 preset 19 changing filter type 136 th...

Page 190: ...tortion effects 143 distortion effect processor 154 double and detune 99 131 doubling 153 doubling effect 153 drawbar chart 164 dual tap delay 154 dynamic filters 71 dynamic range 177 E edit menu button 21 editing presets 129 effect decay 144 FXA decay 41 FXA HF Damping 41 FXB FXA 41 type B 42 effect diagram 117 118 120 effect send diagram 118 effect sends 38 effects A type 143 B into effect A 150...

Page 191: ...shooting 138 tutorial 71 type 133 136 type changing 136 Z plane 76 77 103 filter order 74 fine tuning 96 130 fingered glide solo mode 101 first key 66 flange effects 143 flanger effect processor 153 flip flop processor 64 Footswitch 14 footswitch 46 55 free running LFO 110 frequency center 75 cutoff 73 filter 106 115 frequency modulation 54 front panel knobs 163 FX cords 121 FX mode 39 148 FXA alg...

Page 192: ...t 53 layers definition 85 legato 100 LFO 108 effect B 42 flanger 154 key sync 110 master FXB rate 42 rate 144 rate effect 42 tricks tips 109 trigger 60 variation 112 waveforms 59 waveshape 108 link preset 126 linking presets 126 127 139 looping envelopes 58 low frequency oscillator 55 59 108 delay 111 free running 110 sync 108 110 variation 112 low pass filter 72 low pass filter example 74 M main ...

Page 193: ... 113 sources 55 56 sources destinations 115 wheel 46 modulation definition 54 mono aftertouch 55 mono A I assign group 101 mono mode 176 morph filter 76 multi mode 43 141 176 control effects 148 effects control 39 multimode map send receive 50 multiple trigger solo mode 100 Multi setup 22 multisetup restore 32 saving 32 send receive 50 Multisetup Button 22 multisetup button 31 Multisetups 31 multi...

Page 194: ...sics 53 Q Q 73 104 105 106 133 134 136 quantizer 64 70 quantizer example 69 quick edit and real time controllers mode 24 preset 47 R Ramp Rate 66 random creating presets 158 crossfade 56 crosswitch 93 generator noise and 55 random generator 55 random modulation sources 56 range key 87 88 keyboard 87 pitchbend 116 velocity 90 rate effect LFO 42 144 glide 102 LFO 110 rate master FXB LFO 42 rate leve...

Page 195: ...p instructions 129 stereo delay effect 154 stolen voices 101 studio setup 15 submix routing FXB 42 Summing 54 summing amp 63 64 mod processor 63 summing amp processor 63 Summing Nodes 54 swept EQ filter 75 switch mod processor 63 switch processor 63 67 sync LFO 108 110 Synth solo mode high 101 last 100 low 101 SysEx packet delay 50 system exclusive device ID 43 ID 43 send data 51 T technical speci...

Page 196: ...ices stolen 101 voltage setting 16 volume control 21 control 7 27 curve 131 envelope 77 97 98 131 132 preset link 126 volume envelope 57 volume channel 27 volume initial 96 W waveform inverting 60 waveforms LFO 59 weight 177 Werkmeister tuning 124 wheel modulation 46 55 pitch 55 137 width chorus 131 Z Z plane filter 76 77 103 ...

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