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E-Mu Vintage Keys, Operation Manual

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98 

  E-MU Systems

MIDI Menu

MIDI Mode

Any Individual Preset

Transmits only the selected preset.

The Enter LED will be flashing. Press the Enter button to confirm the 
operation. To receive MIDI data, simply send the MIDI data into Vintage 
Keys from another Vintage Keys or from a computer/sequencer.

  

To Record MIDI SysEx Data into an External Sequencer:

1.

Setup the sequencer to receive system exclusive data.

2.

Place the sequencer into record mode, then Send MIDI Data.

  

To Receive MIDI SysEx Data from an External Sequencer:

Simply play back the sequence containing the SysEx data into Vintage Keys.

MIDI Mode

MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi.

The 

MIDI Mode Change 

parameter specifies whether mode changes made 

through an external MIDI controller are accepted or ignored.

The MIDI modes are as follows: 

Omni

Responds to note information on all MIDI channels and plays the preset 
currently displayed in the main screen.

Poly

Responds only to note information received 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.

SEND  MIDI  SYSEX  DATA 

bank  1  user  presets

MIDI MODE                         CHANGE

multi                                   ignored

Summary of Contents for Vintage Keys

Page 1: ...otice In order to obtain warranty service on your Vintage Keys 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 Vintage Keys 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 5 072 645 5 111 ...

Page 2: ...tion 19 Playing Demo Sequences 19 Auditioning Presets 20 Selecting and Quick Editing Presets 20 Exploring Beats Mode 22 Exploring the Master Arpeggiator 24 Multi Channel Arpeggiator 26 Time to Save 28 Basic Operations 29 Power Switch 29 Volume Control 29 Channel Buttons 29 Data Entry Control 29 Cursor Buttons 30 Pitch Mod Wheels 30 Edit Section 30 Global Button 30 Controllers Button 30 Arp Beats B...

Page 3: ...n Screen 37 MIDI Channel Selection 37 Preset Selection 37 Channel Volume 38 Channel Pan 39 Channel Arpeggiator 39 Sound Navigator 40 Preset Category 40 Instrument Category 40 Multisetups 41 Restoring Multisetups 41 Multisetup Name 42 Saving Multisetups 42 Arp Beats Menu 43 Beats 44 Beats Mode 46 Status 46 Beats Channel 46 Trigger Channel 46 Beats Controllers 49 Beat Velocity Group 1 4 49 Beat Xpos...

Page 4: ...ster Arpeggiator Parameters 58 Status 59 Mode 59 Note Value 60 Arpeggiator Pattern Speed 60 Pattern 60 Velocity 61 Gate Time 61 Extension Count 62 Extension Interval 62 Sync 63 Pre Delay 63 Duration 64 Post Delay 64 Recycle 65 Keyboard Thru 65 Latch 65 Send MIDI System Exclusive Data 66 Editing a User Arpeggiator Pattern 67 Pattern Step Number 67 Key 67 Key Offset 68 Tie 68 Rest 68 Skip 68 End 68 ...

Page 5: ...ion 77 Preset Number 77 Preset Name 77 Category 77 Preset Select Send Buttons 78 Trigger Button Select 78 Bank MSB 78 Program Change Number 78 Bank LSB 78 Knob Preset Quick Edit 79 Real time Controller Assignment 79 MIDI Footswitch Assign 80 Calibrate Controllers 80 Tempo Controller 81 Base Tempo 82 Global Menu 83 Defining Global Parameters 84 Master Transpose Tune 84 Master Bend Range 84 Master V...

Page 6: ...em Exclusive Data 97 MIDI Mode 98 Programming Basics 99 Modulation 100 Modulation Sources 101 Random Sources 102 Modulation PatchCords 102 Envelope Generators 103 Tempo based Envelopes 104 Envelope Repeat 104 Low Frequency Oscillators LFOs 105 Clock Modulation 106 Modulation Destinations 108 Modulation Processors 109 Preset Modulation Processors 111 Using the Modulation Processors 113 More Example...

Page 7: ...ng the Volume Envelope 143 Chorusing the Layer 144 Sound Start Offset and Delay 144 Non Transpose Mode 145 Solo Mode 145 Assign Group 146 Glide 147 Z Plane Filters 148 Vintage Keys Filter Types 148 Filter Types 148 Filter Parameters 150 Filter Envelope 151 Defining the Filter Envelope 152 Auxiliary Envelope 152 Low Frequency Oscillators LFOs 153 Shape 153 Sync 154 Rate 154 Delay 156 Variation 156 ...

Page 8: ...Programmed in the Preset 177 Master Effects 178 Effects Mode 180 Flexible Effects Control 180 Using the Effects Channel Settings in Multi Mode 182 Effect B Into Effect A 182 General Effect Descriptions 184 Reverb 184 Chorus 185 Doubling 185 Slapback 185 Stereo Flanger 185 Delay 186 Stereo Delay 186 Panning Delay 186 Dual Tap 186 Vibrato 186 Distortion 186 Save Copy Menu 187 Saving a Preset 187 Cop...

Page 9: ... Filter Types 205 Envelope Repeat 206 Practice Modulating 206 Troubleshooting 207 Linking Presets 208 Appendix 209 Basic Preset Knob Functions 209 Beat Preset Knob Function 210 Arp Preset Knob Function 210 Presets 210 Preset Categories 210 Preset Listing 211 Instrument Listing 215 Riff Listing 219 Keyboard Velocity Curves 221 Master Velocity Curves 224 PatchCord Amount Chart 226 E MU Expansion Sou...

Page 10: ...x E MU Systems ...

Page 11: ...ulously crafted to be the best of its kind Samples are matched across the keyboard perfectly looped and rich in harmonic texture Vintage Keys contains 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 Vintage Keys s Sound Navigator is a major improveme...

Page 12: ...e Keys becomes apparent when you begin to synthesize your own sounds The extremely flexible yet easy to use 4 layer synthesizer voices make it easy to build sounds of any kind Layers can be switched or crossfaded using key position velocity real time controllers or any modulation source Vintage Keys also contains 50 different types of 2nd to 6th order resonant modeling filters which are used to sh...

Page 13: ...orithms such as chorus flange phase distortion and delay Effects can be linked to each preset or used globally to further enhance your sound The S PDIF digital stereo output lets you connect to other digital equipment such as digital mixers or external effects devices keeping your signal entirely in the digital domain Other features include multiple solo voice assignment and performance modes for ...

Page 14: ...et 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 personnel if you are in doubt as to whether the product is properly grounded Do not modify the plug provided with this product If it will not fit the outlet have ...

Page 15: ...ems 12 Use only with the cart stand tripod bracket or table specified by E MU or sold with the apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over 13 Unplug Vintage Keys from the power outlet during lightning storms or when left unused for a long period of time 14 Refer all servicing to qualified service personnel Servicing is required...

Page 16: ...hat the interference will not occur in a particular installation especially if a rabbit ear TV antenna is used If Vintage Keys does cause interference to radio or television reception you can try to correct the interference by using one or more of the following measures Turn the television or radio antenna until the interference stops Move Vintage Keys to one side or the other of the television or...

Page 17: ...hriftsgemässer Anschluss des Gerätes kann zum Risiko eines elektrischen Schlages führen Im Zweifelsfalle über die ordnungsgemässe Erdung soll ein qualifizierter Elektriker oder eine Serviecestelle beigezogen werden Ändern Sie den mitgelieferten Stecker nicht Sollte er nicht in die Steckdose passen soll die einwandfreie Installation durch einen qualifi zierten Techniker erfolgen Unterhaltsin strukt...

Page 18: ... voller Lautstärke oder hohem Lautpegel Stellen Sie Gehörverlust oder Ohrenläuten fest wenden Sie sich an einen Ohrenartz 8 Vintage Keys kann mit einem polarisierten Kabelstecker mit ungle ichen Stiften ausgerüstet sein Das geschieht für Ihre Sicherheit Können Sie den Stecker nicht in die Steckdose einführen ändern Sie nicht den Stecker ab sondern wenden Sie sich an einen Elektriker 9 Das Netzkabe...

Page 19: ...opriée 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 prise faites en installer un autre par un technicien qualifié Instruction...

Page 20: ...e doit être observée quant aux objets pouvant tomber et aux liquides pouvant être versés sur et à l intérieur de le Vintage Keys 8 Le Vintage Keys 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 plutôt un électricien pour remplacer...

Page 21: ...d une télévision Cet appareil a été testé 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 particulières et p...

Page 22: ...C and 72 23 EEC Trade Name Vintage Keys Model Number 9728 Under 89 336 EEC as amended by 92 31 EEC and 93 68 EEC In accordance with EN 55103 1 1996 Emission Environments E4 In accordance with EN 55103 2 1996 Immunity Environments E4 Test information is contained in a report by Atlas Compliance and Engineering Inc Dated July 5 2001 Report No 0126EMUx17_103 Under 73 23 EEC as amended by 93 68 EEC In...

