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E-Mu Classic keys, Operation Manual

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E-Mu Classic keys Operation Manual Download Page 54

52

PRESET PROGRAMMING

Classic Keys has an extensive modulation
architecture using two multi-wave LFO’s
(Low Frequency Oscillators), two
envelope generators and the ability to
respond to multiple MIDI controllers. You
may simultaneously route any combina-
tion of these control sources to multiple
destinations.

Turning the volume control back and forth on your home stereo is an example of amplitude modulation.

MODULATION

Modulation means to dynamically
change a parameter, whether it be the
volume (amplitude modulation), the
pitch (frequency modulation), or what-
ever. Turning the volume control on your
home stereo rapidly back and forth would
be an example of amplitude modulation.
To modulate something we need a modu-
lation source and a modulation destina-
tion. The source is your hand turning the
knob, and the destination is the volume
control. If we had a device that would
automatically turn the volume control,
we would also call that device a modula-
tion source. Classic Keys (and most
synthesizers for that matter) are designed
so that for each of the variable param-
eters, such as the volume, there is an

initial setting which can be changed by a
modulation source. Therefore in the case
of volume, we have an initial volume and
we can change or modulate that volume
with a modulation source. This can be
thought of as a type of remote control in
which one device automatically controls
another in a precise way.

Two main types of modulation sources on
Classic Keys are Envelope Generators and
Low Frequency Oscillators. In the ex-
ample above, an envelope generator could
be routed to automatically turn the
volume control as programmed by the
envelope. Or, a low frequency oscillator
could be routed to automatically turn the
volume control up and down in a repeat-
ing fashion.

Summary of Contents for Classic keys

Page 1: ......

Page 2: ...quirements 3 Refer all other servicing to qualified service personnel 1 INSTRUCTIONS PERTAINING TO A RISK OF FIRE ELECTRIC SHOCK OR INJURY TO PERSONS WARNING When using electric products basic precautions should always be followed including the following 1 Read all instructions before using Classic Keys 2 To reduce the risk of injury close supervision is necessary when Classic Keys is used near ch...

Page 3: ...unused for a long period of time 10 Care should be taken so that objects do not fall and liquids are not spilled into the enclosure of Classic Keys through openings 11 The product should be serviced by qualified service personnel when A The power supply cord has been damaged or B Objects have fallen or liquid has been spilled into the product or C The product has been exposed to rain or D The prod...

Page 4: ...t Classic Keys Section 2 15 Basic Operation 17 Main controls 18 Selecting presets 18 Selecting MIDI channels volume pan 19 Multi timbral operation 20 Playing the demo sequences Section 3 21 Master Menu 23 Enabling the master menu 24 FX mix select 24 Effect A 24 Effect B 25 Effects amount 25 Master tune 25 Transpose 25 Global bend 26 Global velocity curve 26 MIDI mode ...

Page 5: ...tuning 30 Viewing angle Section 4 31 Effects Section 33 Effects bus architecture 34 Effects output routing 34 Effect programming 35 Reverb 38 Stereo chorus 39 Stereo flanger 41 Stereo phaser 42 Delay 43 Cross delay 44 Echo 46 Stereo fuzz 47 Ring modulator Section 5 49 Preset Programming 51 Splitting layering the keyboard 52 Modulation 53 Modulation sources 54 Envelope generators 55 Low frequency o...

Page 6: ...ent 66 Secondary instrument 66 Key range 67 Primary key range 67 Secondary key range 68 Volume 68 Pan 68 Coarse tuning 68 Fine tuning 68 Chorus 69 Delay 69 Solo mode 69 Sound start 69 Reverse sound 70 Alternate envelope on off 70 Primary secondary alternate envelope parameters 70 Crossfade mode 71 Crossfade direction 71 Crossfade balance 71 Crossfade amount 72 Cross switch point 72 LFO shape amoun...

Page 7: ...oard center 77 Keyboard tuning 77 Preset links 77 Save preset Section 7 79 Step by Step 81 Linking presets 82 Editing presets 83 Sound splicing synthesis 85 Using Classic Keys with a sequencer Section 8 87 Reference Section 88 Factory RAM presets 90 Factory ROM presets 92 Instrument listing 98 Drawbar diagrams 101 Percussion instrument locations 104 Technical specifications 105 MIDI implementation...

Page 8: ...UST BE INTACT AND YOU MUST HAVE A SALES RECEIPT OR OTHER PROOF OF PURCHASE IF THERE IS NO SERIAL NUMBER STICKER ON CLASSIC KEYS PLEASE CONTACT E MU SYSTEMS AT ONCE OPERATION MANUAL 1994 E MU SYSTEMS INC ALL RIGHTS RESERVED FI449 REV A MANUAL RILEY SMITH E MU WORLD HEADQUARTERS E MU SYSTEMS INC U S A P O BOX 660015 SCOTTS VALLEY CA USA 95067 0015 TELEPHONE 408 438 1921 FAX 408 438 8612 EUROPE AFRIC...

Page 9: ...7 Classic Keys INTRODUCTION ...

Page 10: ...8 INTRO CONNECTION INSTRUCTIONS ...

Page 11: ...ys gives you the ability to literally take these sounds apart and reassemble them into an almost limitless number of entirely new sounds combining parts of one sound with another or with any of a selection of digital waveforms also stored on ROM For example the attack of a flute can be faded out as a vibe tone is faded in giving you a completely new sound The monophonic and true stereo 16 bit samp...

