ai? Synthesis Module O3R/W Owner's Manual Al’ Synthesis System KORG oeIMPORTANT SAFETY INSTRUCTIONS WARNING — When using electnc products, basic precautions should always be followed. including the following, Read ail the instructions before using the product 2, To reduce the risk of injury, close supervision is necessary when a product is used near children 3. Do not use this product near water — for exampie, near a bathtub, washbowl, Kitchen-sink, In a wet basement, or near a swimming pool, or the lke. 4, This product should be used only with a cartor stand that is recommended by the manufacturer. 5. This product, either alone or in combination with an amplifier and headghones or speakers, may be capable of procucing sound levels that could cause ‘permanent hearing loss. Do not operate for a long period of time at high volume levels or at a level that 's uncomfortable, lf you experience any hearingioss ringing in the ears, you should consutt an audialo- Gist. 6. The product should be located so that its location or position does not interfere with its proper ventilation. 7. The product should be located away trom heat sources such as radiators, heat registers, or other products that produce heat, 8, The product should be connected to 2 power supply only of the type described in the operating instruc- tions or as marked on the product. 9. The power-supply cord of the product should be unplugged trom the outlet when left unused for along period of time. 10. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. 11 The produet should be serviced by qualitied service personnel when: A. The power-suppiy cord or the plug has been damaged; or B, Objects have fallen, or quid has been spilled into the product; or C. The product has been exposed to rain; o D. The product does not appear to operate normally of exhibits a marked change in performance: or E, The product has been dropped, or the enclosure damaged. 12.Do not attempt to service the product beyond that described in the user-maintenance instructions, All other servicing shouldbe referred toqualifiedservice personnel. SAVE THESE INSTRUCTIONS CET RUSK OF ELECTRIC 00 NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO ‘QUALIFIED SERVICE PERSONNEL,vig Kd be stong land ough vice been dinto mally ad osute d that 38. All vice ‘The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. ‘The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. GROUNDING INSTRUCTIONS ‘This product must be grounded. It t should malfunction or breakdown, grounding provides a path of least resistance for electric current to reduce the risk of electric shock. This product is equipped with ‘a cord having an equioment-grounding conductor and a grounding plug. The plug must be plugged into an appropriate outlet that's property installed and grounded in accordance with alliocal codes and ordinances. DANGER — Improper connection of the equipment-grounding conductor can result in risk o electric shock. Check with a qualified electrician or serviceman if you are in doubt as to whether the product, is properly grounded, Do not modify the plug provided with the product —ifitwill not fitthe outlet, have ‘a propar oullet installed by a qualified electrician ‘The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. ‘The lightning flash with arrowhead symboi within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. ‘THE FCC REGULATION WARNING ‘This equipment generates anc uses radio trequency energy and i not insialed and used Properly, that si set accorcance withthe manutacturers insuetons, may eause ineror enceste radio andtolesion reception Ithas een ype tested and foundio comply with te limits fora class 8 computing device in accordance with the specifications in Subpart of Part 15 of FOC Rules, wtich re designed io prove rsasonable protection against such interference ina residential instalation. However, thor is no guarantee that inlororonce will rot occur in a particular installation. I his equipment does cause interference to radio or television reception, lbich can be deterred by turning the equipmont off and op, the users encouraged 1 ty to correct ne interference by one or more a te folowing measures: + Reorirt the receving antenna, + Feocate the equipment win respect to the receiver. + Move the aqupmont away tom the recoiver. + Plug the equiemen: into a dlerent outlet so that equipment and receiver ara on difarent branch ckeults necessary, the user should consuiithe dealer or an experienced rahtelevsion technician for ditional suggestions. The user may tnd the folowing booklet prepared by the Federal Communications Commission Neiptul How to klantty and Resolve Rado-TV Inertarence Problems”. This booklet is avaiable from she US Govarnmen: Printing Giice, Washington, .c-20402, stock No. 004-000-000346-4 CANADA THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B' LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFER: ENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS, LE PRESENT APPAREIL NUMERIQUE NEMET PAS DE BALITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA “OLASSE B" PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADICELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNICATIONS DU ‘CANADA.‘Thank you for purchasing the Korg 03R/W aé Synthesis Module. To ensure long, trouble-free operation, please read this manual carefully. Precautions BM Loeation Using the unit in the following locations ean result in a ‘malfunction. In direct sunlight *Locations of extreme temperature or humidity Excessively dusty or dirty locations Locations of excessive vibration Power supply Please connect the AC power cable to an AC outlet of the ‘correct voltage, Do not connectitto an AC outletof voltage ‘other than that for which your unit is intended. interference with other electrical devices ‘This musical instrument contains a microcomputer. Radios and televisions placed nearby may experience reception interference, Operate this unit ata suitable distance from radios and televisions, How to use this manual @First, read the “Quick Guide" and “Basic operation” sections while actually operating the O3R/W. ~ This. will help youto understand the basics of operating the O3R/W. Follow the directionsto learnthe function of each key and display. BHandling To avoid breakage, do nol apply excessive force to the switches or controls. Wcare Inthe exteriorbecomes diny, wipe itwith aclean, dry cloth. Do not use liquid cleaners such as benzene or thinner, or cleaning compounds or flammable polishes. Keep this manual After reading this manual, please keep it for lace reference. @ Next, glance through the “Reference” section, - This will give you an idea of the possibilities of the OBR? W, and points to remember @ When necessary, efertothe explanations fercach function you need to use. Feat LAlL Fro fit ens 2Aw pled ier can you 3.Con fort tone sequ Edit and Kits10 the ry cloth erence, the O3R/ function Features of the 031 L.Alldigital AP synthesis system From the tone generator (acapacity of 40 Mbits) through the filters and effect units all audio is handled in digital form, ensuring high-quality sound with no signal loss. 2, wide variety of Multisounds (waveforms) The O3RAW contains 255 preset Multisounds (inulti-sam. pled PCM waveforms), providing a wide variety of ingre- ients for flexible sound creation. Additional Multisounds can be provided by inserting optional PCM cards. allowing ‘you to create sounds that were not possible without the card 43.Combinations allow flexible performance possibilities Alotaiof 100 combinations can he used to combine sounds {or performance. The O3R/W will function as un 8-timbre tone generator, making it an ideal addition co any sequereing system. 4.Ealtable Drum Kits assist in song creation ‘The O3R/W provides 119 ypes of drum sounds.and settings ‘and cuning for each drum sound can be stored ia (wo Drum Kits The backup battery ‘The (3RAW contains a battery that preserves its memory seitings when the power is tumed off, When the display RAM Memory card battery ‘# The RAM card (SRC-512) requires bastery power in order to preserve data in memory. The included lithium battery ‘ype CR2016) should be put in place before use Dinstallng the tatery Tumthecardoverto theside without the contacts. You will find a slot in the battery holder. Install theft bacterin the holder with the" side up. @ Write Proveet Switch Nodatacan be written on the cara when this switch is set10 ON. To protect data, set this switch to ON, except when weiting new data .Conforming to GM (Multi mode) Since the O3R/W conforms to the GM (General MIDI) standard in Muli mode, you can play the O3R/W through the sequencer of any manufacturer or model as long as it conforms to the GM standard. Malti Digital Effect processor for flexible sound crea- tion ‘The 03R/W contains a Multi Digital Effect processor that provides up 4 simultaneous effects, and can alse be used as two completely independent sterce effect systems. Not only delay and reverb, but also equalizer, distortion, rotary speaker, and many other types of effects are provided. 7.Edit through the remote editor Editing operations can be done more easily by connecting the remote editor REI (sold separately). which provides a large display and 8 sliders indicates “Battery Low”, please contact your dealer or a nearby Korg service center to have the battery replaced, Replacing the Lithium Bunery Power ftom the lithium battery is used 1 protect data held in memory. The battery should be replaced once a year However, hattery life is shortened if kept temperatures exceeding 40 degrees centigrade. (104 Pahrenhelt) Always use a CR2016 type lithium battery ‘When replacing the battery. leave the card in the unit with unit poster ON. This will preserve the contents of the ‘memory. the ard is removed before batery replacement, memory contents will be lostTABLE OF CONTENTS : TABLE OF CONTENTS ] | . 2 CONNECTION TO THERES %9 | REAR PANEL, COIS error messacts .. : 127 SPECIFICATIONS AND OPTIONS sys 28 BASIC OPERATION ‘TROUBLESHOOTING 129 CONNECTIONS. O3RAW MEMORY CONFIGURATION 30 i HOW THE 03R/W IS ORGANIZED ABOUT GM (GENERAL MIDI)... 1 USING GM DURING PLAYBACK ..... PLAYING A COMBINATION (A COMBINATION OF SEVERAL PROGRAMS} ABOUT THE MIDI INDICATOR ane PLAYING A PROGRAM (A SINGLE SOUND) oe. PLAYING A DEMO SONG... 9 KEY FUNCTION HOW TO CREATE YOUR OWN SOUNDS. ABOUT THE 03R/W'S MEMORY | APPLICATION SECTION .. | HOWTO READ A DISPLAY PAGE CHART .. 1, PROGRAM MODE im 2. EDIT PROGRAM MODE oo... 18 HOW THE PROGRAM PARAMETERS OF THE OBRAW ARE ORGANIZED... FUNCTIONS IN EDIT PROGRAM MODE.. sone 1 | | 3. EFFECT PARAMETERS EFFECT PLACEMENT EFFECT PARAMETERS 4. COMBINATION MODE 5, EDIT COMBINATION MODE, FUNCTIONS IN EDIT COMBINATION MODE «0 70 EDIT COMBINATION cn / & MULTIMODE, FUNCTIONS 1N MULTI MODE. MULTI 7, GLOBAL MODE .. FUNCTIONS IN GLOBAL MODE | GLOBAL.FRONT PANEL FRONT PANEL (For the explanation of each key, refer to page 10.) @ MASTER VOLUME ® Mode select keys COMBI = Comination/Eit combination mode PROG = Programftdit Program mode EDIT = Edit Combination, Edit Program modes GLOBAL/MULTI = GlotallMulG mode @ INTICARD, PAGE + key @ BANK, PAGE- key @ 410, key ® -0,5 key @ +1, d key @® -T key @ PHONES jack ‘A pair of headphones can be connected to this jack 10 monitor the sound of the OUTPUT IL and 2/ jacks. (9 MIDI indicator ® Display ® PCM DATA stot ‘Acard containing PCM (Mulisound) data can be inserted here. Cards containing voice and sequence data should be inserted into the PROG DATA slot, not into this slot. ® FROG DATA slot ‘Acard containing (orinto which you will save) voice data can be inserted into this slot. PCM (Multisound) data cards should be inserted into the PCM DATA slot, not into this slot, @ Power switchREAR PANEL LL REAR PANEL ‘@ REMOTE jack ® MIDI TURU jack © MIDI OUT jack @ MIDIIN jack © OUTPUT jack (1/1, ZR, 3, 4) “These are the audio outputs ofthe O3R/W. The output to each jack is determined by various parametersBASIC OPERATION Pe CONNECTIONS inst, make sure that the O3R/W power switch is turned (3) Turn the O3R/W power On. on. Alsomake surcthatthe powerofalleonnectedequipment (4) Tum the power of all connected equipment On, and (amps, mixers, ctc.)is tamed OFF, Setthe volume controls gradually raise the volume controls of the O3R/W and of all equipment to their lowest position. ‘Your mixer/amp system to an appropriate level (2) Insert the included power cable into the rear panet power eonnector, and connect the other end to an AC outlet. @7The OBRAW will respond to Note messages transmitted to MIDLIN for