Page 23: ...g on and off Unpacking Carefully remove Vintage Keys 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 Vintage Keys box should include the following components Vintage ...

Page 24: ... left and right channels when the Left Main plug is not plugged in The Left Main output jack is a stereo jack carrying both channels when the right output jack is empty Outputs In order to reproduce the wide dynamic range and frequency response use a high quality amplification and speaker system and a stereo setup is highly desirable The headphone output is the same as the Main output signal The h...

Page 25: ...reo pairs in order to be processed further or mixed separately Footswitch Footpedal The footswitch input accepts either a normally open or normally closed momentary footswitch The footpedal input can sense either 0 5 volts on the ring of a stereo jack or a pedal with the potentiometer wired as shown at left The footswitch and Pedal inputs are programmable in the Controllers Footswitch menu and the...

Page 26: ...d when a standard phone plug is inserted connects to the left or right output of that group Rear Panel R L R L IN OUT THRU OUTPUTS MIDI SUB 1 MAIN Sub Output Return To Main Output Tip Ring To Effect From Effect SEND RETURN CABLE Send Return Main Outs to Mixer In Effect Device Additional MIDI Devices MIDI Controller MIDI Keyboard or Sequencer MIDI Out MIDI In Signal is sent out on tip of plug and r...

Page 27: ...n mix You can use the Sub 1 jacks as send returns in order to further process selected Vintage Keys presets without using the effects bus on the mixing board In a pinch the effect returns can be used to sum additional instru ments into the main outputs It s like having an extra line mixer when you need more inputs You can use the Sub 1 jacks as effect returns to the Main Outputs Note that the Effe...

Page 28: ...18 E MU Systems Setup Studio Setup ...

Page 29: ...ce page To Play a Demo Sequence 1 Press and hold the Main and Mix buttons at the same time to enter the Demo Sequence page The screen shown above appears 2 Select a sequence using the data entry control The Enter LED will be flashing 3 Press the Enter button to begin playing the selected sequence The following screen appears 4 Press the Enter button again to stop playing the sequence 5 When a demo...

Page 30: ...reen shown below 2 Select a preset by turning the data entry control while the cursor is anywhere on the lower line The preset number field shown above is the normal position of the cursor and pressing the Enter button will return the cursor to this position 3 Press the Audition button on the front panel The Audition LED will illuminate and a short riff will play the selected preset 4 Continue to ...

Page 31: ... since the factory user presets are duplicated in nonvolatile ROM To the right of the preset number and bank is the preset Category name followed by the Preset Name To Change the Preset 1 Select the main Preset Selection screen by turning off all the menu buttons below the LCD 2 The cursor will be located under the first character in the Preset Number field This is the Home position which is selec...

Page 32: ...ess the Controllers button on the front panel 2 Turn the data entry control clockwise until you fin the TRIGGER BUTTONS FUNCTION screen 3 Set the lower line of the display to read Play Beats Parts 4 Press the Controllers button on the front panel again to exit the menu Set the Trigger Buttons to be Triggers 5 Press the Triggers button in the Command Functions section of the front panel OK now you ...

Page 33: ...an be assigned to a certain MIDI channel while you play the keyboard on another channel Make sure you have Beats mode set up correctly as described in Beats Setup on page 22 1 Press the Arp Beats button The screen shown below appears 2 Set the Beats Channel BtsCh to 01 3 Select any bts preset on channel 1 main screen 4 Press any of the sixteen Beats buttons to start your Beat playing Do NOT start ...

Page 34: ...he front panel to access the master Arpeggiator menu then use the data entry control to scroll to the screen shown below 4 Make sure the arpeggiator Status is on Play the keyboard to start arpeggiating 5 Press either cursor key repeatedly to move the cursor below the Status field 6 Turn the data entry control clockwise one click The Mode screen appears 7 Use the cursor keys to move the cursor to t...

Page 35: ... to the Pattern screen shown below and move the cursor to the Pattern Number field the second field from the left O O O O See the Arpeggiator Chapter for detailed information on creating Patterns 11 Try the various patterns There are 200 permanent factory patterns and 100 user locations to store the patterns you create Each pattern can have up to 32 notes MASTER ARPEGGIATOR Pattern 380 Inversions ...

Page 36: ... the cursor to the lower line and turn the data entry control to select Play Note Events This sets the Trigger Buttons to play note events instead of selecting Beats parts 3 Move the cursor back to the top line and scroll to the screen shown below 4 Move the cursor until it is underneath the Latch field and turn Latch mode On 5 Move the cursor until it is underneath the Channel field Ch and set th...

Page 37: ...r is located on the preset name all your selections will be in the arp category 19 Press the Channel button and change the arp presets for channels 1 2 3 Since each factory preset has differently programmed arpeggiator settings changing the preset not only changes the sound but the arpeggiator as well 20 You can also play the keyboard You ll be playing the preset currently showing in the display 2...

Page 38: ... button located directly under the Data Entry Control 2 Rotate the data entry control until you get to the menu shown below 3 Press the right cursor button to move to the lower line 4 Name your Multisetup so you can find it later then press Enter 5 Scroll to the next screen using the data entry control 6 Move the cursor to the lower line select a location and press Enter MULTISETUP NAME User Setup...

Page 39: ...ns The front panel volume control is a digital attenuator For maximum dynamic range turn this knob all the way up and control the volume from your mixer or amplifier Channel Buttons These very handy buttons located to the left of the LCD serve as a shortcut to increment or decrement the MIDI Channel in Preset mode Layer in Preset Edit mode or Step Numbers in Arpeggiator Edit mode Data Entry Contro...

Page 40: ...t Pitch Wheel is spring loaded and is normally used to bend the pitch up and down while playing The center position is off The pitch bend range is set using the Pitch Bend Range parameter in the Global menu page 84 The right Mod Wheel is programmed to add vibrato in most of the factory presets Like all the controllers in Vintage Keys the Mod Wheel can be programmed to control any synthesizer param...

Page 41: ...hed on and plays continuously until the button is pressed again Presets can be changed while Audition is latched on See Bank Select Commands on page 126 for more information on selecting banks via MIDI The top line of the Preset display changes to show the MIDI Bank Select controller values needed to select the preset being auditioned This handy feature lets you know the exact Bank and Preset numb...

Page 42: ...9 Home Enter Button The Home Enter button is dual purpose In general this button acts as the Home button For example when in an Edit menu this button snaps the cursor to the page name field of the current screen When viewing the Preset Select screen this button snaps the cursor to the preset number field The flashing green LED of the Home Enter button indicates that pressing the button will initia...

Page 43: ...D flashes to remind you that the preset has been edited Quick Edits made to a preset are lost if you select another preset before saving them The four rows of knobs always control the preset on the basic MIDI channel the channel showing on the preset select screen when the control switch is set to Quick Edit The labels Filter Cutoff Filter Q Filter Attack Filter Decay etc printed on these rows sho...

Page 44: ...splay to the Multisetup menu A Multisetup is a group of parameters that you might associate with a particular performance setup or song See page 41 for detailed information about Multisetups Mix Screen This button switches the display to the Mix screens volume pan The mix screens allow you view and adjust the volume and pan settings for all 16 channels This is particularly useful when playing back...

Page 45: ... the same time to enter the Demo Sequence page The screen shown above appears 2 Select a sequence using the data entry control The Enter LED will be flashing 3 Press the Enter button to begin playing the selected sequence The following screen 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 T...

Page 46: ...hat the Triggers LED is illuminated Now the 16 buttons work like keyboard notes Each of the 16 buttons can be assigned to any MIDI note on any MIDI Channel 01 16 with any velocity 0 127 and can be set to be latched or momentarily on Latched note will hold until the button is pressed again Latched notes will be indicated by the LEDs Trigger keys are assigned from the Controllers menu See page 76 fo...

Page 47: ...e Main button to display the Main screen 2 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 3 The displayed preset is assigned to the displayed MIDI channel Presets are arranged into banks of 128 as shown in the diagram...

Page 48: ... same parameter as MIDI volume control 7 and changes made over MIDI are shown in the display To Change the Channel Volume 1 Press the Main button to display the Preset Select screen 2 Press either cursor key until the cursor is underneath the volume value 3 Rotate the data entry control to select a volume level The Channel Volume range is 000 127 VROM VROM VROM VROM Bank 0 Bank 1 Bank 2 Bank 3 Ban...

Page 49: ...nnel arpeggiator mode is set to Off then there is no arpeggiation on that channel regardless of what is set up in the Master Arpeggiator or preset If the channel arpeggiator is On the preset s arpeggiator is used regardless of whether or not it is turned on in the Preset Edit menu This lets you turn on arpeggiation from the main screen If the mode is set to P for preset the preset s arpeggiator se...

Page 50: ...the first preset in each category To Change the Preset Category 1 From the Main screen shown above 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 To Select a Preset within a Category 1 After selecting a category move the cursor to...