Page 12: ...ists of one or more Instruments An instrument is a complete set of samples or a digital waveform which covers the entire keyboard range An instrument can be assigned to each of the Primary and Secondary layers of the preset The primary and secondary layers are essentially two instruments with complete modulation controls The two layers can be layered or placed adjacent to each other and can be swi...

Page 13: ...lassic Keys is a high quality stereo audio device In order to reproduce its wide dynamic range and frequency Basic Setup response use a high quality amplification and speaker system such as a recording mixer and amplifier or home stereo system A stereo setup is highly desirable because of the added realism of stereo phonic sound Headphones can be used if an amplifier and speaker system are not ava...

Page 14: ...ard MIDI wind controller or a computer to be easily connected MIDI Out The MIDI Out jack is nor mally used to transmit program data to a computer or other device Outputs Use a high quality amplifica tion and speaker system such as a record ing mixer and amplifier or home stereo system A stereo setup is highly desirable because of the added realism of stereo phonic sound The right output jack serve...

Page 15: ... MIDI Thru MIDI Thru transmits an exact copy of the messages received at the MIDI In jack and is used to connect additional MIDI devices onto the MIDI chain Outputs Use a high quality amplifica tion and speaker system such as a keyboard amplifier and speakers A stereo setup is highly desirable because of the added realism of stereophonic sound The headphone jack is located on the front panel The r...

Page 16: ...d instrument waveforms are first sampled into the Emulator III our top of the line 16 bit stereo digital sampler After the sounds and waveforms have been truncated looped and processed they are masked into the Classic Keys ROM Read Only Memory chips Conceptually the sampling process is very simple as shown in the Basic Sam pling System diagram As a sound wave strikes the diaphragm of a microphone ...

Page 17: ...15 Classic Keys BASIC OPERATION ...

Page 18: ...16 BASIC OPERATION ...

Page 19: ...eturn the cursor to the Home position The adjacent LED flashes to indicate that Classic Keys is waiting for your response Cursor Control These buttons move the cursor to the next parameter on the display in a clock wise or counterclockwise direction The cursor is a little flashing line underneath one of the parameters in the display Press either cursor control repeatedly until the cursor is undern...

Page 20: ...otated the preset number and name will change The displayed preset will be assigned to the displayed MIDI channel Preset numbers are arranged into four banks of 128 C01 Vol127 Pan P 000 Preset Name PRESET BANK SELECTION You can jump between preset banks by following the steps outined below 1 Press and Hold the Home Enter button While holding the button turn the data entry knob 2 Turning the knob w...

Page 21: ... OFF using the MIDI Enable function in the Master menu page 27 Up to 16 channels can be selected simultaneously 3 Select the desired preset for each of the MIDI channels you wish Classic Keys to receive using the MIDI Channel Preset selection screen see previous instruc tions 4 Classic Keys will now respond multi timbrally on the MIDI channels you have specified The volume and pan position paramet...

Page 22: ...g this amazing machine Press and hold both the Master button and the Edit button The sequence will start in a moment Press the Enter button to stop the sequence Press the right cursor button to toggle between the sequences Press the left cursor button to start the current sequence again Classic Keys contains 2 sequences DEMO 1 2 ENTER Stop Nxt ...

Page 23: ...21 Classic Keys MASTER MENU ...

Page 24: ...22 MASTER MENU ...

Page 25: ...tate the data entry control to select another screen TO MODIFY A PARAMETER Press the cursor key repeatedly or hold the cursor key while turning the data entry control until the cursor is under neath the parameter value Rotate the data entry control to change the value TO RETURN TO PRESET SELECT MODE Press the Master key turning off the LED The Master menu contains functions that affect the overall...

Page 26: ...meters associated with each effect See the Effects chapter for detailed information on each effect FXB StereoChorus Lfo Rate 050 FX MIX SELECT This function selects which bus in the output section will be used for each MIDI channel You can route each MIDI chan nel through the FxA or FxB processors or directly to the Main outputs no effects An additional selection called Preset Prst allows the sele...

Page 27: ... the overall tuning of all presets so that Classic Keys can be tuned to other instruments The master tuning range is 1 semitone in 1 64th semitone increments A master tune setting of 00 would indicate that Classic Keys is perfectly tuned to concert pitch A 440 Hz MASTER TUNE 63 TRANSPOSE This function transposes the key of Classic Keys in half step intervals The transpose range is 12 semitones or ...

Page 28: ...rve in order to provide different types of dynamics in response to your playing or to better adapt to a MIDI controller This function allows you to select one of the four velocity curves or leave the velocity data unaltered off Global velocity curve only affects presets which have their individual velocity curve set to global For more information on the velocity curves see page 58 GLOBAL VEL CURVE...

Page 29: ...e incoming MIDI program change commands for each channel Since MIDI can only select presets 000 127 this function also allows you to select which bank of 128 presets will be accessed via incoming program change commands Another option Map routes incoming program changes to the MIDI program preset mapping function See page 29 BANK PRST CHANGE channel 01 Off BANK PRST CHANGE channel 02 Bank1 BANK PR...

Page 30: ...GN Classic Keys allows you to assign up to four realtime control sources from your MIDI controller These control sources could be modulation wheels data sliders or whatever In this screen you set up which controllers will be received by Classic Keys What effect the controller will have is programmed separately for each preset MIDI controllers are each assigned a letter A D Each controller letter c...

Page 31: ...OOTSWITCH 1 64 2 65 3 66 PROGRAM PRESET MAP Incoming MIDI program changes can be remapped to a different numbered preset This is a handy feature when you want a specific preset number sent from the master synth to call up another specific preset number on Classic Keys For example the Program Change Map could be set to call up preset 012 whenever Classic Keys receives program change number 26 Any p...