ali notes C-1 — G9 (note numbers 0-— (For some Programs, the high range may not sound,) yume cia fo fe [a] ec] slo lalele re MIDINote ember] 0 [12 [24 [36 | 48) @| 7 | #4 [96 Pros ian) 137HOW THE 03R/AW IS ORGANIZED HOW THE 03R/W 1S ORGANIZED 4-channel digital audio signals intemal connections) 4-channel digital Synthesizer section raximum (anulti mode 16) timbres, 32 voices -aA——+ |-,——| |¢—_+ | ,—+ audio ouspat Effect section pase Come ae 2 stereo effect systems Ci ABOUT GM (GENERAL MIDI) © GM (General MIDD System The GM Sound Set isa set of general specifications for tone generators agreed upon becween the Japan MIDI Standard Conference and the U.S. MIDI Manufacturers Association. The GM System allows you to create per- formance data that can be used on any type of tone generator. You can run music software (GM score) cre ated for the GM System on any tone generator ela is ‘compatible with the GM System, regardless of the man facturer or model ‘© TheO3R/W MULTI mode corresponds to the GM System Level 1. The 038/W Programs GOI-128 contain soands (GM Sound Set) that can be used throughout the GM System, with the exception of Track 10. Program G129 contains sounds (GM Percussion Map) that can be used for Track 10. ‘¢Thesound that willbe eventually played in responsetothe sound name specified by the GM differs according te the type of tone generator you are using. Therefore, there wre times when the actual performance will sound different, ue to the type of tone generator used. ‘© Inmany cases, the effects are not specified in the smusical data for the GM System, since the type and organization of intemal effect units differ for each tone generator. «Before you distribute your own MIDI sequence data for GM, it is recommended that you audition your data on another type of GM-conforming tone generator, in order to make sure than itis compatible, ‘© Teshould be noted that you may not distribute the MIDI ddataofacopyrighted piece of music without the permission of the copyright holder. USING GM DURING PLAYBACK Itis easy to play back GM-compatible sequence data on the (RW, (1) Connect e sequencer containing GM playback data to MIDI Out, and connect the O3R/W to MIDI In, (Refer to the Sequencer user's manval for instructions on loading, and playing back GM data.) (@) Press the (3R/W GLOBAL/MULTI key to enter the MULTI mode. the mode changesto GLOBAL, pressthe fey once again to enter MULTI most. (During MULTL mode, the LED forthe GLOBALIMULTI key will come ‘ON, and during Global mode this LED will be OFF.) ) Stante sequencer. Playback will begin when the O3R/W receives the MIDI data from the sequencer. Itis possible to change sting values during playback. Refer to p. 79 “6 MULTI MODE? for details * Be sure the GLOBAL mode settings are as shown below to jbtain optimal playback performance. MIDI Fitter... is DIS, all others are ENA. * The numbers and leters shown in the boxes appear inthe upper left part of the display. and indicate the parameter page. Use the PAGE +, PAGE -, keys to check these parameters. IF a parameter needs to be changed, use the A and key to change the value.BASIC OPERATION + A Programs define as a simple synthosized seund + ProgramscantiesstectoditamA00 A2Siiniomalriomory) 600-099 (care, GO1-G129 (FON, Single Program Ay | P [ Gor CD, When the Bank Gor Dis selected the LED lights up. * PCM (Mlrisound) card waveforms are selected in the Balt Progranmode parsmeter Oseitlator Assign.or inthe Gofal anode drum kit parameters, (This CARD key is not used.) ¥ The contents of a PROG card are organized into,2 banks (CD. 10 © Press these keys to change the numberof the Combination or Progeum, © Be sure chat cards are Snserted firmly into the correct sot PAGE+ key, PAGE ~ key, 4 key, ® key Press these keys to select the parameter to edit. Press the PAGE+ key and PAGE-Key to select the page which has the parameter you wish to change. and press the +t key and » key roselect the parameterto change. Numbers anc letters such as “A” on the upper left corner of the display indicate the page umber ofthe current display (the numberonthe let}, snd the dliplay muraber in the current page (the letter on the Fight) ASV keys Use these hey to specify a value fora parameser. Ta increase the value by 1, press &.. To decrease the value by 1. press ¥. If you continue holding the switeh, the value will change continuously.HOW TO CREATE YOUR OWN SOUNDS HOW TO CREATE YOUR OWN SOUNDS ‘This section will explain the process of ereating your own sounds on the O3.AW, 1. fn Program mode, select the 2. In Edit Program mode, create sound you wish to edit the desired sound, and write it jnto memory. Please refer to Please refer 10 Reference guide Reference guide section section 1: Program Mode 2: Edit Program Mode (p.14). GAS. 3, In Combination mode, select 4. In Edit Combination mode, the Combination to which you ‘create sCombination using the want to add the sound Program you created. Please refer to Refer Please refer ence guide section 4: Reference guide Combination Mode seetion (88). 5: Edit Combination rode (p69)ABOUT THE 03RAW ‘s MEMORY ABOUT THE 03R/W ’s MEMORY For details, refer to “How the memory of the O3R/W is organized”, atthe end of this manual, © Selecta Combination from Bank A, C of D Gincluding the card} in Combination mode, # Select a Program from Bank A, C, Dor Gio (including the ceard) Program mode, (© When selecting a Program for"Timbres in the Edit Combi- nation mode, Programs to be used in Combinations from Bank A must he selected from Banks A and G. Programs to beused in combinations from Bank C must he selected from Banks C and G. In other words, the Program must be selected from the same bank as the Combination or from Bunk G. ‘© Bank G Contains Programs saved in ROM memory. This bank is necessary for compatibility with GM. © Drum Kits can be selected from the same Bank as the Program or from among the ROM Drum Kits 1-4. For example, to select a Drum Kit for a Program from Bank C, Drum Kit I or 2 can be taken from Bank C, or one of the ROM Drum Kits |-4 canbe selected. When editing a Drum Kitinthe Global mode, the Drum Kit must be selected from Bank A (internal memory) ‘> [Bank A) 100 Combinations. 100 Programs, 2 Drum Kits, 1 Global Data (Bank GI 129 Programs (ROM) <> ‘The data in a PROG card (512Kbit RAM curd) is organizedin two BANKs (C.D), TBank C1 [Bank Dy 100 Combinations, | 100 Combinations 100 Programs, 100 Programs 1 Global Data, 1 Global Data, 2Dmum Kits Data |_| 2 Drom Kits Data YePCM cards are of a different type. {The following table shows the modes that allow you (o write data onto a card and load data from a card, Load Waite 100 Programs, 100 Combinations, ? Drum Kiss, [Global Data | Global mode[SA) _| Global mode[$B] 1. Combination Combination mode | Edit Combination mode [3A 1 Program Program mode EditProgram mode ([SAJor ZLAT 7 Drum Kit Edit Program mode __| Global mode P6,7 4 When you ute a new cat, ist sve the data using the Global mode setting [SB]. This wil allow yo to load data, read a Program from the card, and write a Program anto the card. 2APPLICATION SECTION HOW TO READ A DISPLAY PAGE CHART 3A-3C PITCH EG (Pitch EG) ——— @ JO3A PITCH EG —>/03B PITCH EG @)03C PTCH.EG Vel< ® 8L+00 ATOO AL+00/DTOO RTOO RL+00|Levi=+99 Tim=+00 BA] St. | Stan Level -99—+99 | Specify how the pitch of OSC1 will change over time, AT | Attack Time AL | Attack Level 99 — +499 (3B) DT | Decay Time RT | Release Time RL_| Release Level 99 — 499 99 ~ approx. toctave below EG Level Vel. Sens 99499 | Specify how key velocity will affect the depth of the pitch EG. EG Time Vel, Sens ~99—499 | Specify how key velocity will affect the speed of the piteh EG. (1) 3A.3C PITCH EG (Pitch EG): This indicates that this, display is for screens A-Cof page 3,and contains pitch EG parameters, 2) Display for the page (Each sereen is contained within frame. Use the <3 and. {> keys to move to the next screen.) ) Diagrams relating to this page (4) The screen number for this parameter (5) Parameter narme (6) Value range (numerical values, etc.) and contents of this parameter (The value written on the leftin this column appears when the % key is held down.) (7) Explanation of the funetion of the parameter * In this manual, “cursor” refers to the parameter that is ashing, 131 5 ee Press PROG to enter this mode, ‘The PROG Key LED will come on. nthis mode you can select and play Programs (sounds) from ‘memory. You can select internal Programs AO) — A99. card Programs COO — 99 and ROM programs GOL — G128, ‘To select Programs, use the INT/CARD key; the BANK key: the +10, +1, -10, or -1 key: or MIDI program change mes- sages. ‘+ Ifyou wish to use MIDI to select Programs, set the Globe ‘mode MIDI Filter PRG paranneter to “ENA” (see p.92). «= Before selecting « Card Program, insert a PROG card ‘containing Program data Sounds are preduced by the MIDI data in the channel assigned as the Global channel, «In the GM-type ROM data used for Programs in Bank G, (01 — 128 are Sound Programs, and 129s Drum Program that uses ROM Drum Kit I. Refer to the GM Program List and the OM Drum List. 14 A00:Pianol6”2. EDIT PROGRAM MODE Press PROG, then press EDIT to enter this mode. ‘The PROG and EDIT key LEDs will come on. Inthis mode. yous may edit Program parameters, such as filter Program before doing so, your edits willbe lost.) Although BG settings and the selection of a waveform, « Program can be edited in Bank G, it cannot be written in that Bank, Use one ofthe other Banks (A, C,oF Dp tocreate your Programs. # When you finish edi (hen OSC Mode SINGLE, DRUMS) o: ‘when OSC Mode = DOU. ln Edit program mode when an REL is connected, the BLE)towrseyouredisintomenior.(Hevouseteetanotner—_TamereKeypa sue 0 select pages wen the REL i eonnecte HOW THE PROGRAM PARAMETERS OF THE 03R/W ARE ORGANIZED Pops a a coc ttaaTa 4 | [oscremeune ori eg vont ea i Stallses the itch Boos the volume | ata vibrato overtime ! | \ | as q I | foser VDFL VDAL | J |Becties te save: fal Species te tne of Pol Species he ohame [9 | fan ype an! ae | ose rose Ve | | \ | t t I | Jerr es VDF MG i Sinafies sho ptt) | Modules she one Tec i ' cera teed ah wah Etec teings fr | effec) I Program mode | i = only in Double mode I ") fosea DR? VDA? ! | | specities the wavs -—e] Specifies the tone of >] Specifies the velurse P| {| | formtype, beste piteh O82 jor OSC I tuiepockin la | iin wOsct | Dynamic Modolaton Coonot eects i t t t I {| [ose2 prea ma WOR EG VDA2 EG I |) [Sisott neice] [Muisehemseover| | Meesmevetne |) | tava) tine mere | \ Lo= aaa ‘The Basie Sound — — — oa ---=-------5 | [WimiySeeane] [wo Tacking] [AnerTouen | [oy Suck Asnanaeread || | jaeseuton | [tow tesbose | |sow aparoun | | Howtos) [ow the e How hey see rt | [wat attecrme | [wit anette | Jesie peta wi | -— 1 Hat thecise | [ect sou | | oura and ttetinecount || | i L---—-------~ A = H+ Performance Effects —— 152. EDIT PROGRAM MODE FUNCTIONS IN EDIT PROGRAM MODE Use the PAGE+ key and PAGE~ key 1o select pages. To select parameters, use the CURSOR keys (4, ®). ‘The pages available for each function wil differ according, to the OSC mode setting, (The pages described in the text are Double Mode ems.) Page Fund Parameters (SLE ates] DOUBLE 0A—0B | CA—0B [OSC Moxie Oscillator mode Assiga/HHold Number of voices to sound, and Hold setings 1A=1C | 1A—1C | OSCI Muti Soupd Oseilaor T wavefoemn LeveVOctave Level, Octave EG Iotensity/Pan Depth of the pitch change over time. ouput destination — | 2A—2k | OSC? Multi Sound Oscillator 2 waveform LeveV/Octave Level, Octave EG Intensity/Pan | Depth of the pitch change over time, output destination Interval/Detune te'val (by semitone} and detune (by cent) relative to OSCt Delay Delay in sounding tor OSC2 relative « OSC 2A—2€ | 3A—3C | Pitch EG ‘Adjusts changes in pitch over time 3A—38 | 4A—4E | VFI Cuott VDF! cutoff frequency (Controls brilliance of tone) BG Specifies changes in cutoff Frequency over time. Emphasis Emphasis effect — | sa—se | VDEP Gui VDF? cwoif frequency (Controls brilliance of tone) EG Specities changes in cutoff Frequency over time Emphasis Emphasis effect 4A—4E | GAGE | VDFI Velocity Sense | Tow key velocity affects VDFI EG eutotf frequency und time| Keyboard Tracking | How key position affects VDF EGcutoff frequency and time — | TASTE | VDF2 Velocity Sense] How key velocity affects VDF2 EG Time Keyboard Tracking | How key position affects VDF? EG Time 5A—SC | BARC | VDAI BG ‘Change in VDA level over time — | 9a—9c | VDA? EG ‘Change in WDA2 level over time 6A—6E |I0A—IDE] VDAI Velocity Sense | How key velocity affects VDA BG euioff frequency and time Keyboard