Page 51: ...set Vol Pan Arp selections on all MIDI channels It also overwrites the Controllers Global Arp and MIDI menu parameters with the exceptions noted above If you make changes to any of these menus Vintage Keys will retain the changes even if power is turned off They are of course overwritten when you restore a Multisetup Restoring Multisetups Vintage Keys contains 64 Multisetup locations These are all...

Page 52: ... data entry control Change the cursor position using the cursor buttons 4 Press Enter or move the cursor to the top line when you re finished naming the multisetup Saving Multisetups To Save a Multisetup 1 Set the Preset Volume Pan and Arp settings for all channels Set the Global MIDI and Controllers menu parameters the way you want them 2 Press the Multi button then scroll to the Save Setup scree...

Page 53: ...tup when you exit the menu but you may wish to save to another location If another Multisetup is Restored any unsaved changes will be lost if you haven t saved the Multisetup 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 on the top line of the display Rotate the data entry control to select another screen...

Page 54: ...2 Grooves 4 Fills which correspond to the four parts of the Main and Alternate groove and 4 Instrument parts By adding and removing parts you control the complexity of the groove _ _ _ _ Beats bts Riffs are special 16 part riffs made especially for use with Beats mode A Riff without the bts prefix only has Part 1 recorded Each part can also be scaled by Key Velocity allowing you to fade parts in a...

Page 55: ...e active Start Stop doesn t clear latched parts when it stops the sequencer Any trigger played after stopping will not only start the sequencer and play that trig ger s part but also play all previously latched parts Clear Parts Clears any enabled parts This control provides a quick and easy way to shut off all latched Parts Latch mode has no effect on this key O O O O If Mute is set to 1 bar the ...

Page 56: ...turned on and which Riff will be used Beats and BEAT Triggers can be set to different MIDI channels This allows you to perform on two MIDI channels at once with a keyboard that only transmits on a single MIDI channel The Basic Channel is the MIDI channel currently displayed in the Main Screen Status Off Beats mode off On Beats mode on The Riff assigned in the preset is used P Beats mode is turned ...

Page 57: ...Press the right cursor button twice so that the cursor is located beneath the Category field 2 Turn the data entry control until bts is shown in the Category field 3 Press the right cursor button so that the cursor is underneath the Preset Name field 4 Now turning the data entry control selects ONLY bts presets Play Beats 5 Press any of the sixteen front panel Trigger Buttons Notice that each butt...

Page 58: ...rd on another channel Make sure you have Beats mode set up correctly as described in Beats Setup on page 47 1 Press the Arp Beats button The screen shown below appears 2 Set the Beats Channel BtsCh to 01 3 Select any bts preset on channel 1 main screen 4 Press any of the sixteen Beats buttons to start your Beat playing Do NOT start Beats by pressing the Audition button O O O O Wrong FX In Omni mod...

Page 59: ...up 1 4 BtsXpsG1 BtsXpsG4 Parts assigned to one of the four Beats groups are transposed by the controller input Transpose works by shifting the keyboard position and not by changing the tuning of individual notes Therefore on a Beats presets bts where different instruments are assigned to each key Transpose has the effect of changing the instrument used by a particular part This control ADDS to the...

Page 60: ...plicated but works according to this rule WHICHEVER CONTROL WAS LAST CHANGED TAKES OVER When interacting with the Group Velocity scale control the Busy control ignores group velocity even when it is set to zero enabling and disabling parts as necessary If the Group Velocity is changed after the Busy control it takes control scaling parts as it deems necessary The Busy control does take the Part ve...

Page 61: ...one bar then stops 1 Bar Trigger Option The 1 bar option requires a bit of explanation When a trigger key is pressed before the last beat of the measure the part will continue playing until the end of the measure If the Trigger Key is pressed after the last beat of the measure the part waits until the next measure before playing Then it plays for the entire measure and stops The time signature and...

Page 62: ... velocity is 80 scaling by 110 will increase the note s velocity to 88 This feature allows you to control the mix of the different parts in advance or on the fly as you play If a part s velocity is set to 0 that part will be removed from the mix To Set the Velocity for each Part 1 Press the left cursor button to move the cursor under the Part field 2 Select the Part number using the Data Entry Con...

Page 63: ... number using the Data Entry Control Parts 1 16 can be selected All parts shown as an A can be edited at once if Edit All Layers is enabled in the Master menu 3 Move the cursor to the bottom line using the cursor keys and adjust the Transposition in semitones using the Data Entry Control 4 Repeat steps 1 through 3 for all the Parts you wish to adjust 5 Press the Enter Home button or use the cursor...

Page 64: ...cursor keys and select the Group 1 4 or none using the Data Entry Control 4 Repeat steps 1 through 3 for all the Parts you wish to assign 5 Press the Enter Home button or use the cursor keys to move the cursor back to the screen heading Master Riff The Master Riff is selected from this screen The Master Riff is used when Master M is selected for Beats in Beats mode enable screen To Assign the Mast...

Page 65: ...ng the Data Entry Control 3 Press the Enter Home button or use the cursor keys to move the cursor back to the screen heading Riff Controllers Riffs contain real time control information This function allows you to turn these controllers On or Off for the Riffs This control affects Audition Riffs as well as Beats Riffs To Turn Riff Controllers On or Off 1 Use the cursor buttons to move the cursor t...

Page 66: ...along with a sequencer You can choose to resync Arp Riff both Arp and Riff or disable MIDI Song Start Arp Riff MIDI Out This parameter selects whether or not the Arpeggiator and or Riff Beats note data is sent to the MIDI out port This feature lets you use Vintage Keys as an arpeggiator or sequencer for your other MIDI instruments It also lets you record the arpeggios and Riffs into a MIDI sequenc...

Page 67: ...arpeggiator regardless of the settings and status specified in either menu _ _ _ _ SAVE your Arp setups and name them using the Save Setup To function located in the Multi menu See Saving Multisetups on page 42 All arpeggiators share Vintage Keys s master clock and its current setting The master clock can be Vintage Keys s internal clock or an external MIDI clock page 82 Although the arpeggiators ...

Page 68: ...alue screen See Velocity on page 61 Arpeggiator Gate ArpGate This control changes the Arpeggiator Gate Time It adds to the gate time set in the Arpeggiator Gate Time screen See Gate Time on page 61 Arpeggiator Interval ArpIntvl This control modulates the Arpeggiator Extension Interval It adds to the extension programmed in the Arpeggiator Extension Interval screen See Extension Interval on page 62...

Page 69: ...peggiate continuously from highest to lowest pitch Up Down Held notes arpeggiate continuously from lowest to highest pitch then from highest to lowest then repeat this cycle Fwd Assign Held notes arpeggiate continuously in the order in which the keys were pressed Bkwd Assign Held notes arpeggiate continuously in the reverse order in which the keys were pressed Fwd Bkwd Held notes arpeggiate contin...

Page 70: ...rter Note 36 Half Note Triplet 32 Quarter Note 24 Dotted Eighth Note 18 Quarter Note Triplet 16 8th Note 12 Dotted 16th Note 9 8th Note Triplet 8 16th Note 6 Dotted 32nd Note 4 5 16th Note Triplet 4 32nd Note 3 Arpeggiator Pattern Speed The Arpeggiator Pattern Speed parameter lets you change the playback rate of Patterns by 1 4x 1 2x 1x normal 2x or 4x normal speed Pattern This field lets you choo...

Page 71: ...s the percentage of the Note Value time played This can have a dramatic effect on the sound depending on how the envelope generators are programmed Controller Knob P is programmed to control Arp Gate Time The note on time is used for the start of time when calculating note durations See Duration on page 64 With a Gate Time setting of 100 the note is held on until the next note starts The envelope ...

Page 72: ...sion Count of 2 and with the Arpeggiator Mode set to Fwd Assign if you played E2 then C2 then G2 the arpeggiated sequence would consist of E2 C2 G2 then E3 C3 G3 and then E4 C4 G4 The Extension Count values range from 0 through 15 Refer to the following illustration Extension Interval The Extension Interval specifies the additional intervals played when you press a key For example suppose you play...

Page 73: ...the arpeggiator was off After the pre delay period has elapsed the arpeggiator kicks in Once you release all the keys on the controller the pre delay starts over with the next note on In combi nation with the Duration parameter Pre Delay lets you create many more variations in the arpeggio patterns Please refer to the diagram on page 65 You can play the preset normally as long as you don t hold th...

Page 74: ...continuously using the Recycle function described below Post Delay This parameter is only relevant when both the Duration and Recycle parameters are not in the Off state The Post Delay value determines how long the arpeggiator is delayed after the Duration period Please refer to the diagram on page 65 During the post delay period notes are played normally as if the arpeggiator was off After the po...

Page 75: ...iod Keyboard Thru When enabled Keyboard Thru merges the notes not arpeggiated with the notes being produced by the arpeggiator This gives the effect of two parts playing at once Latch With Latch mode On any notes you play remain on until you press them again Latched notes can also be halted by turning Latch off in this screen or by turning off the Arpeggiator for the channel in the main screen Key...