Page 32: ...l temperament Classic Keys contains four additional preset tuning tables Just C Vallotti 19 tone and Gamelan and one user definable tuning User Key Tuning allows you to alter the parameters of the user definable tuning stored in memory The initial frequency of every key can be individually tuned facilitating the cre ation of microtonal scales Using the cursor key and the data entry control select ...

Page 33: ...31 Classic Keys EFFECTS SECTION ...

Page 34: ...32 EFFECTS SECTION ...

Page 35: ...ct For both the A and B effects there is an amount parameter which determines the relative mix of the processed and unprocessed signals wet dry mix The output of the B effect can also be routed back through processor A The effect programming is done on a global basis meaning that the two effects serve the entire machine This is similar to the way an external effects unit would be connected except ...

Page 36: ... channel you wish to use or select Preset if you want the selection in the preset to be used This control selects the input to the effect processors FX MIX SELECT channel 01 FxA 3 Select the desired effect and program the appropriate parameters FXA Echo L Delay Time 255 4 Set the FX Amount for the A or B effect This adjusts the ratio of ef fected to un effected signal B A allows you to route the o...

Page 37: ... parameter on the reverbs Decay Time Decay time is the length of time that it takes for the reflected sound from the walls of the room to die away In general the larger the room the longer the decay time B EFFECTS STEREO CHORUS STEREO FLANGE PHASER DELAY CROSS DELAY FUZZ FUZZ LITE RING MODULATOR The diagram below breaks down the reverberated sound into its component parts After an initial pre dela...

Page 38: ...ontrol which simulates the effect of an irregular wall surface as the amount is increased REVERB EFFECTS Room A bright medium sized room The apparent source position is fairly close to the listener Suitable for use with 100 wet mix setting for adding ambience Warm Room This reverb is similar to Room with more high frequency absorption slightly larger size and a more distant source position Small R...

Page 39: ...tly metallic sound Reflection buildup is very rapid with high density Early reflections are minimized Plate 2 An effect similar to Plate 1 but slightly warmer with less density EARLY REFLECTION GROUP Early Reflection 1 Early Reflection 2 Early Reflection 3 Early Reflection 4 All Early Reflection programs have a single Ambience parameter which adds diffusion to the individual reflections Lower ambi...

Page 40: ...he function of a chorus device is to thicken the sound or to make one voice sound like many The way the effect is achieved is by mixing one or more delayed versions of the signal in with the original The delay times used are too short to be perceived as an echo but long enough so that comb filtering does not occur In addition the delay time is varied to simulate the random differences which occur ...

Page 41: ...ther results in multiple frequency cancellations creating a comb filter effect as shown in the diagram below Since the flanger is a type of filter it works best with harmonically rich sounds such as strings The flanging effect was originally created using two tape recorders playing identical recordings By exactly synchronizing the two decks and then slowing the speed of one by grasping the tape re...

Page 42: ...of change and the LFO Depth controls how much the delay is changed by the LFO The LFO adds to the initial delay time so that with LFO Depth set to 255 the maximum delay time is 13 milliseconds FXA StereoFlange LFO Rate 038 FXA StereoFlange LFO Depth 150 The Feedback control sends some of the delayed signal through the delay line again When positive feedback is used values 1 to 127 the comb filter ...

Page 43: ...d voices It can also be used like a chorus to thicken up a thin sound FXA Phaser Lfo Rate 060 FXA Phaser Lfo Depth 015 FXA Phaser Min Freq 001 FXA Phaser Feedback 060 STEREO PHASER Use the Minimum Frequency control to tune the resonant frequencies of the peaks and notches to the sound The LFO Depth controls the amount of animation that the effect will add Feedback controls the depth of the peaks a...

Page 44: ...uch signal from each is supplied to the feedback control Feedback controls how many echoes are produced A setting of 0 produces only one echo The delay line is incredibly stable even with large amounts of feed back This quality allows the delay line to be used as a resonator where it acts as a kind of oscillator when excited by an input signal Infinite delay effects are also possible without the r...

Page 45: ...posite channel in order to produce a ping pong type of effect when reproduced in stereo Delay time is adjustable from 0 to 209 milliseconds The Cross Delay is shown in the diagram below CROSS DELAY FXA Cross Delay R DelayTime 060 FXA Cross Delay R Tap Level 055 FXA Cross Delay L DelayTime 255 FXA Cross Delay L Tap Level 120 FXA Cross Delay Feedback 120 ...

Page 46: ...he output level and utilizes a high frequency damp ing low pass filter control which can simulate traditional analog tape echo Because the left and right delay controls are completely independent 0 400 mS they be adjusted to create very interesting stereo echo effects FXA Echo Feedback 100 FXA Echo L DelayTime 255 FXA Echo R DelayTime 100 FXA Echo HF Damping 010 ECHO ...

Page 47: ...through a Reverb STEREO DELAY B The B Delay is identical to the delay line in the A effect group except that the maximum delay time is 104 milliseconds instead of 209 milliseconds This delay is useful for short echoes slapback and doubling effects as well as for fixed formant comb filtering Like Stereo Delay A the feedback parameter is extremely stable even with high amounts making it useful as a ...

Page 48: ...y affects the amount of fuzz so that Classic Keys envelopes can now control harmonic content as well as the volume Output Volume sets the output level of the fuzz There are two complete fuzz effects controlled by the same set of controls as shown in the diagram below Two independent sounds can be pro cessed by panning primary and secondary to opposite sides or a single sound can be routed through ...