Tracking | How key position affects VDA EG cutoff frequency andl time| — TASTE] WDA2 Velocity Sense | How key velocity affects VDA2 FG cutoff frequency and time Keyboard Tracking | How key position affects VDA2 EG cutoff frequency and time) TA—7E |12A—126| Piteht Modalation Oseilator | pitch modulation (vibrato) —_[13A—138] Pitch? Modulation ‘Oxcillaor 2 pitch modulation (vibrato) BA—RC |14A—14C] VDF Modulation ‘VDF modulation (wah-wah effect) 9A—9D |I5A—15D] After Touch Control ‘Atier Touch control Joy Stick Control Joy Stick control 10A [16x - — Effect settings MC 20¢ 15A—158] 214218 Writes a Program Renames a Program 16 +B Dawe mode only + Forinformtion on Eects. refer top. 34,3. fect Parameters”2. EDIT PROGRAM MODE 0A-0B Oscillator }00A OSC Mode = >| 00B OSCL DOUBLE ASN: POLY HLI O8C Mote ‘Tone generator mose SINGLE One oscillator mode (single) b DOUBLE Two oscillator mode (double) DRUMS Drums mode (drums) Assim “The number of voices 1 sound POLY Plays chords of up to the maximum numberof voices. | MoNo Plays only ome mote a te HLD | Hold OF FION Whether or not the sound will continue aller a key is relewsed YOSC Mode determines the type ofthe Program. The number of oscillators andthe (ype of waveform used will depend on this setting, you change the OSC Mode, you will need to re-select the OSC I Multisound (or Drum Kin, When SINGLE is selevied, one OSC-VDF-VDA syste vill be used. You ill be able to play up «932 simultaneous rates. When DOUBLE is selected, two OSC-VDE-VDA systems will be used, This allows you f0 create more sophisticated sounds, but you will be able to play onily up 16 16 simulta eOUS notes, ‘When DRUMS is selected, drum kita collection of deur souncs) selected in Global mode will be used as the sound soutee, Either oncof the ROM Drum Kits |—4 will be used, ‘or Drum Kit | or 2can be selected from the Bunk used for ‘he sound source Programm, The pan settings forthe drum kit selected will be used, Other details are the sume as for SINGLE, Asanvexample, for a Progcam from Bank C,one Drum Kit canbe selected from among the following : Drum Kit) or 2 liom Bank C, ar one of the ROM Drum Kits I—4. * The page shownat the upper left partof the display will differ according to whether the SINGLE, DRUMS inyde or DOUBLE mode has been selected. The text describes the pages used during DOUBLE mode. VASSIGN determines whether this Program will play polyphonically (POLY) or monaphonically (MONO), WWhen HOLD is set On, notes will continue sounding even afer a key is released. This is useful mainly when playing ‘the Drum Kit. usually you will set this OFF = I! Hold is On and the VDA EG Sustain Level is other than O° the sound will not stop. 72. EDIT PROGRAM MODE 1A-1C OSC1 014 OSC1 SOUND >/01B Osc 6]O1c OscL < 000: Piano Level99 OCT 8°|EGint+00 Pan=5:5 Multsound 0 254,600 — | Selets the OSCI Muisound tbsie waveform) [when the O8€ Mois is SINGLE or DOUBLE, Selets the Brute Kit wien, OSC Mode is DRUMS) Drum Kit Drum Kit RAM ROM Drum Kit 1—2 | Deum Kit ROM) [BBltevei | O5C Level 099 Volume of oscar 1 Specifies the cotave of oniNaor I 3 octaves lower ocr 16 1 active lower s Normal pitch s 1 octave higher Pitch EG tensity 99499] The dep ofthe pte change over tive Pan | Pan AS 19.p, | Mouiput destination of asian 1 C+D BALL JOSC Mode setting is SINGLE or DOUBL selects the Muttisound used by Oseilator 1. = Multisounds indicated by "NT" (No Transpose) will pro- ‘duce the same pitch regardless of the key tha is pressed + Since cach Multisound (waveform his an upper limit to its pitch cange, some Multisounds will produce no sovitd when played in high octaves, Wan optional PCM cards inserted into the from panel slot, ‘you willbe able to select Multisounds from the curd as weil To see the selectable Multisouncls, which will be shown with lewer °C” before the names, continue pressing the & key. Note: Insertor remove PCM cards only wher the poweris turned off, or when the unit is produeing no sound. "YWhen the OSC Mode is sete» DRUM KIT, this parameter selects either Drum Kit | or Drum Kit 2 From the Bank used for the Program, or one from among the ROM Drum Kits — ‘You can assign drum sounds o a Drum Kit in pages 6,7 of Globs! mode. However, only the Deurn Kits in Bunk A can be used. 18 VOSC Level determines the volume of Oscillator 1. "99" is the maximum volume. + Forsome sounds. high settings of OSC Level will result in distortion when chords ae played. In such eases, lower the OSC Level, ‘Wctave sets the busie pitch of Oscillator | in units of one ‘octave. Ifthe setting here is not 8, special attention should be paid when you set the keysor'the keyboard tracking. In addition, when the OSC mode is Drums, set this «0 8 ‘WPitch EG Intensity determines the aroun change produced by the settings in| ‘YPan (panpor) determines che output destination of oscillator | (i.e. the input to the effect system). You can select A, B.C, Der ALL. ‘The AB balanve can be adjusted + A, 9:1 —1:9, B The CD balance cannot be adjusted > C, C4D. D I is possible to send the sound co all outputs + ALL + Ifthe OSC Mode has been set to DRUMS, this will not display anything, an the panpot settiags made for the drum Kit in Global mode will be used2A:2E OSC2 (DOUBLE Mode only) 2. EDIT PROGRAM MODE 024 OSC2 SOUND >|02B osc2 e}o2c osc2 8) 02D osc2 9/02E Osc2 000:Piano Level99 OCT16’ | BGint+00 Pan=5:5|Intv1+00 Detn+03)Delay=00 Ea [Matdsouna 025 CO | Seieeta Muliound for OSC2 Drum Kit 2 | Daum Kit (RAM) ROM Drum Kit }—4 | Drum Kit ROM) OSC Level Oxeiltor2 volume Ocrave Specily the octave of oscillator 2 x 2 octaves lower oct 16 1 etave lower ® Normal pitch ‘ 1 octave higher Pitch EG tnseasity -99 +99 | The depth ofthe piteh change over ime Pan A.9:1 —1:9,B, | The output destination of oscillator 2 C.C+D, D, ALL Gabi | tovervat ra Interval (in chromatic steps) of OSC2 relative to OSC} Detwne | Detune 50 — 450 Detune (in units of Ieent) between OSCI and OSC2 Delay Start o—99 ‘Time delay of OSC? relative to OSCL + Sesings for Oseiiator 2can be made only | is sett DOUBLE. "VMultisound (Multisound select) selects the Mul excillator 2. The selection is the same as for Multisound. VOSC Level (oscillator level) determines the volume of ator 2. ‘WOctave determines the octave of oscillator 2 ‘Witch BG Intensity determines the amount of th Pitch BG effect. ¥ Pay (panpod) determines the output destination of oscillator 2 ‘V imerval determines he pitch difference (in chromatie steps. over a range of -12 — +12) of oscillator 2 relative to cscillator 1. Thiscan be used so that oscillators 1 and 2 orm chord. ¥ Detune specifies the pitch difference between oscillators | and 2 in fine steps of } cent (-50 — +50), By shighdly detuning oscillators 1 and 2, you can ereate richer sounds. ‘The following table shows how Detune affects the pitch, Dewune ‘OSGi Pitch | _OSC2 Pitch 0 ~25 cent 925 cent o 6 0 “50 +25.ent 25 cent you set Detune toa positive +} value, the pitch of OSC will be lowered. and the pitch of OSC? will be raised. Negative [-) values will have the opposite effect. As this value is increased, the difference between the pitches for OSCI and ‘OSC2 will increase, moving away trom 0. “WDelay Start specifies the time delay of oscillator 2 relative to oncillatr | over a range 0f 0 —99. (If you do not wish vo use this eect, set this 10a value 0F 0.) 192. EDIT PROGRAM MODE 3A.3C Pitch EG JO3A PITCH KG > ‘SL400 ATOO AL+00} 03B PITCH FG 61 03C PTCH.EG Vel< DTOO RTOO RL+00|Lev1=+99 Tin=+00 Start Level -99 +99] ‘These parameters determine pitch change overtime AT | Auack Time 0-9 +9. ppr0%. octave above 7 ick AL | Attack Level -99 +99 Keyon MERE key of Oaptenot lor 1 Decay Time ono | sel eve shen ky : ‘held down: Release level Rt | Release Time o—99 Sianlevel Relese time RL Release Level 99 — 499 ~9P aporox. + actave below EG Level Vel. Sens 399499] Mow velocity attocts he amount of pitch EG Tim | EG Time Vel Sens -99— 199 | How velecity afects the spoed of he pitch EG "VThese parameters determine how the pitch will changeover time, ~ inverting the+ and—values foreach EG level willinvertthe shape of the EG. The same Picch EG will be used for OSCI and OSC2. ~ The amount of effect is determined by the EG Intensity parameter for OSCI in 1C and for OSC? in 2C. ‘Vor positive (+) values of EG Level Vel Sense (EG Level velocity sensitivity), the pitch change will become greater 48 you play the keys ofthe 01/W mare strongly. (Negative ‘values will have the opposite effect.) The range ot pitch change produced by the Pitch EG is limited to-41 octave + When parameters are set to" Pitch change: YFor positive (+) values of EG Time Vel.Sens. (EG time velocity sensitivity), the pitch change will become faster as ‘you play more strongly. (Negative (—) values will have the ‘opposite effect.) + When parameters are set to "+" Time change key of4A-4E VDF 1 Cutoff, EG, Emphasis 2, EDIT PROGRAM MODE Fe=19 EGint=65 |ATO9 AL+08 DTOO O4a VDF 1 >|oap vori FG loc vpF1 EG BP+00 STOO SL+00|RTOO RL+00 0/040 VDF EG © 6/04E Emphasis 1 < Tnt=00 Vel=+00 VDF Cucott VDF cutoff frequency (onal brightness) “| EG latcasity ‘The depth of onal change produced by the VDE! EG ‘Adack Time How the VOF1 cutoff wil change overtime AL | Attack Level -99 +99 Voie sot by - EG Ions ver pt | Decay Time key Break Point -99 +99 bey ee sun Brea i evel ST | Slope Time vate el er 7) etme - - - ty FC — SL | Sustain Level |0GB VDF1 ¥.SENS@|06C VDF1 K.TRK @/06D VDF1 K.TRK @/0GE VDF1 K.TRK < KeyP#4 Mod ALL|Int=+00 EGtm=00 |ATO DTO STO RTO KBD Tracking Mode Fale | vel Sense tens 9 +99 | How key velocity wil affect the VDFI BG effet Bim | EG Tine Vel.Sens 0-9 How key velocity wilatfet te ie of VDF BG BAT | Atack Time a “Tie direction in sshich EG Time Velocity il affect the parameters (such as Autack Time) of the VDF1 EG (with a Dr | Decay Time as ‘ale of there willbe ao effec) st | Stope Time ao RT | Release Time -0.+ IF the Keyhnand Tracking Move is LOW or HIGH, tis deteamines the Key from which Keyboard tacking wil ey c1—as begin, IF ALL, this determines the key around which the keyboard will be tacked (1... the key at which no change I occur), ‘The area over which Keybowrd cracking will occur RT | Release Time ovr Keyboued racking Will not occur Low Keyboard racking Will occur inthe low range HGH Keyboard tacking ill ocurin the high range ALL Keyboard racking will ecu over the enn: ange [Bin | KBOTrcking Intensity | -99—+ 99 | How keyboued postion wil affect VDFL 6m | £6 Time KBD Track 0— 9 | How keyboard position wil feet he ine of VDE EG BEAT | Awack Time s0.8 The direction in which EG time keyboard tracking wil : affect te parameters ofthe VFI EG (with awa of 0 pt | Decay Time A0+ st | Stope Time a0. Wel Sense (EG intensity velocity sensitivity) determines how the 01/W for similar) keyboard dynamies will atfect the tone. ~ For positive (+) values, soflly played motes will have less change in cutoff frequency than specitied by the VDF EG. ~ For negative (values, strongly played notes will ave les change in cutoff frequency than specified by'the VDF (These changes are relative to the values specified by EG Intensity.) ‘= For many acoustic instruments, softly played motes have less energy inthe high frequency region. Ti Siruulace this, you can set the VDF cutoff trequeney toa fairly fow level, tnd set all parameters for VDF BG susiuin level, VDF EG intensity. and VDF EG inceasity velocity sensitivity 10 positive values. ~ When parameters are set to "#"s cu 232. EDIT PROGRAM MODE VEG Time (EG time velocity sensitivity) determines how OLAW (orsimilan) keyboard dynamies will affect the speed of the VDF BG. For a seting of “5°, strongly played notes will have Shonior time (Attack/Decay/Slope/Release Time). Foe i settingot "=" strongly played notes will ave alongertime: + Time value of EG time Vel. Sense also applies tothe other four parameters. You ean specify (The ditetion of change) independently for Attack, Decay. Slope, and Releaxe. Thisis also tne of{6D] VDF EGTime KBD Track, IVDF EG Time Vel. Sense. and[T0D]VDA EG Time KBD Track When all parameters ate set 0+" Time change soy of key off hey oft Played VOF EG Played sett setting stongly ‘VUsing VDF Keyboard Tracking hhow the keyboard position will atfe Frequency, |. youmay select the VDF cutoff ‘Vif the Keyboard Tracking Mode is LOW or HIGH, the Key parameter specifies the key from which keyboard tracking ‘will occur. Ifthe Keybourd Tracking Mode #s ALL. the Key parameter specifies the key around which keyboard track= ing will occur (ve.. the key at which the CutofY7EG Time will not be changed), VFor positive (+) values of KBD Tracking Intensity (curt keyboard tracking intensity), higher notes will be brighter, (Negative values will have the opposite cffect.) Asthe value approaches +99 or -99. the change will he gresier. ane! for a value of 0, the cutoff frequency will enange in exact proportion tn the pitch. Aca value of -$0. the cutoff frequency will be the sume for all notes, regardless of the keyboard position. Catt Irtansiy >0 =o =-s <# GY Key 68 YEBD Tracking Mode specifies the ares over which key- bard tracking will occur, When tis parameters OFF. the [6b] keyboszd tacking Intensity and BG Time Keyboard Track are disabled, Cuter Cuts ‘tensity et a Rey on Lea totensty intensity cuot 39 curt Pea Py \ /08B VDAL EG —-0|08C VAL EG < Jato AL99 TIS |BP20 sT88 SLOO |RTEO Bar| tack Time 0% How the VDI cutoff will change over tine AL | Aduck Levet o—99 ‘rack ievel kero pt | Decay Time 099 Be | Break Point v—y9 st | Slope Time 6-99 vatune Time SL | Suscain Level 99 [CRT | Release ‘Time O99 ¥Tte VDA EG determines how volume will change over ‘ime * The VDA (Variable Digital Amplitice) is the section that modifies the volume of the waveform, 9A-9C VDA2 EG (only for DOUBLE mode) 098 VDA2Z EG >{O9B VDAZ EG —@|09C WDAZ EG < |ATO0 ALSO DTI5 {BP20 sTas sioo [RTO Yiniss the VDA for oscillator {+ Voselecr DOUBL Emode(orSINGLE mode). use0AJOSC = The details are te same as Page VAI EG Mote, 252. EDIT PROGRAM MODE 10A-10E VDA1 Velocity Sense, Keyboard Tracking 10A DAL V.SENS> JAmp=+99 EGta=00 108 VDA V.SENSO| ATO DTO STO RTO 10C DAL K.TRK 8[10D VDA1 K.TRK 8 KeyC#1 Mode= OFF| AOE VDAL K.TRK < 90 EGta200 |ATO DTO STO RTO YDA Velocity Sense 99 — +99 How key velocity affects the VDAI volume change EG Time Vel Sens 099 How key velocity affects VDA EG time Attack Time ~0 ‘The dircetion ia which the various VDA1 EG parameters noe {attack time, ete) will be atfeeted by EG Time Velocity DT | Decay Time aot Sense, (Parameters set to 0 will not be affected by key sapere velocity.3 ST | Slope Time RT | Release Time When the Keyboard Trucking Move is LOW or HIGH, this specifies the key from which keyboard tracking will begin Key C109 totakeeffect, Whea the Keyboard Tracking Mode is ALL, this specifies the center key around which VDA | Keyboard tracking will take effect (Je. the Key which will not be affected. The range over which keyboard tricking will occur Keyboard inching will not occur Keyboard tracking will accur tor the low note range Keyboard tracking will occur for the high note range Keyboard tacking will occur over the entire noxe range How key position will uffuet VDAI volume change How key position will affect VDA EG ime Mode | KBD Tracking Mode ort Low HIGH ALL [aDAme | KBD Tracking E61n| EO Tie KAD Track EAT | Amick Tne 0.4 pr | Decay Time ST | Slope Time RT | Release time ‘The direction in which the yurious VDA EG parameters ‘attack time, ete.) will be affected by EG Time Keyboard ‘Track. (Parameters set O will aot be affected by key velocity.) VVDA Velocity Sense (VDA velocity sensitivity) deter mines how key velocity will affect the volume. For positive (4 values, softly played notes will be softer. For negative [ovalues. strongly played notes willbe softer, Asthe value approaches +99 or -99, key velocity will have a greater effect on che volume, s#In DOUBLE mode. you can achieve a velocity crosstde effect by giving oscillators 1 and 2 opposite settings for VDA Velocity Sensitivity. VEG Time (BG time velocity sensitivity) determines how OLAW (or Similar) keyboard velocity will affect the VDA EG time, For a setting of "+", strongly played notes will have a shorier VDA EG Tine (Attack/Decay/Siope/Re lease Time). For seting of "strongly played notes will have a longer time. For example if Attack Time is set to “+”, strongly played notes will have a sharp attack, and softly played notes wal) have « gentle wttack. This is expecially effective for string sounds2, EDIT PROGRAM MODE = When all parameters are set to "+"! Time change ey of ey off Prayod coy VOAEG gating | Played stonaiy + VDA Keyboard Tracking determines how the key position will affect VDA volume. ‘VFor positive (+) settings of KBD Tracking Intensity, the volume willincrease as you play higher notes, Fornegative () sotings, the volume will decrease as you play higher ates ‘WWhea the Keyboard Tracking Mode is LOW or HIGH, she Key parameter specifies the key trom which keyboard tracking will begin (© ake effect. When the Keyboard ‘Tracking Mode is ALL. the Key parameter specifies the ceater key around which keyboard tracking will take effect fie. the key at which volume and EG Time will not be affected) Yotume ‘eve! VDA keyboard racking > 0 08C eve Sonne - VDA keyboard tracking = 0 1 VDA keyboard tracking <0 + Interv civics ‘Canter Key YWKBD Tracking Mode determines the ninge over which keyboard tacking will occur, When this parimeter is set10 “OPE”, the [100) Keyboard Tracking and EG Time Key~ bord Track are disabled srIn DOUBLE mode, you ean create «positional crossfude” ‘effect hy setting aniklentical keybourd tracking key forbowh ‘oscillators I and 2, and giving them opposite "+ und "—" settings = ‘Theresulking volume after the Keyboard Tracking setting is, applied will stay within the range of 0.99. \VDA2 Keyboard Tracking <0 Volume / yO Keyboard Tracking > © Keyboard Tracking Key Level i ‘ +98 VOA ve : - ~ cn 3 a a or Rey oF | aut VIF EG Time (EG time keyboard (tek) s et to “ees igherthan the (TOC]}key will have shorter VDA EG Times ‘Ustaok/Decay/Slope/Release Time). For a setting of" ‘willhave longer VDA FG Time. ind the Keyboard Tracking Mode highernotes above t Thekey specifiedin| ezermine the range every parameter is set 10 Time change ey off VDA EG seting | when higher notes are notes ara played played ar2. EDIT PROGRAM MODE 11A-IIE VDA2 Velocity Sense, Keyboard Tracking (only for DOUBLE mode) 1A VDA2 V.SENS> Amp=+99 EGta=00 11B VDA2 V.SENS®| ATO DTO STO RTO JIC VDAZ K,TRK 0] KeyF1 Mode= OFF| LAD YDA2 K.TRK | JAmp=+00 EGta=00 1LE VDA2 K.TRK < ATO DTO STO RTO VThis isthe VDA for oscitlan + The details are the same as YDAI. To select DOUBLE mode (or SINGLE mode), use Page- OSC Mode. 2812A-12E Pitch! Modulation 2. EDIT PROGRAM MODE [124 PITCH 1 HG > TRI Frqd0 Int0o 12B PITCH 1 MG 8) Delay00 Fade™n00 12¢ PITCH 1 MG 6]12D PMG1 FREQ 6|12E PGI INT < K.Sync:OFF K.TRK+00 AtJ=0 /Aft=00 JoytP=00] Waveform Select the mdltion waveform ge | Thangs saw Tt Sawtooth 1 mw zi sawl — | Sustooth2 AK sok | Sqm aanp | Random Yo Fra | Frequeney 0—99 | Speed of moultion Tt | tensity 0=99 | eof modulation ey 049 | Delay romwhenkeys pressed when modulation bexins Time fom when he modulton bens o wheat Fakin| Fade o—99 | reaches the Tevel specified by the Intensity parameter TEKS | Key Syne ‘OFF | Modulation will apply to all noes in he same way ON | Modolation will te atedindependenty foreach new note Frequency Mod by KBD Track | -99 +499 | How kéyboard tracking will alfect the MG speed ‘acs | Frewency Mody Afior Touch) gg [How afenouch an the joystick wil fet the speed of Hoy Sick Fieh MG Inensity Mod by AfeeTouch | 0— 99 | Mow aietouch wilaffest he amount of Pich MG JoyU | tensity Mod by Joy Stick How the joystick will let Pitch MG * Pitch MG (pitch modulation generator) ey ically varies the pitch (creates vibrato). These are the oseillator | pitch MG: parameters ‘Wwaveform selects the modulation waveform “shape” ofthe variation in pitch. = Triangle = Saw Up = Saw Down Square ~ Random NG triangle wave (most often ZA upward sawtooth wave NA. downward sawtooth wave FL, sauare wave Tam. itewula change used} “WFrequency determnines:hensodulation frequency {ihespeed lf the pitch variation). A setting of 99 sults in the Fastest ‘modulation. + When Triangle wave is selected D-VVA=\MA Frequeney 0 2 ‘WDelay determines the time deay from when 2 key on the kkeybourd (such as the O1/AW) connected to MIDI IN is pressed to when modulation begins.2. EDIT PROGRAM MODE ‘WFude In specifies thesime from when the modulation begins to when it reaches the setting specified by the Intensity parameter. Keyen Peay Fadein ‘Vintensity determines the depth of the modulation. ~ When Triangle wave is selected: VIE Key Syne is set ON, the modulation waveform will be restarted for each new note played on the MIDI keyboard connected to the O3RAW’S MIDI EN (such as the O17), “YWhen plus (4 is selected for Frequency Mod by KBD ‘Track, ashigher notes ace played, the speed oF the Pitch MG. will increase secordingly. When minus (-) is selected, the speed of the pitch MG will decrease as higher notes are played, The Pitch MG will not be alfeeted when a value of O is selected. “C4” is the center key, ‘Werequency Mod by Afler Touch + Joy Stick specities how ‘much the Pitch MG speed will increase in response 10 sftertouch and the joystick. "Whe greater the Atler Touch value, the greater the effect on the Pitch MG when a key is pressed strongly. “Whe grewter the Joy Up (joy stick} value. the greater dhe ‘lect on the Pitch MG when the jay stick ispushed upward After Touch allows you to affect the tone by continuing 10 press dowa strongly on the key after playing & note, The Joy Stick can be moved in the +Y axis (away from you) to contno! the depth and speed of the Pitch MG effect. Pitch MG becomes deeper Pitch MG becomes astor t ceo 13A-13E Pitch 2 Modulation (DOUBLE Mode only) 13A PITCH 2 MG >]13B PITCH 2 MG @|13C PITCH 2 MG @ ‘TRI Frq00 Int00|Delay00 PadeTn00|K.Sync:OFF K,TRK+00 AtJ=0 [AFt=00 JoyUP=00 13D PMG2 FREQ ‘lk PMG2 INT <| hMG for oscillator 2 26 ingle Medex ix done in the ‘Whese purameters detertaine th ~ The details are the same as for Switching between Double an OSC mode. 3014A-14C VDF Modulation 2. EDIT PROGRAM MODE 14k VDF MG => /14B VDF MG RAND Frq00 Int00|Delay00 OSc=BoTH|K.Sync: Waveform TRI saw? saw t SQR RAND Pry | Frequency int | Incensity Seleets the modulation waveform Triangle Sawiooth | Sawtooth 2 Square Random FOFSe Speed of modulation Depth of modulation [Hpetay| Delay Delay fiom when key is pressed fo when modulation begins OSC Seteet Selects which VDF modulation t use ose orF No modulation effect ose Modulation wil affect only VDF osc? Modulation will affect only WDF2 80TH Modulation wil affect both WDFI and VDF2 KSym| Key Sync ort Modulation will apply to sll notes inthe same way ON Modulation willbe started independcall foreach nee moc YVVDF MG (VDF modulation) creates periodic variation in Co‘? Frequency. resulting in a "wah-wah" effect ~ The detailsare de ames for Pitch MG, butthere iso Fade In parameter. (The Fade In time will depend on the Delay fae oe Tine Basic exo 7 Peey Determined by Dalay time WSince VDF MGis common te both VDF | and WDF2, OSC. Seleet specities the VDF in which the MG will be applied. VIE Key Syne is et ON, the modulation wavetorm will be started for each key on the MIDI Keyboard such as the LAW) when it is pressed, 312. EDIT PROGRAM MODE 15A-1SD After Touch, Joy Stick Control 15A APT CTRL >] 15B AFT CTRL 0] 15C J.STK Down 0|15D BEND CTRL ‘| P.Bend+12 Fo+00 |VDF.MGOO Amp+00 |VDF.MG=99 P.Bend+00 VDF+00 “Themaximumetfetthataferouch wllhave on pitch After Touch Ben a2—s2 | pst osuves Atter‘fauch VDE Catott | -99-—+90 | How afterouch wil ulfect VDF cult Feguency ome) [Eihornc | vorMoix testy aterteat] 099 | How utenouch affects VDE MG Amp | AfceTooch VDA Amplinde | 99 —+99 | How afterouch wil affect volume {SG VOE MG | VDF ox Way oy ck —99 | flow the joysick attests VDF MG Joy Sick Pich Bend Range | —12—+12 | The manimur fect thatthe joystick wil Rave on teh Jey Sick VOFSueeptnety | 99 —+99 | How the joystick will affect VDF euot frequeney Waler Touch Bend specifies the maximum pitch change cover a range of 12 — +12 (41 octave) that will occur \when afiertouch is appiied (hac is, when you press down the key after playing a note on the MIDI keyboard such as the OLAW connected to the MIDI IN of the O3RW). WFor positive (+) values of After Touch VDF Cutoff frequoncy. pressing down the key will increase the cutoff ‘value (che sound will become brighter]. Negative values will have the opposite effect. “WFor higher values of VDF MG Int Mod by AT, aftertouch will increase the effect of the VDF MG. Fora value of 0. there will he no change. ‘WFor positive (+ values of Alier Touch VDA Amplitude, pressing down the key (aftertouch) will inerease the volume. Negative (-) values will have the opposite effect. "W For higher valuesof VDFMG int Mod by Joy Stick, moving the joystick of the Keyboard ;such asthe 01/AW) downseard (coward you) will deepen the effect of the VDF Cutoff MG. EX: 01 Joystick ‘VDF MG becomes deeper 32 ‘Voy Stick Pitch Bend Range specifies he enaximunt pitch ‘change ia half steps (semitones) that will oceur when the joystick on the keybourd (such as the O1AW connected 10 MIDI IN) ismoved (oleftor right. For the maximum setting ‘of |2, the pitch wil) change one octave up or down. For positive settings (+1 — +12), moving the joystick w the right will raise the pitch, Negative seitings will have the ‘opposite effect For positive settings: =) =D Pre ragod ‘Woy Stick VDF Sweep int, (intensity) specifies how the VDE cutoff will change when the joystick is moved to elt or eight. For positive values. moving the joystick tetherigit will raise the cutoff value, Negative values wall have the opposite effect Cutat s owered C— (5) >) cutotis raised Pcs lowered16A-20€ Effect For information on Effects, refer io p. 34, "3. Bifect Parain- ete” ‘The panpot (A-D) settings made lor each oseillator will be input tothe effects # Although an effect can heen selected for a Program, this effect willbe ignored ifthe Program susedinaCombination or during MULTI mode. Only the effect settings made for the Combination or MULTI mode will be enabled. 