Page 76: ...ntry control to define the highest key to be arpeg giated Send MIDI System Exclusive Data Transmits the Arpeggiator Patterns via the MIDI out port as MIDI System Exclusive data to another Vintage Keys or to a computer sequencer for backup Using the cursor key and the data entry control select the MIDI data you want to transmit See Send MIDI System Exclusive Data in the Master chapter for additiona...

Page 77: ...he Pattern to Edit O O O O Before editing a Pattern select Master Arpeggiator M in the main screen and set the Arpeggiator to the Pattern you are editing This lets you hear the Pattern as you edit it 1 From the Edit User Pattern screen shown above move the cursor to the bottom line and select the pattern you want to edit The Enter LED begins flashing Press Enter to move back to the Home position 2...

Page 78: ...ORTANT The Gate function in the arpeggiator MUST be set to 100 when using the tie function otherwise the tied note is retriggered instead of extended Rest Instead of playing a note you can define the step as a Rest The Duration parameter specifies the length of the rest Rests can be tied together to form longer rests Skip This command simply removes the step from the pattern The Skip feature makes...

Page 79: ... will be played one time not repeated one time or played twice To Edit a User Pattern 1 The first field in the Edit User Pattern field defines the pattern s step number Start with the pattern Step 01 2 Define the Key Offset Velocity Duration and Repeat values 3 Repeat steps 1 and 2 until you have setup the desired number of steps in the pattern 4 Set the Key Offset to End on the last step in the p...

Page 80: ...n above by pressing the Home Enter button 5 Turn the data entry control counter clockwise one click to return to the Pattern Edit screen 6 Turn the data entry control counterclockwise multiple clicks to jump back to the main Arpeggiator menu screen Multichannel Arpeggiating Presets with the arpeggiator assigned will play when they receive note on data from the keyboard or external MIDI source Plea...

Page 81: ...ost recently selected since powering up Vintage Keys The cursor appears below the first character of the screen heading on line one 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 To modify a parameter Press either Cursor button repeatedly or hold down ...

Page 82: ...t any of the 16 channels or Basic If the Basic channel is selected the keyboard and knobs always control the preset showing in the Main screen in Quick Edit mode the front panel knobs only control the Basic Channel Local Control On Off Local Control is used to disconnect the keyboard and controllers knobs wheels footswitches from the sound generating section Even though disconnected from the inter...

Page 83: ...el of the keyboard to your individual playing style This curve adjusts the output of the Vintage Keys keyboard before it is sent to the MIDI output port and to the Master Velocity Curve described on page 85 The Keyboard Velocity Curve diagrams are located on page 224 The Keyboard Velocity Curve modifies the velocity data from the keyboard keys This data is sent to the MIDI output port and through ...

Page 84: ...tary footswitches which shorts the tip and ground Vintage Keys senses either normally on or normally off switches on power up The following functions can be controlled via the footswitches MIDI Footswitch In this mode the footswitch is routed to the FootSw1 PatchCord source in the Preset Edit Cords menu See pages 159 and 166 It is also trans mitted out on the Footswitch Controller number as progra...

Page 85: ...everb or echoes will continue to sound even when the pedal is off Master Volume The Foot Pedal controls the overall volume of the Vintage Keys This duplicates the function of the Master Volume knob on the front panel Master vol ume is post effect effects will be cut off when the pedal is off Trigger Buttons Function This option selects the function of the front panel Triggers button The Triggers b...

Page 86: ...ERS field and play a note to enter the MIDI key and velocity Pressing a Trigger Button anytime while in this screen automatically selects that trigger button for programming O O O O Latched buttons are especially useful for triggering arpeggiated presets To Setup the Trigger Buttons 1 Press the Controllers button Its LED will illuminate 2 Turn the data entry control to select the TRIGGERS screen 3...

Page 87: ...t Name field This feature makes it easy to select other presets of the same type Quick Method of Programming the Preset Select Buttons 1 Select the preset you want from the Main screen 2 Press and hold the Preset Select button then press one of the sixteen Trigger buttons 3 The preset will be stored in the trigger button you selected To Program the Preset Select Buttons from the Menu 1 Press the C...

Page 88: ...s the Controllers button Its LED will illuminate 2 Turn the data entry control to select the PRESET SELECT SEND screen 3 Use the left right cursor controls to select the fields shown above 4 Select the desired program change and bank for each of the 16 trigger buttons If you don t want to send an external program change set the fields to off 5 Save the Multisetup if you want to save these settings...

Page 89: ...nd which controller numbers will be transmitted over MIDI if the front panel controls are turned The PatchCord routing and amount in the Preset 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 P The Real time Controller assignment also specifies which controller numbers are transmitted when the Knobs Outp...

Page 90: ...of the Preset Edit menu The rear panel footswitch 1 is connected to footswitch controller 1 in this screen Pressing the footswitch transmits on the MIDI controller number programmed here Footswitches 2 3 route incoming MIDI footswitch data to the PatchCord section of Vintage Keys Calibrate Controllers This screen allows you to calibrate the Pitch Wheel Modulation Wheel Aftertouch and Foot Pedal co...

Page 91: ...the Master Clock The Master Clock is used by the arpeggiators clock divisor PatchCords tempo based envelopes and synced LFOs See Clock Modulation on page 106 You can assign any controller number from 0 31 mono key pressure or the Pitch Wheel to change the Global Tempo A different controller can be used to change the tempo up or down The Pitch Wheel can be assigned to both the up and down parameter...

Page 92: ...he MIDI controller specified in the Tempo Controller screen If no MIDI Tempo controller message has been received since the last Base Tempo change the Current Tempo will be equal to the Base Tempo To Change the Base Tempo 1 Move the cursor to the lower line of the display 2 Adjust the Base Tempo using the data entry control O O O O You can also tap tempo using a footswitch See page 74 3 To Tap Tem...

Page 93: ...ne _ _ _ _ Warning Global Menu changes are automatically saved when you exit the menu If the power is turned off before you exit the menu any changes you have made will be lost 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 To modify a parameter Press ...

Page 94: ...all presets so that you can tune Vintage Keys 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 Vintage Keys is perfectly tuned to concert pitch A 440 Hz Master Bend Range The Master Bend Range parameter sets the range of the pitch wheel This affects only presets that have their individual Pitch Bend range...

Page 95: ... keyboard feel The two curves can also be combined if you wish For a complete list of all available velocity curves see Master Velocity Curves on page 225 of the Appendix MASTER VELOCITY CURVE 13 Keyboard Velocity Curve Master Velocity Curve Internal Synthesizer MIDI OUT MIDI IN Instrument Amp L R Z Plane Filter The Master Velocity Curve filters MIDI In as well as data from the Keyboard Velocity C...

Page 96: ...s Send 2 is also used to route sounds to the Sub 1 outputs on the back panel When a plug is inserted into the associated Submix jack on the back panel the Dry portion of the Send is disconnected from the effects processor and the signal is routed directly to the output jack The Arrow points to the actual output routing If you don t want the wet portion of the signal in the main mix turn down the S...

Page 97: ...he Send is disconnected from the effects processor and is routed directly to the Submix output jacks MIDI Channel 1 MIDI Channel 2 MIDI Channel 3 MIDI Channel 16 MIDI CHANNEL Preset S E N D 1 S U B 1 M A I N OUTPUT SECTION EFFECTS PROCESSORS Hall 1 Effect A Chorus Effect B B A Jack Detect 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 2 S E N ...

Page 98: ... 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 effects settings to all 16 MIDI channels If you want more control you can use the channel setting which applies...

Page 99: ... 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 Concert Pan 35 Canyon 36 DelayVerb 1 37 DelayV...

Page 100: ...ough the A effects See Effect Parameters on page 175 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 178 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 SEND A...

Page 101: ...e four stereo 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 D...

Page 102: ...sor keys and the data entry control select the user table number the key name the coarse tuning and the fine tuning The key name is variable from C 2 to G8 Coarse Tuning is variable from 0 to 127 semitones The fine tuning is variable from 00 to 63 in increments of 1 64 of a semitone approx 1 56 cents For each preset the specific tuning table is selected in the Preset Edit menu See page 168 O O O O...

Page 103: ...n heading on line one _ _ _ _ Warning MIDI Menu changes are automatically saved when you exit the menu If the power is turned off before you exit the menu any changes you have made will be lost 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 To modify a...

Page 104: ...nsmit on the controller numbers defined by the Real time Controller Assign parameter See page 79 Transmit MIDI Clock This option enables or disables the transmission of MIDI clock from the MIDI out port When Vintage Keys is running on its own internal clock page 82 it transmits 24 MIDI clocks per quarter note When Vintage Keys is slaved to an external MIDI clock it mirrors the incoming clock data ...

Page 105: ...hange the value MIDI Program Change Preset You can also 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 Vintage Keys ...

Page 106: ... of both units must be the same Selected Program Mapped Program 0 1 2 3 4 5 6 7 8 9 10 20 30 40 50 60 70 80 90 100 110 120 00 01 02 03 04 05 06 07 08 09 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 1...