Page 49: ... every other according to its amplitude As a result ring modulators tend to generate a lot of non harmonic frequencies which can sound very bell like or out of tune This diagram shows the result of Ring Modulating two sine waves with frequencies of 800 Hz and 200 Hz Only the Sum and Difference frequencies of 1000 Hz and 600 Hz will result There are no controls on the ring modu lator as shown by th...

Page 50: ...ne waves and the harmonic waveforms Also try complex waves modulated with sine waves Play chords Complex waveforms tend to sound rather noise like Pan the primary and secondary instru ments to left and right in the pan screen and then move to the Effect B screen and select Ring Modulator There are no parameters to adjust in this effect so the lower line of the display always reads None FXB RingMod...

Page 51: ...49 Classic Keys PRESET PROGRAMMING ...

Page 52: ...50 PRESET PROGRAMMING ...

Page 53: ...re 256 user locations banks 0 1 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 Presets can be made up of both a primary and secondary instrument Presets can also be linked with up to 3 additional presets to create layering or splits One way to create a keyboard split is to assign an instrument to a specific ra...

Page 54: ...ning the knob and the destination is the volume control If we had a device that would automatically turn the volume control we would also call that device a modula tion source Classic Keys and most synthesizers for that matter are designed so that for each of the variable param eters such as the volume there is an initial setting which can be changed by a modulation source Therefore in the case of...

Page 55: ...no aftertouch Key pressure applied after the key is initially pressed Polyphonic Key Pressure poly aftertouch Polyphonic aftertouch from a control ler capable of generating polyphonic pressure data Poly pressure is received on a per note basis Low Frequency Oscillators 2 Generate repeating waves Envelope Generators 1 Generate a programmable volume or pitch contour which changes over time when a ke...

Page 56: ...cribed as a con tour which can be used to shape the sound in some way over time Classic Keys contains two different kinds of envelope generators One of the envelope generators the Alternate Volume Enve lope controls the volume of the primary or secondary instrument and has 5 stages Attack Hold Decay Sustain and Release The other envelope the Auxiliary Enve lope can be routed to any realtime contro...

Page 57: ... see how the LFO will affect a modulation destination Suppose we are modulating the pitch of an instru ment The sine wave looks smooth and will smoothly change the pitch The square wave changes abruptly and will abruptly change the pitch from one pitch to another The sawtooth wave smoothly decreases then abruptly changes back up The sound s pitch will follow the same course Controlling the pitch o...

Page 58: ...ources in almost any possible way to the modula tion destinations You can even modulate other modulators Each patch also has an amount parameter which determines how much modulation is applied to the destination The modulation amount can be positive or negative and will either add or subtract from the initial value Keyboard and velocity sources can be simultaneously patched to any 6 of the 33 dest...

Page 59: ...mpletely flexible as shown in the example above MODULATION SOURCES KEY NUMBER KEY VELOCITY DESTINATIONS PITCH PRIMARY PITCH SECONDARY PITCH VOLUME PRIMARY VOLUME SECONDARY VOLUME ATTACK PRIMARY ATTACK SECONDARY ATTACK DECAY PRIMARY DECAY SECONDARY DECAY RELEASE PRIMARY RELEASE SECONDARY RELEASE CROSSFADE LFO 1 AMOUNT LFO 1 RATE LFO 2 AMOUNT LFO 2 RATE AUX ENVELOPE AMOUNT AUX ENVELOPE ATTACK AUX EN...

Page 60: ...re set to middle C the instru ment would get progressively louder above middle C and progressively softer below middle C VELOCITY CURVES Incoming velocity values can be scaled by one of the four velocity curves in order to match your playing style or better adapt to the MIDI controller Experiment with the four curves to find the one that works best for your style and MIDI controller CHOOSE THE VEL...

Page 61: ... destinations or one destination can be controlled by up to eight modulation sources The possible modulation routings are completely flexible as shown in the example above MODULATION SOURCES PITCH WHEEL MIDI CONTROL A MIDI CONTROL B MIDI CONTROL C MIDI CONTROL D MONO PRESSURE POLYPHONIC PRESSURE LFO 1 LFO 2 AUXILIARY ENVELOPE DESTINATIONS PITCH PRIMARY PITCH SECONDARY PITCH VOLUME PRIMARY VOLUME S...

Page 62: ...troller information on separate channels called continuous controller channels There is a set of 32 continuous controller channels for each of the 16 MIDI channels Some of the controller channels such as pitch wheel volume and pan have been standardized For example volume is usually sent on continuous controller channel 7 Common realtime controllers such as the pitch wheel volume pan and pressure ...

Page 63: ...e Master menu MIDI Controller Assign and define the 4 MIDI controllers that we wish to use Assign each controller number to one of the letters A B C D 01 Modulation Wheel A 02 Breath Controller B 04 Foot Pedal C 06 Data Entry D To complete the connections for a par ticular preset go to the Edit menu Realtime Control and route the MIDI A B C D to the desired destinations These could be patched to a...

Page 64: ...62 PRESET PROGRAMMING ...

Page 65: ...63 Classic Keys EDIT MENU ...

Page 66: ...64 EDIT MENU ...

Page 67: ...d since powering up the machine The cursor will appear under neath the first character of the screen heading on line one TO SELECT A NEW SCREEN Press the Home Enter button or press a cursor button repeatedly until the cursor is underneath the screen heading Rotate the Data Entry Control to select the screen TO MODIFY A PARAMETER Press a cursor button repeatedly or hold the right cursor button whil...