2MA-21B Program Write/Rename 214 PROG WRITE > fkriteraD0 OK? 21B RENAME =< A00:E. Piano 2. EDIT PROGRAM MODE A, coy—c¥8 Dip» Destination Prag. No. [Za Write OK? Program number of write destination Executes the write operation (E18 Rename ‘Wihis function is used to write an edited Program into intemal memory or into a RAM card, (YE ygram ame using the foe ‘The ~ land [ Keys are used to move the eursor, and the cand V keys are used to change the character selected ste eursor position, = You may use up to 10 characters including letters and symbols, Youcannotexecutethe write operation if Program memory proteetis “ON”. Turn memory protect oil in Global mode BAL Bach time the A. or ‘J key is pressed, the character se lected will change in the order shown in this illustration, + Sand keys T4S87091 3 C=)? DABLOEF SHI IRLMMOPORS TUUMS ZL #1 *_ vik Lanor-arstanucaz( |e (2) Select the Program number for the writing destination, using Teis not possible 10 write 10 Bank G. If'a RAM card formatted to PROG is inserted, you will also be able to select card memories (C00 — C89, DOO— 199). Before writing data into memory, turn the eard protect switch to “OFF”. (3) Move the eursor 10 “OK”, and press ‘The Program data previously scored in that memory will be lost ‘To cancel the write operation, press V7. (2) The display will ask “Are You Sure OK’ write the data, press 4. again, {5) When writing is completed, the display will show *Com- pleted ‘<¢Use this writing function when you wish to copy a Program to another Program number. + When either Drum Kit oF 2 thats, none ofthe ROM Drum Kits) as been selected fora Progeaum during OSC mode, the Drum Kit being used will change if the Program is written toadifferent Bank. (A Drum Kit from the new Bank witl be used.) To use the Drum Kit selected for the Program, copy the Drumm Kit also when writing the Progrant toa different Bank. {you want 03. EFFECT PARAMETERS ‘The O3R/W has two stereo digital multi-effects units, Each ceffectunitcan produce wide variety ofeffectssuch as fever, delay. chorus. flanger, phase shifter. distortion, and exeiter. Effect parameters can be edited for detailed adjustments, Effcet settings can be niade separately us part of Program purumeters, Combination parameters, and Multi-Setup parameters, allowing you (0 use the most appropriate effect selup for each situation, ‘© Whea playing Programs each souncican have its ownetfect senings, So you can use effects as part of the process of creating a sound ‘© When playing Drum Kit Programs or Combinations. itis also possible to apply effects to specitie sounds, You can edit effect parameters in Edit Program mode. Edit Combination mode. sod Multimode. (Theediting parameters are the same.) The effectseetion has four inpats(A,B, C.D). four outputs 1) 1, 2/R. 3,4). tworclfeetunits,and wwe panpots (PAN 3.4). The two effects can be connected either in serial ori purallel. (In the O3R/AW, ail signals are processed and routed asdigitel da, ‘and the signalsare eonyerted from digital so analog tudio only. after i has passed through the elfeet section.} About Dynamic Modulation fect parameters ¢such as Dry:FX Balance, Modulation Speed. ete.) can be controlled in realtime using the joystick, aftertouch, or other controllers, fora greater range of musical expression. Dynamic modulation settings ean he made independently for each of the two effect systems {the control source and sensitivity), However, only one parameter can be controlled for each effect. When controlling operations via MIDI, MIDI nressages in ihe Global MIDI channel car also be used 10 ‘control operations. EFFECT PLACEMENT | Placement = Seriat +— =u EFFECT EFFECT 2 = 2 In Serial mode, two effects | and 2 are applied! wo inputs A and B, and the signals will be output to L/L and 2/R. The signaly input from Cand D will be output directly 0 outputs 3nd, Altematively. itis possible tormix the input signal from C and D ino the ova inputs of Etec 2 © For example, using inputs C and D will allow you to avoid applying Effect 1 104 specific sound, oF o apply Effect | oply toa specific sound and then apply Effect > to all she sounds 343. EFFECT PARAMETERS. Placement = Parallel In Parallel mode, separate effects are applied 10 i ‘output respectively to 1/L and 2/R, and 3 and 4 of ULand 2/R .— “ wrens — an ple c+ too, covers | [rant > — rer inputs A and B and inputs C and D, and the signals are You can also mix the output of 3 and 4 into the output Esfect | is applied to inpvt from A and B. A [pe EFFECT 2» + 2m pana [t c >| 3 errecT2 PAN o—+| 4 Effect 2 is applied to input from Cand D, and these signals can then be input to Bifeet 1 ‘The Output 3 Pan sau! Output ¢ Pan setting ean be used in the following ways. = When different sounds ace input to Cand P separately, you camcteate astero mix by using Out 3 Pan and Out 4 Pan to pan these sounds tothe stereo outpet (UL and 27) Tstereo-ype effects have heen selected for Effets Land 2 when Effect Placement is Parallel, you can route Output 3 Pan L-and Output Pan to R in erdec to send the outputs of Effects I and 2 as a stereo mis, Ifyou ae using an extemal effect unit oF mixing console youray also set Output 3 Pan and Ourput 4 Pan to “OFF” to use Oulpats 3 and 4 as separate ourputs. “2 There are two types of effects: stereo type effects (137), and effects composed of wodifferenttypesof effeets(38— an, Theinput io A-Disdetermined by the panpot settings forthe Oscillator parameters. Timbre parameters, and Track pparanteters in Edit Program mode, Edit Combination mode, ‘nd Multi mode, respectively * You can monitor only outputs IL and 27R with the headphones. This means the sound input io C and D cannot be monitored when Output 3 Pan and Qutput 4 Pan are set lo OFF. 353. EFFECT PARAMETERS ‘The pages available for setting Effects will differ according te mode that hay been selected, EDIT Program mode (SINGLE, DRUMS} EDIT Programa mode (DOUBLE) EDIT COMBINATION mode .. MULT me eo ‘An exarape fromm MULTI oui is shown below OTA EFFECTI=01 >|07B Hall 6/07C Hall < Hall OFF] DRY: REFS" SrezIS(+¥) 1410 TA-7D Effect £ _ : - Bite Type Fa | No etteet is wee a4 —a7 | Select he Etfect Type Switch OFF.ON | Switches the effect ON nr OFF Dry: Effect Balance Day. $= 1 9.°%] Sound an tect halance Dynamic Modulation Source | Eifect Dynamic Modulation Control Source NONE — | Norused 1S er¥) | Joystick ¢+¥9 38-9) | Joystick (-¥9 AFIT | After Tous PEDAL1 | Foot Pedal | PEDAT.2 | Fo Pedal 2 voaeG | VAG 1] Bgnamic’ Modulation “15215. | Specifies the deh of Effect Dynamic Modblarion Mone fleet unit is set to"24:Symphonic Ensemble”, it will not be possible to select the following effects atthe same ype. the effect parameters ) will heset tothe initial values, 1923 Choris a Symphonic Hnemble —27 Flanger 32,33 Phaser M Rotary Speaker 35.36 Tremolo 38.39 Chorus, Flanger- Delay 2 Delay/Chorus B Delay/Planger 46 Delay Phaser a Delay/Rouury Speaker ‘Switch’ sets and displays whetheran effect is ONor OFF, ‘Youmuy also switeh the effect ON and OFFby sending the ontrol change inessages (Comrol No.9T (Lificett) and No.92 (Etfect2) ON and OFF from an external MIDI device. ‘When you select a Program oF Combination, the ON/OFF status will he set to the condition specified by the effect parameters in that mode. 36 si For Delay (13, 14), Chorus (19, 20), Exciter (28), anid ‘Tremolo (35, 36), the equalizor settings (LOW EQ and HIGH EQ) ave valid even whon “Switch” is set to OFF. If ‘you wishto imal theeffects (including the equalizer) OFF during the edit operation. set the Effect Type to" No Effect wo.” When the Dry: Effect Balance is set to DRY. the sound can be heard with no effects, Increasing the value at the right side will increase the volume of the effect, and FX cant be used @ hear ony the sound of the effect, I the selected effect has a parameter that can be controlled by Dynamic Modulation, you can specify (C2) che Dynamic Modulation Source and the Invensity (the depth of modulation) x» control that parameter in realtime, ‘The choice of VDA EQ” for Dynamic Modulation isthe sum of all 32-voiee"s VDA BGs. Eifect Controls | and2 (Bn, C, vv oF Bn, OD, vv} transmit ted via MIDI correspond (© pedals | and 2 wspeetively (during operation on Global Channeb)3. EFFECT PARAMETERS / §A-8D Effect 1 Parameter = WThese are the parameters for Effect. ~ The parameters differ according to the effect type. Please refer to the explanation of each effect type. 9ASC Effect 2 Vhs selocts the effect type for Bieet2 = The details are the same as for Effect 10A-10D Effect 2 Parameter ‘Wihese are the parameters for Effect? AIA-1IC Effect Placement IIA PLACEMENT >}11B EFF2 PANPOT®|110 COPY EFF < Parallel 35 OFF 4=40:60 [COMBI A00 Selects the routing af the effect units, Serial Parallel Effect Placement Parallel Serial Parallel 2 Parallel 2 OFF ‘The sound from Output 3 is not sent ro Lor R Ours Panpor ‘Output 3 Pan setting (L:R balance) 1. 99:1 — 1:99. att Panpot OFF ‘The sound from Output 4 is not sent to Lor R Nard Panpos £.99:1— 1:99, R | Output 4 Pan setting (L:R balance) ‘Copy Btlect Source Mode Copy eifect source PROG Program ‘COMBI Combination MULTI Mati (Copy Effict Sout No, Ag —99 Copy effect souree number coo —99 boo —99 OK? Exceute copy effect ‘Whese parameters determine the effect Placement and the WUse ‘copy an effect setting from another Program, panaing of outputs 3 and 4 tc. Select the copy source (PROG, COMBI, MULT! and «There are two types of effect placement, (Referto page 4.) the number (not required for MUL-TI). Move the eursor to ‘Set the volume for the L and R signals being seat to Cand OK, and press the key o camry out the copy operation D via Outpat 3 Pan and Ootput 4 Pan The copy destination will be the currently selected Pro- * You can monitor only outputs 1/L and 2R with the head gram phones. This means the sound input to Cand D cannot be heard when Output 3 Pan and Output 4 Pan are set OFF.3. EFFECT PARAMETERS, NO EFFECT 0. NO EFFECT Select "NO EFFECT” when no effets are used, {& For Delay (13. 14), Chorus (19. 20), Exciter (28), and Tremolo (35, 361 the equalizer sevsings (LOW EQ ans) HIGH EQ) are valid even when “Effect Switeh” is set te OFF. If you wish to turn all the effects (including equalizer) off ducing the edit ‘operation, set the Eifect ‘Type to “No Bifect.” 10A No Effect3, EFFECT PARAMETERS REVERB Thiseffoct simulates the reverberant acoustics of « hall, adding ambience to the sound ony ER LEVEL, ay Rev PRE DLY REV TIME HALL, Tre acoustic ambience of « natural- sounding Mall, 2ENSEMBLE HALL ‘The acoustic aenbience of a hall suitable for string and brass ensembles, 3. CONCERT HALL. The acoustic ambience of a larger hall. with emphasirod eatly reflections. 4.ROOM. ‘The acoustic ambience of a smaller room. S.LARGE ROOM This effect is a room-type reverb with emphasized density. With Reverb Time settings of about 0.5 seconds, the result will be Similar toa gating effect. 6 LIVESTAGE ‘The acoustic ambience oF a fuirly large room, 7. WET PLATE, A simulation of a heavily applied plate verb device. 