Page 107: ...ta to the MIDI Out port of Vintage Keys The MIDI data can be sent to a computer sequencer or to another Vintage Keys When transferring data between two Vintage Keys s be sure both units have the same SysEx ID number 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 M...

Page 108: ...intage Keys MIDI Mode MIDI Mode selects one of the three MIDI modes Omni Poly or Multi The MIDI Mode Change parameter specifies whether mode changes made through an external MIDI controller are accepted or ignored The MIDI modes are as follows Omni Responds to note information on all MIDI channels and plays the preset currently displayed in the main screen Poly Responds only to note information re...

Page 109: ... just waiting to be discovered 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 by using a real time control such as a wheel slider pedal LFO or envelope generator A preset can also be linked with up to 2 more presets creating additional layering or splits V...

Page 110: ...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 Vintage Keys are Envelope Gener ators and Low Frequency Oscillators In the example above an envelope generator could be routed to automatically turn the volume cont...

Page 111: ...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 Controllers Synthesizer pitch bend and modulation controllers Keyboard Pressure mono aftertouch Key Pressure applied after the keyboard ke...

Page 112: ...age Keys you define a modulation source and a modulation destination Then you connect the source to the destination using PatchCords Vintage Keys s PatchCords are connected in the software Vintage Keys has 24 general purpose Patch Cords 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 Cont...

Page 113: ...envelope Set Atk1 Atk2 Dcy1 Level to 100 Rls 1 2 level to 0 and Atk2 Dcy1 Rls2 Rates to 0 Program Atk1 Dcy2 and Rls1 segments as you wish See page 201 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 Un...

Page 114: ...is held 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 st...

Page 115: ...s Like the 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 c...

Page 116: ...ro 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 Global 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 Pa...

Page 117: ...w other 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...

Page 118: ...ion 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 ...

Page 119: ...ch Outputs 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 ...

Page 120: ...s 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 addition...

Page 121: ...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 The preset lag can be used to spin up and spin down an LFO which controls some other effect perhaps le...

Page 122: ...Pitch LFO Speed or any other destination you can think of Study this patch if you want to learn a few new tricks using the patchcords 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 The decay time increases as the knob is ...

Page 123: ...a perfect 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 b...

Page 124: ...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 125: ... generators 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...

Page 126: ...pt 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 des...

Page 127: ... sine wave 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 Gli...

Page 128: ...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 129: ...e frequencies 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 exa...

Page 130: ...sizers were famous for their 2 pole filter sound Using a filter we have a way to control the harmonic content of a sound As it turns out even a simple low pass filter can simulate the response of many natural sounds For example when a piano string is struck by its hammer there are initially a lot of high frequencies present If the same note is played softer there are fewer high frequencies generat...

Page 131: ...eft unaltered 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 t...

Page 132: ...zens 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...

Page 133: ...me 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 Vintage Keys Filter Types on page 148 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 so...

Page 134: ...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 on the keyboard For example it may let you select a number from 0 31 for the data slider The realtime controller numbers that the keyboard transmits must match the numbers Vintage Keys is receiving otherwise n...

Page 135: ... MIDI controller messages assigned to that letter both control the same parameter that you select in the PatchCord screen Patchcord Destinations 12 Control Knobs MIDI Menu Preset Edit Menu A B C L MIDI Amount A B C L C o rd C o r d C o rd C o rd Key Sustain Fine Pitch Pitch Glide Chorus Amount Sample Start Sample Loop Sample Retrigger Filter Frequency Filter Q Amplifier Volume Amplifier Pan Amplif...

Page 136: ...28 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 on t...

Page 137: ...nu and set the MIDI channel to use 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 eight d...

Page 138: ... Output is set to Preset Otherwise the Preset Edit menu Mix Output settings are ignored 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 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 GLOBAL MENU PRESET EDIT MENU Ch 1 SEND 2 Ch 2 SEND 3 Ch 3 SEND 4 Ch 16 S E N D 1 S E...

Page 139: ...ect 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 are NOT equal the value of layer 1 will be displayed with flashing characters If you change the parameter value all layers will assume the new value and the display will stop flashing To ...

Page 140: ... them For more information on Sound Navigator see Sound Navigator in Chapter 2 Operations You can also select characters using the keyboard Four Layer Architecture Vintage Keys provides a 4 layer instrument structure Each layer is a complete synthesizer voice with 50 filter types over 64 modulation sources more than 64 modulation destinations and 24 patchcords to connect every thing together In ad...

Page 141: ...e 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 the data entry control all values will be equal to this new value and the para...

Page 142: ...rument 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 ...

Page 143: ...ing to key position by adjusting the Low and High Fade 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 With a High Fade value of zero as in lay...

Page 144: ...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 145: ...nt to stack Defining the Velocity Crossfade Range Velocity is a measure of how hard the key is pressed Velocity Range lets you control the volume of the layers using velocity Using this function you can crossfade or cross switch between layers according to how hard you play the keyboard Set the velocity range of the layer by defining the high and low velocity values Values range from 0 off to 127 ...

Page 146: ... in When the keyboard is played hard Layer 3 plays To Set Up a Velocity Crossfade Between Layers Set the velocity fades so that layer 1 fades out with higher 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 Layer 1 Layer...

Page 147: ...l value The Fade 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 To Set Up a Real time Crossfade Between Two Layers As the real time control knob pedal LFO etc is increased Layer 1 fa...

Page 148: ...crossfade 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 To Randomly Cross Switch Between Four Layers In certain situations you may want to switch between several layers randomly Crossfade Ran...

Page 149: ...e Real time Crossfade page 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...

Page 150: ...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 151: ...o slightly 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 modulatio...

Page 152: ...elope Factory Uses the factory preset envelope contained in each instrument If you select the Factory mode the Volume Envelope parameters are disabled and the factory defined settings are used instead Time based Defines the Volume Envelope rates from 0 to 127 approxi mately 1 ms to 160 seconds The Master clock has no affect on time based rates _ _ _ _ If two adjacent segments have the same level i...

Page 153: ...evel 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 ...

Page 154: ...ing 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 percussio...

Page 155: ...ltiple Trigger 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 continu...

Page 156: ...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 157: ...ge is from 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 eith...

Page 158: ...current layer Filter Name Order Type Description Smooth 02 LPF Typical OB type low pass filter with a shallow 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 filter 36 dB octave rolloff MegaSweepz 12 LPF Loud LPF with a hard Q Tweeters be...

Page 159: ...sts 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 12 EQ Band limited for a cheap radio like EQ AahAyEeh 06 VOW Vowel formant filter which sweeps from Ah sound through Ay sound to Ee sound at maximum frequency setting Q v...

Page 160: ...flanger Good with vox waves eg I094 Q 60 DreamWeava 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 g...

Page 161: ...uch as 1 2 3 etc Note values are displayed instead of a number when the time corresponds to an exact note value Tempo based envelopes are useful when using arpeggiators and sequencers because the envelope rates compress and expand accord ing to the Master Tempo setting keeping the envelopes in sync with the music See the illustration on page 104 Envelope Repeat The Envelope Generators can also be ...

Page 162: ...he key continues to be held the envelope holds at the Decay 2 level 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 The default PatchCord settings connect the Filter Envelope to Filter Frequency but the envelope can be routed to any real time control destination using a PatchCord Auxiliary Envelope The Au...

Page 163: ...remolo 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 waveforms have different shapes The shape of the waveform deter mines the effect of the LFO LFOs have traditionally been used to ...

Page 164: ...es from 0 08 Hz to 18 14 Hz 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...

Page 165: ...fer to the chart below Tempo based Rates based on Master Tempo Display octal whole note 8 1 dotted quad whole note 4 1d octal whole note triplet 8 1t quad whole note 4 1 dotted double whole note 2 1d quad whole note triplet 4 1t double whole note 2 1 dotted whole note 1 1d double note triplet 2 1t whole note 1 1 dotted half note 1 2d whole note triplet 1 1t half note 1 2 dotted quarter note 1 4d h...

Page 166: ...ero 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 Variation LFO Variation sets the amount of random variation of the LFO each time you press a key on the controller This creates a chorus or ensemble effect since each note played has a slightly different modulation rate The higher the value entere...

Page 167: ...y connected control routings volume envelope to amplifier pitch wheel to pitch and key to pitch All other 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 D...

Page 168: ...nd 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 o...

Page 169: ...lter Envelope FEnvRts Filter Envelope Rates all AuxEnv Auxiliary Envelope FEnvAtk Filter Envelope Attack LFO 1 2 FEnvDcy Filter Envelope Decay White White Noise FEnvSus Filter Envelope Sustain Pink Pink Noise FEnvRls Filter Envelope Release XfdRand Crossfade Random FEnvTrig Filter Envelope Trigger KeyRand 1 2 Key Random AEnvRts Auxiliary Envelope Rates all Lag 0 sum summing amp out AEnvAtk Auxilia...

Page 170: ... in the Global 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 Global menu See Mix Output on page 86 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 To Control the Mix Output from the ...

Page 171: ...ne at a time the 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 Am...