Page 68: ... the primary layer of the current user preset INSTRUMENT pri I013 Flute Edit Menu Functions SECONDARY INSTRUMENT This function allows you to select which of the available instrument sounds or none will be placed on the secondary layer of the current user preset INSTRUMENT sec I023 Farfisa KEY RANGE Key range sets the keyboard range of both primary and secondary instruments This sets the keyboard r...

Page 69: ...imary and secondary layers The key range can be set anywhere from C 2 to G8 KEY RANGE pri C 2 C0 SECONDARY KEY RANGE Key range sets the keyboard range of the secondary instrument The key range can be set anywhere from C 2 to G8 KEY RANGE sec C 0 G8 ENTIRE PRESETS CAN BE LINKED TO FORM SPLIT OR LAYERED PRESETS SEE THE LINK FUNCTION AT THE END OF THIS CHAPTER Classic Keys Range ...

Page 70: ...han by MIDI channel FX MIX SELECT FxA COARSE TUNING This function allows you to change the tuning of the primary and secondary instruments in semitone intervals The coarse tuning range is 36 to 36 semitones A coarse tuning setting of 00 would indicate that the instrument is tuned to concert pitch A 440 Hz TUNING coarse pri 00 sec 00 FINE TUNING This function allows you to change the tuning of the ...

Page 71: ...O MODE pri Off sec On The Sound Start parameter allows you to cut off the beginning of the sound Higher values move the start point toward the end of the sound Sound Start SOUND START This function allows you to set where a sample begins playing when you hit a key A setting of 000 plays a sound from the beginning higher values move the sample start point toward the end of the sound SOUND START pri...

Page 72: ...ers do not have any effect when routed to cross switch For more information see Cross Switch Point on page 72 XFADE MODE Off ALTERNATE ENVELOPE ON OFF Each instrument has its own factory preset AHDSR volume envelope which is used if this parameter is set to Off Turn Alternate Volume Envelope On to use the user programmable alternate envelope instead ALT ENVELOPE pri Off sec On PRIMARY SECONDARY AL...

Page 73: ...cross switch The direc tion is either primary secondary or secondary primary XFADE DIRECTION Pri Sec CROSSFADE BALANCE The crossfade balance parameter deter mines the initial balance between the primary and secondary layers Any modu lation is subsequently added to this value Crossfade balance is variable between 000 and 127 XFADE BALANCE 064 CROSSFADE AMOUNT The crossfade amount parameter deter mi...

Page 74: ...nt of time between hitting a key and the onset of modulation This can be used to simulate an effect often used by acoustic instrument players where the vibrato is brought in only after the initial note pitch has been estab lished The delay range is variable from 0 to 13 seconds 000 127 LFO Variation Sets the amount of random variation of an LFO each time a key is pressed This function is useful fo...

Page 75: ...rs are Envelope Amount Delay Attack Time Hold Time Decay Time Sustain Level and Release Time The delay time is variable from 0 to 13 sec onds 000 127 The envelope amount is variable from 128 to 127 Negative values will produce inverted envelopes The six stages of the Auxiliary Envelope Generator AUX ENV AMT DLY 127 000 A A H D S R 00 00 00 99 20 FOR MORE INFORMATION ON THE ENVELOPES SEE THE PRESET...

Page 76: ... If a parameter is not labeled either primary or secondary it will affect both KEY VELOCITY CTL 1 V Attack 064 THE TONE FILTER IS A SIMPLE LOW PASS TONE CONTROL WHICH CAN BE USED TO DARKEN THE TONE OF AN INSTRUMENT MODULATION SOURCES KEY NUMBER KEY VELOCITY DESTINATIONS PITCH PRIMARY PITCH SECONDARY PITCH VOLUME PRIMARY VOLUME SECONDARY VOLUME ATTACK PRIMARY ATTACK SECONDARY ATTACK DECAY PRIMARY D...

Page 77: ...er and change the patch number modulation source or modulation destination using the data entry control If a parameter is not labeled either primary or secondary it will affect both REALTIME CTL 1 LFO1 Pitch MODULATION SOURCES PITCH WHEEL MIDI CONTROL A MIDI CONTROL B MIDI CONTROL C MIDI CONTROL D MONO PRESSURE POLYPHONIC PRESSURE LFO 1 LFO 2 AUXILIARY ENVELOPE DESTINATIONS PITCH PRIMARY PITCH SEC...

Page 78: ...ONTROLLER AMT A 127 B 090 CONTROLLER AMT C 127 D 090 PRESSURE AMOUNT This function allows you to specify an amount parameter for mono or poly keyboard pressure data aftertouch The pressure amount is variable from 128 to 127 PRESSURE AMOUNT 127 VELOCITY CURVE Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics in response to your playing or bet...

Page 79: ...NU 77 Choose the velocity curve that works best for your playing style and your MIDI controller Above the Keyboard Center point key values will be positive below the Keyboard Center key values will be negative ...

Page 80: ... Master menu KEYBOARD TUNING Equal PRESET LINKS Presets may be linked to other presets in order to create layering or keyboard splits The current preset can be linked with up to three other presets Each linked preset can be assigned to a specific range in order to easily create keyboard splits The modulation parameters specified in each preset remain in effect for each preset in the link LINK 1 C ...

Page 81: ...79 Classic Keys STEP BY STEP ...

Page 82: ...80 STEP BY STEP ...

Page 83: ...the screens until you find one of the LINK screens 4 Move the cursor to the second line of the display then select the preset that you want to be linked with this preset You may want to play the keyboard as you scroll through the various presets in order to hear the results 5 If you want the link to be a perma nent part of the preset be sure to SAVE PRESET CREATE A SPLIT KEYBOARD USING LINKS 1 Fol...

