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DG 90 - Digital Piano

Duueett O

Oppeenn::

This performs only the fifth above the note sung. If the Vocalize Lead is active (On), the note sung is doubled.

Duueett D

Doow

wnn::

This performs the third below the note sung, transposed by one octave downward (lower tenth). If the note sung is
the keynote of the chord, the Vocalizer creates the third in the bass, belonging to the lower octave with regard to
the note sung. If the note sung is the third of the cord, the Vocalizer creates the keynote in the bass, belonging to
the lower octave. If the note sung is the fifth of the chord, the Vocalizer creates the third in the bass, but still belong-
ing to the same octave as the note sung. If the Vocalize Lead is active (On), the note sung is doubled.

Duueett U

Upp::

Performs the third above the note sung. If the Vocalize Lead is active (On), the note sung is doubled.

33 O

Oppeenn 11::

Performs the higher third as well as the lower fifth and octave, compared to the note sung.

33 O

Oppeenn 22::

Performs the higher third, as well as the lower third and fifth compared to the note sung.

AUTOMATIC CHORD 2

In this mode the Vocalizer always uses all three voices available, so the Vocalize Lead function cannot be activated. The voices generated by
the Vocalizer depend on the chord recognised on the keyboard area to the left of the split point, independently from the position of its inver-
sion, and on the note sung. If the note sung is extraneous to the chord, this note will not be reproduced by the Vocalizer but will be present as
a direct audio signal. The Full algorithms are a reproduction of the recognised chord. The Jazz algorithms are more sophisticated harmonisa-
tions to model the chords with sixths and sevenths. The following algorithms are available for Automatic Chord 2:

Haarrm

moonnyy R

Riigghhtt::

The chord is recognised on the keyboard area to the right of the split point, with all its inversions, regardless of the note sung.

Haarrm

moonnyy LLeefftt::

The chord is recognised on the keyboard area to the left of the split point, with all its inversions, regardless of the note sung.

FFuullll 11::

Similar to Full Trio 1 in Automatic Chord 2 mode, with the difference that instead of the note sung a single note on the keyboard
area to the right of the split point is taken as reference. The chord, instead, is recognised on the keyboard area to the left of
the split point, regardless of the inversion of the note played to the right of the split point.

FFuullll 22::

Similar to Full 1, but with the voices generated above the note played to the right of the keyboard split point.

FFuullll 33::

Similar to Full 2, but with all the voices generated above the note played to the right of the keyboard split point.

JJaazzzz 11::

Applies the harmonisation table used for Jazz Trio 1 of Automatic Chord 2, with the difference that the inversions of the chord
played on the keyboard area to the left of the split point are determined by the note played to the right of the split point. The
voices generated remain below the note played to which the unison note is added.

JJaazzzz 22::

Similar to Jazz 1 with just one voice generated above the note played on the keyboard area to the right of the split point.

JJaazzzz 33::

Similar to Jazz 2 with all voices generated above the note played on the keyboard area to the right of the split point.

MIID

DII M

Mooddee::

This is a special mode allowing the musician to control the voices generated by the Vocalizer via the MIDI data, no matter if
these come from a track of a Midi file being reproduced or from a MIDI In 2 input.

When using a Midi file, if the track dedicated to the Vocalizer has been correctly programmed, it is recommended to disable the

F4 Octave

func-

tion, in particular to avoid setting it on Automatic. In a Midi file it is sufficient to enter Control Change 16 with value 0 in the desired track to
destine it to the Vocalizer control. If the Midi file is reproduced by an external sequencer, it is recommended to use the MIDI In 1 input. Vice-
versa, in case of control by a MIDI accordion or by another keyboard, you need to select MIDI In 2. If the Vocalizer track is to work with the inter-
nal sequencer, access the GM menu, select the destination track and reproduce a couple of initial beats. With Part Mode you enable the chosen
part selecting Vocalize and confirming the operation pressing the

ENTER

key.

FIXED INTERVAL

One or a number of voices are added to the note sung at fixed intervals, regardless of the recognised chord. If set in this mode, the Vocalizer
works as a common Pitch Shifter. The

F9 Vocalize Lead

function can always be activated and allows you to double the note sung with a voice

generated in unison.
The following algorithms are available for Fixed Interval:

Unniissoonn::

This generates a voice in unison with the note sung. If

F9 Vocalize

, the note sung is doubled in unison.

Occttaavvee U

Upp::

This generates a voice in the octave above the note sung. If

F9 Vocalize

, the note sung is doubled in unison.