Page 172: ... either MIDI Channel 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 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 GLOBAL MENU PRESET EDIT MENU Ch 1 SEND 2 Ch 2 SEND 3 Ch 3 SEND 4 Ch 16 S E N D 1 S E N D 2 S E N D 3 S E N D 4 ...

Page 173: ...Hall 2 6 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 L...

Page 174: ...s set 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 Doub...

Page 175: ...For example you can dynami cally adjust the effects mix during a sequence or live performance There are many exciting performance possibilities using Preset PatchCords to control Arpeggiator parameters and Effects Sends The front panel knobs 15 16 are usually connected to Arp parameters in factory presets marked arp Be sure to try out these controls There are 12 Preset PatchCords per preset with a...

Page 176: ...fect A Send 4 MIDI Pan Controller 10 Effect B Send 1 MIDI A L Effect B Send 2 Footswitch 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 Arp Resolution Arp Extension Arp Velocity Arp Gate Arp Interval Beats Velocity Group 1 4 Beats Transpose Xps Group...

Page 177: ...f 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 Patchcord Destinations 12 Control Knobs MIDI Menu Preset Edit Menu A B C L MIDI Amount A B C L C o rd C o rd C o rd C o rd Key Sustain Fine Pitch Pitch Glide Chorus Amount Sample Start Sample Loop Sample Retrigger Filter Frequency...

Page 178: ...e equal 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...

Page 179: ...roducts Fully explaining 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 jus...

Page 180: ...cked 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 y...

Page 181: ... quick way to learn the sounds in Vintage Keys If a preset has hidden tricks or controllers these will be shown off in the Riff The Riffs themselves cannot be modified 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 c...

Page 182: ...172 E MU Systems Preset Edit Menu Play Solo Layers ...

Page 183: ...nal each 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 Vintage Keys 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 A...

Page 184: ...obey the preset routing 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 eff...

Page 185: ...es Room 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...

Page 186: ...edback 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 the amount of the Feedback loop The Feedback value range is from 0 to 127 LFO Rate The LFO Rate parameter is used whe...

Page 187: ...p in the Global 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 182 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...

Page 188: ...DI channels You might also want the effects to be programmed on a global basis when in Omni or Poly modes You could choose your favorite reverb for example and have it applied to any preset you select To Program the Master Effects 1 Press the Global menu button The LED illuminates and the Global screen appears 2 Use the data entry control to select the FXA Algorithm screen 3 Select an Effect 4 Use...

Page 189: ...e infor mation in the last section for detailed descriptions of these parameters 10 Press the Preset Edit menu button The LED illuminates and the Preset 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 MIDI Menu must be set to Omni or Poly mode in order to select the effects in the preset 12 Repe...

Page 190: ... 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 spe...

Page 191: ...luminates and the MIDI 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...

Page 192: ...ta 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 output of...

Page 193: ... Main 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...

Page 194: ...cording 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 mat...

Page 195: ... realistic 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 ...

Page 196: ...e two 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 echo...

Page 197: ...formation Saving a Preset Any time you make a change to a preset either using the Preset Edit menu or by changing 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 To...

Page 198: ...ied to the destination location 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 are...

Page 199: ... PatchCord 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 To Copy a PatchCord 1 Select the Preset and Layer you want to copy information into 2 Press the Save Copy menu b...

Page 200: ...aining the information you want to copy 5 Press the Home Enter button Copy Arpeggiator Settings This function lets you copy the Arpeggiator settings from any ROM or RAM preset location into the current RAM User preset To Copy the Arpeggiator Settings 1 From the Main screen select the User Preset you want to copy the Arp setting into 2 Press the Save Copy menu button 3 Move the cursor to any of the...

Page 201: ...nk The Copy Preset Bank command lets you copy an entire bank from any ROM or RAM bank location to any RAM user bank This function can be especially useful after installing a new sound SIMM To Copy a Preset Bank 1 Press the Save Copy menu button 2 Move the cursor to the From field on the bottom line on the display 3 Use the data entry control to select the preset bank you want to copy from 4 Move t...

Page 202: ...Bank to Flash 1 Make sure a Flash SIMM is inserted into the extra Vintage Keys 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 From field and select the User bank that you want to copy to the F...

Page 203: ...layed 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 Sound ID number for the SIMM It doesn t matter which number you choose as long as the same number isn t used in ...

Page 204: ...M 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 the bottom line and press Enter The following screen appears and the Enter LED will be flashing 5 Press Enter again to confirm ...

Page 205: ...ed with ease Use this feature to generate wild new sounds get new programming ideas or just for fun To Create a Random Preset Examine interesting presets to learn how they work using the Edit menu 1 Press the Save Copy menu button 2 Move the cursor to the bottom line on the display and press Enter 3 A new random preset will be created 4 Don t like the sound Press Enter again and a new random sound...

Page 206: ...196 E MU Systems Save Copy Menu Create Random Preset ...

Page 207: ...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 To Change the Instrument for the Current Layer 1 Choose any cool preset then press the Preset Edit button 2 Press the 1 Jump button twice to ju...

Page 208: ...e tuning value shifts the pitch in 1 64 semitones or 1 56 cents To Tune the Instrument of the Current Layer 1 Press the 3 Jump button twice to jump directly to 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 Try tuning one of the instruments to...

Page 209: ...ts 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 sound is one of the clues our brain ...

Page 210: ...ng as 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 Adjusting the Volume Envelope the easy way Many sounds don t require a complex six segment envelope Over the years a simpler Attack Decay Sustain Release envelope or ADSR have become standard The front panel controller knobs on Vintage Keys have bee...

Page 211: ...you can create a completely blank preset and start from there 3 Increase the Attack 1 time value and play a note The attack controls the time it takes for the sound to reach the Attack level when a key is pressed and held 4 Move the cursor to the first field in the bottom line and use the cursor buttons to advance to the Release pages 5 Increase the Release 1 and 2 times Note the effect as you rel...

Page 212: ...f frequencies to start with 1 Advance to the Filter Type screen using the data entry control Select the Classic 4th order filter Front panel knobs A B are routed to the filter parameters and will affect the initial settings made here 1 The Filter Frequency and Q resonance are preprogrammed to the front panel controller knobs A B This is the easiest way to change the volume envelope settings 2 Pres...

Page 213: ...lter Envelope The Filter Envelope 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 To Setup the Filter Envelope 1 Go to the PatchCord screen by pressing the Cords Jump Key 2 Move the cursor to PatchCord 3 This patchcord is preprogrammed to connect the Filter...

Page 214: ...ease knobs and note their effect on the sound 6 Now return to the Filter Envelope Mode screen Set the Mode to time based 7 Advance to the Filter Envelope parameter page 8 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 Filter DCA Filter Env Fc Q L1 FILTER ENVELOPE...

Page 215: ...w 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 Th...

Page 216: ...ting 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 Filter Frequency and Volume Patch Cord screen Modulate the LFO with the other LFO with Velocity...

Page 217: ...ing to the parameter and affecting it Learning to play any instrument takes a little patience and practice Referring to the diagram below which shows the Vintage Keys 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 ...

Page 218: ... with the preset you selected in step 1 Play the keyboard as you scroll through the various presets to hear the results 5 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 To Create a Split Keyboard Using Links 1 Follow steps 1 through 4 above 2 Press Enter and use the Jump Key to advance to the next page 3 Se...

Page 219: ...s of the controller knobs are described below Basic Preset Knob Functions Filter Cutoff Filter Frequency Filter Res Filter Resonance Shape Filter Envelope Amount Image Typically brings in additional layers Attack Volume or Filter Envelope Attack Decay Release Vol Filt Envelope Release and or Decay Movement LFO Dynamic Movement i e panning Rate LFO Rate Mod 1 Typically Velocity Amplifier Volume Mod...

Page 220: ...gories The Vintage Pro presets are organized in categories according to the types of sound Listed below are the categories and their three letter prefixes arp Arpeggiator preset kit Drum Kit bpm Tempo based LFO Envs led Leads bas Bass instruments org Organs brs Brass instruments pad Sustained ethereal sound bts BEATs preset prc Percussion instrument cmb Combination of instruments sfx Sound Effect ...

Page 221: ...epo FM SimpleEP 57 epo FM Delicate 58 epo FM Phase 59 epo FM Flanger 60 epo Dynamic FM 61 epo Analog FM 62 epo Wurlilayer 63 epo Mama sWurli 64 epo Real CP 65 epo ClassicCP 66 epo CP 70 67 epo CP Layer 68 epo Vintage CP 69 epo Rock CP 70 epo Stage CP 71 epo CP Light 72 epo CP Tight 73 epo CP Uptown 74 epo Lullaby 75 epo AOR Ballad 76 key Clav 1 77 key Clav 2 78 key Clav 3 79 key Clav1 2 80 key Ste...