Page 84: ...ou find an interesting instrument move the cursor back up to the first line and select INSTRUMENT sec IXXX Instr Name Repeat the process for the secondary instrument Find an instrument that sounds good when combined with the first one you selected You can probably see that with all these great instruments to work with you really can t go wrong Now let s play with the tuning CHANGING THE TUNING OF ...

Page 85: ...ditive synthesis Only instead of building a sound from simple sine waves Classic Keys starts with complete sampled sounds or complex waveforms and combines all or part of these together to form a new sound The process is illus trated below The envelope generators controlling the DCAs digitally controlled amplifiers can be used to fade between two instruments primary and secondary during the course...

Page 86: ... sound REVERB SPACES The reverb spaces allow you to add reverb ambience to Classic Keys drums By layering an instrument containing only reverb with a dry drum instrument the effect of real reverb is created In addi tion the reverb spaces can be shaped and filtered just like any other instrument There are eleven reverb spaces instru ments 76 84 86 88 in Classic Keys Using the reverb spaces is easy ...

Page 87: ...ppose that you want to have your sequencer set up everything for you before the start of the song Good idea This will make the Classic Keys setup procedure automatic and prevent the wrong presets from playing The basic idea of a pre sequence setup is to send out MIDI information just before the start of the song This MIDI informa tion will select all the proper presets adjust the mix and pan posit...

Page 88: ...rally Linking and chorusing cause twice as many channels to be used by the preset Learn to bud get your output channels for maximum efficiency CHANNEL RIPOFF When Classic Keys uses up all its 32 channels and needs more it steals a channel from the key that has been held the longest This is commonly known as channel ripoff You will most com monly encounter this ripoff when using Classic Keys in mul...

Page 89: ...87 Classic Keys REFERENCE SECTION ...

Page 90: ...v Whl 23 epo DblHonr 24 epo DoubleCP 25 epo Bright70 26 epo TakPiano 27 epo WideCP70 28 epo TronFade 29 epo Vox Fade 30 epo DX 70 31 epo CP B3 70 32 str P5ala 99 33 str Solina 34 str SuperMel 35 str ThikMoog 36 str Moog Too 37 str OBXStrng 38 str ARPcomb1 39 str ARPcomb2 40 air WindKeys 41 air GasDyno 42 air PanninOz Resonant Synth 86 bas PerkPedl 87 bas UduSynth 88 led MoogSqrs 89 led MoogSaws 90...

Page 91: ...ls 67 bel Magic 68 bel Popsikl 69 bel Disobel 70 bel DigiMoog 71 bel Ironbel 72 wrm Accordia 73 wrm RoadTone 74 wrm Clavsine 75 wrm DarkPipe 76 wrm PercPad 77 wrm Generatr 78 wrm Swirly 79 wrm PipeBndr 80 bas ARP Rez2 81 bas 2 Micros 82 bas EkoMini 83 bas Solidar 84 bas ClavSyn 85 bas Watery 86 bas B3 Bass 87 bas M12 Bass 88 led Interval 89 led Jumper 90 led 55 Moogs 91 led 2 OBies 92 led 2 Moogz ...

Page 92: ...l Carillon 69 bel Xtal 1 70 bel MusicBox 71 bel ToyPiano 72 wrm Sub Dude 73 wrm Flautish 74 wrm BrassPad 75 wrm Pluto 76 wrm Carousel 77 wrm Matrix 78 wrm AirMen 79 wrm Infinity 80 bas MinMog1 81 bas MinMog2 82 bas ARPrezo 83 bas MicroMg 84 bas MinMog3 85 bas MinMog4 ROM Presets Bank 2 Organ Electric Piano String Synth Airy Synth Buzzy Synth Resonant Synth Bells Bass Synth Synth Leads Mellotron Pl...

Page 93: ... 23 epo Zircon 24 epo Pianet 25 epo CP Wheel 26 epo MoogStr 27 epo CPChorus 28 epo CP Tron 29 epo PlusDXep 30 epo SlapEcho 31 epo Mono Pan 32 str SmalHall 33 str ThickSyn 34 str ARPStrng 35 str M12Strng 36 str LargHall 37 str Tron M12 38 str StopTron 39 str Trn Brs 40 air AngelVox 41 air Fairlite 42 air BeloVox ROM Presets Bank 3 Organ Airy Synth Drums Indicates that the preset contains a Layered ...

Page 94: ...Trumpet Hrd Hard blown Trumpet 19 Trombone Trombone 20 Trom STpt Trombone Soft Trumpet Split 21 Trom HTpt Trombone Hard Trumpet Split 22 Trom Sax Trombone Sax Split 23 Farfisa Farfisa Organ 24 CP 70 CP 70 Piano 25 CP 70 Mellow CP 70 Piano with Mellow Tone 26 CP 70 Brite CP 70 Piano with Bright Tone 27 Piano Bass CP 70 Piano Bass Transposed 28 Wurlitzer1 Wurlitzer Electric Piano 1 29 Wurlitzer2 Wur...

Page 95: ... 62 Pickd 8 Top 8 String Bass Guitar 63 Finger 8 Top 8 String Bass Guitar 64 Finger 8 Tre 8 String Bass Guitar 65 The Guitar Clean Electric Guitar 66 Twelve Top 1 12 String Guitar 67 Twelve Top 2 12 String Guitar 68 Twelve Top 3 12 String Guitar 69 Drum Kit 1 70 Drum Kit 2 71 Drum Kit 3 72 Drum Kit 4 73 Drum Kit 5 74 Drum Kit 6 75 Drum Kit 7 76 Large Hall 77 Medium Room 78 Tiled Room 79 Gated Shor...