393. EFFECT PARAMETERS 8. DRY PLATE, A simulation of lightly applied plate reverh device 9, SPRING REVERB A sinwulation ofa spring reverb deviee tOA Hall >} 10B Hall 8)10C Hall « Time3,2s H.Dmp30|P.Dly060me E,R62}EQ.i-04dB H+00dB} 6.2 —99 [seo] (HALL ype) ime_| Reverb time J time over which the reverbetation will deca Ke 0.2 — 4.9 [sec] (ROOM [ype] Trew " on will decay (0 — 99 PLATE type H.Dmp) High Damp 099%) Higher values esutt in a faster decay for high frequencies ly | Pre Delay = 200 ms} ‘The delay hotween the direct sound and theeary reflections (099 (HALLROOM type? ER ER Level Se loeLatictpen | The level ofthe eanyrelletions MEEQL | Hq Low [i212 161 “The amount of boost oF cut forthe low frequency range H | eQ High 12412 |B) The amount of boost or cut for the high frequency range Por effects £ 9, you can use Dynamic Mesulation 10 control the Dr FX Balance.3, EFFECT PARAMETERS EARLY REFLECTION ‘The Berly Reflection effects create the early reflections that are an important clement in determining the qualities of an acoustic envionment. By various settings of the Easly Reflection Time paramneter. you van create a variety of effects such ws thickening, the sound, oF ereating echo-like rellections, conv OJ E.REF - Ys ” PREDLY ER TIME 10, FARLY REFLECTION 1 This effect emphasizes the low frequency range, and is effec ‘when uscd on percussive sounds such as drums, 1. EARLY REFLECTION II ‘Thelevelof the early reflections produced by thivetteet will changeover time ina way that difers from Effect 10: Barly Reflection I.giving ita differemt character. 12, ARLY REFLECTION IIT ‘This effect creates early reflections with an envelope opposite from Farly Reflection 1 and Eurly Reflection Il. When used on sounds with a strong attack, such as eymbuls, it can create reverse-tape eflets JOA EarlyRefl >]10B RarlyRef1 6|10¢ EarlyRef < E.R Time=220us |Pre Delay= O15ms|HQ.L+03dB H-O5dB) DAERTIne|Farly Retecion Time | 100—soutms1 | ‘The carly reflection time (10m increments) [Bifrcbeay | Pre Delay (200 [ms}_—_| The delay trom the direct sound to the early reflections Wet. |roLow =12—+12 [4B] | The amount of boost or cut forthe Low frequoney range 1 leQHien =12— 412148} | ‘The amount ot boost or eut forthe high leqacney cange Foreffects i) — 12, you can use Dynamic Modulation to control the Dry:FX Balance, a3, EEFECT PARAMETERS STEREO DELAY “These effects create stereo delay pattems in which you can set the left and Fight delay times independently. By using appropriate high dump settings, you can make the repewted delays decay in a natural way. 13. STEREO DELAY ‘This effect has two delay channels with feedback. ‘The same delay times will be sot for both channels 14. CROSS DELAY Thisisastereodelay which has twodelay chaanels with fecdback {rom one channel to the othes, to make the sound move between left and right. + STEREO DELAY + oROSS DELAY = > ove oe oF i) +} + 10A StereoDly >|10B StereoDly 6]10C StereoDly < D.TimeL=250 R260|FB-40 —-H-Dmp30/BQ.L+00dR H+00dB} Thtimne from te direct sound tothe processed sound inthe left channel (Input A or) ‘Time L| Delay Time Left 0 — $00 [rns] ‘Thetime from the direct sound to the processed sound in the right channel (Input B oF D) 100 Inst Delay Time Righs Feedback 99 — +90 %] | ‘The amount of Feedback (iegative values invert the phase} High Damp 099 [4% Higher values result ina faster decay for high frequencies EQ Low =12—#12 [4B] | ‘The amourt of boost or eut for the low frequency range 1 |EQ High =12—+12(aB| | The amount of boost or eur for the high frequency cange For effecrs 13 und 14, you can use Dynamic Modulation to control the Dry:1°X Balance. a23. EFFECT PARAMETERS DUAL MONO DELAY 18, DUAL MONO DELAY This is composed of two independent mono delays, Biv d Duy ) 10 Dly(L) >[10B D.M Dly(L) 6|10C D.M Dly(R) 6 D.Time=250ms | FB+50 =H. Dmp10|D. Time=260ms 10D D.M Diy(R) < FB+50 —H.Dapl0: ime from the direct sound tothe processed sourdinhe TDSpDTime| Delay Time L. 0 — S00 jms} | TRE ERE rom the direst sound tothe prcessed sourdint! lett channel ey | The amount of feedbuck tor the left channel inegative GBFS |Feedback L POEL tyes inves the piss) Hp | High Damp 099 (06) Higher values result in fastr decay for high frequencies “The tee from te direct sound to the processed sound for v.Time| Delay Time R 500 tm) | she vighctonnet ‘The amount of Feedbick fr the right channel (negative [Dre | reedback R 99 — +99 5%] values invent the phase) HDmp | High Damp R 099 61 Higher values est in faster decay fr hi Sregvencies For this effect. ou can use Dynamic Modulation to eontral the Dry; Effect BalsnceEFFECT PARAMETERS: MULTI TAP DELAY Am equalizer is applied to exch effect input, and then the sign of the second delay is fed back into the input Level (030) se tear oT at fat ie | |e ele When O71 < 072 16. MULTI TAP DELAY 1 ‘This is a teo-chamtel multirepeat delay. 17, MULTI TAP DELAY TT ‘This isa two-channel multi-repeat delay with eross-pannig, 18, MULTI TAP DELAY UL ‘This iss two-channel mulli-repeat delay with crosy-feedback, * MULTI TAP DELAY I. It is sent to two independent delays connected in series. The output Leet (O50) When DT» Dra © MULTI TAP DELAY IIL3. EFFECT PARAMETERS 104 M.TapDly1_>{10B M Dir300 27400 |FB+5O -TapDly1 6|10C M.TapDly1 «< FQ.L+00dB H1+00¢B] TAD) eta Time t D2T | Delay Time 2 ‘The time ftom the direct sour to the processed sound ‘The (ime fromm the direct sound to the processed sound Tales | Feeback ‘The arnount of feedback (negative values invert the phase) DEOL) FO Low H] EQ High - 0 — 500 [ms] 0 — 500 [ms] 29 99 12 — +12 [eB | +12 6b} “The umount ol boost or cut forthe low frequency range. EQ. is applied to both the direct sound and the processed sound ‘The amount ot boost or cut for the high frequency range, EQ is applied 0 bork the direct sound snd the progessed Sound, Foreffects 16, 17 and 18, you can use Dynaimi¢ Modulation to contro! the Dry 2X Balance, 453. EFFECT PARAMETERS, CHORUS “These ure stereo type effeets composed of tworchorus units, and sre uselul when you wish to ud natural spaciousnessind richness {0 any type of sourid; piano, strings, brass. ete 19, STEREO CHORUS I Because modulation is applied to the two chorus units in such a way that one of therm will result in an inverted phase. the sound image seems to shift buck and forth in stereo. 20. STEREO CHORUS IL ‘Modulation with the same phase will be applied to the two chorus unit + STEREO CHORUS I [ke +\fcnorus: i +f Areas of] 10A Chorue 1 >/10B Chorus 1 6/10¢ Chorus 1 < D,Time=010as TRI|Mod60 M.SP0.30He BQ.L400dB H+00dB| Delay Time 0 — 200 ims} ‘The time from the direet sound to the processed sound SIN (sine selec le Mod Waveform TRI wiangle) Selects the modulation waveform, ‘Modi Dept 099 ‘The depth of modulation ‘Mod Speed 0,03 — 30 [Hz] | The speed éfrequeney) of modulation EQ Low 12 —+12 4B] | ‘The amount of boost or cut for the low frequency range H |EQHigh =12—+12 [dB] | The amount of boost or cut for the high frequency range For effects 19 and 20, you can use Dynamic Modulation to control the Dry:FX Balance.3. EFFECT PARAMETERS a1. QUADRATURE CHORUS Miss stereo chorus in which the modulation is applied to each chanme] 90 degrees out of phase. ‘B. CROSSOVER CHORUS: ) Thisisa stereo chorus in which the modulation is applied to each channel 90 degrees out of phase. and the chorused signal is mixed {nto the output of the other channel. + QUADRATURE cHOAUS ~ CROSSOVER CHORUS ey DRafeacronus if Fo Fo Syn Years : f |10A Quad.Cho. >/10B Quad.Cho. €@]10C Quad.Cho. 8/10D Quad.cho. < + [D.Timef=011 RO23|Mod50 ModSP=33|ModShape=T+00 | EQ.L+00d8 H+00dB| : ‘The time from the direct sound tothe processed sound ofthe prec Delay Tie L 0250 ims) | freametin 2 | Dety Tine —asofinsy | Thstime rom thedireetsound the processed sound ofthe right channel Mod Depth 0-99 ‘The depth of modulation ‘ModSpeed 1-99 “The Speed of modulation T+10—T~10, | Selectsthe modulation waveform. The number determines Buse Mou Shane S—10—8410 | te symmeny af the waveform, (DEOL. | EQLow =12—412 14B) | The amount of boost or cut for the low frequency range Ht | EQ High =12—#12 [dB] | The amount of boost or cut for the high frequency range Foreffects 21 and 22, you can use Dynamic Modulation to controt the Mo Speed. ar3. EFFECT PARAMETERS 23. HARMONIC CHORUS ‘This is « quadrature chorus effect that splits the sound range ‘and applies chorusing only to the high range, The low range will not pass through the chorus, smd will not be processed. ‘This effect is especially useful for low-frequency instruments such as bass. oF, (CHORUS L MoD — CHORUS FR / sex ) 10A Harmo.Cho. > D.Timel=022 ROI ‘The time from the dircet sound tothe processed sound ofthe Jeft channel Delay Time L 0— $00 [ms} ‘The time fcom the direct sound tothe processed soundof the R | Delay Time R righ chanel Mod Depth o—99 The depth of modulation Mod Speed 199 | The speed (frequency) of modulation Frequency Spit Poin ot “The point at which the sound range is spit For this effect, you ean use Dynamic Modulation to control che Mod Speed.3. EFFECT PARAMETERS [ SYMPHONIC ENSEMBLE lah a ee. 14, SYMPHONIC ENSEMBLE, | Tisisechons ype mutipl fect, whichis mos effective focenseable sounds lke strings. > 108 symp.Ens. < FQ.1+00dB H+00dR| EQVENSEMALE TAMed | Mod Depth 0—99 [The depth of ensemble effect GBFOL | EQLow ~12~+12{4B] | The amount of cut or boost forthe low frequency range H | EQ High =12—412 4B] [The amount of cut or boos forthe high frequency range 4 Fethis effect, you can use Dynamic Modulation to control the Dry: FX Balance * You camot use the fotlowing effects together with the Symphonic Ensemble. 9-23 Chorus 38,39 4 Symphonie Ensemble a 31 Flanger 43 32.33 Phaser 4 4 Rotary Speaker 47 38.36 Tremolo Chorus, Flanger~ Delay Delay/Chorus Delay/Flanger Delay/Phaser Deiay/Rotary Speaker3. EFFECT PARAMETERS FLANGER “These effects add feedback to 2 chorus effect. When used on sounds that contain a lot of harmonics, such as cymbals, they can not only create modulation effects, but also add a sense of pitch to a nan-pitched sound, resulting in a shatp impressive sound. 25. FLANGER I ‘This is a stereo flanger in which the modulation is applied to both channels in the same phase. 26. FLANGER IT ‘This isa stereo flanger in which the modulation is applied to each channel inthe opposite phase, The sound in ‘back und forth in stereo. ge seems to shift 27. CROSSOVER FLANGER {n this effect, two flangers being modulated in inverse phases apply feedback to each other. oD woo ES, FLaNGER 10A Flanger 1 >| 10B Flanger | 8/10C Flanger 1 < D.Time005 Res-85|/Mod99 = ModSP=20)£Q.L+00dB H+00dB {10A}D.Time| Delay Time 0 — 200 [ms] ‘The time from the direct sound te the processod xound Res _| Resonance 99499 | Theamont of feedhesk for the Ranger TOB|Mtod | sto Depeh 099 “The depth of modulation Mod SP | Mod Speed 199 ‘The speed of modulation Tq cQL EQLow =12—+12[@B| | The amount af boost or cut for the low frequency range # [eorigh =12—412 [461 | “The amount of boost or cut forthe high frequency range For ellects 25 — 27, you can use Dynamic Modulation to control the Mod Speed. 503. EFFECT PARAMETERS EXCITER 8. EXCITER ‘Thisis an effect that increases the clarity ofthe sound, and gives it greater definition 0 EXCITER Loy, MOA Exciter —>/10B Exciter @|10C Exciter < |Blend=+50_ Emph Point=05 EQ. L+04dB H+00dB] ‘WApiend | Blend 9 — 499 ‘The depth of exciter effect {Bryn |Emphave Point 110 The central frequency emphasized by excter FQ Low =12—+12 [4B] | The amount of boost or cut for the tow frequency range H EQ High =12— +12 [UB] | The amount of hoost of cut for the high frequency range For this effect, you car use Dynamic Modulation to controt the Dry: FX Balance 53, EFFECT PARAMETERS ENHANCER ‘Thisis atwo-chunnel enhancer which includesa delay to give the sound more spaciousness. Anenh and more well-defined, giving the sound more presence and bringing it up front in the mix. 29, ENHANCER ~(e enauv ~[ fo \y. 0A Enhancer >|10B Enhancer 6/10C Enhancer 6] 10D < Hara Density=80 |Hot Spot=01 S.W=50 D.Times25/EQ,L+01dB H+01dB Density 0-99 “The depth of the excite effect {FEB} Ha Spr. | Ho Spot 120 ‘The central frequency emphasized by excter Stecea Width a9 ‘The levelat wbichaninverse phase delay willbe mixed wih, the output ofthe other channel D-Timne| Delay Time 199 ‘The time fromm the diwot sound tothe delayed sound [ODIEQL |EQLow =12—+12(aB] | ‘The amount of boost or eu for the Tow frequency range H [eq High “i2— +12 ub] | Thesmeuntof aos or cut forthe high eqn age For this elfeet, you can use Dynamic Modulation te control the Dry: FX Balance.3. EFFECT PARAMETERS DISTORTION 30, DISTORTION This effect distorts the sound and adds a wah effect. It is effective for solos. EQ/ DISTORTION 31, OVER DRIVE ‘Triseffect simulates the overdrive sound frequently used by guitars. Its effective when playing guitarlike phrases on ‘organ or electric piano sounds, and for solos. FO OVERDAIVE 104 Dist. >/ 108 Dist, a|10c Dist < Drive=111 10|H.Spot05 Level10|E@.L+02dB H-124B] Drive (Bulge) in The amount of distortion applied to the input signi Res _| Resonance 09 The Qof the filter (he. the amount of wah effect) HOB]H Spor | Hot Spot 099 ‘The center frequency for the wah filter Level | Ou Level _ 0-9 ‘Te output lve ofthe distorted sound MAEQL. | EQLow =12—+12 [6B] | ‘The amount of boost or eu for the low frequency range uw [EQ itisk -12— +12 [a8] | Theamoun ofboost or cut or the hig Kequeney range Foreffects 30 ard 3, you ean use Dynamic Modulation to control the Het Spot in order to obtain a wah effect.3. EFFECT PARAMETERS, PHASER ‘These are two-channel sterco phase shifters. Using time delay and changes in phase, they produce a modulation effect that is clearer than chorus oF flanger. These effects are especially suitable for electric piano or guitar. 