Page 222: ...ws 57 syn TouchRez 58 syn X Tron 59 syn Shade Pad 60 syn Total Recall 61 syn Ice Eyes 62 syn Enchanted 63 syn Chimelope 64 syn S Holding 65 syn Runner 66 syn Weild 5ths 67 syn NightTime 68 syn Perc Rouge 69 syn MiniSaw Octs 70 syn ProFive Octs 71 syn Arp Octs 72 syn Modular Octs 73 syn Mucho Octs 74 syn RogueSawOcts 75 syn SySaPhUs 76 syn P5 Sync 1 77 syn P5 Sync 2 78 syn P5 Sync 3 79 syn Morpheus...

Page 223: ...ron Males 58 vox Cluttex 59 vox SnowBound 60 vox Chiffer 61 vox BreathBlow 2 62 vox TronMalesSt 63 vox TronMixSt 64 vox VS Ghost 65 vox ThroatEnergy 66 vox TalkBox Pro 67 vox Moon Flute 68 brs FullTrnBrass 69 brs WindyBrass 70 brs E2 Brass 71 brs Big Swell 72 brs Big Swell 2 73 brs Rich Brass 74 brs ElegantBrass 75 brs F Hrns 76 brs Coronation 77 brs HugeOB Brass 78 brs BrassKicker 79 brs Brassitu...

Page 224: ... 57 arp Sparkle 58 arp DrumPitchy 59 arp SquareThumpr 60 arp MinorFinale 61 arp HiPassCmputr 62 arp EMU 2 Live 63 arp BowCircuit 64 arp HardRepeat 65 arp Tribal Toms 66 arp DrumRoller 67 arp ZipTripper 68 arp Log Funk 69 bts FastRock 70 bts RockFunk 71 bts Shuffle 72 bts Chill Room 73 bts Teardrop 74 bts Evolution 75 bts The Pulse 76 bts Dreamland 77 bts Fusion 78 bts Jazz 79 bts DropBeatBglu 80 k...

Page 225: ... P5 Piper 54 syn M12 Lead 55 syn ARP SyncMod 56 syn ArpPlsRsmp 57 syn Arp Saw 58 syn Arp Square 59 syn Sync Wah 60 syn 101VariPulse 61 syn E mu Modular 62 bas Fat Taurus 63 bas Taurus Osc 64 bas SEM QBass 1 65 bas SEM QBass 2 66 bas SEM QBass 3 67 bas SEMSyncBs 1 68 bas SEMSyncBs 2 69 bas MiniSnapBass 70 bas M WarmSquare 71 bas PPG Bass 72 bas PPG DigiBass 73 bas P5 Bass 74 bas ArpFatBass 75 bas D...

Page 226: ...0 prc Kick 10 181 prc Kick 11 182 prc Kick 12 183 prc Kick 13 184 prc Kick 14 185 prc Kick 15 186 prc Kick 16 187 prc Kick 17 188 prc Kick 18 189 prc Kick 19 190 prc Kick 20 191 prc Kick 21 192 prc Kick 22 193 prc Kick 23 194 prc Kick 24 195 prc Kick 25 196 prc Snare 1 197 prc Snare 2 198 prc Snare 3 199 prc Snare 4 200 prc Snare 5 201 prc Snare 6 202 prc Snare 7 203 prc Snare 8 204 prc Snare 9 20...

Page 227: ...c Shaker 16 320 prc Shaker 17 321 prc Shaker 18 322 prc Shaker 19 323 prc Shaker 20 324 prc Shaker 21 325 prc Shaker 22 326 prc Shaker 23 327 prc Shaker 24 328 prc Shaker 25 329 prc Clap 1 330 prc Clap 2 331 prc Clap 3 332 prc Clap 4 333 prc Clap 5 334 prc Clap 6 335 prc Clap 7 336 prc Snap 337 prc Conga 1 338 prc Conga 2 339 prc Conga 3 340 prc Conga 4 341 prc Conga 5 342 prc Conga 6 343 prc Cong...

Page 228: ...x Tick 1 394 sfx Tick 2 395 sfx Tick 3 396 sfx Tick 4 397 sfx Tick 5 398 sfx Tick 6 399 sfx Tick 7 400 sfx Tick 8 401 sfx Tick 9 402 sfx Tick 10 403 sfx Tick 11 404 sfx Tick 12 405 sfx Tick 13 406 bas Bright Saw 407 bas BrightResSaw 408 bas BrightSquare 409 bas Res Square ...

Page 229: ...P70 61 EPO CP70 2 62 EPO Dyno 63 EPO Dyno 2 64 EPO DynoChorus 65 EPO DynoOdd 66 EPO DynoSft1 67 EPO DynoStcase 68 EPO Fm Flanger 69 EPO FM Phase 1 70 EPO FM Phase 2 71 EPO FMDelicate 72 EPO Heavy Dyno 73 EPO MarshMello 74 EPO LiteDyno 75 EPO Lullaby 76 EPO Mama sWurli 77 EPO Mello EP1 78 EPO Mello EP2 79 EPO Mellow Pop 80 EPO MetalBars 81 EPO OB EP 82 EPO OB EP 2 83 EPO OB Tine EP 84 EPO Real CP 8...

Page 230: ...YN P10 SkySweep 189 SYN P5 PolySync 190 SYN Merlot 191 SYN Phase1Alert 192 SYN PortaLead 193 SYN Power Juno 194 SYN Random OB 195 SYN Regbit 196 SYN Rogue 197 SYN Round Mini 198 SYN Runner 199 SYN SawsofOld 200 SYN Syrupy 201 SYN TouchRez 202 SYN Wall O Saws 203 SYN Wide OB 204 SYN Wide OB 2 205 VOX BigTronChoir 206 VOX Light Aahs 207 VOX Light Aahs 2 208 VOX Light Aahs 3 209 WND LoFi Flute 210 WN...

Page 231: ...ation about the velocity curves see page 73 Soft 1 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Soft Hard Soft 2 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Soft Hard Soft 3 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Soft Hard 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Soft 4 Soft Hard 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Outp...

Page 232: ...20 0 20 40 60 80 100 120 Output Velocity Medium 3 Soft Hard 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Medium 4 Soft Hard 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Medium 5 Soft Hard 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Medium 6 Soft Hard 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Medium 7 Soft Hard ...

Page 233: ...t Hard 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Loud 1 Soft Hard 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Loud 2 Soft Hard 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity All 64 Outputs velocity 64 only Soft Hard 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity All 127 Outputs velocity 127 only Soft Hard ...

Page 234: ...20 Output Velocity 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Curve 3 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Curve 4 Linear 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Curve 5 Input Velocity Linear No Change to Velocity Input Velocity Compresses Velocity Range Input Velocity Input Velo...

Page 235: ...utput Velocity Curve 10 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Curve 11 Input Velocity Input Velocity Input Velocity 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Output Velocity Curve 9 Input Velocity Input Velocity Input Velocity Shifts Velocity Values Up while compressing the midde range Similar to Curve 6 Similar to number 6 with more emphasis on the middle range Extreme Dyn...

Page 236: ...rve 12 0 20 40 60 80 100 120 0 20 40 60 80 100 120 Result Velocity Curve 13 Input Velocity Input Velocity Less Severe Version of Curve 11 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 13 4...

Page 237: ...cial presets for 4 speaker applications and a percussion battery with over 20 instruments Siedlaczek Orchestra Special Edition The Peter Siedlaczek Advanced Orchestra Special Edition puts 32 MB of his finest ensembles onto a single expansion ROM for your Vintage Keys String brass woodwind and percussion ensembles are included in a variety of styles i e vibrato tremolo pizzicato sordino etc to give...

Page 238: ...cover a world of sounds to bring to your music Techno Synth Rob Papen and E MU introduce the 32 MB Techno Synth Construction Yard Expansion ROM a compilation of synth techno and ambient sounds from one of Europe s finest programmers From atmospheric pads to punchy sub basses and crunch drum loops these sounds will help you tear up the dance floor Beat Garden Dutch sound designer Rob Papen and E MU...

Page 239: ...ch cover where they won t get lost To Remove ROM SIMMs if necessary 1 Orient the unit so that the rear panel is facing you Ground yourself by touching a grounded object Such as the chassis of another piece of equipment connected to the wall socket with a three prong power plug 2 On each end of the SIMM socket there is a silver or plastic tab Use a screwdriver or a ball point pen to squeeze the tab...

Page 240: ... it from popping out of the socket tilt the SIMM board into a vertical position You should hear an audible click Make sure both sides of the silver tabs have latched Reassemble the Unit 5 Replace the hatch cover and the four screws The screws are all identical Test It The installation is almost finished 1 Turn the unit right side up and plug in the power cord 2 Turn on power 3 Place the cursor und...

Page 241: ...No Pitch Bend Yes 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 Yes Yes No No No No No No No Yes No Yes Yes Yes No No No No No No NRPNs No No RPN 00 Pitch Bend Sensi RPN 01 Chan Fine Tune RP...

Page 242: ... 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 Std MIDI files Export Std MIDI files No No No No MIDI Information Transmitted Recognized Remarks ...