Page 96: ...lave Rosewood Clave over the full keyboard range SYNTHESIZER ORGAN WAVEFORMS The single cycle waveforms are sampled waves from various synthesizers and organs The Moog ARP OB waves have been sampled with various filter settings characteris tic of each unit The B3 waves are various harmonic drawbar settings designed to be used alone or layered together with the multi cycle organ samples instruments...

Page 97: ...l 160 Oct 7 All 161 Oct 2 Odd 162 Oct 3 Odd 163 Oct 4 Odd 164 Oct 5 Odd 165 Oct 6 Odd 166 Oct 7 Odd 167 Oct 2 Even 168 Oct 3 Even 169 Oct 4 Even 170 Oct 5 Even 171 Oct 6 Even 172 Oct 7 Even 173 Low Odds 174 Low Evens 175 Four Octaves Starting from the first octave fundamen tal the harmonic waveforms contain the harmonics odd even or all present in each octave In each successive octave the number o...

Page 98: ...Cycle 4 195 Organ Cycle 1 196 Organ Cycle 2 197 Violin Essence 198 Buzzoon 199 Brassy Wave 200 Reedy Buzz 201 Growl Wave 202 HarpsiWave 203 Fuzzy Gruzz 204 Power 5ths 205 Filter Saw 206 Ramp 207 Evens Only 208 Odds Gone Waveforms 209 Ice Bell 210 Bronze Age 211 Iron Plate 212 Aluminum 213 Lead beam 214 Steel Xtract 215 Winter Glass 216 Town bell 217 Orch Bells 218 Tubular SE 219 Soft Bell 220 Swir...

Page 99: ...ial effects and can provide rhythmic accompaniment when chords are played Extreme transpositions may also yield unusual effects 235 Marimba Loop 236 Vibes Loop 237 Stick Loop 238 Cowbell Loop 239 Clave Loop 240 Hi Hat Loop 241 Drum Pile 242 CP 70 Pile 243 Pick Bass Pile 244 Guitar Pile 245 Finger Bass Pile 246 Moog Loop 247 OB Loop 248 Frost Loop 249 Memory Loop Waveforms ...

Page 100: ...bar Diagrams Each drawbar controls the volume of its associated harmonic or overtone The 8 drawbar is the fundamental pitch of the sound Note that instruments 1 7 are full length samples while waves 1 18 are single cycle loops ...

Page 101: ...REFERENCE SECTION 99 Drawbar Diagrams ...

Page 102: ...100 REFERENCE SECTION Drawbar Diagrams ...

Page 103: ...ment Locations ALL DRUMS SNARE EMPTY Allows you to place a tuned snare inst 87 in this location using the secondary layer KICK SNARE EMPTY Allows you to place tuned kick snares inst 85 87 in these locations using the secondary layer or links ...

Page 104: ...ION Percussion Instrument Locations KICK SNARE TUNED DOWN KICK SNARE TUNED UP SNARE TUNED DOWN PANNED LEFT Allows you to create a stereo snare by pan ning the secondary snare hard right Hint use delay tuning sound start ...

Page 105: ...ANNED LEFT Allows you to create a stereo snare by pan ning the secondary snare hard right Hint use delay tuning sound start REVERB SPACES Allows you to add reverb by layering with Drum Kits 1 7 For more information on the Reverb Spaces see page 84 of this manual ...

Page 106: ...edance 100Ω MIDI In Out Thru Data Encoding 16 bit linear Sample Playback Rate 39 kHz Signal to Noise 90 dB Dynamic Range 90 dB Frequency Response 20 Hz 18 kHz THD N 05 IMD 05 Power Requirements 25 Watts Operating Temperature 100 F Max Dimensions H 1 75 W 19 L 6 H 4 4cm W 48 3cm L 15 2cm Weight 4 lb 9 oz 2 Kg ...

Page 107: ...ce MIDI data bytes cannot be greater than 7F 127 decimal the data values are nibble ized to a 14 bit signed 2 s complement format There is only one edit buffer which is for the current preset the preset shown in the display Only one preset at a time can be edited via SysEx commands and changing the current preset erases the edit buffer ...

Page 108: ...ote below Effect A Mix Bn 5B vv B A Feed Bn 5C vv Effect B Mix Bn 5D vv Reset All Controllers Bn 79 00 ignored in omni mode All Notes Off Bn 7B 00 ignored in omni mode Omni Mode Bn 7D 00 forces all notes controls off Mono Mode Bn 7E 00 forces all notes controls off Poly Mode Bn 7F 00 forces all notes controls off Bank Select Bn 00 00 20 bb Cn pp bb bank pp prog in bank Note These controls adjust t...

Page 109: ...Value F0 18 04 dd 03 pl pm vl vm F7 vl value lsb vm msb Tuning Table Request F0 18 04 dd 04 F7 Tuning Table F0 18 04 dd 05 F7 Program Map Request F0 18 04 dd 06 F7 see note 1 Program Map Data F0 18 04 dd 07 F7 Version Request F0 18 04 dd 0A F7 see note 3 Configuration Request F0 18 04 dd 0C F7 see note 4 MMA Tuning Dump F0 7E dd 08 01 tt name 16 ascii F7 see note 5 MIDI Specification Two MIDI byte...

Page 110: ...o an arbitrary pitch over an 8 octave range If selected in the preset an alternate tuning may be achieved by modifying the tuning values from the front panel or downloading a new table into the machine The table consists of 128 words corresponding to the MIDI key range kept in non volatile memory Each word is a pitch value expressed in 1 64 semitones offset from key number 0 c 2 Therefore for equa...