32. STEREO PHASER I ‘Chorus and flanger produce their effects by modulating the delay time. However, phusers modulate the phase of the input signal, creating an effect witha charactor that differs from the ‘chorus or flanger, “This effect is composed of two phaser blocks, each of which is modulated in inverse phase tothe other, and the sound image wall shift hack and forth in stereo, 33. STEREO PHASER II ‘This stereo-type etfect combines two phaser blocks. This effect modulates both phaser blocks with the same phase, + STEREO PHASER 1 +X PHaser MOD 7 PHASER + STEREG PHASER I] PHASER 10A Phaser 1 >|10B Phaser 1 6)10C Phaser 1 < Nanual=99 Mod60 M.SPO, 69112] FB~75 SIN [WAvina!| ane 19» Tern peney towhich the phase shift effect willbe Mod Depth 0-99 ‘The depth of the phase shift effect Mod Speed 08 —s0 1H] | Thespend regency) of modulation Feedback 99 — +999] | "The amount of feedback (negative values invert the phase) Mod Waveform SIN, TRI ‘Modulation waveform For effects 32 and 33, you can use Dynamic Moduiation to control Mod Speed, 543. EFFECT PARAMETERS ROTARY SPEAKER ‘This effec simulates the rotary speuker effect that is popuiat for organ sounds, 34, ROTARY SPEAKER Therotaryeffectis created by acompletely independent LFO. The selected dynamic modulation source can be used 10 switch between fast and slow speeds. In this case, moving the controller apidly will not make the rotor speed change in the same way. Rather, regardless of how fast you move the controller, the rovor speed will change tothe new speed at the ratespecified by Acceleration. Also, thespeed will bechanged regardless of the settings for the dynamic modulation inten- sity. ROTARY SP. e|10¢ Rots Speed 10A Rot.Spk > Vibrato Depth=09| 108 Rot.Spk JAcceleration=04 pk 5 FTO ter ves mate eet © gost Speed 1-99 | Thespeed when Fast ‘You can control the speed of Dynamic Modulation for this effect.3. EFFECT PARAMETERS: ‘This effect cyclically varies the volume. 35. AUTO PAN “This is asterco-type program that combines two tremolo blocks, Since each block is modulated in inverse phase to the other, the sound image seems to move as if it were being panned from side to side in the stereo fied. 36, TREMOLO, ‘Unlike the Atco Pan above. this effect modulates both tremolo blocks in the same phase. + AUTO PAN + AUTO PAN, —»{e TREMOLO. MOD TREMOLO —>[Fe TREMOLO + TREMOLO [a = TREMOLO TREMOLO Smits aveta Shape oar TREMOLO. >i SIN ModShape+99) 10A Auto Pan >|10B Auto Pan @/10C Auto Pan ¢ Mod80 M.SP1.59H2 EQ. L400dB H+00dB| Selects the modulvion waveform Mod Waveform SIN Sine TRI Triangle “Mol Sige | Mod Shape 99 — 499 Changes the modulation waveform Mod | LFO Depth 0-99 “The depth of wemolo MsP | Mod Speed 0.03 —30 Ha) |The speed (frequency) of modulation (remote) EQ.L | BQ Low =12—+12(dB] | ‘The amount of boost or cut for the low frequency range H | EQ High <12—+12{dB] | ‘The amount of boost or cul for the high frequency range For effects 35 and 36, you can use Dynarnic Modulation to control the Dry:EX Balance,3_ EFFECT PARAMETERS. PARAMETRIC EQ 37. PARAMETRIC EQ ‘Ths isalhvee-bandl equalizer. You can sel the cutoff frequency and yain tor the high, middle and low frequencies independently £0 oH LOW CAN WIDGAIN —HiGw GaN 288 Low Mio HGH Freq Fraq. Fre 108 Para. ltowFrai2 Gaint12 C mq > 10B Para. &Q 6/10C Para. EQ MidWidth=50 MidFrq08 Gain+12| 10D Para. BQ < Hi Prq20 Gaintl2 [allow Fe Low Freq, The low band cutot? Gain | Low Gain ‘The amount of boost or cut for the low frequency range (0B) Mid Fg | Mi Freq The center of the midrange filter “Gain |atiaGain | 12 sa tuty | manus or tot or cu fone walang fines (HOC )wie wise) iia Width 0—99 ‘The resonance of the mid range Filter 1OD}HH rg | High Freq “The high band ewott Gain | High Gain — +12 (dB) 1 of boo - ‘The amount of boost or cut forthe high frequency Thiseffect allows you to use Dynamic Modulation to control the mid frequency in order to obtain a wah effect,3. EFFECT PARAMETERS: COMBINATION EFFECTS: SERIA] Ineffects 38 and 39, « mono-in stereo-out chorus/Manger is connected ia series with a stereo delay. 38, CHORUS-DELAY In this effect, # mono-in stereo-out chorus with a 90 degree out-of phase LFO is connected in veries with stereo delay. 39. FLANGER-DELAY In this effect, a mono-in stereo-out flanger with « 90 degree out-of-phase LFO is connected in series with stereo delay. + CHORUS-DELAY + FLANGER DELAY 10A Chor-Diy _>|10B Chor-Dly _8/10C Chor-Dly << Cho.DT1ims FB+10|Cho.Mod50 M.SP30|Dly.DT110_ FB-i0} » CHORUS, FLANGER Delay Time 0 — 50 [ms} ‘The delay time of the delay effect (2ms inerements) 8 | Feedback 99 — 499 {%| | Theamountof feedback (negative settings invert the phase) (DOB) emo Med | Mod Depth, ‘The depth of modulation Mse} Mod Speed 1-99 ‘The speed of modulation + DELAY [ODD DT) Delay Time 0450 {ms} | The delay ime of the delay effect 2ms increments) FB) Delay Feedback 39 499%] | The amount of feedback (negative values inver the phase) For effects 38 and 39, you can use Dynamic Modulation to control the Dry: FX Balance.3. EFFECT PARAMETERS COMBINATION EFFECTS: PARALLEL * The effects described from here on (40 - 47) use elfeets which are combined in parallel placement, allowing you to apply a tifferent effect to cach channet. Therefore, you can use two different types of effects for EFFECTS | and 2 ex, 40, DELAYHALL is selected for Bifect!, and”43, DELAY/FLANGER" is selected tor Effect2. Fx acm} oeLay w om] tats ¢—> un x2 rans PY Pur HE — rans om FLANGER ‘ 4 Please refer sections 134 for the contents of effects. and[B] (or only [A] )corespond tothe parameters of one effeet (Mono Delay, and items comtespoal to the parameters ofthe aber ees. and [B] (orf) and3. EFFECT PARAMETERS MONO DELAY/REVERB 40, DELAY/HALL. ‘This effect combines a mono delay with a mono hall reverb. 41. DELAY/ROOM ‘This effect combines a mono delay with a mono room reverb. 1OA Delay{L) _>|10B Delay(L) fioc Hall(R) —6|10D Malt(R) << Time250ms FB+50}H.Dmp10 Time3.5s H.Dmp40]P.Dly055ms + peay ime_|Bely Time Tre delay neo te day est FB Feedback 99 — +99 [%] ‘The amount of feedback (negative values invert the phase) [OR HDmp| High Damp 099 1%) ‘Higher values result ina faster decay for high frequencies + HALL, ROOM 399 eal ime | Reyer Time 02 MS hccy | Thetimouver whichthe reverb willdecay afterthepre-delay (ROOM) HAD mo High Dap oe 1 | Higher vats suk ina aver dsy or igh equenses The dey betwen te i ad th ine ea OD} Dep | Pre Delay 0150s) | Riess "(dee sound and te Ene ey For effects 40) and 41, you can use Dynamie Modulation t0 control the Dry: FX Balance.3. EFFECT PARAMETERS MONO DELAY/MODULATED DELAY 42, DELAY/CHORUS This effect combines « mono delay with a mono chorus, + DELAY/CHORUS eS MOD, ce 10A Delay(L) —>/10B Delay(L) 8} 10C Chorus(R) 8/10D Chorus(R) < Time250ns FB+S0|H.Dup10 Mod6O M.SPO.30Hz| TRI oe + DELAY Delay Time 0500 ims} | The delay time ofthe delay effect FB | Feedack -99 —4991%1 | The amount of feedback (negative values invert the phase) High Damp 09911 Higher values result ina faster decay for high frequencies Mod Depth 099 1%) ‘The depth of modulation Mod Speed 0.0330 [Hel |The speed (frequency) of modulation Mod Waveform SIN, TRE ‘Modulation waveform Fortis effect you can use Dynamic Modul to control the Dry: PX Balance. 613. EFFECT PARAMETERS, 43. DELAY/FLANGER “This effect combines 1 mono delay with a mono flanger. = DELAVFLANGER 10A Delay(L) >|10B Delay(L) 6/100 Flanger(R) 8|10D Flanger(R) < Time250ms FB+50/H.Dmpi0 Mod70 M.SPO.18Hz|FR-75 + DELAY, [OA|Time | Delay Time 0—S00|ms} | The delay time ofthe delay effect, FB | Feedback 99 — 199 %1 | The amount of feedback (negative values invert the phase) [TOB}HLDap | High Damp 0 —99 [4%] Higher values result in faster decay for high frequencies + FLANGER [OE]Mod | Mod Depth 0-99 “The depth of modulation MSP | Mod Speed 0.03 —301H?} | The speed (trequency) of modulation . “The amount of feedback Fecdback +9911 | Gpegative values invert the phase) For this effect, yoo can use Dynamic Modulation ta contro! the Dry: FX Balance.3. EFFECT PARAMETERS. MONO DELAY/DISTORTION, OVER DRIVE 44, DELAY/DISTORTION ‘This effect combines a mono delay with a distortion that produces a wah effect. 45, DELAY/OVER DRIVE. This effect combines » mono delay with an overdrive that produces a wah effect * DELAVDISTORTION z + DELAYIOVER DRIVE Diy fom 104 Delay(L) >| 108 Dist(R) Timez50ms FB+40' Drive=111 Res=75 ol10c pist(R) —< H.Spot0 Level0s| + DELAY [atime] Detay Time FB | Feedback ‘The delay time of the delay effect ‘The amount of feedback (negative values invert the phase} + DISTORTION, OVER DRIVE [DB)Drive] Drive age) Res | Resonance “How preatly the input signal will be distorted ‘The amount of wal effect GOCASpat} Hot Spot Lvel | Level 199 9 ‘The center frequency for the wah Hlter ‘The output level of the distorted sound Poreffects 44 and 45, you ean use Dynamic Modulation to contral the Hot Spot to obtain a wab effect.3. EFFECT PARAMETERS MONO DELAY/PHASER 46. DELAY/PHASER This effect combines a mono delay and a mono phaser. DLY MOD = 10A Delay(L) _>}10B Delay(L) 8 10C Phaser(R) 6|10D Phaser(R) < Time250ms FB+50/H.Dapl0 Mod60 M.SP0.69H2| FB-75 + DELAY Delay Time — $00 [ms} “The delay time of the delay effect Feedback 99 —+99(%] | The amount of feedhack (negative values invert the phase) LDop| High Damp 0 — 99 1%) Higher values result ina faster decay for high frequencies Mod Depth 0-99 The depth of modulation MSP! Mod Speed 0.0330 [Hz] | The speed (Hrequency) of modulation (OD)FB | Feedback 99 — +99 [%] ‘The amount of feedback (negative values invert the phase) For this effect, you can use Dynamic Modulation to control the Dry: FX Belance.3. EFFECT PARAMETERS MONO DELAY/ROTARY SPEAKER | 41, DELAY/ROTARY SPEAKER Thiseffect combines & mono detay with 2 mono rotary speaker, os 104 Detay(L) >] 10B Rot.SP(R) 8] 10C Rot.SP(R) _<| [Time250ms FB+40| Acceleration=04 |Speed S=25 F=70 + DELAY fDalrime | Detay Time 0—500 [ms] | ‘The delay time of the deta effect, FB | Fecdhack -99 499%] | The amount of feedbuck (negative values invert the phase) + ROTARY SPEAKER [OBlentain| Acceleration tos ‘The tet which he spend willshangsbeueen low and [Deiseuis | stow Speed 199 F | Fast Speed 1-99 ‘The speed of Fast For this effect, you can use Dynamic Modulation to change the Rotary Speaker speed,TTT, Effecter Parameter To] EFFECT EL TE E REVERS Ravers Tine re.Dalay ER Level 7 Mall oz~ss [231] o~200 [eo]| o~9s ‘Tez z Ensemble Hal 7 if 7 fst 7 [231 [3 Concert Hall 7 isa) |” feoy] 7 [asl @ Room owas iai| 7 telj ies] 5 Large Room 7 (eal Test ist) é Live Stege 7 (ay Tel] {a1} 7 Wet Piste oa Garp 7 tes} = 71 | 5 Dry Plate 7 tol} 7 (esl[ 7 (51 3 Soring Revere 7 ts1| 7 To{ Gl Ez EARLY REFLECTION. ER Time ‘Pre Daley 70 Early Reflection 1 Too~800 (2201 0200 Tol m 72 7 (iso) 7 T30} 12 78 Z (300) 7 [301 ‘STEREO DELAY Belay Time Daiay Time Feedback 1% Stereo Delay o~s00 [185] | o~s00__—[370] | —99~+99_[—a0] 14 Gross Delay 7 Tso — 7 [ss0o}[ 7 a0} ‘DUAL MONO DELAY ‘Betsy Fine L Feedback High Damme L 15 [Dual Mono Delay D~s00[z0}|—99~ +99 To]| 0~99. tal EE ‘MULTI TAP DELAY Delay Time 1 ‘Delay Time 2 16 Multi Tap Delay 1 o~s00 1175) o~s00__ 13507 17 z 2 7 [200] 7 Taoo] 18, 7 3 7 esa] 7 (00) cHoRUs Delay Tie Mod Speed ‘Mod Depth 3 Stereo Chorus 1 ~200 Tif -o0s~s0 (ossT| o~ss 98) [20 72 : 7 fart foae}t 7 Taal ‘cRORUS: Detay Tine Delay Tine F Mod Speed zi Quodrature Chorus o~es0 [zal] o~250. (ra |_e1~98 [301 2 Cross Over Chorus 7 tar Ee Tis} HARMONIC CHORUS Belay Tine Beisy Time F 23_[ Harmonie Chorus 0500 Tal S002] EE ‘SYMPHONIC ENSEMBLE Mod Death 24 [ Symphonie Ensemble =99 132] FLANGER Boiay Tina | (Mod Depth ‘ied Speed 2 Flanger 1 o=200 isi] owas [so] e1~s5 (20) 26 72 7 Teal] 7 (33)| «7 [a2 zr Gross Over Flanger Z Ta[—7 Tol] —e—7 (22) EXCITER. Bond | erohetie Point 28 [_—_exciter =s9— +99 160] 11001] (ENHANCER. Harmonie Datslty Het Spot ‘Store Width 23[_—— Enhancer 195 [28}| 1~20 Tat] o~3s___[as] DISTORTION. rive Hot