Page 243: ...s No 5 Portamento MSB No No 6 Data Entry MSB No No 7 Chan Volume MSB Yes Yes 8 Balance MSB No No 9 10 Pan MSB Yes Yes 11 Expression MSB No Yes 12 Effect Cntrl 1 MSB No No 13 Effect Cntrl 2 MSB No No 14 15 16 GenPur Ctrl 1 MSB 17 GenPur Ctrl 2 MSB 18 GenPur Ctrl 3 MSB 19 GenPur Ctrl 4 MSB 20 21 22 23 see note 24 25 Yes Yes Filt Attck 26 Yes Yes Filt Decy 27 28 29 30 31 32 Bank Select LSB Yes Yes 33...

Page 244: ...48 Gen Pur Ctrl 1 LSB 49 Gen Pur Ctrl 2 LSB 50 Gen Pur Ctrl 3 LSB 51 Gen Pur Ctrl 4 LSB 52 53 54 55 56 57 58 59 60 61 62 63 64 Sustain Pedal Yes Yes 65 Portamento on off No No 66 Sostenuto No No 67 Soft Pedal 68 Legato Footswitch 69 Hold 2 70 Variation 71 Timbre Har Inten Yes Yes 72 Release Time Yes 73 Attack Time Yes 74 Brightness Yes Control Function Transmitted Recognized Remarks ...

Page 245: ...See note 81 Gen Purp Cntrlr 6 82 Gen Pur Ctrlr 7 Yes Yes Arp Vel 83 Gen Pur Ctrlr 8 Yes Yes Arp Gate 84 Portamento Cntrl 85 Yes Yes Sustain 86 87 88 89 90 91 Effects 1 Depth Yes 92 Effects 2 Depth 93 Effects 3 Depth Yes 94 Effects 4 Depth 95 Effects 5 Depth 96 Data Increment 97 Data Decrement 98 NRPN LSB 99 NRPN MSB 100 RPN LSB 101 RPN MSB 102 103 104 105 106 107 108 109 110 111 112 Control Functi...

Page 246: ...umber from 1 to 95 Because of Vintage Keys s powerful synth engine many of the standard MIDI controllers can be user programmed to provide the desired function A Yes response in this chart means that a controller is programmed by default in Vintage Keys Controller 79 is hard coded to the Mix Output parameter 0 Use Preset 1 Send 1 2 Send 2 3 Send 3 4 Send 4 Controller 80 is hard coded to the Arp St...

Page 247: ...x0B Planet Earth 0x0C Planet Earth Turbo 0x0D XL 7 0x0E MP 7 0x0F Proteus 2500 0x10 Orbit 3 0x11 PK 6 0x12 XK 6 0x13 MK 6 0x14 Halo 0x15 Proteus 1000 0x16 Vintage Pro 0x17 Vintage Keys There is only one edit buffer which is used by the current preset the preset shown in the display You can edit only one preset at a time via SysEx commands although these presets can be edited independently of the c...

Page 248: ...is manual The complete SysEx specification for Vintage Keys will be available soon 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 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 Volume Bn ...

Page 249: ...io Outputs 4 polyphonic analog outputs Submix Inputs 2 analog inputs sum to main outs Max Output Level 4 dB Output Impedance 1000 Ohms Sound Memory 32 MB expandable to 128 MB Data Encoding 16 bit linear data 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 weighti...

Page 250: ...rating procedures as outlined in the owner s manual Deterioration or damage of the cabinet Damages occurring during any shipment of the unit Any unit which has been modified by anyone other than E MU Systems Any unit with an invalid or wholly or partially obliterated serial number NO OTHER EXPRESS OR IMPLIED WARRANTY IS MADE AND E MU SYSTEMS SPECIFICALLY DISCLAIMS ANY IMPLIED WARRANTY OF MERCHANTA...

Page 251: ... ask that you return your unit to the E MU Systems factory When returning your unit to the E MU Systems factory you will be issued a Return Merchandise Authorization RMA number Please label all cartons shipping documents and correspondence with this number E MU Systems suggests you carefully and securely pack your unit for return to the factory Do not send the power cord or operation manual Send t...

Page 252: ...242 E MU Systems Appendix Warranty ...

Page 253: ...ntrollers 58 copy pattern 191 copy settings 190 191 delay 63 64 extension 58 extension count 62 extension interval 62 factory patterns 60 gate 58 time 61 guided tour 24 interval 58 key offset 68 key range 66 keyboard thru 65 latch mode 65 master parameters 58 MIDI out 56 MIDI song start 56 modes 57 59 note value 60 64 pattern 57 60 naming 70 speed 60 resolution 58 status 59 user patterns 67 veloci...

Page 254: ... preset 21 37 Channel buttons 29 aftertouch on off 74 arpeggiator 39 MIDI enable 94 pan 39 selection MIDI 37 volume 38 Chorus 175 185 width 199 Chorus effect 185 Chorusing 144 199 Clear Beats Part 44 45 Clock divisor 101 MIDI output enable 94 modulation 107 sync delay time to 176 using external MIDI 82 Coarse Tuning 141 198 Comb Filter 149 Comb Filter effect 176 185 Command Buttons external preset...

Page 255: ... 46 Dual Tap delay effect 186 Duration arp pattern 69 Dynamic Filter 117 Dynamic Range 239 E Echo Thru Local Control on off 72 Edit All Layers Enable 92 Edit Section 30 Editing arp user patterns 67 presets 197 Effects A type 175 B into effect A 182 B submix routing 91 B type 175 busses 173 by channel number 182 channel number setup 182 chorus 185 decay 176 delay 176 186 sync to master clock 176 de...

Page 256: ...ck 205 envelope generator 151 206 envelope mode 204 frequency 150 151 159 202 highpass 118 202 lowpass 118 mode 204 morph 122 notch 119 parametric 121 pole 120 programming 202 Q 150 202 swept EQ 121 troubleshooting 207 tutorial 117 type 202 205 changing 205 Z plane 122 123 148 Fine Tuning 141 198 Fingered Glide solo mode 146 First Key modulation 112 Flanger Effect 175 185 Flashing Arp Beats LED 82...

Page 257: ...ranspose 140 trigger 51 tuning 92 velocity 101 Keyboard beats trigger layouts 44 key 101 layering splitting 208 pressure 101 range 133 134 semitone transpose 72 splitting 208 thru arpeggiator 65 transpose 140 on off 145 tuning 168 19 tone 168 equal temperment 168 gamelan 168 just C 168 Kirnberger 168 repeating octave 168 Scarlatti 168 Vallotti 168 Werkmeister III 168 velocity curve 73 diagrams 221...

Page 258: ...nal clock 82 footswitch assign 74 80 implementation chart 231 233 in channels 94 input channels 94 knob transmit 94 menu button 31 mode 94 173 multi mode 98 note triggers 36 75 76 omni mode 98 out arp beats 56 out knob enable 94 pan control 10 39 panic button 31 poly mode 98 real time controllers 124 receive program change 95 received channel commands 238 receiving sysex data 98 recording sysex da...

Page 259: ...utput jack 14 15 16 jacks 17 mix 86 160 174 mono 14 routing 160 Overall Tuning adjusting 84 P Packet Delay MIDI sysex 97 Pan 123 channel 39 initial 141 preset link 170 Panic Button MIDI 31 Panning Delay effect 186 Parametric Filters 121 Part beat 44 Patchcord 102 157 amount 124 157 copy 189 example 113 routing 108 Pattern arpeggiator 57 60 naming 70 repeat 69 speed 60 user 67 velocity 69 inc dec u...

Page 260: ...dit enabling 79 mode 33 R Ramp Rate 112 Random creating presets 195 crossfade 102 crosswitch 138 generator noise and 101 modulation sources 102 Range arp extension count 62 key 133 134 keyboard 133 pitchbend 160 velocity 135 Rate effect LFO 91 176 glide 147 LFO 154 master FXB LFO 91 Rate Level Envelopes 103 Realtime Control of Arps 58 Realtime Controller 72 assignment 79 94 crossfading 137 tutoria...

Page 261: ...t Keyboard 170 208 using links 208 Stack layers 135 presets 170 Standardized MIDI Controller Numbers 80 233 Start Stop Beats 44 45 Stereo Delay effect 186 Stolen Voices 146 Studio Setup 16 Sub Output Jacks 17 Submix Routing FXB 91 Summing Amp 109 110 Summing Nodes 100 Swept EQ Filter 121 Switch Processor 109 113 Sync arp key 63 delay effect to master clock 176 LFO 153 154 MIDI song start 56 Synth ...

Page 262: ...ng tables 92 User Pattern arpeggiator 67 naming 70 repeat 69 velocity 69 V Vallotti Tuning 168 Variation beats 50 LFO 156 Velocity arpeggiator 61 crossfade 135 136 curve keyboard 73 curve master 85 key 101 keyboard curve charts 221 preset link 170 release 101 user pattern 69 Vibrato effect processor 186 Viewing Angle screen 92 Voices stolen 146 Volume channel 38 control 29 control 7 38 curve 199 e...

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