Page 111: ... chorus 40 pri reverse sound 41 sec instrument 42 sec sample start offset 43 sec tuning coarse 44 sec tuning fine 45 sec volume Parameter Parameter Number Name 46 sec pan 47 sec delay 48 sec low key 49 sec high key 50 sec alt attack 51 sec alt hold 52 sec alt decay 53 sec alt sustain 54 sec alt release 55 sec alt envelope on 56 sec solo mode 57 sec chorus 58 sec reverse sound 59 crossfade mode 60 ...

Page 112: ...P PARAMETERS Parameter Parameter Number Name 256 MIDI basic channel 257 MIDI volume 258 MIDI pan 259 current preset 260 master tune 261 transpose 262 global pitch bend range 263 global velocity curve 264 MIDI mode 265 MIDI overflow 266 269 controller A D numbers 270 272 footswitch 1 3 numbers 273 mode change enable 274 device ID number 384 399 MIDI channel enable 400 415 MIDI program change enable...

Page 113: ...one The magic number 1536 represents the start number for the Classic Keys instru ments To calculate the complete instru ment number follow the instructions below SysEx Instr No 1536 Instr No Next you must convert the SysEx instru ment number to a 14 bit MIDI number See the information on 14 bit 2 s comple ment numbers Example Suppose we want to change the instrument to I002 B3 Dist Fast 1 1536 2 ...

Page 114: ...TION REQUEST This MIDI command is used to identify the sound sets in a given Classic Keys The configuration request command is F0 18 04 dd OC F7 Classic Keys will respond to this com mand with the configuration message F0 18 0A dd 0D pl pm s1 l1 m1 s2 l2 m2 F7 where pl and pm are the lsb and msb are the total number of presets s1 and s2 are the ID numbers of the sound sets con tained in this unit ...

Page 115: ...F7 4 256 319 1028 F0 18 04 dd 00 04 08 F7 5 320 383 1029 F0 18 04 dd 00 05 08 F7 6 384 447 1030 F0 18 04 dd 00 06 08 F7 7 448 511 1031 F0 18 04 dd 00 07 08 F7 1 64 127 1 F0 18 04 dd 00 7F 7F F7 0 0 63 2 F0 18 04 dd 00 7E 7F F7 0 3 0 255 3 F0 18 04 dd 00 7D 7F F7 4 5 256 511 4 F0 18 04 dd 00 7C 7F F7 MIDI Specification NOTE 7 PER PRESET BUS ASSIGNMENTS Preset Parameter 126 0 Main 1 FxA 2 FxB NOTE 8...

Page 116: ...cts program most programs have far fewer Editing parameters which are not MIDI Specification active can have unpredictable results usually the value of the first of or last valid parameter will be inadvertantly changed The order of the parameters is the same order as they appear in the Classic Keys display The allowed range of SysEx parameter values is also the same as for the values displayed on ...

Page 117: ...by SysEx parameter edits 0x5B 91 FxA Mix Adjusts the A mix amount 0x5C 92 B A Feed Adjusts the B A mix amount 0x5D 93 FxB Mix Adjusts the B mix amount These controllers defined in the MIDI spec as Effects Depth Controllers map controller values from 0 100 directly onto their corresponding mix percentages to 101 in the case of B A feed Note that these parameters may not respond as quickly as incomi...

Page 118: ...to reflect the newly selected bank The possible range of controller values are 0x0000 Classic Keys Bank 0 0x0001 Classic Keys Bank 1 0x0002 Classic Keys Bank 2 0x0003 0xffff Classic Keys Bank 3 Note that controller values specifying bank numbers greater than Bank 3 are clipped Note also that because of a difference in naming conventions Proteus Bank 0 corresponds to MIDI Bank 1 as defined in the M...

Page 119: ...uences 20 Digital Waveforms 94 96 Drawbar Diagrams 98 100 E Early Reflection 36 Echo 44 Edit Menu 65 Edit Menu Select Button 17 Editing Presets 82 Effect A 24 Effect B 24 Effect Bus Architecture 33 Effect Programming 35 Effect Settings sending 30 Effect Output Routing 34 Enter Button 17 Envelope Generators 54 F Factory Presets sending 30 Feedback 40 Fine Tuning 68 Flanger 39 Footswitch Control 76 ...

Page 120: ...Waveforms 96 Multi timbral 19 N Nineteen Tone Tuning 78 O Omni mode 26 Only 25 See also FX Amount Organ Waveforms 94 P Pan 68 Patch 56 Percussion Instrument Locations 101 103 Performance Setup 13 Phaser 41 Pile Waveforms 97 Pitch Bend Range 76 Plates 36 Poly Mode 26 Power Switch 14 17 Preset 10 Presets sending via SysEx 30 Preset Change Disable 27 Preset Linking 78 Preset Name 66 Preset Selection ...

Page 121: ...Setup 12 Sustain 54 Synthesizer Waveforms 94 T Technical Specifications 104 Transmit MIDI Data 30 Transpose 25 Tuning Table sending 30 U User Key Tuning 30 User Presets sending 30 User Presets 10 User Tuning 78 V Vallotti Tuning 78 Velocity Curve 76 Velocity Curve 58 Viewing Angle 30 Volume 68 Volume Control 17 19 Tone Tuning 78 Index ...

Page 122: ... the unit at E mu s option In no event shall E mu Systems be liable for damages based on inconvenience whether incidental or consequential loss of use of the unit loss of time interrupted operation or commercial loss or any other consequential damages Some states do not allow limitation of the duration of implied warranties or the exclusion or limitation of incidental or consequential damages so t...

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