Spot Resonance 30 Distortion TH [ert] eo~99T38T]_o~89 Tor] ED ‘Over Drive 7 Test ° 7 [or] Te3) PHASER Mana ‘Med Speed Mod Beth Ed Stereo Phaser 1 owes {ee} | e00s~30 (ozal| o~es 871 aa 72 z (selpe 7 loz] 7 (36 ROTARY SPEAKER. Vibrato ‘Benth 3a | Rotary Speaker o~ 15, 2] TREMOLO, Mod. Waveform | Wed Wave Shepe 35 ‘auto Pan Sint [Ta}]—99~+99 [96] 36 Tremolo 7 Cre} 7 __{—3s] (PARAMETRIC EQ z tow Free ‘Low Gain Ti] Parametric €0 Owes [iS]| 1a +12_[ 408] EE ‘COMBINATION SERIAL ‘Fig/Cho Daiay | Fig/Gho FeBack 38 Chorus-Delay O~s0 [ead —99~ +99 [24] 32 Flanger-Delay 7 tt a0} ‘COMBINATION PARALLEL. Daiay Time Feedback a Delay/ Hall a~s00 (30) | —s5~ +99 (0) a Delay Room 7 (ot 7 to] ‘eiay Tie | Feedback a] Belay chorus o~s00 [220] | —s9~ +99 _(15] zi Belay Time, Feedback ‘Delay Flanger 3~500 [400] | —38~+93 [20] Delay Time |Feedback Delay Distortion T~500 [750] | —38~+95_ [+407 Delay [Over Orie 7 [sso] [7 Teo} Delay Time Feedback High Dame | cc Delay Phaser D~so0 {300} | —99~ +99 [41s]] o~99 60] Delay Time: Feedback a7 betay Ratary Speaker o~su0 [200] | —98~ +99 _[F15]1 ial Value: Dynamic Mad Dest TH E is TH E 50 tow EO hie ‘BeyPK_ Salanes 1 [ows any +12 [0s] |—Te~+ 12 [—or1] @bRY~FK [woz] 7 zal 7 fut 7 T=alf~© 7 Tazo) aT z (=a, [=al pe te020 7 (361 Seelam [eal} © 7 Taz) 7 (er — tp re ep z (361[—_— 7 (=s1 [mathe 7 ss] 7 isi z Tor (=a1[e 7 tena 7 [a7] = rel Tepe 7 —tera0] 7 (30) 7 I <7 nz] eo Lew DaRFK Balance Serie [=a] SDRY~F (e832) z (ea [Ce z tor (ol © 7 Treas) High Dame EQ tow £9 Hig DppFX Balance, o~s9 [10] Ve=+i2 [oy] wee fo] | @oRv~rx [e020] 7 Dol 7 tor| 7 (olf ~© 7 _—{eaa0] DiyirX Balance t | Doley Time Feedback High Dame | DaAEX Balance R DRY~x (som | o~so0 a0] | —99~499 [OF 0~99 Tol | @prv—rx (56s) Feeataak EQ Low EQ High DesFX Balanes n+39 (30 Ses Fie lol] —e~ 412 [Oy] @ony~ Fx Leo) 7 Tol 7 tor] (ole 7 (e301 7 ED 7 “ter (ol -© 7 1is2s) Mod Wavetoem or Derk Salance: sire [TRI] Te~+i2(ra}| ese ee] | @OR~ PR [e050] 7 rel] Z (srt 7 [ealpe 7 [eoaa) Mod Death Mod Waveform EQ Low EQ High DaiFx Balance x93 [so] | reio~ssi0_ (ool |— ews ie (ol [=ve~t ie Tol] Dry~ex [e050] 7 (esl[ 7 fol 7 tol 7 fol) (50501 Med Speed | wad Benth Fier Sot Paint [eK Balance Ci a TE GI ORY~FX _(e5) | EQ Low EQ High DryFX Balance [=~ ti2 (0) | ewe [0] | @oRv~rx [e733] 5 [Resonance EQ Law EQ igh DryFX Balance so~ +99 [60] | —1e~ ie [0] | —1e~ +12 [0] | ORv~Fx —[s0s0l 7 Gel] 7 (orf toy| 7 (5050) z (eo | tol] tol] 7 (20591 I EQ iow EQ High DaFX Aline We~+12 _(43}]—We~ 412 ([e3]| @oRv~rx [e050] Belay Time] £9 tow EQ High Dry Balance tess 15] =e +i2 {a} | te +12 (0) | @onv~Fx [50st] EQ te |e igh ‘Out Level Dry#K Balance Texte To] sie Toy] 099 is] DRY=FX (S00 7 for} 7 Torj isl z {o050H Feedback| Med Waveform DivX Balance Sew 99 [ee] site [TRI] oRy~Fx__ (S050) a Tein z {30501 Siow Speed Fast Sooo) Dark Balance 139 [es] Yass Teal | onv~rx (sess) £9 tow [eg iat ‘DevX Balance Twig [o]| Wet ie [0] | ORF [eta (38) 7 fol] 7 (ol[© 7 —Tfavsol Mid With High Freq [High Gain Onyx Belance —ie~+ie_[4eel| o~ss___(s0] | owes va] | —te~t 12 Toe) | ony~rx [sts ‘Mod Depth Feedback Dry:FX Balance o~35 75) s~ +99 [16] ORY ~FX (60st) 7 (sa)| (300) | (301 © 713850) Derx Balance Reverb Tie re Daly igh Bae DaiFx Batons \eony~Fx[ex][ o2~99 [30]| 0150 tesl| o~sa 3a] |e RY~FX [7030] o 7 _texl[ o2~a9 Toll [ealfe 7 {esas} Deir atone Moa Speed Wed Waveform | Ba:FX Balance ve oRy~FX _{iro3e] | 003 T0331 Sra (Tei | @ORv~ex _[sts0] DoFK Balonee ‘Mod Speed Feedbeck | OnaPX Balance SoRy~Fx (ross) | a0s~90 (027) =s9~+99_(—75]| @oRY~Fx [5080] DryFX Balince Dea Resonance oRrwrx pea isin 105] o~ss 107) To] 7 Caas)[ 7 Tes] eZ (63) (Zo) Diy:FX Balance ‘Med Speed Feedback ‘DeyFX Balance SoRY~Fx [6080] | 003~30 [0.69] So~ +99 [499] | @oRY~ex [Ts] DryFK Balance ‘Acceleration Fast Speed ‘DeyFX Balance DRYFX (ese) 1s [10] i=39 Tea) | ORF i0) = Dynamic Modulation allows you to switch between “Slow speed” and “Fast speed”.CONROE TPIT ‘4. COMBINATION MODE 7 Press the COMBI key to enter this mode. This is the mode that appearseach time the power is turned ON, The COMBI key LED will lash at such times. ‘This mode allows you to select and play Combinations (a combination of Programs). To select a Combination, use the INT key, CARD key, +10 key, +1 key, -10 key, -I key or MIDI program change messages. ‘© You can select a Combination from internal memory (A00 — A99) or from a card (CON — D99), When set to ENA... Program change messages received on the same channel as the global MIDI channel will change ‘Combinations, Program change messages received on other channels will select the Program of the Timbre which is receiving that channel. If the Timbre channel is the same as the global channel, the _lobal channel will take priority, and the Combination will be changed. ‘When set to PRG...Program change messages reccived on the global channel will not change Combinations, but if a ‘Timbre is receiving that channel, the Program of that Timbre will change, ‘When set to NUM ...This is basically the sare as ENA, but MIDI Bank Changes are not received. (The signal that is received differs for PRG and ENA) ‘The global channel is 4 MIDI channel set in Global mode 2A, and it controls the entire O3R/W. «Before selecting a Combination from acard, inserta PROG. ‘card which contains the desired Combination. ‘# Notes can be played until the total number of osciifators used by all Timbres reaches 32. +£1n Combination mode, effect settings from each Program are ignored, and the effect settings specified by the Com- bination parameters will be used. JeIf you edit in Buit Program mode and then move to the Combination mode, the edited Program will be used. + Programs tobe used in Combinations from Bank A (internal memory) can be selected from Banks A or G, Programs 10 ‘beused in Combinations from Bank C (card) can be selected from Banks C and G5. EDIT COMBINATION MODE Press the COMBI key, then press EDIT to enter this mode. ‘The COMBI key and EDIT key LEDs will begin to lash. Inthismode, you canspeviy how programs are combined into Key Window aCombiostion, and make settings forthe effects to he used in the Corbiaton, toe CZ Keyooart range A Combination consists of § Timbres. Far each Timbre, it Tinta 2 played by each contains a Program, various parameters related to perform shmtre 3 = Twrbre ance (panpot, volume, MIDI channel, et.), A Combination SS ako contains a se oF effect parameters that affect the entire Tinto 4 (ZZ Combination Etecis Timbre § Operations in this mode will edit the Combination you previously selected in Combination mode. «When you finish eiting» Combination, execute the Write timbre? EZ” / Grndincnre Sone yards r/ you select another Combination in Combination mode Timbre 8 before writing, your edits will be lost.) i") anya ‘Darn thei Combination de he keypadunctionan pase sect he Cuber ined dri REP operations) Timbre 65. EDIT COMBINATION MODE FUNCTIONS IN EDIT COMBINATION MODE Use the PAGE* key and PAGE- key to select pages. To select parameters. use the CURSOR keys (1. *) Key Window Bottom Vel Window Top Vel Window Bottom “Transpose Detune Program Change Filter Darnper Switch Filter After Touch Filter ‘Control Change Filter Panpot Write Combination Rename Combination FUNCTION PARAMETER TO EDIT Program “The Progra assigned lo each Timbre Level Volume of exch Timbre MIDI Charne “The MIDI receive channe! ofeach Timbre ey Window Top ‘Top hey ot keyboard range payed by each Timbre Bottom key of keybourd range played by each Timbre “Top velocity value of velocity switeh for each Timbre Bottom velocity value of velocity switeh for each Timbre ‘Transpose seiting of each Timbre Dewune setting of exch Timbre Program Change message receive switch for each Timbre Damper Switch message reveive switeh for each Timbre Afiertouch message receive switch for each Timbre Conical Change message receive switeh for each Timbre Punpot of each Timbre Effect sewings Write a Combination into memory Rename a Combination eter io p.34 “3, Effect Parameters” for details of effects.5_ EDIT COMBINATION MODE EDIT COMBINATION 04-08 Program JOOA PROGRAM 1-4>]00B PROGRAM 5-8< }A00 AOL 002 003 }A04 GO1 G99 128 ] T OFF) Program 00-09 of | Selects a Program for each Timbre | the same Bank as ‘Tumbse 1 Program for the Combi- rration/GOl Ob FY Progesm 60-9 6F the same Bank 2 Timbre 2 Program for the Combi sation/GOL-129 OFF) Program 00-99 of the same Bank as Tor the Combi naionyGO1-129 OFF/ Program 00-99 of the same Bank as Timbre 4 Program ae es aation/G0)-129 OFF Program 00-99 of the same Bank 3 imine § Program the sane Bank ation/GO1-129 | OFF/ Program 00-99 of the same Bank as Timbre 6 Progam | Jor the Combis nation/GO1=129 OFF} Program 00-99 of | the same Bank as j Timbre 7 Program for the. Combi ration /G01-129 OFF? Program 00-99 ot the ane Banka | Tumbre 3 Program Timbre 8 Program tea Com ! |___nationsG301-129 Vilere you can select a Program tor each Timbre: + Programs selected for Combinations ‘The Timbre that is set to “OFF” will not sound. Programsto be used in Combinations from Bank A internal Internal card cord memory) must be selected from Banks A and G Banka Bako Bark Programs wo be wxed in Combinations from Bank (card) 0 cor 8c Socom rst also he selected from Bank C and frank G. A program pa) snus be sclected from the same Bank as that used for the Taree Combination, or from Bank G. Banke BarkG BankG + Incoming Program Change messages will elect Programs 2s of the corresponding channel. for Timbre ponding channe! 128 Foe 128 Pros 125 ero ~ The Bank of the selected Program ischangedesch time you | | wee press PAGE- on this page. a5. EDIT COMBINATION MODE ‘Adjusts the volume for each Timbre 1A-1B Level O1A LEVEL 1-4 >|01B LEVEL 5-8 < 127 099 O11 127 [058 127 127 127 Timbre I Level 0-07 Timbre 2 Level 0-127 77 [ Timore 3 Level on “Timbre 4 Level 0-17 Timbre 5 Level oa? | Timbre 6 Level 12 "| timbre 7 Levet 0-7 “Timbre 8 Level on ‘WLevel specifies the output volume level foreach Timbre, At ‘value of 127. the volume will be the full level as deter- mined by the Program parameters. Ata value of O, that ‘Timbre will not sound. 2A-2B MIDI Channel O2A MIDI CH 1-4>/02B MIDI CH 5-8< 1G 2 3 56 7 8B Tnbre | Channel (| Timbre 2 Channet Timbre 3 Chanact Tisnbre 4 Channel Sets the MIDI Channel for each Timbre Timbre 5 Channel | Timbre’6 Channet 1-16 ‘Timbre 7 Channel “1-6 ‘Timbre 8 Channel 1-16 {Y This parameter specifies the MIDI ceive channel ofeach Tinre Setting a dtferet MIDI reccive channel for each timbre ‘will allow you to play up to differen sounds atthe same time, using mul-/03R KW TOP 5-8 8 cg G9 G8 G9 |B4 G9 G9 co O3C KW BTM 1-4 @| G-1 C-1 G-1 C-1 O3D KW BTM 5-8 < C-1 C5 0-1 o-1 Timbre T Top cia ‘Specifies the highest nove that will play each Tirabre Timbre 2 Top “Cio _ [Timbre 3 Top 7 ei ce | ‘Tanbre 4 Top. c1— G9 Timare 5 Top cia © [Timbre 6 Top cla _[Timbce 7 Top Cina ‘Timore # Top clay ‘Fmbre | Boom C169 Specifies the lowest note that will play each Timbre Timbre 2 Boriom c1—G9 “[Timbre 3 Bowom: Cray, Timbre 4 Boom Timbre 5 Bottom _ mbre 6 Botton ___ [Timbre 7 Bottom, —o9 Timbre 8 Bottom —39 ‘Timbre will sound, The notes outside this range will not sound. This allows you to play different Programs over different areas of the MIDI keyboard connected to MIDIIN af the O3R/W, Itis not possible to set a Top key lower than a Bottom key. i If you set the Top key kiwer than the Bottom key, the “The range over which the. Bortom key will automatically be set to the Top key. snd Timbre wll sound t vive versa, Key Window Bottom Key Window Tap Vey Window specifies the range of notes for which the | | | 735. EDIT COMBINATION MODE 4A-4D Velocity Window Top/Bottom 04a VW TOP 1-4 >/04B VW TOP 5-2 6 427 127 127 127 [127 127 127 127 OAC VW BIM 1-4 6/04 VW BIN 5-8 < 001 001 001 001 001 001 001 001 ‘Fienbre 3 Bowwom _ Timbre 4 Bottom (137 iD) Timbre 5 Bottom 117 Timhre 6 Bottom to Timbre 7 Boom 1on7 ° “Timiee 8 Bottom top “Timbre 1 Top 117 ‘Species the maximum velocity that will play each Timbee Timbre 2 Top. - 117 (velocity value}, Timbre 3 Top 1-7 Timbre 4 Top ili TimbeS Top | dF Timbre 6 Top eo Timbre 7 Top ~ i “Timbre & Top ii T Bowen 117 ‘Specifies the minimum velosky tha wil play cach Timbre Timbre 2 Bottom io (velovity value) Velocity Window speci the range of velocities (how sisongly akey is pressed) for which the Timbre will sound. ‘This allows you to make different Programs sound in response (o notes of different velocities. ~ You cannot set a Top value lower than a Botiom value. 74 = ex, Velocity Window Bottom = 25) Velocity Window Top = 100 Volume tevet ThE —F ia vse ‘Sourd range Over 25. Undor 100